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Call for entries – 2017 Digital Portraiture Award

NPG

The National Portrait Gallery has opened the Call for Entries for the annual Digital Portraiture Award, where an artist will win $10,000 cash and an artistic residency at The Edge, valued at $15,000.


The National Portrait Gallery has officially sounded the clarion call: entries are open for the Digital Portraiture Award 2017! Entrants have until midnight on 17 September 2017 to submit their digital portraits.

What might a portrait look like in the digital age? Now in its sixth year, the Portrait Gallery’s Digital Portraiture Award invites artists to help us explore that question. With the scope for entries broad, the potential for original, sometimes dazzling works sees Gallery visitors and staff keenly anticipating each year’s entries.

‘Over recent years, finalists and winners of the Award have created diverse and imaginative works exploring identity and portraiture through moving digital image.  Created from computer code, video recordings, animation and more, screen-based portraiture reimagines not only the tools artists might employ, but the possibilities of what a portrait could be’, said Karen Vickery, Director of Learning and Visitor Experience at the Portrait Gallery.

The winner of the Award will receive $10,000 cash and an artistic residency at The Edge, valued at $15,000.

The Digital Portraiture Award highlights the Gallery’s commitment to screen-based narratives and digital technology. The highest quality works, as determined by our judges, will be displayed at the National Portrait Gallery from 1 December 2017. These finalists’ entries will also be available to view on the Gallery’s website.

The Digital Portraiture Award 2017 will be on show at the National Portrait Gallery from 1 December 2017 to 18 February 2018.

 

Entries close at midnight on 17 September 2017. For more information on how to enter – and examples of past finalists’ entries – visit  https://dpa.portrait.gov.au/

 


 

2015 Winner: Isabelle de Kleine

Isabelle joined The Edge on a six week residency in early 2016. To find out about her artistic practice and what she got up to at The Edge, check out this blog post and short video: Isabelle de Kleine: The beauty of psychological mis-interpretation

You can also learn more about Isabelle, through her Facebook page.

 


 

IMAGE CREDIT:
Charles 2015 (detail)
by Amiel Courtin-Wilson
Winner, 2016
Duration: 6 minutes 29 seconds
Single-channel HD digital video
Soundtrack by Eliane Radigue (Jetsun Milla)

 


Sober Bob at ZICS 2017

ZICS

When I attended the 2016 ZICS, I had no idea what kind of path my budding-zine-creator self would be taking over the next 12 months. Sitting at my little half table, with my handful of zines and some cute patches, I was met with friendly faces, keen to see some new stuff – some people had seen me before at the GOMA fairs, and I felt giddy being recognised as my artist name Sober Bob.


For those who are unfamiliar, Zines and Independent comics are self-published, independently created works usually produced in small amounts, made for passion over profit, and are about a diverse range of topics from music to politics and everything in-between – you generally won’t find any caped superheros amongst the world of indie comics and zines.

I fell into zine making and the arts after leaving a messy job and flunking out of university. After much research, I discovered Copy and Destroy, a zine library and free printing service for the youth of Brisbane, and to my glee, was able to print off enough zines to launch myself into the scene.

After ZICS, I just wasn’t content to let zines fall to the wayside in my life. I began collecting and researching, along with making and distributing my own. And with that hard work, I became the “Zine Librarian” of Copy and Destroy, with the support of Visible Ink.

ZICS

Sober Bob at the GOMA Zine Fair

 

Copy and Destroy started as a small zine library, liberated from being thrown to the bins, by Adam L. (Obscene Fanzine), and kept up by many dedicated volunteers over time. Along with being an accessible zine library, Visible Ink houses it with printing and art services to help young people get their projects off the ground.

And now, at the 2017 ZICS, I’ll be hosting my own table, participating in the C+D table, and helping with workshops and event coordination. So many times I have heard people attending ZICS wondering how they could begin their own projects, and I hope I can ensure that more people are able to express themselves in this liberating medium.

If you’re coming down to ZICS on the 19th or 20th, come visit our tables and see what Copy and Destroy is all about. Or you could also come along to our panel ‘C+D Zine Librarianship Panel’, with Johnny Valkyrie, former Librarian of the Australian Cultural Library zine collection, and Bianca Martin from Melbourne’s Sticky Institute on the 19th, from 2pm on the Mezzanine level at The Edge.

 

Guest Blog post by Sober Bob

 


2017 Zine & Indie Comic Symposium

We kick off on the Friday 18 August with our Drink’n’Draw Pub Scrawl, which commences at Betty’s Espresso & Bar, West End at 6pm.

The festival will continue at The Edge on Saturday 19 August, celebrating self-publishing and print culture with a series of panels, workshops and mixer events held over three days.

Free entry to the Zine and Indie Comic fair, workshops, and panels ranging from gender identity to copyright and is repeated on Sunday.

Capping off the Saturday festivities for the very first time, ZICS is throwing the party of 2017: The ZICS Party Boat! Leaving from the Cultural Pontoon that’s located opposite The Edge at 6pm. Dinner and a full evening of all things self-publishing. Tickets $25 on the day which includes dinner. Meet 5pm at The Edge.

ZICS poster

 

 


Here’s your ticket to Little BIGSOUND

Would you like to be in the running for a complimentary ticket to QMusic’s Little BIGSOUND event?

 

Nominate yourself! Thanks to our partner QMUSIC, State Library have 7 complimentary tickets to offer to our community for the upcoming Little BIGSOUND event on Saturday 29 July 2017.

If you’d like to be in the running for a complimentary ticket, tell us in 25 words or less, what part of the program you’re most excited to participate in, and how attending will impact your music career.


 

Terms and Conditions:

  • Expressions of interest open Tuesday 18 July, and close midnight Sunday 23 July 2017.
  • To be eligible, the applicant must be available to attend the event on Saturday 29 July, and expressions of interest must be under 25 words and submitted by the due date.
  • The successful applicants will be notified by email on Monday 24 July.
  • Suitable for young adults aged 15+.

Behind the scenes of One Last Apocalypse

This month, The Edge will commence a five-month community-led project that seeks to encourage engagement among community, explore big ideas, and create something really special. It’s called One Last Apocalypse.

One Last Apocalypse will be an ongoing dialogue around the theme of Apocalypse. But, this time around, we’re not talking about zombies and the end of the earth, we’re looking at the root meaning:

Wikipedia“an uncovering” – a disclosure of knowledge or revelation. In religious contexts it is usually a disclosure of something hidden, “a vision of heavenly secrets that can make sense of earthly realities”

Think Brave New World, All the Pretty Horses, Maus

 


How will this work, and what will happen?

We’ll begin with critical literacy. To start the program, The Edge will run a not-your-average book club exploring songs, a graphic novel, and film. You can read more about it here.

Jumping into the next phase we’ll examine games over a series of game nights. The purpose of this engagement is to develop an understanding of apocalyptic gaming, explore what is fun about that space and open up discussions around social literacy and critical thinking about a cultural artefact.

Then comes the unpacking of design elements and making of ideas. Participants will actively engage with design concepts through play, and will be empowered to generate their own designs in preparation for event and set design fabrication.

One Last Apocalypse will culminate in a takeover of The Edge, and an event/experience/showcase that everyone will be invited to attend.

 


Throughout the entire process, The Edge will be documenting each phase with the intention of sharing learnings and project documents, so anyone (you!) can develop and implement a large-scale (or scaled down) community project of their own.  

 


 

Further reading?

We’ve shared two blog posts on the One Last Apocalypse so far:

  1. Not another apocalypse…
  2. Not your average book club

 

Stay tuned and follow the evolution of the program on TwitterFacebook and The Edge e-newsletter.

 


Announcement Post – A change of release times for courses and workshops

 

We’re about to make a change to the date and time of our course and workshop releases, and we wanted to give you the heads up!


Normally, courses and workshops are released four times a year: January, April, July, and September. The quarterly release in January, April, July and September align with the monthly e-newsletter for those months, which is published on the third Tuesday of the month at 10am.

We’ve taken on board feedback from our community regarding accessibility to book at 10am, and have made a change to the release schedule.

From next month, when we release our third round of courses and workshops for the year, the e-newsletter will be published on Tuesday 18 July (the third Tuesday of the month), with a full list of new offerings, and then courses and workshops will open two days later, on Thursday 20 July, at 6pm. Moving forward, this will be the new release timing.

Inductions. We haven’t forgotten about them! Inductions are released on a different schedule to courses and workshops, as the offering is different. Currently, Inductions are released monthly, in-line with the e-newsletter, on the third Tuesday of the month at 10am. This excludes the months of July and December when we don’t run inductions.

From next month, inductions will be released, still monthly, but two days after the e-newsletter and at 6pm. For example, the e-newsletter will be published on Tuesday 18 July, and inductions will open for bookings on Thursday 20 July, at 6pm – the same as the example above.

Below is a draft schedule, which explains the dates and timing above. Please keep in mind that this may change, as dates may be tweaked and circumstances change. During the year, if you’re unsure when the next release of courses, workshops or inductions might be, please give us a call on 07 3842 9400.

 

If you have any feedback on this change, we would love to hear from you – post below or send us an email at what.the@edgeqld.org.au

 

Month E-news published Inductions Courses/Workshops
June 2017 20/6 Nil Nil
July 2017 18/7 Released at 6pm on 20/7 for offerings in August Released at 6pm on 20/7 for offerings in August and September
August 2017 15/8 Released at 6pm on 17/8 for offerings in September Nil
September 2017 19/9 Released at 6pm on 21/9 for offerings in October Released at 6pm on 21/9 for offerings in October and November
October 2017 17/10 Released at 6pm on 19/10 for offerings in November Nil
November 2017 21/11 Nil Some Christmas workshops may be released on  23/11

 

 

 


Not your average book club

Book Club

The Edge hasn’t ventured into book-club territory before, but we thought it was about time that we did – with an Edge spin, of course!

The Edge book club will be more than turning pages. Over three Monday nights in the month of July (and one Wednesday in August!), we’ll discuss song lyrics, a well-known novel, an award-winning graphic novel, and a film, through the lens of Apocalypse.

But, that’s Apocalypse in the true sense of the word.

Wikipedia“an uncovering” – a disclosure of knowledge or revelation. In religious contexts it is usually a disclosure of something hidden, “a vision of heavenly secrets that can make sense of earthly realities”


Kicking off the limited-run series is the songs and lyrics book club, on Monday 10 July. There will be live music, recorded music, snacks, conversation and YOU!

Come and join in on the conversation! There is no pre-requisite to play until the end. Join us for one meetup, or all four, and see what comes of a community-led, apocalyptic showcase to be revealed later in the year.

 

BOOK CLUB 1: Song Lyrics

  • Monday 10 July
  • 6pm – 8pm
  • The Edge
  • Free, but tell us you’re coming!

Check out our Book Club Spotify playlist, and if you feel so inclined, create one and share it with us on Facebook

 

BOOK CLUB 2: Graphic Novel – Maus

  • Monday 17 July
  • 6pm – 8pm
  • The Edge
  • Free, but tell us you’re coming!

BOOK CLUB 3: All the Pretty Horses

  • Monday 24 July
  • 6pm – 8pm
  • The Edge
  • Free, but tell us you’re coming!

BOOK CLUB 4: Avengers

  • Wednesday 2 August
  • 6pm – 8.30pm
  • GOMA & The Edge
  • Tell us you’re coming!

 

A moment of revelation… 

via GIPHY

 


Aartwork by Rachael Bartram
www.rachaelbartramart.com

Flying Car
2015
Collage

 

One Last Apocalypse


ENTRIES OPEN: QUEENSLAND REGIONAL ART AWARDS 2017

Flying ArtsThe Queensland Regional Art Awards (QRAA) is an annual visual arts prize and exhibition for established and emerging artists living in regional and remote Queensland. The program aims to provide a platform for further professional development.

In 2017, the QRAA theme is ‘Iconic Queensland’. Queensland is rich with iconic structures, people, locations, events and lifestyles that shape the State’s identity. Artists are invited to consider the unique and iconic elements within their own regions, to produce works that reflect our diverse Queensland communities.

The theme is to be addressed in an accompanying artist statement of 100 – 150 words. All entries are eligible for the $10,000 Flying Arts ‘Art for Life’ Award and for selection in the touring exhibition.

FIND OUT MORE

 

Award Name Award Prize
Flying Arts ‘Art for Life’ Award $10,000 cash, acquisitive
The Annie Tan Memorial Watercolour Award
Thanks to Annie Tan
$2,500 cash, non-acquisitive
Betty Crombie Young Artist Development Award
Thanks to Betty Crombie
$2,000 cash, non-acquisitive
Textile Art Award
Thanks to Janet de Boer and Art for Life donor
$1500 bursary to attend Blue Mountains Contextart
People’s Choice Award
Thanks to Ironlak Art and Design
Adult – $1250 Ironlak art materials voucher
Youth – $750 Ironlak art materials voucher
Digital Art Award
Thanks to SLEEP & CO and The Edge, State Library of Queensland
Fully funded one week residency at The Edge, SLQ valued at $4,000
Regional Artist Award
Thanks to The Johnson (Art Series Hotel Group) and Jugglers Art Space
Fully funded one week residency at Jugglers Art Space, Brisbane valued at $2,500
Remote Artist Award
Brought to you by USQ Artsworx
Fully funded one week residency at McGregor Summer School (Jan 2018) valued at $2,500

Flying Arts is a partner of Sate Library of Queensland.


#MADETODAY – Re-making Mega Fauna

Guest post by, Joseph Burgess

For me, The Edge is the Swiss-army-knife of creativity agency. Aside from having hand tools, 3D printers, sewing machines, soldering irons and above average coffee, there is a community that is thriving on creativity.

Everybody is doing their own unique thing and it’s always cool to see what people get up to. I’ve met some really good friends through The Edge and I have learned heaps in the time I’ve been going in. It started off as once a week and has steadily progressed to nearly every day. Most of the time I sit there smashing out editing videos and animation.


Since they’ve recently updated to using the newest version of Premiere, I’ve been getting into splicing some 360 footage and making my first VR videos. It’s interesting to work with footage that is spherical. I’m developing a VR project to show people what Australia looked like through the ice age because it wasn’t actually very icy here at all and it was actually a really crazy hyper rainforest. Think of the arid center for a second… Now imagine lakes big enough to support crocs, turtles, and all kinds of aquatic life that need lots of water to survive. The videos will be long meditative shots where you can experience the complete brutal nature of ice-age Australia without a time machine.

I had a couple of months of just getting really into the 3D printers and making replicas of fossils for reference. A few of them have come out really well and I’d like to cast them in copper someday when I can get my hands on a smelter. Between Brisbane Hackerspace and The Edge I’d have to say Brisbane has all the other major Australian cities beat on creative resources available to the public. In the four years that I was travelling around, working as a creative, I feel really fortunate to have my feet on the ground in Brisbane and be able to rock up to The Edge nearly any day of the week.

Thylacoleo Necklace

Obdurodon-skull

Obdurodon Skull Necklace

For now I’m just slicing and dicing my way through all the footage I captured for The Australian Mega Fauna Project and putting out a small line of shirts, hats, and mega fauna jewellery. It has taken a long time because I’m a perfectionist and I wanted to do the first few shoots with black and white film photography. The truth is I got really and deeply side tracked when I realized you could develop 35mm film with coffee, Panadol, vitamin C, and wine to name just a few. The Edge is the confluence of all the things I’d like to have in a workspace and I’ll definitely keep coming back.

 

A little bit about The Australian Mega Fauna Project.

My original goal upon arriving here in 2012 was to make The Australian Mega Fauna Project, a stop-motion animated documentary concerning the lack of mega fauna in popular Australian culture. I felt that if I could reintroduce these species as giant puppets into contemporary urban settings, people might pay a little more attention to one of the most unique stories in all of natural history. I threw myself into the project and chased the story around the continent.

It started with making animations and doing field work in remote areas alongside some of Australia’s top palaeontologists and ancient DNA researchers. It then progressed to holding exhibitions internationally and launching public arts initiatives that not only allowed me to realise the visuals for the project but also gave me the chance to share it with school children.

Walking Chicken

Walking Chicken

Thylacoleo dreaming

Thylacoleo dreaming

Thylacoleo in Fitzroy

Thylacoleo in Fitzroy

Thylacoleo Wooly's Brunswick

Thylacoleo Wooly’s Brunswick

Procoptodon Parliment station

Procoptodon Parliment station

Now, five years later, I have a body of work that is rich in character and has some of the key ingredients to a story just as Australian as ANZAC biscuits, Victoria Bitters, and Vegemite.

The next chapter of the project will be launched in Brisbane and concerns the lineage of the living koala. Similar to the Tasmanian tiger in that it is the last living member of its taxonomic family, the koala has a diverse lineage that includes many distinct species ranging in size from the miniature litokoala and perikoala up to the robustly built phascolarctos stirtoni.

‘Stirt’ weighed in at approximately 30kg and fossil evidence suggests that it existed alongside the extant koala phascolarctos cinerus. Due to climate change and inadequate legislation to protect them, the living koala is in a perilous situation.

As an artist with a passion for Australian animals, I feel it is my role to tell the story of the koala’s prehistory and to highlight the urgent need to work together to ensure the future of this iconic native species.

If you’re in Brisbane, keep a lookout in the tree tops of your community – the original ‘drop bears’ are coming back!

 


 

Would you like to know a little more about Joseph and his work on The Australian Mega Fauna Project? Check out his website: www.master-builder.squarespace.com

 


A week in the life of an Edge Resident

Guest post by, Donna Davis, recipient of the Flying Arts 2017 Digital Art Award

Winning the ‘The Edge Digital Art Award’ as part of the Queensland Regional Art Awards meant that I could undertake a one-week residency at The Edge. I had previously undertaken some short courses at The Edge so knew that this residency would present some valuable opportunities and skill development for me as an artist.

Once the residency dates were set I began researching equipment, programs and projects that The Edge had to offer. I was spoilt for choice, however as a multi-discipline artist decided that working in the Fabrication Lab and learning how to use the Laser Cutter and the 3D printers was of most interest to my arts practice.

I am intrigued with the idea of connection, and work across a range of media including sculpture, installation and digital media to explore networks and relationships within the natural world. My most recent body of work, ‘Unseen’, explores symbiotic connections between plants and fungi, so I used this project as a muse for creating and trialling new works during my residency at The Edge.

My first day in the Lab involved inductions on the Laser Cuter and 3D printer, and also a tour of the facility. Then, thanks to the wonderful team at The Edge, began to learn new skills in Adobe Illustrator, and Corel Draw in order to design works that could be processed by the laser cutter. Whilst I am quite familiar with Adobe Photoshop, I found Adobe Illustrator quite challenging, but persisted and was able to create a few designs, based on fungal root systems, which were then etched and cut using the laser cutter.

Donna Davis  

 

I also trialled a number of materials in the laser cutter to explore creative possibilities; these materials included acrylic, cardboard, plywood and vinyl. All produced very different results, however, the works that were most successful for my practice was the acrylic etchings and the intricate plywood design cut-outs. I spent many hours cutting and etching to create a series of multiples that could then be incorporated into new works once back in the studio, these are still in development.

Donna Davis

Overall, the residency provided me with valuable skill and professional development, allowing me to understand the capabilities and limitations of this type of equipment and opportunities available to do further work at The Edge through their public Lab program.


If you’d like to learn more about Donna and her practice, visit www.donnadavisartist.weebly.com


Stranger sounds – Subtractive synthesis

Anyone who has seen the award-winning, science fiction series ‘Stranger Things’ will have observed the soundtrack is dominated by synth sounds of the 80s. Canadian group Survive composed the soundtrack almost exclusively using vintage ‘subtractive’ synthesizers (e.g. Korg Mono/Poly, Sequential Circuits Prophet-5, Roland SH-101).     


So what exactly is a subtractive synthesizer?

Subtractive synthesis is arguably the most commonly used form of synthesis in modern music. The best analogy for how the sound is shaped is to think of a block of stone a sculptor chips away at to arrive at their desired shape. Depending on the artist’s choices the outcome can be extremely varied.

With a subtractive synth you commence with one or more oscillators creating a raw sound (saw, sine, square are examples of the waveforms an oscillator can produce). From there you have a myriad of choices in terms of modifying the sound but an obvious technique is to adjust the filter cut-off. As with our sculptor analogy, reducing the filter cut-off removes some of the audio signal and can transform our bright, raw sound into something more smooth and mellow.

Now if we delve deeper, most subtractive synths have a ‘low frequency oscillator’ (LFO) we can assign to the filter cut-off. It’s low frequency because, generally speaking, the oscillator is below our level of hearing and is used for modifying the output of the oscillator/s that do produce a sound.

Sinewave LFO image (from Synthquarium

Sinewave LFO image (from Synthquarium)

 

Just as the name suggests, the LFO ‘oscillates’ up and down (think of a series of waves in the ocean rippling in succession) and, if assigned to the filter cut-off, will cause our waveform to cycle between the raw, bright sound and more mellow, softer tone. The ‘wob’ bass sound in dubstep is an extreme example of this particular technique.

If you’ve stuck it out this far, chances are you may be interested in trying to create your own sounds using a subtractive synth. The good news is The Edge’s Digital Media Lab provides free access to music production software such as Logic Pro X (you can even borrow a midi keyboard and headphones). Within Logic Pro X there are several ‘virtual analogue’/digital emulations of a subtractive synth such as ‘Retro Synth’.

subtractive synthesizer

Screen Shot from Logic Pro X

 

In addition to The Edge’s Media Lab, State Library offers free access to Lynda.com (a comprehensive video tutorial site) that has a number of courses covering the fundamentals of synthesis and electronic music production. Producing Electronic Music in Logic Pro is well worth checking out.