Sound Klub 12

22 Sep

Originally posted on soundklub:


Oct 3, 2014 – SOUND KLUB 12

Noel Meek & Olivia Webb (NZ)
Sister0 (Tas, just returned from Austria)
The Hovering Waitresses (Tas)
The Grand Poobah
9pm, noises at 9:30pm

– Noel Meek & Olivia Webb –
Wellington-based sound artist, Noel Meek, has been working in experimental music for over 15 years. Meek’s current music project uses samplers to build drones out of acoustic and electric instruments using non-traditional tunings and notes pitch shifted by microtonal intervals to build ecstatic layers of overtones. His latest live works have been described as “apocalyptic.”

Artist and musician Olivia Webb reworks video of simple, natural environments to complement and build upon Meek’s soundscapes. Webb’s videos play with elemental themes, an obsession with weather patterns, and ideas of irrational symmetry. Images morph as the sound pulses creating one holistic/universal experience for the audience.

– Sister0 –
Nancy Mauro-Flude has…

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Sleuth in Meanjin Quarterly

19 Sep

I have read Meanjin on and off for many years – in my opinion it has had periods of being the best of the Aussie literary magazines. It has even had periods of having comics in it which were quite notable. In particular Elizabeth Fielding(et al)’s fantastic series Their Hooks Find Hold Deep in Our Flesh which ran through several issues between 2008 and 2009, which I make mention of in this review for Island Magazine’s website this year.

SO – I was particularly chuffed to be asked by Meanjin’s incumbent editor Zora Sanders to create something for the print magazine this year. It’s always nice to allowed a fair bit of a creative freedom too … I’ve been doing a fair bit of illustration lately so it was VERY refreshing to find an outlet for the zillions of ideas that I have buzzing around my scalp.

Sleuth is an ongoing series of rambling, intersecting comics that began in 2012 with the Hobart exhibition. In 2014 it has enjoyed a fair bit of exposure – this being its 3rd outing. The first of 2014 was in April, with the exhibition Sleuth: the Delegation held at Sawtooth ARI in Launceston. Sleuth: OMG was a 4 page comic published in June of this year in Island #137.

And today! I receive in the post – the printed copy of the Spring issue of Meanjin Quarterly – which has published my 6 page mega-complex Sleuth: The Transcontinental Distress. Here’s some pics – not really for reading,  it was designed for reading specifically in book form – the page turns are crucial to the understanding the mess and confusing layout of this piece. It will probably never work properly in reading on the screen. It was really fun to write and layout and makes reference to fictional characters that have died in the Australian landscape, as well as real human beings that have died in the Aussie landscape … and how they have BOTH become mythologised.

Also – my really good friend, and excellent writer Jennifer Mills has a piece in this issue of Meanjin. I recommend you all find an Aussie literary magazine or two! And then subscribe to them forever. I will do my best to continue to encourage them to ALWAYS include comics … because, let’s face it – comics belong in the literary fold.

Meanjin 01

Meanjin 02

Meanjin 03

Meanjin 04

Meanjin 05

Meanjin detail

What’s mine is yours

14 Sep


Just stumbled upon this article by Andre Dao that references “The Long Weekend”

Originally posted on André Dao:

Originally published in issue 22 of The Lifted Brow. Buy it here.

I don’t know how to think about these things…[1]

On the one hand, I am distinct from you. I am distinct from my father and I am distinct from my children, were I ever to have any. My existence is discrete, bookended by a birth and a death. I am hermetically sealed from the outside world by my skin, by which I recognise myself in the mirror: an individual, a subject, not you or him or her or it but me. I am the bearer of rights and the holder of tastes. I assert my human right to self-expression.

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Turkey travels – I Wanna Be A Travella

28 Aug

I have been spending a few weeks in Turkey. Every day I have been sketching and making
Travel-comics. When I return home to Tasmania I will set about putting it together, perhaps for the Down There Tascomix series (yet to be decided). Here’s some tasters –







NT writers fest panel – Powerful Translations

13 Aug

Here’s a link to one of the panel discussion I was part of called Powerful Adaptations with Katherine Thompson, Nicki Greenberg, and Catherine Fargher.

A really healthy chat about adapting chunky works into other mediums.

Pics from the exhibition

11 Aug

Some pics from the other week at the opening of the Hobart exhibition on a weather-wild night
… it was freaking COOOoooOOOld.
So props to all those who came out.
Nice little opening – Chinotto enjoyed by all.
Suzy Cooper - TLW August 2014



2014 08 August exhibition print single image

The Long Weekend – One year on

2 Aug

Tasmania, it’s apology time.

It’s been almost a year and a half since I launched the Long Weekend in Alice Springs into the world at the inaugural Tasmanian Writers Festival in Hobart in March 2013. It’s been quite a year for this little self-published wonder and I thought I’d do a little write-up of its successes and failures … though, thankfully, I don’t know of many failures … or how a book fails … but anyhow.

Photo - Joshua Santospirito

I’m writing this the day after I opened the second exhibition of original art from the graphic novel here in Wintery HOBART. I probably won’t pull out the original art again, my mind has moved on. But it seems appropriate that I reflect on it all. It occurred to me that whilst I was making this book I was living here in Hobart, but mentally and emotionally I was grappling with a project that forced me to not be present, to not be here in Tasmania. I was in Central Australia. Head still in the dust, barrelling down dirt highways in landcruisers.

I was quite distracted by this work of art.

Then, years later, once I finished the book I had to flog it like crazy; I’d put too much work in: it cannot go unnoticed NOW! And so the book had numerous launches in different spots in 2013, which has helped sales along – Hobart, Alice Springs, Melbourne, Sydney and Adelaide. The Alice Springs launch was by far the biggest, and funnest, and it was accompanied by the first exhibition at the gallery in Alice Springs – Watch This Space – a well-loved institution. It was launched by lots of interesting, wonderful sods – Dr Anne Noonan (who I used to work with in Central Oz), Pat Grant (comic-maker extraordinaire), Bernard Caleo (Svengali of Melbourne comics and great enthusiast of this book), Penny McDonald (NT Film), Lindsay Arnold (Tassie comic-legend), Jennifer Mills (good mate and wonderful author). To share this book with these people made it extra special.

Because of these launches, and because of the promotion that was part of the successful crowd-funding campaign, the book pretty much sold out of its first print-run of 500 within about two and a half months … which took me completely by surprise, so I got it reprinted again in Hobart (again by Monotone Art printers, who are very nice to work with), this time printing 1000 copies just in time for the book to be reviewed by the Weekend Australian Newspaper in their Review magazine. This helped in getting the book into bookstores across Australia, which seemed to be a better place to sell this book than in comic-stores, though it landed in a few of them too. To date I have offloaded a total of about 1250 copies Australia-wide, which I’m chuffed and proud of … given I self-distributed and posted and emailed and whatnot. I had thought that initial 500 would last me a few years, and they would be sitting under my bed.

Whilst I can honestly say that I have no idea how anyone printing a book in Australia can make any money at all – I am very proud to have printed it locally and going to the effort of keeping everything as local as possible. It certainly isn’t a money-spinner, but that was never the point anyhow.

The most exciting aspect about sending a graphic novel into the world has been the responses to it. I had thought that the only people who’d read this would be comic-obssessed people … and I didn’t know if they would get into it, because of the content … nothing against comic-obssessed people at all, I’m certain they would be able to understand such a book, but the book is a little serious and full-on and I wasn’t certain of how it would fit into the genre-focused world of comics … I wasn’t quite sure who my audience was, because I made this book for me … and not really for anyone else. It turns out – there’s lots of MEs out there. Who knew?

What I found was, most people who read the book – WEREN’T comic-readers … most of the discussions about the book that I encountered were NOT even about the comic-form, they went immediately to the content. This surprised me most, because many readers didn’t even seem to really be aware of the medium at all when they read it. Some of my favourite responses have been from Central Australia, where the people who live this content daily can grasp it with their mind and hearts. As is probably true of any peripheral area, the political discussions on the Eastern seaboard about Central Australia have always lacked any real understanding of the problems faced by those who live there. For this reason, to be acknowledged in the Territory was the best: it meant a lot to both Craig and I when the book was awarded the Non Fiction Book Award at the NT Read awards in Darwin in May of 2014.

I am glad that I decided to put on this exhibition in Hobart though, though the content of the book has absolutely nothing to do with Tasmania – but the book was made, designed and printed in Tassie. I couldn’t have done the work in Central Australia. To live in the desert is to live by the seat of your pants, every day surreal things happen, you get swept along by an unusual force. I didn’t even notice until I left. I needed to move away, the distance to clear my mind and digest all the things I had to sift through to be able to work this comic into existence. So I came to Hobart. It was crucial. But the local Tassie community was also crucial with their support and feedback and enthusiasm. Now I have a month-long exhibition which I can show to the Hobartian mob. I can say to them “This is what I did before I truly lived here emotionally and mentally. Isn’t that nice. It’ll be up for a month,”

BUT this is a line in the sand – after this – you and me – we can start dating properly – we can live together in this creative community of Taswegia”

“Sorry I was so distracted before, I hope you understand”

“I’d like to be more present now”

“Hi Hobart”


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