Adelaide art – Tulpa Magazine

STEAMing Ahead

South Australia is quickly becoming the prime location for those looking for employment in the STEM fields. For those who are uncertain, STEM stands for Science, Technology, Engineering, and Maths. These fields currently offer diverse career opportunities, from medical advancements to the Australian Space Agency. However, there is one a vital component to STEM fields: Arts.

Arts and STEM have been inspiring each other for years, from Isaac Asimov’s three laws of robotics to the hard-scientific facts which make Andy Weir’s The Martian more realistic. This combination of STEM and the Arts is better known by professionals as STEAM (Science, Technology, Engineering, Arts, and Mathematics). STEAM has already been making itself known in South Australia, appearing at arts festivals and used to show off new locally developed technology.

In the 2017/2018 budget, the state government invested $250 million into Education to deliver more STEM topics to primary and secondary schools. Flinders University’s Tonsley Campus and its Innovation Hub, alongside the Medical Research and Science Centre (the cheese grater on North Terrace) are some STEM-focused buildings which now make up part of the Adelaide skyline.

It is expected STEM funding will increase with the new budget due in September. In 2018 the Adelaide Fringe generated $16.6 million at the box office and added $29.5 million to the state economy, as set out in their annual report. It is also the highest earning arts festival in Australia, generating a total of 39% of all multi-category ticket sales in the country. These figures show there is money in both STEM and the Arts in South Australia. Combined, they will make a far bigger impact on the local culture and economy than they do separately. Including Arts in STEM education will learning more interactive and fun while STEM in festivals like the Fringe more engaging and interactive.

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Beautiful night for the Fringe!

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Modern technology has been heavily influenced by the arts. Many hardware and software engineers/programmers have long been inspired by technology in science fiction. One example of this is the Adelaide based company Voxon Photonics. Their technology, the Voxon VX1, is a 3D volumetric engine that was inspired by science fiction, more specifically Dejarik in Star Wars: A New Hope. For it to work, they required the aid of the STEM fields, especially engineering and mathematics (key components in hardware and software design). They create games to demonstrate their technology’s power. The VX1 was showcased in the Indie Games Room at AVCon 2018, allowing the public to interact with their exciting new technology. While the VX1 can do other things like medical imaging, art shows its power off in a more engaging way. Voxon Photonics has advertised pushing to get more local games developed for the VX1, showing it off at Game Plus (a co-working digital games space on Pirie Street) in June 2018.

Recent advances in science and technology have influenced the Adelaide arts scene. One example is the University of South Australia’s Museum of Discovery (MOD). Opened in 2018, MOD on North Terrace is where visitors can engage with science and technology through art (STEAM). Their current displays are a showcase on the future STEAM can bring. One example being the genetic modification of children, if they’re to survive on Earth from choices made today. This allows visitors to witness these changes first hand. For more on MOD, check out our review here.

In terms of festivals, 2017’s OzAsia Festival saw an international example of STEAM. This was Keiichiro Shibuya’s The End, starring Japanese vocaloid Hatsune Miku. Unlike a traditional opera, The End is entirely virtual, containing only Miku and showcases the relationship between art and technology. This also is a reflection on the term vocaloid itself, as Miku is actually nothing more than computer software herself. Another example of STEAM is coming to 2018’s OzAsia. Called War Sum Up, it is a 21^st-century electronic opera that is summed up in three words “Music. Manga. Machines.” This unique blend will be showcasing technology working alongside Japanese Noh theatre.

The South Australian Government should be pushing STEAM rather than just STEM. It is already happening around Adelaide, and if given that extra boost, can help make Adelaide stand out against other Australian cities. STEAM can help bring more young people to Adelaide and benefit other fields like tourism and education. A STEAM revolution has the potential to completely reinvent Adelaide, making it a younger, more vibrant city.

What are your thoughts? Should South Australia be aiming towards a STEAM future rather than a STEM one? Leave your comments below.

Words by Cameron Lowe

Cameron Lowe is a horror and sci-fi writer, editor and student. He’s had fiction and articles featured in Speakeasy Zine and Empire Times. He loves to read, play video games, and drink green tea. He’s one of the 2018 editors at Empire Times. He tweets at @cloweshadowking.

Photo by Green Chameleon on Unsplash.

In Conversation: Anthony Christou

During AVCon 2018, I had the pleasure of meeting fantasy artist, Anthony Christou. He had a wide variety of work on sale: all his original art, as well as his comic series, Luminous Ages, and card games in addition to the series. Recently, I was able to catch up with Christou to talk about his work and extensive successes as a working artist and illustrator.

Christou is a very driven person with a vibrant creative spark. He started off with a Bachelor of Visual Art before going on to do a Masters in Illustration at Uni SA. Christou soon after decided to follow his passion in game art and illustration. Christou began freelance work in the games industry and in 2012 decided to fully devote himself to this career. Christou worked with mentors such as Rob C. Richardson and Simon Scales, who encouraged him to further develop his work. Through exhibiting with Adelaide Illustrators, Christou secured enough freelance work to support himself.

In 2013, Christou worked on a New Zealand Kickstarter game called Path of Exile. It was here that he learned more about the games industry. For Path of Exile Christou worked on a number of aspects including illustration, 3D modelling, concept art, assets, and in-game artwork. It was during this year that Christou began his convention work, attended Adelaide Supernova for the first time, and achieved insane sales for his original fantasy art. Christou now attends up to eighteen conventions a year, earning a profit large enough to make a comfortable living. Since then he has given talks at both Supanova and Comic-Con. The best part about conventions, he says, is that you get to leave the house and make new friends.

While much of his work is digital, Christou still works with traditional mediums as well. His piece ‘Dangerous Seas’ became the cover art for The Path Less Travelled’s album ‘Cast Out the Crowds’. Christou spoke about being approached by a lady who told him that every time she feels sad she looks at ‘Dangerous Seas’ and it reminds her she can make it through the storm. He was surprised to find that his work could have such an impact on people.

Dangerous+Seas+Side.jpg — Anthony Christou, ‘Dangerous Seas’

In 2014, Christou decided to explore his interest in making a comic series. Luminous Ages is now four issues in and remains the second highest funded comic Kickstarter in Australia with only 180 backers and a pledge of around $17,000. Thanks to this funding, Christou is able to hire freelance artists and editors to help bring his project to life. Rob C Richardson, Anthony Earl, Elena Lukina, and Christy Butt worked closely with Christou on this project.

Luminous Ages itself is a series set in a surreal world where dreams can become reality. Thirteen dragon gods are fighting for control of both the dream and real world plane. It is up to the main character, Thrakos, and a cast of dream mages to keep them at bay. The series blends cultures and mythologies together to create a multi-cultural fantasy which addresses environmental issues.

A mixture of cultures and mythologies, Luminous Ages presents a story which heralds both multiculturalism and environmentalism. The series gives Christou not only the opportunity to explore his interests but his artistic potential. Contrary to the American style comics which we are most familiar with, Christou works in a style which is very similar to French or Italian, providing richly detailed illustrations in a comic format.

As well as game design and illustration, Christou has also worked with a number of film companies including Disney, Two-tone Studios, and Wolf Creek Productions.

Christou recommends exploring your artistic freedom and not to work for free too much. He says, ‘creativity can be blocked when you work with the wrong people.’ He notes that there are lots of opportunities within Australia, plenty more than when he started out. He also stresses the importance of taking a break, saying he usually gives himself one day off a week and a couple of weeks each year. Without breaks you can’t generate new ideas.

Being an artist is an endurance race. You need to spend a lot of time developing your work and looking after yourself. And it needs to be sustainable.

He reminds us that artists and writers are a business, and you need to understand creative business. You can’t have everything for nothing and you can’t expect it to be easy. We don’t live in an age like DaVinci and Michaelangelo whose artistic development was sponsored by the church and the military respectively.

When asked about the most difficult aspects of being a working artist, Christou said it was the financial side, business, and the sacrifices you have to make for your passion. His favourite things about working full time as an artist are, of course, sleeping and travelling, but also creating images from his mind, he loves being able to “bring his imagination to life.”

Christou’s next major project is a Kickstarer for theme decks of his card game Dragon Dreams. The Kickstarter is due to launch at 5:30pm Adelaide time today. That’s in just a few hours! You can find it here: https://www.kickstarter.com/profile/luminousages/

Christou is also on Youtube and Patreon.

Check out his website here!

Words by Kayla Gaskell

Images property of Anthony Christou

AVCon and Artist Alley: In conversation with Avery Andruszkiewicz and Ella Guildea

Ahead of AVCon cosplayers and vendors are preparing like mad for the three days a year when avid fans of anime, video-games, and general pop-culture converge on the Adelaide Convention Centre. AVCon is fast approaching (20-22^nd July) and, as per tradition, it marks the end to both Uni and school break.

If you haven’t attended the convention before, it is, quite simply, a place where people of similar interests come together to celebrate anime, video-games, and the exciting work of a number of talented cosplayers and vendors.

Some of these vendors are local artists and can be found in Artist Alley and have provided both encouragement and inspiration to a number of artists and other creatives for many years. It’s not unusual to see people clutching their own sketch books or settled in a corner drawing throughout the weekend—I know that’s been me a few times!

In order to prepare for this year’s AVCon I sat down with Ella Guildea and Avery Andruszkiewicz, both of whom have attended a number of AVCons. Guildea even met her partner, Connor Madden, at the 2011 event, and he tables with her along with Sophie Ladd.

If you’re an AVCon aficionado you might recognise Avery Andruszkiewicz’s name already. Their design was selected to be on the AVCon shirts and merchandise for 2018. When speaking to Andruszkiewicz, I asked how they felt about their design being chosen and whether they’d expected it:

“Not really, but I definitely had all my fingers crossed for it. I was rather proud of my design this year, so I was really hoping to place, but winning the whole thing was a surprise! The other entries are always so amazing, I’m glad my design was picked.”

AVCon Announcement of Avery Andruszkiewicz’s design.

Both Andruszkiewicz and Guildea have previously been involved with Artist Alley, Andruszkiewicz just for the 2017 event while Guildea will be tabling for the third year running with The Bees Knees (together with Ladd and Madden).

Andruszkiewicz says working in Artist Alley is: “a really great opportunity to meet and support other artists. But of course, the chance to get your work out there, and having people actually want to buy what you create is an amazing feeling.”

Guildea’s involvement with Artist Alley began when a friend asked her to table with them in around 2014. While that didn’t end up happening, in 2015 Guildea and Madden bought a badge maker, although “the final push for me to invest in a table at Artist Alley was really heavily inspired by artists Jac and Emerson from the table, Gutgeist! (http://gutgeist.tumblr.com). They travel every year from Melbourne to table at AVCon and were super helpful with guiding me on how to run my first table! I’m really grateful for the support they gave me.”

Much like the event itself, Artist Alley provides participants with a strong sense of community. Some artists get together ahead of the convention to work together cutting out stickers and pressing badges, essentially keeping one another motivated ahead of the event.

When I asked about the community of Artist Alley, Andruszkiewicz said that while they are still fairly new to it, it’s been quite welcoming. “Group orders to save money on shipping/get bulk buy discounts is not uncommon, as well as groups getting together to cut out stickers and press badges and such before a con. Working in a group can be great for motivation!”

One of Guildea’s highlights of the con experience “is the compassion and empathy vendors have for each other. On one of the days last year someone brought Krispy Kremes around to all of the tables, I’m not throwing hints or anything!”

This sense of community is evident in the level of support that artists offer to first timers. Andruszkiewicz and Guildea both offered some advice for anyone looking at getting involved in the 2019 event.

Advice from Andruszkiewicz:

“I always say just go for it, but definitely take the time to prepare. Use your resources. Don’t be afraid to ask artists for advice. A fellow artist by the name Hawberries (Twitter: @hawberries_) has put together a fantastic guide to art stalls, which was honestly my lifesaver for my first time, and I still reference it now.
Don’t table alone, it’s absolutely soul crushing. Either find a friend to split a table with (you save money on the table that way too, and that makes it easier to break even), or if you have enough stock for your own table (I’ll be blunt, you won’t for your first-time tabling), make sure you have a table buddy so you’re not there on your own.
Don’t go in with the mindset of making a profit, go because you want to and because you love what you do. Unfortunately, a lot of artists tend to come up at a loss at their first con, which can be disheartening, but even more so if you go with the exclusive intention of making money. Go, make friends, make connections, and as you gain experience, a following, and improve your art, the profits will come.

And to be harsh for a moment, prepare yourself for disappointment. There’s only a set amount of tables at any one convention, and the harsh truth of that is that artists get declined as a result. If you get declined, don’t let that overshadow your passion for art. Gather your resources again, work hard, and try again next time! Don’t let disappointment overshadow your love of the craft.”

Advice from Guildea:

“There’s a lot of Facebook groups which can be a really great influence for first timers – Aussie Con Artists is probably my favourite. However, the best way I’ve found to find the community is by networking at the conventions that you attend! Talk to your neighbours! Talk to that person who has the art style that you’ve totally fallen in love with!

Tough it out, keep it up and find what inspires you. Your first con might not be phenomenal, but if you’re passionate about vending, please keep it up!

Our first convention involved less than two weeks’ worth of prep, had 15 items in total, and featured the previously mentioned corkboard-ruler-blu-tack scenario. We now prep for significantly more than 2 weeks, stock over 125 different items, and have a nice easel to put our display board on so it doesn’t come crashing down every 20 minutes.

You’ll constantly grow and learn from your mistakes, and a lot of reflection as to how you can improve. You’re not going to become some sort of professional by the time of your first convention. Just throw yourself into it and learn!”

You can follow Avery Andruszkiewicz on Twitter @matte_bat_ or check out their Redbubble store https://www.redbubble.com/people/matte-bat/portfolio.

To contact Ella Guildea and The Bees Knees about commission work, see where they’re headed next, and keep updated about upcoming item releases, check out their Facebook page: https://www.facebook.com/thekneesofthebees

If you can’t make it to the convention check out their Tictail here: https://tictail.com/thekneesofthebees

Both artists are tabling this year at AVCon and are always up for a chat so don’t be afraid to stop by and say hello. When you do, don’t forget to mention this article!

Words by Kayla Gaskell

Ordinary Objects: Percy the Puzzle Piece

Percy is the filler piece of the puzzle.

The plain blue patch of sky that gets popped aside while all the other more striking pieces get matched up. Forgotten as colourful patches of grass with glints of wildlife are pieced together and trees are built from the trunk up to the tips of their autumn leaves.

Lying patiently, Percy waits on a quiet corner of the table, eager to be placed amongst the other pieces. He is lost under coffee cups and couch cushions.

The puzzle is never completed, but “will have to do,” as Percy is nowhere to be found.

Years later, Percy is plucked from his spot wedged between two floorboards. The puzzle he belonged to has already been discarded. No one remembers where Percy came from, or where he’s meant to go.

Percy is discarded, never completing anything or reaching his potential as part of the bigger picture. Percy the patient puzzle piece.

Words and art by Lisa Vertudaches

Lisa Vertudaches is an independent illustrator & animator, working from a studio in Adelaide, South Australia. Specialising in looping GIFs, Lisa really enjoys creating cute, silly and sometimes absurd animations and illustrations.

www.lisavertudaches.com

The Artists of Viewpoint

Earlier this month, Sarah Ingham and I attended the opening night of Viewpoint, an art exhibition at the Light Square Gallery featuring nine recent graduates from Adelaide College of the Arts. The exhibition is due to end May 31^th, so I thought it would be a great time to touch base with the artists and learn more about what went into this exhibition, and where they plan to go next. I was lucky enough to have a chat with a few of the artists and sit in on a talk they were giving about the exhibition process.

One of the first questions I asked was about whether their work reflected their personal relationship with the River Torrens. There were mixed responses. It seems that Annelise Forster had a strong emotional attachment to the river through her childhood memories which was reflected in her piece Stone Hopping. Yet Sophie Mahoney-Longford didn’t have as much of a connection, making her pieces, Riverbank, Ripple, and Reeds, genuine observational views. She also commented that she didn’t worry about trying to infuse her piece with symbolism, presenting her own candid approach. Thea Nicole Paulmitan chose to present a contemporary view of the river, looking beyond the river itself to the surrounding architecture in her pieces: Water & Bridge, Bridge & Water, and Hazy Torrens. Bernadette Freeman regularly visits the Torrens and says: “It was a wonderful opportunity for me to stop and reflect on its beauty and complexity.” As Forster said during the talk, they all chose different things to focus on, they all presented “different viewpoints”.

As with selecting different views and interpretations of their River Torrens theme, each artist had a different style or medium with which to approach their task. The mediums ranged from traditional oil painting, acrylics, paint pouring, sculpture, and photography. Each piece reflected the individual style of the artist, and, as Mahoney-Longford said: “provide our individual responses” to the subject.

Jane Heron-Kirkmoe was one of the artists who spoke to me about her art making process. She was lucky with the gallery space as an unplanned breeze impacted on her piece Spill the Overflow perfectly. She typically works in white and in multiples, forming objects with a contemporary edge. Her works are intended to provoke thought and encourages viewers to “find their own narrative”. She concedes that while her focus is on materiality and the beauty of the everyday, the work is not overly commercial.

While it was important to some of the artists to simply use this exhibition opportunity to express themselves, it was also important to others to make work which was sellable. Mahoney-Longford mentioned that two of her three pieces have already been purchased, and that it was a deliberate choice by her to leave her pieces unframed and therefore more affordable. It can be very important to have works that can be sold in order to balance the cost of creation.

During the group discussion, Ann Podzuweit made a point about the importance of artists having a day-job, as they often pay for your art. Bernadette Freeman made an interesting analogy, which I can personally relate to: art shops such as Eckersley’s are the artist’s lolly shop, but the sweets are much more expensive and add up much quicker. Heron-Kirkmoe also spoke about the importance of a day job, telling me the day job allows her to make art –time management can be a challenge though. Many artists tend to be in the same boat here. It is a delicate balance.

When I was speaking to Paulmitan, I asked if she were to start again with her pieces if she would approach them differently. She was adamant that she would take the same approach. It’s a part of her process to take photos and manipulate imagery, even putting together physical collages before settling on an idea and beginning to paint. Viewpoint is the first of Paulmitan’s exhibitions to feature both her painting and photo-manipulation. While she didn’t originally intend to display her photography, Paulmitan is very happy she took a step away from the traditional mediums predominantly featured in the exhibition.

I think that the most important lesson that these women shared is that it is integral to produce work that “expresses yourself, reflects you, and that you love.” Kylie Nichols stresses that she loves making her work, which is something that artists of any practice can aspire to. Forster mentions how important it is to find what works for you and use it. For her, it is being a social artist and being around people who she can discuss her work with. For others, this might be working independently.

In terms of advice for those considering their own exhibition with a group, these artists had plenty. It’s all about organisation and playing to your strengths. You need to get organised early. Look at grant applications and sponsorship opportunities, do what you can yourself (online advertisement via social media), consider the space you need and how it can be best used to the advantage of your works. One important thing to remember when part of a group exhibition is that you’re never on your own. And as Heron-Kirkmoe said, “aim for the stars, but have one foot on the ground as well.” And most of all, just enjoy the ride.

So where next for these artists?

Mahoney-Longford was considering getting involved with SALA, however her primary focus at the moment is to work on her commissions and her personal projects.

Heron-Kirkmoe is currently back in “making-mode” ahead of a coming exhibition at the Fleurieu Art House in August.

Paulmitan is currently considering further study and, artistically, she intends to pursue her photography rather than painting. In June, her work will be on display at the Youth Scape Exhibition.

Nichols will be exhibiting at the Goodwood Library as a part of ‘SALA Goodwood Road’ and is busily making for another group exhibition coming up in October at the Fleurieu Arthouse.

Freeman is currently creating works for exhibition in SALA.

Forster arrived at the gallery fresh from her studio and paint splattered, so it’s safe to say she’ll be continuing with her art with two SALA exhibitions and an exhibition in Melbourne on the horizon.

I didn’t get a chance to speak with Podzuweit, Todino, or Kukolj to discover their plans, but I am certain that we will continue to see their names and works around Adelaide in the future.

Photography by Nica Kukolji

Words by Kayla Gaskell