MELBOURNE MUSE: FRECKLEPOKE

FOR ALL THINGS BUBBLE-POP, MAGICKAL AND SWEETCORE, ENTER @frecklepoke. JOIN ME AS WE FEATURE A LOCAL CREATIVE HERE EVERY WEEK - SHOWCASING BRAVE, INNOVATIVE ARTISTS DOING COOL SHIT IN A CITY WITH RAPIDLY GROWING CREATIVE OUTPUT.

@frecklepoke is not an account you stumble across and easily forget. Filled with bright bubblegum tones and everyday objects reimagined as adorable companions, her works are more than just lighthearted and cutesy - instead, they make up a world that is so uniquely Tash, where the mundane becomes something whimsical, and an inner childlike curiousness is allowed to reign free.

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Tell us a bit about yourself! How long have you been creating art, and how did you find yourself working specifically with digital art?

Oh hey, I’m Natasha, but I’m mostly known as Tash. I’m an independent Illustrator and Graphic Designer from Melbourne! From a young age I was always the creative type, I was the one in class that would always doodle on their textbooks instead of listening to the teacher! After leaving high school, I knew I wanted to pursue something creative and so I studied Graphic Design. I was taught so many new skills, which really lead me into a passion for illustration and creating my own brand. After taking a year or two to find where I wanted to be creatively, I decided to dive into something new, and so I bought myself an iPad. Ever since, I have been drawing digitally and it has significantly helped me with finding my own style! 

Your work is undeniably adorable, from your pastel colour palettes to your super cute renditions of everyday objects. Do you like to think of your work as frecklpoke as an escape from reality where you can create your own magical world? Or maybe an internal reflection of your personal preferences?

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Oh, I’m blushing! Thank you! I’ve always loved cute things, seeing bright colours within artwork truly brought me joy. Put simply, I wanted to create that feeling of joy for others too! My work as frecklepoke is basically a world I wish existed. By incorporating daily objects I love adding my own twist of magic and a pop of colour! By creating in my style, I feel like I can escape into my own colourful little universe.

What would you say are the elements that are integral to your work as an artist, when you decide you want to sit down and work on a new piece - whether that’s your tools, your mindset, your environment, etc. - ?

I think the most important element is having a clear mind, cleaning up the space around me seems to get the creative juices flowing. I also feel that the constant pressure of social media is always in the back of my mind, so I make sure that i’m sitting down to create something for myself and not based around if others will like it. I find that sketching on paper helps the ideas flows, with digital art I feel like I am constantly attached to a screen so sketching up ideas on paper is a fantastic way to take a break from a screen! 

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There’s a thriving scene of super-cute indie art online, though a lot of it is based overseas in the US, Europe and Asia - what does it mean to you being a Melbourne-based artist, and do you feel like there’s much of a presence or audience here for your style of artwork?

I really appreciate bringing this kind of style around me. I think that if i can continue spreading my joy through cute art, then maybe more people might become aware of it! I believe with the right messages, any audience can grow and I’d love to achieve that someday! 

You stock a bunch of gorgeous items on your Etsy store, including prints and stickers but also enamel pins. Where else can we hope to see your art in the future - maybe an apparel line or a giant wall mural?!

The ultimate goal would be to create a big and colourful mural somewhere in Melbourne! Sometime in the future I would also be keen to set up some art stalls whether it be at conventions or just a local market. Oh, and I would absolutely love to release some super cool clothing! 

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MELBOURNE MUSE: ZEAL

Zeal is James Lorenz, a Melbourne-based producer inventing new worlds and crusading future realms through electronic beats. Join me as we feature a local creative here every week - showcasing brave, innovative artists doing cool shit in a city with rapidly growing creative output.

Zeal is more than music, boasting a colourful catalogue of influences with sights set on larger-than-life creative concepts. Off the back of his latest release Time 2 Go featuring fellow young muso Boy Soda, James talks us through his creative inspiration and processes as a storyteller through multiple mediums.

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Tell us about the inception of Zeal - how did you first start making music?

I started making music back when I was like 13 (I think) and I had just been introduced to the modern electronic music world (electro, dubstep, etc). I kept researching so much because I was so intrigued by all the new sounds and ideas being presented by the people making these genres, it was all so new and refreshing to my ears, information overload. The Zeal project started a few years after that. I had a few different projects before that were completely different to now, but the Zeal project initially was just me trying new things without my identity attached to it, and I kept it pretty personal for a bit. Zeal was born out of my love of just trying new things and striving to blend all my tastes/interests, after a while it ended up becoming my main focus because everything I put out is a direct link to me.

Zeal is a musical project with an equally heavy visual aspect to it. Do you often begin with a visual aesthetic at first, which then inspires your music? Or maybe the other way around?

Initially this project wasn’t visually tied to the music at all, I started the project to just explore but after time I became so obsessed with the imagery and the idea of creating this universe that blends all the types of music I create. I think it's super important to create this connected web of visual ideas that tie my release together and the narrative of it all. I tend to leave visuals and videos running on one of my monitors whilst creating music now - I have this thing called Wallpaper Engine that has an anime compilation running on all my three screens whilst I do stuff in the background, I find the sudden rush of imagery pretty inspiring. I think I used to find images off Google and do quick edits of them whilst making stuff to have a visual there for me to hold onto as a mental note; now I have this web of ideas where I can make stuff and already know what ideas I can tell Reka, my graphic designer, to tie to it and share the ideas with Nathan who makes all my videos.

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You’ve collaborated with a number of friends and peers, including recently having Boy Soda on your track Time 2 Go. How important is collaboration in your creative process - is there a way you decide when a project is going to be solely for you to work on, or is there a stage in the process where you think about bringing someone else in?

Collaboration is like a really super cool way to express ideas but it’s also personal as well because it’s sharing apart of yourself with another person. I love the experience because I feel like it strengthens friendships. Actually in recent times with everything that's been happening, collaborations have been done over Zoom and Discord, and it’s a really new and cool way to work with another person. You’re both in the comfort of your own homes with your setup/personal space but you can both talk and share audio of what you’re working on in real-time, then send the parts over and combine it all.

I generally start almost all projects by myself and I think most projects have some type of collaboration involved, whether it’s just a friend fixing something in the song, Sleep Moon playing guitar in sections or involving a vocalist/rapper. My creative process usually starts with making the chord progression (at least with Time 2 Go and Tomorrow this was the first thing I did), I really like beatsy music like Nujabes so I love the idea of creating a progression you can repeat throughout the song and then add layers that complement it and add to it. When I am working with a vocalist, I like to get a rough demo but not finish the instrumental. I like to show them a rough structure of my idea, share my thoughts on what they could do, then ask them what they think and if there's anything they would change on it. I don’t like to just feature artists, I want them to have a say on things and help make the result more authentic for both of us. Boy Soda and I actually went back and forth on Time 2 Go so much, we just kept wanting to refine it and make it the best we could.

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You have one song, one artist, and one album to pick that changed your life - go!

Oh damn! These questions are always soooo tough but I will give this my best go!

Song: Okay one song is way too hard for all time but I think Skrillex - Kill Everybody, this song changed my listening tastes forever! I discovered everything I am into now because of this discovery in 2011, I was just so shocked and intrigued by all these foreign sounds which caused me to spend countless hours just digging through the internet looking for the next new and exciting sounds.

Artist: Madeon for sure! I discovered Madeon via Pop Culture back in the day, all the stuff he’s done from such a young age with launchpads was so inspiring. It was inspiring to see someone use this device and make it very much an instrument for the people of the future! He’s just constantly grown and evolved his sound whilst also developing his madeon world and lore which has deeply inspired my ideas and need to create a world as well!

Album: The 1975’s ‘I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It’ (very long title I know): this album was all I listened to when I was 18/19 on repeat on my iPod. It transcends a pop album and really shows you how they’re not just a pop group/boy band, but have very clever production and lyricism that defies the genre they’re popped into (no pun intended). This double album managed to capture so many of the genres/styles the group has, and definitely isn’t a pop/radio safe album, so respectable from a group of this size to put this record out!

For newcomers to your work, where would you direct them for the quintessential Zeal experience - do you have a certain project or music video you’ve worked on that captures what you bring to the table?

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Song: Reminiscent I feel is a very underrated track of mine, it’s not got a visual video but it’s a track of mine I started in 2016 and released the following year on my birthday. I really wanna do a remastered version for shows but I really still to this day love every idea I put in that song. It’s the beginning of the current era of Zeal; Reminiscent, Tomorrow and Time 2 Go are all part of a three-part story of Past, Present and Future, so Reminiscent is the core piece that links the other two together.

Music Video: Well I only have one visual piece/film out, all the rest of my songs I have uploaded on Youtube I just made gifs and looped them haha, but I think Time 2 Go’s video which is coming very soon is something you need to all see! Nathan managed to perfectly capture the energy of that song whilst also only using older footage we had taken in the past 6 months or so. Originally we had lots of ideas including filming with Boy Soda but all our plans got cut short due to Covid-19, worsening before we released the track/during the planning for the release, so we had to improvise.

Stream Time 2 Go

All photos of @zealaustralia by @oversimplified_complications

MELBOURNE MUSE: CC

CC is a quintessential hidden gem of Melbourne’s creative scene, making her undoubtedly the perfect artist to kick off this series. Join me as we feature a local creative here every week - showcasing brave, innovative artists doing cool shit in a city with rapidly growing creative output.

Witchy goddess CC refuses to be shackled by the chains of any one genre of music. The musician releases her solo work under the name Yubbarii, electronic Crystal Castles-esque beats with ethereal vox, and more recently fronts beatdown band Algor Mortis. But perhaps the most charming thing about CC is her authentic approach - humble and down to earth, it’s impossible not to be intrigued by what CC has to bring to the table.

And, spoiler alert: you won’t be disappointed.

How long have you been doing your music for, and how did you get started?

I’ve always been super passionate about creating/playing music, I’ve dabbled in almost every instrument and sung since I was a kid but I started producing my own music at around 15/16 years old.

The first “mixtape” I ever made was a hardstyle/electronic/hiphop mixtape under another name (yep I know, interesting to say the least...)

“THE ASSASSIN” was the first Yubbarii release I put out and it honestly came about out from sitting at home simply just wanting to create music.

Your work as Yubbarii is super haunting and melodic - what's your creative process like, in terms of writing, creating and recording your work? How have you found it differs to your work with Algor Mortis?

My creative process is essentially just playing around with different sounds, beats and ideas until I find something that I dig. Then I’ll usually write lyrics after the instrumental is done and tweak anything that needs to be altered.

I have always been interested in spiritualism, mysticism and all things of the sort, so I also try to incorporate that and express that through music.

My Yubbarii work is insanely different in so many ways to Algor Mortis.

I’ve always loved a huge range of music, so being able to be apart of creating heavy music and fronting a death metal/beatdown band, as well as also producing my own mixed electronic music is absolutely the best of both worlds for me.

How did Algor Mortis come to be?

I’d been “seriously” trying to get a band happening for at least 5 years and Algor Mortis came about when a few friends and I decided to fuck around with the whole death metal/beatdown idea and maybe put some stuff out.

It happened pretty quickly but I’m super grateful it did and to actually have our self titled demo out there already is wild.

Biggest inspirations artistically?

I was brought up/surrounded by all kinds of music - my mum was always playing Eurythmics, Enya, Blondie, Stevie Nicks, Moby, The Cranberries (just to name a few).

To narrow it down, my biggest inspirations and musical influences for Yubbarii in particular would be Crystal Castles, Björk, Clams Casino, Moby, Dj Krush & Dj Shadow, Annie Lennox, Portishead, Zomby (but honestly, the list is endless).

Which track of your own stands out to you the most, and why?

I’d say probably, “Like A Forest” as it was one of the first tracks I ever put out and I remember being so nervous but genuinely stoked that people even checked it out- in hindsight it’s mediocre as hell, but still a cute memory.

A more recent song that really stands out for me is “Rites Of Hecate” I honestly can’t even pinpoint what exactly it is that stands out but I am just generally really happy with the song itself.

Where do you hope to take your work, both solo and with your band, in the future?

I just genuinely hope that Algor Mortis can continue to put out sick music and play shows, and that Yubbarii can get out there a bit more and hopefully find an audience of people who dig it as much as I love making it.

All in all just to be able to work with other artists and make good music.

I am currently working on a new Yubbarii release and am super excited to get it out there, it’s a really diverse and cool album- there’s the usual ethereal/witch house sound but also some darkwave, synthwave, DnB, UK garage type beats and hiphop stuff too, featuring a few other really cool independents Australian artists.

AGSA - ADELAIDE ART

AGSA (

The Art Gallery of South Australia)

Walking into AGSA, just beyond the doorframe of their ongoing collection, a stretch of red mesh peers from an archway atop a set of steep stairs. At least, it looks like red mesh from afar. Edge closer and see Japanese artist Chiharu Shiota’s uniquely immersive work Absence embodied, a piece commissioned specifically for the gallery space. Drawing conceptually from the complexity and nuance of human nature, getting lost in the seemingly endless threads isn’t hard to do; particularly with the structure calling to mind a spider’s web, thanks to it’s mass of taut strings coming together to create larger, overarching, natural curvatures.

Enter deeper into the gallery to see a focus on Renaissance-style art reimagined, with a bronze sculpture of a nude Buck (not the deer, the famed trans porn star) and a garden-variety Yayoi Kusama pumpkin (see what I did there?).

Perhaps what really shone in AGSA that day was the atmosphere that ran beyond it’s standard offering; being a Sunday, canonically of course a family day in good Christian Australia, AGSA offered a family-friendly, outdoor Sunday Session to make the best of the warm summer weather. However, with the current featured exhibition Tarnanthi taking place concurrently, Sunday Sessions feature independent film screenings and live musical performances by Aboriginal and Torres Strait Islander peoples.

Focused on giving a platform to emerging contemporary First Nations artists, Tarnanthi showcases pieces with the aim to provide artists opportunity to extend their works. With both contemporary interpretations alongside traditional creations, the diverse collection poses a strong starting point for reconnecting with traditional custodians of the land.

Thank you, Adelaide - you did not let the art lover in me down.

THE ART GALLERY OF SOUTH AUSTRALIA
FREE ADMISSION
TARNANTHI ENDS JAN 27 2020
10.00AM - 5.00PM DAILY

KAWS - COMPANIONSHIP IN THE AGE OF LONELINESS

Ah, KAWS at the NGV. A hypebeast, Melbourne art hipster and collector’s wet dream all in one.

With the continued direction of the NGV under Tony Ellwood, contemporary cool-kid art and design has become an expected staple at Australia’s most visited gallery. Off the back of such hit exhibitions as Warhol—Weiwei in 2015, Viktor and Rolf, the unforgettable Triennial (featuring works by Yayoi Kusama and those damn Ron Mueck skulls everyone posted on Instagram) and last year’s MoMA collection (Roy Lichtenstein, Dalí), KAWS seems to slide right into the equation with a nod to younger streetwear culture. The NGV is reminding us it’s still cool, fellow kids.

The exhibition itself was rather small by NGV standards - although tickets allocated an hour of viewing time, a particularly casual art fan could enjoy the exhibition in its entirety in under 30 minutes. Oversized sculptures were contained to one room, and smaller figurines housed behind glass cabinets on the way out. The idea to include an exhibition-specific store with collectible KAWS memorabilia inside the exhibition itself was a stroke of capitalistic genius. But don’t get too excited - the only product worth getting stirred up over might be the rare collectible KAWS figurines, which predictably were all sold out and listed as having prices upon request (just to make us salivate at the thought of how expensive they were that much more, I’m sure).

Yes, it’s clearly understandable that to the majority, the appeal in KAWS is in it’s exclusivity. The high price point, the limited edition nature of products. The selective collaborations. The art stands the test of time though - and beneath all the hypebeast-ery, the KAWS companion remains a curious symbol of loneliness and dislocation in a modern world.

Or, maybe it’s just a cool kid fashion thing, and I’m just reading too much into it.

Coming up? More of the same to anticipate from the NGV, with a nod to Comme des Garçons and every VCA student’s faves, Haring and Basquiat. What did you expect?

NGV INTERNATIONAL
ADULTS $20, CONCESSION $17
ENDS APR 13 2020
10.00AM - 5.00PM DAILY

ANDY WARHOL - FROM A TO B AND BACK AGAIN

Many will remember the NGV’s Andy Warhol — Ai Weiwei exhibition, which took a comparative look at the oft-parallel works of two colourful, controversial minds from different zeitgeists.

The Whitney Museum of American Art brings us a more thorough, A to Z - or should we say, A to B to back again - retrospective look at Warhol’s life and works, with everything from iconic recognisable works such as his Self-Portraits and Campbell's Soup Cans, to sketches and television interview clips cut together.

Is the exhibition made that much more poignant by being shown in Warhol’s famed stomping ground of New York City? Undeniably.

WHITNEY MUSEUM OF AMERICAN ART
ADULTS $25, STUDENTS $18
ENDS MAR 31 2019
10.30AM - 6.00PM

BEACHSIDE

DOWN AT THE BEACHSIDE, AN UNGODLY SIREN EMERGES FROM THE SHALLOWS.

SEA MONSTER OR BEACH VIXEN?

SHOT BY BRIANNAGH O’LOUGHLIN

CHECK OUT BRIANNAGH'S WORK HERE AND HERE

THE POLITICALLY-CHARGED GRAFFITI OF ATHENS

Greece’s economic struggles have been widely publicised world-over for a number of years now, and the financial hardship has obviously affected society in the country’s capital of Athens.

 

With a surging underground scene of artists, writers and musicians, the oft-polarising, always-tenuous debates about what’s best for the country take centre stage in local art regardless of medium. Though one particular medium - street art and graffiti - stands out above the rest.

Using the very brick and mortar infrastructure of the city as it’s canvas, the movement wields power in it’s confronting presentation. No innocent tourist is safe from the hard truth; walking down Athens’ most popular streets does not occur without constant reminders that the ancient country is battling now more than ever to keep it’s head above the water.

ELIAN CHALI - MOLESTIA

Tucked away in a Friedrichshain side street is Berlin's BC Gallery, a cosy two-storey art space housing high-end urban and contemporary art. For the latter part of 2017 and the beginning of the new year, Argentinian artist Elian Chali’s minimalist experiments with space and shape took centre stage, using bright primary colours and organic geometric shapes to disrupt - or in Chali’s words, “annoy” - our comfortable ideas of form, medium and art.

Being his first solo show in five years, the established Chali’s Molestia makes for a strong resurgence, having exhibited in shows both group and solo a numerous amount throughout the past decade, but this time making his solo debut in Europe. With works that interacted in an almost conversational way with their environment, Molestia is an experience in and of itself for those fortunate enough to find themselves wandering Friedrichshain on a rainy Friday.

BC GALLERY
FREE ADMISSION
ENDS FEB 24 2018
1.00PM - 6.00PM WEDS - SAT

LUCIO FONTANA - AMBIENTI/ENVIRONMENTS

We visited the opening night event for Ambienti/Environments, Pirelli HangarBicoccas's exhibition of reconstructed and iconic works by the late Lucio Fontana. Featuring immersive art experiences and installations that explore Fontana's studies in light, space and architecture, this exhibition is not one to be missed.

PIRELLI HANGARBICOCCA
FREE ADMISSION
ENDS FEB 25 2018
10AM - 10PM THURS - SUN