ADDENDUM

a d d
e n d
u m
ADDENDUM

01
VOL

addendum
/ `dend m /
noun
An item of additional material, typically omissions,
added at the end of a book or other publication.
synonyms: appendix, codicil, postscript, afterword,
tailpiece, rider, coda, supplement;
e

&

ZUL

ZEPH R

made for the sun, salt and the sea.

MONTANA GOLD
400ml

PALACE X ADIDAS
WINDBREAKER

PUSH TREES
BUCKET

ROYAL
HUNTER
X-TRA WIDE
SPRAY CAP

VISUAL ARTS SERIES

06 MAY 2016 24 JULY 2016
POWERHOUSE| FOYER | FREE
Emerging artist Jessica Cochrane explores the effect
of consumerism on feminism in this special exhibition,
FearLess.
Cochranes work combines portrait photography and
expressionism painting in order to create works that are
colourful, expressive and tantalise the viewer is the
photographic portraits beauty obscured or amplified by
the vibrant splash of paint? You decide.
The exhibition also investigates the male gaze and
womens view of themselves Cochrane takes photos
which exemplify the male gaze (the view of women
as plaint, sexual objects) and then transforms them into
striking artworks which can be viewed as challenging,
celebratory or grotesque.

RECYCLING ART EXHIBITION

27 MAY 2016 - 7 JULY 2016
JUDITH WRIGHT CENTRE | FREE
One persons trash is anothers treasure, and that jewel
in the rough might just become part of an artistic
marvel. Ten Brisbanites have certainly tried their best
to ensure that thats the case, with their work now on
display at Salvage: Recycling Art Exhibition.
Taking over the Judith Wright Centre of Contemporary
Arts until July 7, Salvage is the ultimate showcase of
recycled, reclaimed and reused creations. Everything on
display has been crafted from items sourced from one
of the citys two tip shops, as well as other second-hand
stores throughout Brisbane. Thats right these pieces
are made from objects that were once discarded and
destined for landfill.
Salvage isnt just about celebrating resourceful artists,
though; its also about finding out how these wonders
came to be, and then learning how to fashion your own.
That all forms part of the accompanying event program.
Youll never throw anything out again.

CINDY SHERMAN EXHIBITION

28 MAY 2016 3 OCT 2016
GOMA | GALLERY 1.1 | TICKETED
Cindy Sherman is renowned for her mastery of
masquerade her own image is at the centre of
an inspiring array of character studies created over
decades. Sherman expands on contemporary societys
fascination with aspiration, narcissism and the cult of
celebrity, and explores the resulting emotional fragility.
Focusing on large-scale photographs made since 2000,
this exhibition charts the artists return as the central
model in her artworks, for which she is also costume
designer, make-up artist and photographer. The
exhibition includes two series made with high fashion
houses Balenciaga and Chanel, and an entirely new body
of work shown for the first time outside New York.

SHOWCASE: WOMEN IN FILM

28 MAY 2016 -28 AUG 2016
GOMA | TICKETED
You wont find the phrase featuring a strong female
lead in the Gallery of Modern Arts latest film program,
but it wouldnt be out of place. Offering the kind of
female-centric cinema showcase Netflix could only
dream of (even with its fondness for those five words),
GOMAs curators have turned their attention to iconic
actresses and their enduring characters.
That means Audrey Hepburns charming turn in
Breakfast at Tiffanys and Uma Thurmans swordwielding mayhem in Kill Bill are both on the bill;
however thats not all the In Character film season
has to offer. Inspired by the gallerys Cindy Sherman
exhibition, the lineup not only celebrates powerful,
complicated representations of women. It also shines
a spotlight on portrayals that challenge expectations
about the behaviour, desire and physicality of ladies
onscreen.

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CONTENTS
PAGE NO.

ARTICLE

IDEAISM

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VOL. 1

a d

de

m a ga

n d um
introduction
Addendum magazine, a manifestation
of unexpected creativity, celebrates
the emerging talent of young creative
minds. In a physical assemblage that
can only be described by the name
itself. Volume one serves as an invite in
joining the journey of its four authors,
uncovering inspiration, a kind of
national geographic of the imagination.
Value injected to curate a stylish,
yet simple magazine committed to
maintaining and delivering
its unique ethos.

C O N TR IB U T O R S

THIS
AMBER

ISSUE

GARDE
CAITIE

ALLEN
NICK

KAT

z i

KIRMOS

DUFFY

ne

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the artist

the fashion

the snapper

the designer

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IDEAISM

a look inside
our favourite
sketchbooks

marthA
rich

ALISOn
worman
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SONJA
aHLERS

ISaaC
tOBiN
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MELINDA TIDWELL

IDEAISM

IDEAISM
IDEAISM
ideaism

This is the age of the analyst, where eveyrthig is built to be

measure. the problem with this is what the numbers dont tell
you. They wont inspire you. for that - we need ideas

IDEAISM

IDEAS ARE THE TRUE CURRENCY OF THIS

NEXT CENTURY james altucher

Make way for a new movement: the rise of ideas,

Ideaism. This is the new magic word. Why? Because
ideas are fast becoming commodities products in
themselves things we wish for, desire and want. Plus,
what with social media becoming chock-a-block with
sameness, consumers are looking beyond items and
objects. As Marcel Duchamp once said, explaining his
move away from painting towards conceptual art: I was
interested in ideas, not merely in visual products.

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FILM
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For the

Love of

FILM

FILx

Film photography is enjoying a resurgence as more

young people pick up their parents old film cameras
and wonder whether it still works. Analog cameras are
selling every day in second-hand stores in Melbourne,
while sales of black and white film have increased
45 per cent in Australia in the past year, according
to distributors. And as online media becomes more
and more visual, the quality of images posted online
becomes more important. Good photographic skills
are becoming good social skills. Salesman Robert Lane
from second-hand dealer Camera Lane says he is
selling at least one film camera every day. Customers
are either photography students, enthusiasts, or street
photographers. And they can now purchase for a few
hundred dollars the type of camera that professional
photographers once paid thousands for, such as
Hasselblads and Leicas, he adds. Lovers of film say the
slow and careful process of composing every shot gives
them a sense of quality over quantity in a world where
people can take thousands of digital photographs that
never get looked at. They also enjoy the thrill of waiting
several days for a film to be developed.

V
O
L
M
FIL

Taking it a step further, Tom Goldner built his own dark

room in Melbourne's inner west because he couldn't
find one for hire. All his equipment had to be bought
second-hand or was donated.
Darkroom now has about 60 members who regularly
develop and print their own black and white film. "I
didn't really know the demand when I set out to build
it, but there is actually a huge subculture of people who
are getting back into film photography in Australia and
around the world," Goldner says.
"It is a very deliberate process. You cannot really cut
it down in terms of time. Everything takes longer,
everything is more expensive and because of that you
invest a lot more in trying to produce a final product."

Koda
Moom
meenntt
KodakkM

The Fox Darkroom is one of several places running

workshops teaching skills that pre-digital photographers
say they are happy to leave behind. Pictorial editor
at The Age, Leigh Henningham, says while there is a
mystique and magic in dark room developing, after
years of working with film he now prefers
digital photography.
"Developing is slow and you have to deal with buying
chemicals, mixing chemicals, and it is expensive as
opposed to what you can do now, which is instant."

IL

While it may feel like overall film sales are increasing, it is

unlikely we will ever return to the pre-digital days where
film was sold in supermarkets and mini developing
labs were in every shopping centre.Film photography
will never disappear entirely, but demand remains
niche, according to manager of professional products
for Fujifilm in Australia, Kevin Cooper. Manager of Film
Never Die, Gary Wong, says most of his customers are
aged between 15 and 30 years and usually came in with
a film camera that used to belong to their parents or
grandparents. He has about 2500 people on a mailing
list and organises regular group photography sessions.
"The whole idea for me of shooting film is slowing down.
Shooting film really gives you the space and the time to
really compose the photo properly," Wong says.

"I just found an old Polaroid camera under the house in

storage and thought "it would be really cool to try it out".
My dad took it from his work in the early 1990s,"
Walsh says.
Once Wong finds it still in working order, Walsh buys
some colour film and says he will "try and think of some
cool pictures to take".
"Obviously they are very expensive relative to digital, so I
guess I want to think about
what I take."

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Meet the A

Team

Who are you? What do you do for a

crust?
Trade anchovies.

What inspires you to shoot film

The people around me, and the moments we share. Film
has some magical quality about it that we cant recreate
with digital photography. I think because shooting film
encourages us to stop and wait for the right moment.
Film is expensive and labour intensive to process. So
were much more conscious of the moment before
pressing the shutter.

It seems film photography and

disposables are making a comeback,
why do you think that is?
Absolutely. I think theres a certain nostalgia for the
past that has become a huge part of our collective
consciousness. Were wanting to bring back the freedom
of the 70s, the colour of the 80s and the rebellious
grunge culture of the 90s, and were seeing film as the
best medium to to that.

Bondi , NSW

If someone destroyed all the

disposable cameras in the world and
you had the very last one, what would
you capture?
It would be a portrait of of my closest friends, just as
they are, right now.

Who or what influences you

creatively?
The wonderful humans around me. I live in a house full
of entertaining, creative people with so much energy
and enthusiasm who all have a knack for making
beautiful images.

Where do you find inspiration?

Berlin.

Fave place to shoot?

My dream location would be a set designed by my friend
Diva who is a set designer for feature films. She makes
the most incredible scenes from the real
to the surreal.

people youd invite around

for drinks and dinner?
1. Michael Haneke
2. Helmut Newton
3. Gregory Crewdson
4. Sofia Coppola

5 people youd like

to photograph?
1. Frances Bean Cobain
2. Jane Birkin
3. thehautepursuit
4. lilahsummer
5. Phoebe Tonkin
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If someone destroyed all the

disposable cameras in the world and
you had the very last one, what would
you capture?
Oh man. I think I would plan a different shoot for each
frame. Like, make it a crazy production. Lots of naked
people, too. for sure.

Where in the world would you love to

shoot?
White sands, NM. and Cape town South Africa.

Wheres home?
Brooklyn, NY.

What inspires you to shoot film?

Film was always what photography was to me. The
process, knowledge and trust you had to have in
your ability was just as important as what you were
shooting,composition, etc.

It seems film photography and

disposables are making a comeback,
why do you think that is?
I think its a natural counter-culture to the digital
world, filters and all that shit. Its nice to really think
about the image your about to spend $1 to shoot
and wait sometimes a week to see. Its also gratifying
to load film and advance the frame and wind it back,
then keep it safe until you get to develop it. Its a
process that you dont get with digital.

Brooklyn, NY

5 photos from
history you wish
youd taken??
1. The first photo of earth from space
2. The first photo ever taken
3. The Tiananmen square
tank/civilian image
4. Richard Avedons Dovima with the
Elephants

5. Any shot of Juergen Teller

pretty much
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What do you do for crust?

WHAT?
My Name Is:
who?

Im a freelance photographer.

Can you tell us about your creative

background?
I have a Bachelor of Arts (photography), and Honours in
Photography (First Class).

What inspires you to shoot film?

Its real. In every sense. Everything is a more accurate
representation when captured on film. I also find I
think more when shooting film, I cant waste me shots
because Im limited and I find I produce better images
because of this.

It seems film photography and

disposables are making a comeback,
why do you think that is?
I think a number of factors are influencing their
comeback. Everything nostalgic seems to be on trend
at the moment, but also people are beginning to
appreciate the imperfections disposable cameras tend
to produce. Theres an abundance of digital work these
days and disposable cameras creative a more raw and
accurate representation.

If someone destroyed all the

disposable cameras in the world and
you had the very last one, what would
you capture?
A beautiful seascape. Art is often made to shock the
audience, but sometimes is nice just to view a beautiful
photograph that takes your breath away. And it seems
poignant to photograph a beautiful landscape on a
camera I would momentarily make obsolete.

Slim Shady
Melbourne, VIC. AUS

People youd like to

photograph?
1. Henri Cartier-Bresson
2. Loui Theroux
3. Frida Kahlo
4. Salvador Dali

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INS
NC
AL
MARKS

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PERRY
KUL
PER

24 APHORISTIC
STATEMENTS:

ARCHITECTURAL
EDUCATION
SHOULD BE PITHY
AND CONTENTIOUS,
ITS HEAD ALWAYS
ON THE CHOPPING
BLOCK, LIKE IT OR
NOT.

BY PERRY KULPER

I like thinking about Van Goghs Lone White Iris, Lady

Gaga, and nanotechnology all in the same spatial sweep
there are substantial differences between building,
architecture, and spatiality. A simple observation with
outrageous consequences, like whats in, and whats not.

I like thinking about the abandonment of typological

obligations, in favor of ecological provocations. This
approach invites contingent and unpredictable practices,
rather than conforming to what is already known. This
kind of thinking breeds, as yet unimagined,
spatial species.
Using pre spatial language props can trigger inventive
programmatic thinking. Imagine germinal objects,
verdant programs, phallosurfaces, knotted thresholds,
all subject to change, at the flip of a phase shift,
just like that.

Probing questions should infectiously populate the

terrain of architectural education. For example, when is
the time of rendering?
Could architecture be schizophrenic, paranoid, and
delusional simultaneously?
Might a plan be made here, and the section over there,
both suddenly morphing into a transitory landscape, or
something like that?

I like thinking about Wallace Stevens 13 ways of looking

at a blackbird, as a template or DNA for developing
critical skillsets, capable of gathering heterogeneous
characters in search of a strangely familiar, yet just out
of reach whole.

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I like thinking about the contemporary architect being

many architects, a hybrid species, agile and skilled at
occupying contested edges and dusty perimeters, yet
capable of turning on a dime.
21st century architects might speculate on split
temporalities and split topographies. Imagine
architectural propositions that scan data surfaces of
now, then, and sometime sites, morphing at warp
speed, while hijacking our expectations and suddenly
disappearing, just about like that.
I like thinking about promiscuous conceptions of
architecture in the 21st century. Spatial ventriloquism,
architecture that behaves like a fast change artist, 3
houses in one.

Unlike the language of architecture, the language of

representation positions materiality as conceptual,
temporality as malleable, and gravity as negotiable, akin
to alchemy, just a bit like that.
I like thinking about developing digital software
that could simultaneously embroider metaphorical
impulses, narrative twists, statistical mutants, and
the consequences of a psychological whim, spatially,
without batting an eye.
Arguably, architectural education should be grounded
in the history of ideas. equally, it needs to be a high
risk taker, a tight rope walker, a contemporary hybrid of
Harry Houdini and evel knievel. I like thinking
about this too.

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I like thinking about the daytime facade of a home

depot, reconfiguring itself to become a nocturnal
agricultural surface, changing land values as it morphs
from one form to another.

Analogous thinking this looks like that, this behaves like

that, can increase an architects formal and material
imagination and architectural range, 100-fold, in a snap
of fingers, just like that.

What about duplicating a domestic interior, sending a

clone into the neighborhood at night to commingle with
other domestic environs?

I like thinking about the use of generative history,

and progressive theory, with big, lush and fidgety
velvet-cushioned chairs at the table of 21st century
architectural education.

Or I like thinking about suburban backyards that

regenerate themselves, becoming a collection of fish
markets by dawn, and a bioluminescent electromagnetic
field by night.

Marcel Duchamps three standard stoppages might be

a metric for the construction of architectural education:
Transforming accepted norms, twisting as they might,
approximately like that.

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I like thinking about an architectural proposition,

formally structured like paired cuckoo clocks, wearing
hip waiters. The architectural surfaces might be tattooed
like an embroidered, sequined pair of western boots and
the landscape for the architecture might be organized
like the chinese game of go, crossed with calligraphic
utterances analogs work like that.
Once an inviolate part of the socially and subjectively
constructed figure of the architect, the architectural
drawing is an increasingly complex affair, a tricky
business to say the least I like thinking about
that, I guess.
I like thinking about a model of education in which
it matters less what you work on and more intensely
how you work on it. A new city proposition for China
might require different design methods in relation to
hybridizing biomorphic interests and geographic data
splicing. Diverse and highly varied design methods might
allow us to work with different circumstances, like that.
I like thinking about architecture that might materialize
the space of a buildings construction, rather than the
building itself. Or what about motivating erasure as an
architectural activity. Its entirely possible to think about
things like that.

The education of 21st century architects should not

aim to prove the profession, rather i like thinking
about significant points of contact and critical points of
difference between professional training and
disciplinary positioning.
I like thinking about what the 21st century architect
might think about. a bunch of 21st century what-ifs.
underpinning the core interest of the 24 aphorisms
is the fact that most of you might practice for 50 or
60 years in whatever your chosen discipline, area of
specialization or breadth might be. What it means to me
as an educator and as an architect, is it means that we
need to expose you to what the possibilities are. The
terrain 60 years from now wont look anything
like it does now.

IDEAISM
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Lady

Canyon
of the

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Photography: Jason Lee Parry

Starring: Louise Mikkelsen
Styled: Chloe Chippendale
Beauty: Debbie Gallagher & Melinda Dean
Hair: Nelli Christine & Melinda Dean

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Marianne Chiffon Blouse

$285

Fonda Suede Dress

$498

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LEFT: Marianne Chiffon Blouse $285

Woodstock Leather Bells $998
RIGHT: Morrison Blouse
$165
RIGHT:
Peace
Dress
$160
Woodstock Leather Bells $998
LEFT: Surface Shirt $140


Peace Pant $140

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LEFT: Altamont Leather Halter $325

The Sun Bells in Filmore $265
RIGHT: Marianne Chiffon Blouse $285
The Sun Bells in Topanga $265

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LEFT: Music Is My Only Friend Tee $112

RIGHT: Venice Rock Fest 69 Tee

$112

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EAIS

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e
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r
e
M
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t
u
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t
l
i
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l
u ltur ach Cu
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C re Mchi
tu Ma
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Culture

Machine
Culture Machine is an innovative creative agency
specialising in fashion photography, film, branding and
art direction.
Currently based in Sydney, the team are working on
a web series called Free Radical TV. Culture Machine
Creative Director, Yasmin Suteja describes the project:
Free Radical TV was an initiative spawned from a
Culture Machine trip to California in November 2015.
The CM team hit USA on a sponsored road trip to shoot
content for Australian fashion labels. We decided
to document what happened, and found ourselves
running into a series of weird and wacky people and
wonderfully bizarre situations.
A reality show, a Gen-Y sit com, a DIY doco were kind
of like The Real World, a little bit like Friends, nothing
like the Kardashians, with elements of Freaks and
Geeks, and characters akin to SKINS. One thing we
can be certain about is that were always spontaneous,
and love to entertain.
Or - were the product of the narcissistic new-gen,
making a TV show about ourselves. You decide. In a
world where Instagram following is social currency, and
where carefully selected images depict the perfect lives,
were out to break the rules and show you a raw VHS
handycam version of what happens behind the iPHONE
screen. Our agenda is to infect our viewers with a joie
de vivre. We want to make you laugh, we want to make
you smile and we want to make you pick up a camera, a
skate board, whatever it is, explore your local neighbour
hood, and find the extraordinary
in the ordinary.

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EXAMINING THE UNDERGROUND

REAL

You may have already seen them around town: posters

depicting a heroic, vintage-looking image of a man in
a turban with the word AUSSIE printed across the
bottom. Starting this week, Adelaide based artist and
filmmaker Peter Drew will be sticking up 1000 of these
posters all over Australia, beginning with 250 around
Sydney alone.
The poster portrays Monga Khan, an Indian hawker
who lived and worked in Australia in the early 1900s.
He was one of thousands of people who applied for
exemptions to the White Australia Policy and was
granted exemption because he was considered essential
to the Australian economy.
As Drew explains, Ultimately I want to find out if
Aussie really means what I think it does. Did Australia
inherit its identity from the people who created the
White Australia Policy. or does Aussie have more to
do with the people who survived it?
This campaign, dubbed What is a real Aussie?, was
successfully crowdfunded in March, grossing over
$19K. The funds are being used to cover printing
and transportation cost, as all of the printing and
distribution will be done by Drews own hands.
Drews artistic focus on national identity began in
2015 with his first poster project, Real Australians Say
Welcome, a campaign that promoted openness toward
asylum seekers.
Also crowdfunded by Pozible, the success of this
campaign was in a big way due to public collaboration
and participation, so Drew has again called for creative
assistance including any creative ideas, guidance on
best spots to post, and even someone to give him a lift
or neighbourhood tour.

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A
M
B
E
R

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EXAMINING THE UNDERGROUND

WITH:

Regardless his self-proclaimed suckiness, Lush, relatively

new on the graffiti scene, is doing pretty well for
himself. With his sardonic worldview reflected in his art,
this Melbourne natives crass yet strangely endearing
and oh-so-amusing graffiti is revitalizing the scene in a
big way.
For subject matter, Lush prefers the shocking nudity
(cartoon or real life), cussing, bodily excretions and
a penchant for the cult are all main themes that run
through his body of work. And,while Im 100% sure
that this guy is absolutely insane, his I-dont-give-shit
attitude recalls the original sentiments of the
earliest graffiti writers.
The only difference now is that what once was shocking
is now mainstream. Graffiti is becoming, if it is not
already, an accepted art form.
Simply writing on a wall doesnt shock anyone anymore.
Unless youre reading Lush.He pushes the limits of the
accepted and injects into his graffiti so much perversity
that the old shock value is reinstated. Face it, what could
be more shocking than seeing giant female genitalia
squirting out the word Lush (can you just imagine if
you didnt even know who or what Lush was?) or seeing
giant bubble letters with penises attached? Lushs point
of view draws only two reactions: hysterical laughter or
penultimate disgust.

He pushes the limits of the accepted and injects into

his graffiti so much perversity that the old shock value
is reinstated. Face it, what could be more shocking than
seeing giant female genitalia squirting out the word
Lush (can you just imagine if you didnt even know
who or what Lush was?) or seeing giant bubble letters
with penises attached? Lushs point of view draws
only two reactions: hysterical laughter or penultimate
disgust.

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The rather elusive Lush has few interviews out there,

but from what I can divine, his aim is to be as balls-tothe-wall as possible, amusing his own self with his work
as much as it amuses everyone else, as he shoots up to
stardom (infamy? This remains to be seen). Somehow
he manages to take nothing seriously while sending
some intensely poignant messages. Whether this was his
intention when he first picked up a spray can or whether
he was just another jaded artist who happened to give
less of a fuck than all the rest, Lush will surely stay on as
an influential force on the streets.
Lushs cavalier attitude extends to his views of his
contemporaries as well. When not creating fancied up
versions of bathroom stall graffiti, Lush hurls his wit
(of which he has a lot) straight at other artists and at
the street art scene itself. His scathing and sarcastic
portrayal of artists like Banksy (his preferred target for
the moment), Shepard Fairey and Revok questions the

message, purpose and place of street

In his most recent exhibition in Los Angeles, for
example, he concentrated heavily on modification of
Banksys most recognizable pieces. In addition to Lush
Sells Out in LA, Lush has also had solo exhibitions (Lush
doesnt seem one to do many collabos.well, unless
it involves porn stars but that was an exceptional
case) in Australia and San Francisco. And, like any good
artist, Lush is multitalented, producing drawings and
videos that are possibly even funnier than his walls.
These tongue-in-cheek drawings and videos are where
Lush digs deep into his soul and pulls out some of the
most hilarious mockery ever to be produced by a single
human being.
The rather elusive Lush has few interviews out there,
but from what I can divine, his aim is to be as balls-tothe-wall as possible, amusing his own self with his work
as much as it amuses everyone else, as he shoots up to

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stardom (infamy? This remains to be seen). Somehow

he manages to take nothing seriously while sending
some intensely poignant messages. Whether this was his
intention when he first picked up a spray can or whether
he was just another jaded artist who happened to give
less of a fuck than all the rest, Lush will surely stay on as
an influential force on the streets.
I steal all my ideas, I havent had an original idea since
I was in the nang, Charlie was everywhere, the cut of
jungle we were patrolling was thick with a swamp fog
in the dead of night. They came from behind us and
fired at the rear of the patrol I couldnt fire back or Id
risk killing my own men. They were leapfrogging us,
they must have been laying in the long scrub letting
us walk by like we were already dead. I can still hear
Little Jimmies screams, charlie shot him in the back.
MOTHERRRR rughghugggggh his garbled blood soaked
cries for his mother.
We became fast friends with Melbournes graffiti
provocateur LUSH last year when he came to San
Francisco for an exhibition at FIFTY24SF Gallery, and
turned the gallery into strip show. All the things you
hear about LUSH is that he pisses a ton of people off,
and that he does so for some sort of Internet fame.
Well, whats wrong with that? Its 2012, how else do you

get famous? LUSH will be opening up shop in London

on July 5 with a large warehouse show that will surely
cause some angry comments here. That means this is
all working... because it should be noted that as far as
graphic graffiti, LUSH is hands-down one of the most
entertaining out there. So we sent a few questions to
LUSH to see where he is at with his complete Juxtapoz
interview, and if anyone has sent him interesting hate
mail today.
Oh, and POW just released this print today.
The rather elusive Lush has few interviews out there,
but from what I can divine, his aim is to be as balls-tothe-wall as possible, amusing his own self with his work
as much as it amuses everyone else, as he shoots up to
stardom (infamy? This remains to be seen). Somehow
he manages to take nothing seriously while sending
some intensely poignant messages. Whether this was his
intention when he first picked up a spray can or whether
he was just another jaded artist who happened to give
less of a fuck than all the rest, Lush will surely stay on as
an influential force on the streets.

Whether this was his intention when he

first picked up a spray can or whether
he was just another jaded artist who
happened to give less of a fuck than all
the rest, Lush will surely stay on as an
influential force on the streets.

78/

79

some intensely poignant messages. Whether this

was his intention when he first picked up a spray
can or whether he was just another jaded artist who
happened to give less of a fuck than all the rest, Lush
will surely stay on as an influential force
on the streets.
I steal all my ideas, I havent had an original idea
since I was in the nang, Charlie was everywhere,
the cut of jungle we were patrolling was thick with
a swamp fog in the dead of night. They came from
behind us and fired at the rear of the patrol I couldnt
fire back or Id risk killing my own men. They were
leapfrogging us, they must have been laying in the
long scrub letting us walk by like we were already
dead. I can still hear Little Jimmies screams, charlie
shot him in the back. MOTHERRRR rughghugggggh
his garbled blood soaked cries for his mother.
We became fast friends with Melbournes graffiti
provocateur LUSH last year when he came to San
Francisco for an exhibition at FIFTY24SF Gallery, and
turned the gallery into strip show. All the things you
hear about LUSH is that he pisses a ton of people off,
and that he does so for some sort of Internet fame.
Well, whats wrong with that? Its 2012, how else
do you get famous? LUSH will be opening up shop
in London on July 5 with a large warehouse show
that will surely cause some angry comments here.
That means this is all working... because it should be
noted that as far as graphic graffiti, LUSH is handsdown one of the most entertaining out there. So we
sent a few questions to LUSH to see where he is at
with his complete Juxtapoz interview, and if anyone
has sent him interesting hate mail today. Oh, and
POW just released this print today.
The rather elusive Lush has few interviews out
there, but from what I can divine, his aim is to be as
balls-to-the-wall as possible, amusing his own self
with his work as much as it amuses everyone else,
as he shoots up to stardom (infamy? This remains to
be seen). Somehow he manages to take nothing
seriously while sending some intensely poignant
messages. Whether this was his intention when he
first picked up a spray can or whether he was just
another jaded artist who happened to give less of a
fuck than all the rest, Lush will surely stay on as an
influential force on the streets.

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81

Next Gen
Designer:
Lauren Elise
Trend

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83

DESIGNER

AND

Lauren Trend talks to us about taking the concept of the pattern into the literal and how her flat
fabrications have grown into something more since showing at the MSFW runway.
Hey Lauren, tell us a bit about yourself
Im 22 and about to finish my Honours year of
RMITsBachelor of Fashion Design...so Im excited and
terrified in equal measure!

Whats the idea behind your

grad collection?
My practice is very much concerned with critiquing
and commenting on conventional fashion making and
methodologies. This collection began with an intrigue
in the stages of design and capturing this idea of the
concept/process within the outcomes. Its been an
interrogation of conceptual and quite literal elements of
the making processes within fashion, specifically looking
at the ideas of the swatch right through to the sample.
I was also looking at the implementation of repetition
in collections and this copy-paste mentality thats such
an undeniable element of designing a cohesive body of
work. Each garment is an iteration of the next, so towards
the completion of the collection it was about considering
what elements were missing and ensuring those gaps
were filled.

You got some fresh faces involved in

shooting your collection. Who are they
and why did you want them in
your clothes?
Putting the collection on a large number of girls
seemed like the best way to capture the concept
behind the work. I was also looking at traditional forms
of communicating fashion collections and the group
editorial is a particularly powerful image as far as fashion
communication is concerned. Playing on the tropes of
that intrigued me.

The girls that were a part of the shoot are all extremely
beautiful and unique personalities, some were really close
friends and others friends of friends that I cast through
Instagram, Facebook and what not. It was really about
wanting to work with a group of girls that I adored and
their willingness to be a part of something like this, and
their support meant the absolute world to me. Its really
cool to be surrounded by people in Melbourne who are
so willing to assist each other.

You seem to be interested in the

exhibiting and curating of fashion as
much as you are about the design and
wearability, could you break that down
for me?
Yeah absolutely! Ive been really privileged to be
exposed to a way of thinking at RMIT that really values
and encourages this interrogation with exhibiting and
curating fashion. For me a projects integrity lies in its
communication and the way that it is presented to the
public. For people to be able to engage with your work
is a huge privilege and the way that you conduct that
should be considered entirely. Theres something I really
enjoy about the wider audience consuming fashion
in ways beyond the exchange of money for material
matter. Curated Conversations* is a project thats
entirely concerned with transferring information from
nascent practitioners to a wider audience; creating an
unambiguous, unexclusive dialogue that allows anyone
to gain more insight into a nascent practitioners practice
and/or project.

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85

Lauren trend makes

wearable timelines of
her design process

What made you want to make your

concept so literal and bring it right
back to the flat forms of your
garments?
Well it began with the flat actually, I was looking at the
point in which a swatch, or flat piece of fabric, became a
garment through the application of signifiers or specific
construction. The big square pieces that opened the
capsule series at MSFW were the swatch of a jacket,
with only a vent in the back and then you start to see
swatched pants, dresses and skirts. Then each flat
iteration is represented in another way within the series.
Theres very much this oscillation between the real
and the flat and theres something so potent about the
connotations of flatness within in fashion.

You worked with some leather to

create bags and shoes, do you think its
important to create a whole image of
the collection beyond the clothes?
Absolutely! I think its important to consider every
aspect of the look, regardless of the context or mode
of presentation. It was especially relevant for me in this
situation where Im responding to modes of designing
and presenting fashion; accessories are an integral part
of that, so interpreting them in my project
was so important.

Do you think the MSFW runway was the

right way to present your collection?
I think it was an important exercise for me at that point
in time. As we only presented five looks, I felt like the
project then was almost too refined. From that point,
I was able to reflect on the possibilities of where the
collection could go and not feel restricted by a number
of looks or communicating larger ideas in such a
representative portion.

Will you be showing again during the

RMITs own runway?
I will be, Im excited to show a completely different side
of the project than what was presented at MSFW. The
series now consists of about 18 looks, so theres a lot
more to show.

Whats next?
I think its really important that we just keep making, its
definitely what a bunch of us are planning on doing upon
graduating. Making and continuing to present work here
in Melbourne, at least until we decide to pack up and
head overseas somewhere!

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87

Photography: Sebastian Petrovski

Words: Jamie-Maree Shipton
Styling: Lauren Elise Trend

88/

89

ZULU AND ZEPHER

STUSSY

PUSH TREES

MONTANA GOLD

POWERHOUSE

JUDITH WRIGHT

MARTHA RICH

MARTHA RICH

MARTHA RICH

MARTHA RICH

ALISON WORMAN

ALISON WORMAN

SONJA AHLERS

ISAAC TOBIN

ISAAC TOBIN

ISAAC TOBIN

ISAAC TOBIN

ISAAC TOBIN

CATIE ALLEN

YASMIN SUTEJA

YASMIN SUTEJA

YASMIN SUTEJA

YASMIN SUTEJA

YASMIN SUTEJA

SHARKH MIRZAL

SHARKH MIRZAL

SHARKH MIRZAL

SHARKH MIRZAL

SHARKH MIRZAL

SHARKH MIRZAL

KAT NICLIS

KAT NICLIS

KAT NICLIS

KAT NICLIS

KAT NICLIS

KAT NICLIS

BMAG

GOMA

GAVRIEL MAYNARD

MARTHA RICH

MARTHA RICH

MARTHA RICH

ALISON WORMAN

ALISON WORMAN

ALISON WORMAN

ISAAC TOBIN

SONJA AHLERS

SONJA AHLERS

MELINDA TIDWELL

CY TWOMBLY

CY TWOMBLY

CATIE ALLEN

CATIE ALLEN

YASMIN SUTEJA

YASMIN SUTEJA

YASMIN SUTEJA

YASMIN SUTEJA

YASMIN SUTEJA

YASMIN SUTEJA

SHARKH MIRZAL

SHARKH MIRZAL

SHARKH MIRZAL

SHARKH MIRZAL

KAT NICLIS

KAT NICLIS

KAT NICLIS

KAT NICLIS

KAT NICLIS

KAT NICLIS

PERRY KULPHER

PERRY KULPHER

PERRY KULPHER

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PERRY KULPHER

PERRY KULPHER

JASON LEE PARRY

JASON LEE PARRY

JASON LEE PARRY

JASON LEE PARRY

JASON LEE PARRY

JASON LEE PARRY

JASON LEE PARRY

CULTURE MACHINE

CULTURE MACHINE

CULTURE MACHINE

LUSHSUX

LUSHSUX

LUSHSUX

LUSHSUX

ANGRY BUBBLE

SEBASTIAN PETROVSKI

a d d

JASON LEE PARRY

JASON LEE PARRY

JASON LEE PARRY

JASON LEE PARRY

JASON LEE PARRY

JASON LEE PARRY

DREW P

DREW P

LUSHSUX

LUSHSUX

LUSHSUX

LUSHSUX

SEBASTIAN PETROVSKI

SEBASTIAN PETROVSKI

SEBASTIAN PETROVSKI

SEBASTIAN PETROVSKI

SEBASTIAN PETROVSKI

SEBASTIAN PETROVSKI

e n d
u m
ADDENDUM

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