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Kerryn Tredrea of Paroxysm Press invited me to write & perform a poem paying tribute to the horror movie Nosferatu, part of a tribute series she was organising, this particular tribute themed around horror movies. The reading went down last night & my poem, titled as above, riffs on imagery from the two versions mentioned.

Another evening, another bat seeks fruit
Kittens become cats that torture mice
Puppies become manic, salivating hyenas
Even some pot plants are a little carnivorous
If this nature doco was played in reverse, we'd wake up, in fright
In beds scented with awkward cuddles, arousing greater hungers in the weak hearts of the married
We protect ourselves so well from plague we become one
It's not safe to blame the mosquitos

Mortals sleepwalk
Forgetting over & over until passing into a blissful abyss of never remembering
Breakfast perusals of cries for help in foreign seeming newspapers, amidst familiar feeds on glimmering plates
To enable this is to participate in decay
Mortal institutions mutter & quiver in the face of amoral immortals, their power base is shaky fiction
To corrupt you faster, landlords throw scat from over-valued rooftops
In the rush for real estate, to keep our sacks stuffed
We'll travel great distances to get into bed with this immortality
Us virgin vegans (& straight edge Christians) should fear the road beyond the mountains
Things are never this black & white, that's why the remake's in colour

Human, mortal, emotional morality that plagues you, denies you your full potential, can be bridged
Draw a bridge, & cross over
Immortals don't overpopulate, they don't plague you
They shrink from shaky fictions of religion
From The Devil's seed it offers salvation from the human monster
Embrace the ecstasy of an immortal imposed death rattle
Feel languages of morality dissolve in lucrative ascension
Seduced into greater clarity, every detail remains, never forgetting
Then fades into darkness, chasing a rat

Immortality dries up with the sun, we return to mortal dust
We've embroidered tapestry upon tapestry, layering the mess & confusion
& Laugh as light dissolves the fear in the tapestry's shadows
Look down from tall towers, & write of what we gained atop immortal mountains

From the perspective of eternity
Age difference is very very relative
All life is short & any upset is laughable
Embrace your hunger
All bodies are consumed by greater bodies
Exploding suns consume the dust we call planets
& I'd sleep better, if you bite me.


Defunct board games found in folks' detritus. I did at least play Mr. Pop as a kid, I was born too late for a magic robot.

Title: XXXChurch


This T-shirt design is by Josh Smith, an arty guy I know about Adelaide. I saw this T debut at a T-shirt exhibition, it reminded me of a crush I had who was studying French. About a year or so later, as is my modus operandi for getting around to things, I asked Josh if he had any left. By then he was running his own Espionage gallery & studio. He had one, in a tiny size which I bought & wore myself, comforted by the nostalgia for crushes that go nowhere. Tiny as it was I stretched it out good & plenty until the day the shirt itself burst with holes & I had to take a photo & let go. Josh is now making global arty news for making building miniatures. Maybe I'll get around to having another crush in a year or so.

I found this in my 2017 zine stack, an assortment of indie press that came from three different fairs in three different states over the course of the year & there's nothing to ID where or who this cry-for-attention flyer came from. So I can't tag this person & I'm posting on LJ, which by today's standards is barely social media. Sign your work, yeah?

Title: Romi


I applied for some jobs today. In order to get RESULTS you gotta have a PLAN. That's how life deals.
Here's a preview of my work on Charles & The Eggman! Currently inking part 5 & pencilling part 6.


07 June 2016 @ 02:08 pm
Here's an essay I wrote in college about Amber Carvan & Mandy Ord's collaborative Brick Dog project. I got a HD. & A thank you postcard from Mandy, who now speaks publicly about her career very well.

Comics as a medium are often looked over when broad and general conceptions of ‘media’ are considered. They have a checkered history, rising and falling out of public scrutiny and debate. However, as with most creative outlets, those driven to use such outlets persist despite the throes of fashion. What can critical attention address for those expressing themselves with comics? With little written about comics beyond its own culture’s horn-tooting, it’s a little hard to specify. Comics’ financially successful market is a niche, cult-like one at best. In comparison to the critical attention for other mediums, comics are marginalised: relegated to a ‘low’ art form and sometimes banned outright. The recognition for comic-makers’ participation in any public debate would be considerably slim. The comic environment that my chosen comic-makers hail from isn’t one of a mainstream, populist agenda or position. More likely is that it’s a position set in opposition and contrast to mainstream populism. This posits a stranger challenge than if one were to enter a discourse on ‘normal’, more accessible comics. My chosen comic-makers, Mandy Ord and Amber Carvan, are both also women. Addressing this in addition to a task of contextualizing their place in the comics’ schema is if not challenging, interesting. The occasions when a comic title spills out of its margin position within media-space are rare, when that comic is also created by women would be incredible. Yet this is a paper that attempts to put critical attention toward the comics of two female comic-makers in an academic context, outside of comics’ own culture.
McCloud’s (1993 pp.7-9) careful definition of comics, as “juxtaposed pictorial and other images in deliberate sequence” opens consideration of comics quite far. Although including ancient examples of cave paintings and hieroglyphs, comics as a readily accessible form have been born out of the development of print technology beginning the late nineteenth century and flourishing in the twentieth. However, developing with this infant medium were reductive public perceptions that limited its potential. According to McCloud’s definition for example, highlight a separation between comics and cartoons. The brevity of a cartoon compared to the longer comic places them in an easier accessible but reduced form for mainstream news print audiences. These forums for comics prove challenging for major and subtler works to operate in ‘strips’. So the single picture cartoon isn’t juxtaposed with another and can thus fail to meet McCloud’s definition (ibid. pp.20-21). Also, Federick Wertham’s popular 1955 damnation of the medium ‘Seduction of the Innocent’ led to legislation retarding the development of mature minded comics. This seriously hampered the comic industry in America, and obliterated it in Australia, that had already been thwarted by cheaply imported American product since World War two (Finnane, 1998). “The underlying assumption that comics and kids were inextricably linked” continues even today (McCloud, 2000 p. 83). The failure of this perception to account for the potential of comics is well demonstrated by this strip of Tom Tomorrow’s political series ‘This Modern World’.

The re-building of a sternly monitored readership went on in America for the next few decades. What also emerged as an opposing reaction to the establishment pandering, sanitised comics were underground comics that satirised the middle class status quo. While there was some mimicry of this independent move by comic-makers in Australia, it was not particularly significant (Bentley and Stone, 1998 p. 144). It was not until the proliferation and availability of photocopiers in the 1980s that we saw a culture of Australian self publishing and strange new comics emerge and offer creative strength for new publishing companies. American comics were innovating once again, abandoning the restrictive protocols of comic publishing in more enlightened times. This saw a renaissance of popular titles in the early 90s that induced some comic conventions in Melbourne and Sydney. Comic-making communities were fostered and Melbourne became a significant home for a large amount of self published ‘mini’ comics in the 1990s.
After some comic-format fan mail to the Doug Anthony All Stars in high school, Mandy Ord’s work in comics began more formally in Canberra’s ANU Art School in the mid 90s. There with fellow artists the Sticky comics group formed and members gathered in each others houses to make (doodle) comics. She began self publishing ‘Wilnot’, collecting her various short comics with the occasional Sticky Comics moniker attached. With a very inky style of art and grotesque characters, Wilnot surprises with its intelligence and good intentions. Her character “Little Dick-Eyes” a great example of this; a little hunchbacked midget fellow with a copious indication of Tourette’s syndrome is a charmingly sweet guy who eventually finds his calling working for an adult phone line.

Also around this time Mandy collaborated with Kirrily Schell to edit and be the two most prolific contributors to ‘Fruity Murmurs’, an anthology featuring a collection of all women artists. Funded by their student association, it celebrated all sounds improper for a ‘lady’ to make burps and farts and swear words, and featuring pieces entitled ‘Adventures of the Pubic Hare’ and ‘Tash Eats an Old Kangaroo’. ‘Fruity Murmurs’ simultaneously confronted the safe, stereotypical notions of comics and women. This also provided an excellent forum for women comic-makers in the area to try their hand at the form.

Becoming more connected with Australian comic-makers of all genders, Mandy then produced ‘Pantry’ as editor in 1998. ‘Pantry’ was a food themed anthology featuring comics, and few pure text pieces as well, from around Australia. Between that and the next ‘Wilnot’ Mandy moved to Melbourne. Autobiography was beginning to feature more heavily in ‘Wilnot’ but particularly in submissions to other anthologies and comics, reflecting somewhat the work of Melbourne comic makers and independent American comics she was becoming exposed to. Her work here also became (slightly) less grimy than her Canberra material and perhaps more experimental. ‘The Side of The Road’ a small A6 size publication, experimented with the form of comics, placing pictures on every odd page and text on every even one, ‘The Side of the Road’ became something that could easily be construed as a picture book rather than a comic. At the beginning of the twenty first century, she had short series of cartoons published in ‘The Australian’ (Weeks, 2002). And she began depicting herself with one eye.

Amber Carvan started drawing comics in 1995, gave up and started again when she moved to Melbourne in 1997, self publishing ‘Big Smoke’ (Schroeder, 2003). Aiming to chronicle her life in the big city her collections of autobiographical shorts suited the Melbourne comic crowd to a tea. With an I-can’t-draw modesty, the simplicity of her artwork evoked a depth for Big Smoke readers to find. Insightful stories of a more philosophical nature displayed the depth in both the author and reader’s evoked imaginations.

Always modest about her own work, but with a strong appreciation for comics, Amber with her partner, Richard, produced ‘Milk Bar’. Probably the most comprehensive documentation of the Melbourne independent ‘small’ press to date, ‘Milk Bar’ featured articles, interviews and reviews by the communities of self publishing Australians. Not restricted to comics, ‘Milk Bar’ included discussion of the text based self published zeens as well, a healthy balance of the two. Professionally printed and at over 100 pages, the thoroughness of the tome gave its subjects a hearty dose of encouraging criticism. It provoked a sequel the following year, ‘Milk Bar/Racing Car’ that continued the coverage, this time coming closer to 150 pages.
Although the occasional ‘Big Smoke’ still appeared in this time, Amber became much more involved with the government sponsored Loud and Noise youth arts and media festivals of the next few years. Working again to further the recognition of her small press compadrés, in 2001 with Noise Amber edited and produced ‘How Comics Can Change the World’. This collection devoted itself to energising women into becoming comic makers, featuring works by all women creators (some first timers), interviews about each piece and about comics, and a few text articles here and there by women writers. Importantly ‘How Comics Can Change the World’ also addressed the reductive public perceptions of comics; that comics were for kids and male kids at that. Although comics have had a relatively marginal share of media-space, it is no less affected by a history of dominating patriarchal culture.

“Comics for girls produced during the early 1950s sold in the millions and outnumbered every other kind of comic book. The romance and career girl adventures of the comic heroines littered the bedrooms of girls across the world.”

States Katy Stevens, in her article in the collection, ‘Comics are for Boys (Not)’ (p. 8). However, these comics were usually produced by men and perpetuated patriarchal gender norms (Robbins, 1999, pp.81-83). ‘How Comics Can Change the World’ confronted the ‘boys only’ comic culture of readership and representation. Reiterating that comics weren’t merely for boys and weren’t merely of the men-in-tights crime-fighting (with Barbie-esque woman-as-object on their arm) variety. McCloud (2000) argues the (largely American) industry still perpetuating this stereotype is limiting its sustainability in the remainder of this century and a necessary reinvigoration of the medium will be through the diversity offered by comics by women, ethnic and sub cultures, and divergent genres. “How Comics Can Change the World’ was an affirmative bastion for that argument.
Amber produced another Noise work that year, ‘True Tales of Love and Hate’ a collection of art, writing and comics by young Australians that was published online for the festival and then anthologised in print. Tackling issues of identity and domestic violence. As intended by the Noise festival and similar to ‘Fruity Murmurs’, this work proved a successful forum for people trying new forms of expression. Unlike the ‘Fruity Murmurs’ project, these festival publications had federal funding with wide distribution.
‘Brick Dog’ marked Mandy and Amber’s first project as a duo. Although Amber’s stuff appeared in Mandy’s ‘Pantry’ project and Mandy’s stuff appeared in Amber (and Richard’s) ‘Milk Bar’ project, this collaborative effort was without the creative input of the rest of their community. Made possible by a grant from the Literature Board at the Australia Council for the Arts, Amber and Mandy spent a good portion of a year swapping sketchbooks and making comics for each other. One of the more reluctant comic makers teamed up with one the more adventurous doubly aided by their complimentary abilities as instigators and talent shepherds for others.
‘Brick Dog’ features corresponding stories by each author, the influences of each on the other begin to seep into the panels. Amber reflects on the project and discusses her relationship to Mandy. Mandy in response makes a tribute to Amber, even adopting the simple line style of Amber when representing her. (Amber depicts Mandy with two eyes in her own style, although emphasising one as bigger than the other.)

Apart from the creative partnership, a significant difference ‘Brick Dog’ has to the previous efforts of the two is that it’s not self published. Federally funded like the Noise projects but published by Pluto Press and distributed throughout Australia in major retail book stores. Opening the publication to critical scrutiny in fields of literature, ‘Brick Dog’ goes where no Australian comic born out of the 90s small press has gone, and it’s by two women. Although Australian women cartoonists, like Kaz Cooke and Judy Horacek have had collections on shelves for years, they share the space with larger amounts of male cartoonists. And as suggested elsewhere, their works aren’t necessarily comics by definition, and would be on different book shelves altogether.
An Australian comic industry that perpetuated patriarchal culture as well as stereotypes about the comic form died in the middle of the twentieth century. Changing technology towards the later decades of that century enabled a second wave of Australian comics. Self publishers that were on occasion deliberately challenging comics’ stereotypes or were so far removed from the sensibilities of the stereotypical comic they challenged them inadvertently. Publications championing the form like ‘Milk Bar’ and ‘How Comics Can Change the World’ (And the previously unmentioned ‘Silent Army’ a 100 page comic anthology published by a Melbourne youth arts organisation) have pushed non-stereotypical comics out of their marginalized critical place. Considering the contrasts to patriarchal norms small press comics conceivably determine themselves by, it’s little surprise that when the self publishers work hit the big presses, the work is authored by women.
To finally address the question relating to advantages and disadvantages for women expressing themselves through comics, or any group excluded by patriarchal and overly assertive cultural notions. What I wanted to stress by addressing two relatively successful women comic makers is that in a contemporary Australian place, comic-makers have a fairly advantageous position compared to those of other times and places. Not many anthologies produced here today with the intention of addressing Australian comics would do so and exclude women. While there may still be more men producing comics in Australia, those represented outside of comics’ media-margin place is respectfully equal to women. This was not the case in the past. Or in America, where the strength of the industry has seen traditionally patriarchal comics, with all their stereotypes, prevail past Wertham’s moral panic into now; chances of equal representation would not be as good. So it still is the case there. America has a significant amount of independent publishers presenting work by women and minority groups, in genres that don’t involve men-in-tights fighting crime. Although criticism outside of the margins pays attention to the better selling superhero material and the independent publishers continue the tradition of underground comics, that Robbins identified as male dominated.

“Sadly, most of the male underground cartoonists understood as little about the new woman’s movement as the newspapers did, and reacted to what they perceived a s threat by drawing comix filled with graphic violence directed mostly at women. People – especially women people – who criticized this misogyny were not especially welcome in this alternative version of the old boy’s club, and were not invited into the comix being produced (1999, p.85).”

Although somewhat prompted by a boom of mainstream American titles in the early 90s, having no tradition of independent comics in Australia supports the notion that the comic makers of the mid 90s offer a radical break from the Australian industry of the 40s, 50s and 60s. An Australian woman comic-maker would not have to fight the stereotypes about comics as nearly as hard as an American comic-maker would need to in America.
If the sexual discrimination of these types of Australian comics published is as reduced as I like to argue, the disadvantages would really be in the marginalisation a woman comic-maker would face, not as a woman, but as a comic-maker. ‘Brick Dog’ is still but one title in book stores of thousands, and it needed government support to get it there. There may be more stereotypes to battle in the States, but at least one can share shelf space with other women comic-makers.
McCloud poses an argument for the advantages of comics themselves, citing McLuhan’s declaration that two forms of communication would be those that would command the attention of twentieth century audiences, television and comics (1993, p.59). Television harnesses the power that images have to convey information in ways that words can seem inadequate for, as do comics. However given the collaborative, elaborate structures of red tape and technology one must face in order to communicate with the television medium, comics allow those who use them to communicate powerfully without half the fuss.

“Today, comics is one of the very few forms of mass communication in which individual voices still have a chance to be heard (ibid. p.197).”

Depending where one’s from, one must face and overcome disadvantages of book shelf space and stereotypes, but anyone with the impulse to make comics can do so because it’s as basic as pen on paper.


T. Tomorrow, This Modern World first published 29/4/1998 available online:

M. Ord. ‘Little Dickeyes: At the Shops’ in Wilnot, no. 3, Sticky Comics, 1995-97 ACT.

One of Ord’s cartoons for The Australian, appearing in a supplement called ‘Orbit’. Available online:

M. Ord, unpublished personal correspondence, April 2000.

A. Carvan, untitled piece from Big Smoke, no. 7, 1999, Nth. Fitzroy.

A. Carvan, ‘The Lost and Found’ in Brick Dog and Other Stories, Pluto Press, 2002, pp. 34-44.

M. Ord, ‘I Freed it from the Plastic and Built it a Nest in a Cardboard Box’ in Brick Dog and Other Stories, Pluto Press, 2002, p. 48


The Australian – Famous Aussie newspaper that I don’t read that apparently published some cartoons by Mandy. ­

Bentley P. & Stone, M. 1998 ‘Comic Book Chronology’ in Bonzer: Australian Comics 1900s -1990s, ed. A. Sheill, Elgua Media, Redhill South, Victoria.

Carvan, A. 1999 Big Smoke, no. 7, A. Carvan, North Fitzroy, Victoria.

Carvan, A. (ed.) 2001, How Comics Can Change the World, Noise & Commonwealth Government’s Partnerships against Domestic Violence Initiative

Carvan, A. 2001 True Tales of Love and Hate, Noise & Commonwealth Government’s Partnerships against Domestic Violence Initiative

Carvan, A. & Ord, M. 2002 Brick Dog and Other Stories, Pluto Press, Annandale, New South Wales.

Carvan, A. & Vogt, R. 1998 Milk Bar: An Australian Journal of Small Press, Milk Bar, North Fitzroy, Victoria.

Carvan, A. & Vogt, R. 1999 Milk Bar/Racing Car, Milk Bar, North Fitzroy, Victoria.

Finnane, M. 1998 ‘A Moral Miasma? Comics and Censorship in the 1950s’ in Bonzer: Australian Comics 1900s -1990s, ed. A. Sheill, Elgua Media, Redhill South, Victoria.

McCloud, S. 1993 Understanding Comics, Paradox Press/DC Comics, New York.

McCloud, S. 2000 Reinventing Comics, Paradox Press//DC Comics, New York.

Ord, M. 1995-1998, Wilnot, nos. 2-5, Sticky Comics, Canberra

Ord, M. (ed.) 1998, Pantry, Sticky Comics, Canberra

Ord. M. 1999, The Side of the Road, Ord, Brunswick South, Victoria

Ord, M. 1999, Wilnot, no. 7, Ord, Brunswick South, Victoria

Ord. M. 2000, unpublished personal correspondence

Ord, M. & Schell, K. (eds.) 1995, Fruity Murmurs, no. 1, Graphic Investigation Workshop, Canberra

Ord, M. & Schell, K. (eds.) 1995, Fruity Murmurs, no. 2, Sticky Comics, Canberra

Robbins, T. 1999, From Girls to Grrrlz: A History of Comics from Teens to Zines, Chronicle Books, San Francisco.

Schroeder, D. 2003, Amber Chloe Carvan: No Wild Stallions, available online: http://www.silverbulletcomicbooks.com/smallpress/105221010122086.htm

Silent Army, 2002 eds. M. Fikaris, K. Mangan & G. Mackay, Express Media, Melbourne.

Stevens, K. 2001, ‘Comics are for Boys (Not)’ in How Comics Can Change the World, A. Carvan (ed.) Noise, Commonwealth Government.

Tomorrow, T. 1998 This Modern World first published 29/4/1998 available online:

Weeks J, 2002 Ord Bits available online: http://www.qdcomic.com/artists/ord2.htm

Wertham, F. 1955, Seduction of the Innocent, Museum Press, London
03 June 2016 @ 09:24 pm

Egg pancake with brain tumour/meat.
11 February 2016 @ 11:28 pm
no title

I would maintain that this is not a design flaw inherent in the milkcrate, but a design flaw inherent in basketball hoops everywhere. How would one dribble? You may ask, but netballers have been not dribbling for decades, dribbling is for jerks who won't pass, it's a team game. Also I feel obliged to post this here for some reason:

My Grandpa died a few years ago & while helping clean out his flat, I 'inherited' his collection of matchboxes. Before smoking got banned from everywhere, promotional matchboxes were a thing, & my Grandpa had a thing for matchboxes, besides other nick-knacks.

Translation trouble makes this hotel really hard to find with Google.  :(

Pssst, never actually went to China.
21 January 2016 @ 11:32 am

Definitely featured a milk crate chair arrangement here before, but the addition of the fake lawn as cushion creates a kind of hybrid garden bed simultaneously, making this example unique.
15 January 2016 @ 09:05 pm
by Hoffna

Japanese Red Garlic packs a tasty punch

The seasons roll on and each one brings its own moods. I personally love Autumn for its cooler evenings, epic sunsets, the promise of rain and the planting of Garlic! I can’t think of a more versatile vegetable and I can honestly say that I put Garlic in almost everything I cook. One of my favourite snacks is to toast some bread and then rub a whole clove into the piece of toast before drizzling over some Olive Oil. Instant Garlic Bread!

Silvia preparing last Summers harvest for this Autumns planting

I’m forever amazed at the huge amount of varieties available to gardeners. From the wild growing Three Cornered Garlic (Allium triquetrum) with its very mild flavour and tiny bulbs, to the hotter Asiatic varieties and the giant European ones. Sometimes I wish I could grow them all. This year we’re planting Japanese Red, Purple Monaro and the mystery variety I’ve been carrying around with me for the last  five years now which I’ve still yet to positively identify. This is the reason that its important to label everything! It’s a lovely and mild, nutty Garlic that thrives on neglect . (We have it planted around the perimeter of Wagtail and it grows without any soil amending or irrigation!)

Our mystery Garlic, lined up and ready for planting

Last year we experimented with the planting times at Wagtail, using two test cases side by side in the same bed. We planted one lot of the Garlic in April and harvested them as the leaves started to brown off in October and the other we planted using the old lore of “Plant on the Winter Solstice and harvest on the Summer Solstice.” We found the earlier plantings grew larger and had much better shape, kept better and there was no discernible taste difference. The solstice guide is easy to remember and probably works a treat elsewhere but it doesn’t ring true for our little urban farm. This year we’re planting earlier to see how our Garlic reacts. This is a key point in any gardening. Every Garden is different. Different soils, different micro-climate, differing amounts of Sunlight hours, the list goes on. Experimentation is key in growing your own veggies, everyone has their own experiences and are usually happy to give you some instruction but the most valuable advice you can garner is from your own Garden. Hopefully our latest experiment pays off!

Garlic’s medicinal qualities are well known, almost instinctual I think. As soon as I feel like I’m coming down with a cold or flu, the first thing I reach for is a clove of Garlic. Garlic is a natural antibiotic, it has anti-fungal and anti-viral properties, it helps regulate blood sugar levels, it helps lower cholesterol and blood pressure, it can help ease the pain of toothache and it makes food taste amazing! Well, not the imported Garlic that’s been irradiated and denatured that most people buy from the so-called “super” markets. That tasteless stuff’s the reason why there’s so many small scale organic Garlic growers popping up all over the place. Nothing like a poor product to make people proactive! Hmm, I might just plant out two beds this year…

Happy Plantings!!!

My pal Hoffna is usually too busy urban farming to blog but you follow posts by him & the occassional other farm pal on Wagtail's blog heeeeeeeeeeeeeeere.
12 January 2016 @ 09:17 am
 A few years back I was a participating artist in a group show called "Beyoncé is a Feminist" at Fontanelle's gallery. The show was well receieved & the curator, Brigid Noone, asked me to write an artist statement for a follow up publication. Last year I returned to Fontanelle & caught up with Brigid & I found out the publication never eventuated. So I've dragged the essay out of a hard drive to have an airing here.

My first idea for the show was a small drawing of Beyoncé as a tarot card, as one of the mythic figures of the major arcana, an appropriate, female, powerful figure. I did a sketch I wasn't happy with. The failure of the tarot idea, besides my inability to sketch the idea to my satisfaction, was that it was too tied up with my own ego & obsessions, which is/are male & it didn't give props to the wonderful wide world of Feminism. I proceeded to throw other ideas around to better address criteria for the show.

Who is Beyoncé? What is Feminism? Beyoncé, to me, is a really talented singer with a lot of popular hits. Feminism is a much more multifaceted phenomenon, but to reduce it to something tangible for art I'd refer back to my academic studies, the lone male in a couple of women's studies topics about ten years ago. Furthermore how do we collectively, culturally, consume & enjoy Beyoncé & Feminism? The Beyoncé mp3s lined up in my music software quickly answered part of that question, for the other part, the bygone years I spent immersed in Feminist texts really only manifest itself in more contemporary times as meme style jokes on the internet.
In marrying these thoughts together to form some art I decided I wanted to work with Beyoncé's music, a significant aspect of her career achievement, & avoiding objectifying her in a visual representation, objectification has never had much Feminist approval. I also had a squiz at the rudimentary Wikipedia article on Feminism to jog my memory for significant contributors to Feminist philosophy. The re-acquaintance was very enjoyable, & added some titles to my to-read list while bopping to some catchy tunes. I made a list of top tens, like the sales charts for pop music, of my favourite Beyoncé songs & other Feminists I enjoyed the work of. & I decided to juxtapose lyrics from these Beyoncé songs with images of these Feminists, appropriating the meme aesthetic in keeping with my own contemporary consumption of philosophy. Some digital manipulation & a trip to the copy shop later, the results are on the wall.

I approached the criteria like a question rather than a statement. The art in this series, mixtures of images & text, contain combinations that refute the idea that Beyoncé is a Feminist, as well as others that confirm the idea. The rhyming couplet - “I got gloss on my lips/A man on my hips” presented with Naomi Wolf, author of 'The Beauty Myth' seems quite disrespectful & comparing these lyrics with the iconic tomes of the other Feminists, even the included sitcom writers, makes Beyoncé perhaps seem foolish. However, to consider the lyrics of 'Halo' presented with Mary Wollstonecraft, author of 'A Vindication of the Rights of Women', it appears one of the earliest recorded Feminists is speaking to all the future Feminists & Beyoncé's pop-lines are a startlingly touching medium.
Statistics clearly & sadly indicate, despite Beyoncé's (I'm sure) flush contributions to righteous political organisations, we all still live in a society rife with systemic patriarchy. Those in power perpetuate their superior societal position by denying their subordinates access to the wealth & education that would facilitate their own societal strength. Looking at my work alongside others in this show, it does come across as academic, but that the (perhaps) most scholarly piece in the show is by a male is only symptomatic of this problem. If poor & uneducated masses of women gain empowerment, inspiration, feel even a slight rise in consciousness from a silly pop song by Beyoncé, in a society that has denied them the opportunity to experience that elsewhere, then it's an example of Feminist excellence.
05 January 2016 @ 03:43 pm
In the 1960's there was a monk who set himself on fire to protest! You have left me no choice! To protest your lack of humanity, I will now do the same thing!

Huh? Haaaaaaaaaaaah!

In 2006, ten years ago, I got my first writing diary & turned all the writing into a monthly zeen. It featured a lot of blather, find reviews, cartoons & grainy photos. It was a lot of work but conducted with a fun sense of experimentation & related enthusiasm. The zeens were only available via private mailing list but were well received as toilet reading.

It is now ten years later & I am about to attempt this project all over again in 2016. If you would like to be on the private mailing list & receive a zeen by me approximately once a month for free, please send me a private message across a preferred network we share.
I will make a physical version, & a pdf version for readers with modern devices & to help avoid postal costs after ten years of price inflation.
I will need your postal address to send you a physical copy, or an e-mail address to attach a pdf version.
This is the most complete collection of celebrity PEZ dispenser cartoons I did for my university newspaper. The joke was based on the inappropriateness of these people serving up child's candy.

Billy Ray Cyrus

Billie Jean King

Bob Brown

Arundhati Roy

Charles Manson

Courtney Love

His Holiness The Dalai Lama

Germaine Greer

Gary Glitter

Jeanne Little

Gen. Douglas MacArthur

Kerri-Anne Kennerley

Macaulay Culkin

Paris Hilton

Nick Cave


Xanana Gusmao

Paul Shaffer

Annie Sprinkle

Lou Reed

Nelson Mandela

Yoko Ono
Title: Bhakthi
Tags: , ,

This is the amazing illustration work Rebecca Sheedy did for the cover of Charles & The Eggman #4. It's been coloured in & should be printed early next year. Check out Rebecca's stuff here & here.
Title: Teddles
My Grandpa died a few years ago & while helping clean out his flat, I 'inherited' his collection of matchboxes. Before smoking got banned from everywhere, promotional matchboxes were a thing, & my Grandpa had a thing for matchboxes, besides other nick-knacks.

Studio Arts are no longer with us.

Chess House, 18 Knuckey Street in Darwin, circa: The Google car.

This one's for sale on Ebay too, mine's in the bin by now.


When I was in Darwin...

This is a seris of photos I took for a glitter themed art show I curated with Chloe Mariah Langford at Format's Gallery on Peel Street. For some reason I never uploaded them back when the show ended, & I stumbled across them in a hard drive more recently, so here they are. I was aided on the shoot by Zoe Lyons (glitter wrangling & some photography too) & Madi Bycroft (camera  & backyard loan). The work was a bit rushed as I was time poor & would like to do this again sometime at night with a camera+flash.

Title: Gus
11 December 2015 @ 11:17 am
by ET


  1. ABC's Mental Health Week featured some helpful resources and discussion surrounding mental health here in Australia. In particular, this article is a good reminder that depression is not a monolithic illness. The words and actions in this comic are ones that various people have used to support me, but good support might look or sound different to another person who is suffering.

  2. The always brilliant Captain Awkward has some excellent and practical suggestions here for reaching out to friends who have depression. She also emphasises that it is okay to have boundaries on how much or what kind of time and care you can give somebody.

& You can read more of ET's great work heeeeeeeeeeeeeeeeeeeeeeeeeeeere.
Tags: ,
10 December 2015 @ 11:44 am
Title: ROMI
My Grandpa died a few years ago & while helping clean out his flat, I 'inherited' his collection of matchboxes. Before smoking got banned from everywhere, promotional matchboxes were a thing, & my Grandpa had a thing for matchboxes, besides other nick-knacks.

Noah's Lakeside Resort in Canberra is now the QT.

& Looks like this.
& If you wanna buy the matchbook for $7, somebody's trying to flog it on eBay.

Big Dinner
Top notch.
Title: Bhakthi