In Conversation: J R Koop

J R Koop is a fantasy writer from Adelaide whose debut novel, Racing the Sun, was released on April 12 this year. Koop has spent years building up her world and her novel to the completed version we see today. The self-published book is available in paperback or as an ebook on all major ebook retailers. Racing the Sun is a queer throw-back to Sleeping Beauty and a tribute to her fiancé, Salsabil Hafiz, set in a South-Asian inspired land. Tulpa’s Kayla Gaskell had the opportunity to chat with Koop about the book and her writing journey.

Having already spent time shopping her book to traditional publishers, earlier this year Koop decided it was time to self-publish her long-time project, Racing the Sun. A stand alone in her fantasy world of Abrecan, Koop has spent four years developing the novel. From a first draft with a typically Western setting, Racing the Sun has come so far. Koop decided to alter the novel after feedback from Hafiz suggesting Koop make it “more interesting”.

And by interesting, she means diverse. Racing the Sun has a wide spectrum of characters ranging from the blind oracle, Taeng, through to the PTSD and chronic-pain suffering faerie Qadira. With plenty of input from a variety of sources and sensitivity readers, Koop says “a lot of people helped make this book what it is and made sure I’d written in a non-offensive and accurate way.”

Set in a South-Asian inspired land, Koop says that the conflict between the Praitosi Empire and Delorran was reminiscent of the conflict between India and Pakistan. While this is a fantasy, Koop was sure to discuss these allusions with friends and sensitivity readers, keeping in mind that the world is inspired by ours but at the same time very much its own. The novel turns away from a more traditional Western-centric fantasy vision, presenting more POC than not. When asked about this choice, Koop replied: “If I just wrote white characters it would be a boring world.”

In terms of challenges, Koop’s greatest one was accepting that Racing the Sun was finished. She says: “I could keep staring at it for years, or I could put it out there.” Having done countless edits on the manuscript Koop says she was starting to wonder when it would be enough. Once the decision was made, Koop turned her mind to researching self-publishing where-upon she settled on a joint e-publication and print-on-demand package with publishing service IngramSpark. Koop didn’t want the limitations of e-publication to hold her back when so many readers who prefer physical books.

Koop goes on to discuss how expensive self-publishing her novel was, although she was lucky enough to engage an illustrator who has become a great friend. Sylvia Bi took to the project with enthusiasm and produced a gorgeous cover. Koop decided on an illustrator for her book because she wanted Racing the Sun to have a professional feel as well as take a little of the pressure off of the process.

In earlier drafts of the novel, Koop says there was a pronunciation guide to help readers with the many and varied unfamiliar terms, however, in the final version this was scrapped. “I kept adding to it, there are too many things in this list, people might get scared.” Like with many fantasy novels however, Koop confirms that you can easily pick up the terminology as you go.

The world of Abrecan is already a vibrant alternate world and Racing the Sun is just the beginning. A stand-alone within the world, Koop has plenty of plans in various stages of completion to bring more of Abrecan to life. As she says: “people are just coming across this one book, they’re not seeing the other works just yet.” With more than twenty folders of ideas on her shelf, there is always something to work on. Her next project is a circus novella set in a French-based area, although she also has plans for a Cinderella retelling and an Egyptian-based retelling of Cupid and Psyche.

 

To keep up with Koop, follow her on Twitter or Instagram or visit her website.

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Words by Kayla Gaskell
Images provided by Jasmine Koop

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Quilty, Art Gallery of South Australia

The intense stare and bearded jawline of the artist, both as self-portrait and ‘hero shot’ photograph, features extensively in the publicity for AGSA’s Quilty exhibition. This is hardly surprising given Ben Quilty’s high profile, with his combination of down to earth interview style, progressive politics and bravura technique helping generate his regular media presence.

Quilty is best-known for his emotive, vigorous oil paintings. These dominate the present exhibition, although examples of his sculpture and ceramics also feature. Confronted with the frequently aggressive character of his paintings, with slashings of paint and violent distortion and fragmentation of forms, it seems perhaps ironic that his socially-engaged artistic practice began with works critiquing the destructive characteristics of youthful masculine identity. Quilty’s highly painterly style, with its connotations of combat, domination or competitive displays of physical prowess, could be read as a testosterone-driven performance of machismo, vis-à-vis Abstract Expressionism.

Similarly, Quilty’s expressive style suggests an outpouring of passionate emotions. This approach is typically used by artists to convey their angst or anguish, which can sometimes come across as egotistical and self-absorbed. However, the dominant themes of Quilty’s art suggest that he is primarily harnessing his feelings out of compassion for others, directing his aggression towards political and historical injustices which have caused unnecessary suffering.

Besides toxic masculinity, issues addressed in Quilty’s art include the intergenerational trauma (and guilt) stemming from colonisation, post-traumatic stress disorder and the current refugee crisis. Given the combination of weighty themes and Quilty’s meteoric art world acclaim, I approached this survey exhibition with a certain disquiet. It concerned me that by assuming the role of celebrity-artist-as-social-justice-warrior Quilty was effectively capitalising on the suffering of others for the advancement of his own career. However, this exhibition has convinced me that he is sincere in his convictions.

Quilty featuring Irin Irinji and Fairy Bower Rorschach, Art Gallery of South Australia, Adelaide, 2019; photo: Grant Handcock.

Particularly moving is the group of twelve canvases depicting levitating orange life jackets. Like the relics of martyred saints, they serve as stand-ins and memorials for the asylum seekers who wore – and in many cases died – in such life jackets during perilous sea crossings. Adding a further emotional punch, each work is named after a refugee who committed suicide while held in detention. These are powerful statements about protection sought and denied, counterfeit life vests which sink rather than float serving as a potent metaphor for Australia’s border security policies.

In two of the works Quilty has sought to invoke the exiles’ agony more explicitly through the surreal addition of a screaming mouth or mournful eye. However, this is just as strongly conveyed through the seething impasto of his painted surfaces. The global refugee crisis is an issue most viewers have only encountered through media representations, but the sheer physicality of Quilty’s paintings helps invest the topic with a forceful immediacy. We are compelled to recognise that these are real flesh-and-blood people, not just statistics or fleeting images on a television screen.

In some works, when Quilty’s highly-textured paint surfaces butt up against areas of unpainted canvas, the stark contrast feels like an act of violence. In Captain S after Afghanistan (2012) the writhing soldier’s torso becomes devoid of volume when presented as an expanse of plain white. Thus, his physical strength is rendered useless as a defence against his mental torment.

The most technically and compositionally sophisticated works in the exhibition are Quilty’s recent series titled The Last Supper. Despite admiring their virtuosity, I found these paintings both overly melodramatic and too strongly reminiscent of earlier artists, such as André Masson.

By contrast, I considered Quilty’s Rorschach paintings more memorable and satisfying. In these works views of tranquil Australian landscapes have been doubled as mirror images, resembling the eponymous psychologist’s inkblots. Adding further depth and poignancy, some of the locations depicted were the sites of colonial massacres of local Aboriginal communities. These paintings deliver an immediate, stark visual impact, before gradually divulging more menacing undertones. They succeed in being simultaneously dramatic and understated. For me they were the most haunting works in the show.

This is a powerful exhibition, but the perpetual visual and emotional intensity of Quilty’s paintings can quickly become exhausting. Consequently, it was only after leaving the gallery that I felt able to properly contemplate many of these thought-provoking works. At its best, Quilty’s art makes a compelling impression, both in the direct physical encounter and in its after-effect.

 

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Words by Ralph Body

Ralph Body is an art historian, researcher and reviewer.

Title Image: Ben Quilty; photo: Daniel Boud