All posts by The Edge News

QMusic’s Industry Connect – A free program for emerging musicians

Industry Connect is a new music program bringing music industry professionals from around Australia to regional Queensland (and The Edge!) to help anyone interested in building a sustainable career in the music industry. 

QMusic’s Industry Connect program is designed to help early/intermediate career musicians and workers get the knowledge, relationships and opportunities they need to succeed!

Industry Connect provides showcase opportunities throughout the year, for musicians within the program. While travel grants can help to bring you to BIGSOUND in September 2017.

Did we mention it’s FREE?

Over 13 sessions you’ll learn how to:

  • Take your song-writing to the next level
  • Successfully promote your music on digital music platforms like Spotify and Pandora
  • Run a successful tour
  • Build a team around you or manage your own career
  • And much, much more…..

It’s also a great chance to meet other people in your local area that can help you get ahead.


Some of the music industry professionals confirmed for the program include:


Huw Nolan – Director of Artist Management and Record label, Good Manners Music (VIC)
clients include Banofee, Kilo, Lucianclomkamp, Planette

Jackson Walkden – Brown – Music lawyer, Chris Chow Creative Lawyers (NSW)
clients include Eskimo Joe, Wolfmother, MGM, Ministry Of Sound 

John Mullen – Head of A&R at Dew Process (QLD)
working with Bernard Fanning, Circa Waves, Last Dinosaurs, Mumford & Sons, Kingswood

Joe Alexander – Director / A&R, Bedroom Suck Records (VIC) 
working with Totally Mild, Blank Realm, Terrible Truths

Ali Tomoana – Director & Artist Manager, Soul Has No Tempo (QLD)
clients include Sampology, Jordan Rakei, Tiana Khasi

Sarah Chipman – Publicist, Title Track (QLD) 
clients include Sticky Fingers, Cub Sport, Tired Lion, West Thebarton Brothel Party

Tim Price – Publicist/Director, Price War/ Collison Course (QLD)
clients include Sydonia, Twelve Foot Ninja, Dead Letter Circus

Tyler McLoughlan – Music license broker, The Sound Pound (QLD) 
Plus many more to be announced.


Whether you want to be touring musician, artist manager or understand how to book a venue, be a music publicist or start your own record label, Industry Connect is all about arming you with the knowledge and resources to make the right decisions and connect you to the right people.


Upcoming Workshops


QMusic Industry Connect Workshop // Get Good

QMusic Industry Connect Workshop // Home Town Heroes

QMusic Industry Connect Workshop // Is This Even Possible?

QMusic Industry Connect Workshop // It’s a Business

QMusic Industry Connect Workshop // Know Your Product

QMusic Industry Connect Workshop // I Get Around

QMusic Industry Connect Workshop // Click Here

QMusic Industry Connect Workshop // Getting It Out There

QMusic Industry Connect Workshop // Meet Your Maker

QMusic Industry Connect Workshop // I Heard It On The Television

QMusic Industry Connect Workshop // Building a Team vs. DIY

QMusic Industry Connect Workshop // Why Should I Give You Money?


Upcoming Masterclasses


The Masterclass series is a condensed format of the full Industry Connect program with four intensive sessions throughout the year.

QMusic Industry Connect Masterclass 1 // The Basics

QMusic Industry Connect Masterclass 2 // Skill Up

QMusic Industry Connect Masterclass 3 // Plug In

QMusic Industry Connect Masterclass 4 // Amplify



Industry Connect Brisbane is delivered at The Edge, by QMusic, Queensland’s music industry development association. QMusic creates pathways to music industry success.

Plug in. Skill Up. Amplify. 

QMusic is supported by the Queensland Government through Arts Queensland and State Library of Queensland.



#MADETODAY: Dog tags

#MADETODAY Dog tags, by Talia Yat

Dog tags

Toshi, the doge model


What did you make?
Dog tags

What inspired you to make this?
Dogs who are escape artists!

What Fabrication Lab resource did you use?
Laser Cutter

Where’d the design come from? 
Designed this myself using Adobe Illustrator.

Lastly, is there anything else you’d like to tell us about what you’ve made?

Although the wood tag looks cool, it’s not practical. The wood tag lasted about 2 weeks (her friend kindly chewed it off). The acrylic tag has lasted a lot longer.


Dog tags

Toshi’s tags, including the timber tag, that didn’t last long


Dog tags

The reverse side of Toshi’s tags


Have you made something in the Fabrication Lab today? We’d love to hear about it and share it with The Edge community.

Submit your entry here:

More inductions, more access and the highly anticipated CNC

We’ve added 30 more seats to our Laser Cutter inductions for March, set new ‘Open Lab’ times for 2017 giving you more access to the equipment, and we’re launching the CNC inductions! It’s a good month!

First things first. More Laser Cutter inductions! We’ve added an extra three inductions into the March schedule – that’s an extra 30 seats than normal, and we’ll continue to add more inductions each month while the demand is there. If you miss out this time, please let us know, so we can make an assessment on how many more to run in the coming months. Send us an email here.



Next on the list, is access to the Fabrication Lab through our scheduled hours of Open Lab. After a trial-run of new hours late last year, we’ve reviewed the use and feedback and have set new hours for 2017.

Weekly Open Lab hours

  • Tuesday 12-8pm (drop-in use only, no online bookings)
  • Wednesday 12–6pm
  • Thursday 12–6pm (Hack the Evening commences from 5.30pm)
  • Saturday 12–6pm

If Open Lab is new to you, let’s take a step back…

What is Open Lab?

Open Lab at The Edge is when the Fabrication Lab and Makerspace is open to the community. We offer set times each week, where you can access quality, professional equipment like a Laser Cutter, 3D printers (we have many and in different formats), CNC Router, Sewing Machines and Overlockers, Soldering Stations, Tool Shop and general work benches.

The space is fit for all types of projects, assignments, prototypes, experiments, business ideas and any creation that needs space and/or access to professional equipment.

Along with the equipment and space we also offer great minds! Whether it’s chatting to the experienced Lab staff to obtain a cleaner etch on the Laser Cutter, or troubleshooting a poor cast from a 3D printed model – we have great minds and we like to share what we know.


Read more about the Fabrication Lab online, call The Edge on 3842 9400 or drop in during any Open Lab session or Hack the Evening meetup and chat to the staff – we’re more than happy to introduce you to the space.


And lastly… the CNC Router.

After some testing and training, the CNC Router is up and running! From today we open bookings for the CNC Router inductions, and then add it to our list of equipment available to book during Open Lab. You don’t need any prior experience on a CNC to attend an induction, we’ll run you though the safety requirements and how to use the software. Each time you book the CNC thereafter, there will always be a Lab Supervisor right there with you.




Two New Playlists for Your Spotify Account

Do you ever wonder who curates the music at The Edge? You’re sitting there working on your project in the Window Bays when suddenly your favourite band starts playing through the PA system. Well, let’s meet two of the team that pick your Edge soundtrack and peer into their eclectic mixed tape.

Here is some music inspiration and two playlists to add to your Spotify account.



Sunny Bankrupt Billionaires

Sunny mid-gig with the Bankrupt Billionaires


For those of you familiar with The Edge, you know we aren’t a quiet space and we play music over the course of our opening hours. As one of the Visitor Services Officers who curates the musical content, I’ve put together a playlist of songs/artists that I get inspiration from as a musician and, more generally, in my day to day life. I picked out a few of the tracks below and provided a brief run-down as to why they made the list:

J Dilla – Gobstopper

J Dilla is probably the single greatest influence/inspiration to me in terms of my music practice. As Questlove (The Roots) recently noted, he was the “paradigm shift” that changed hip hop and electronic music production forever. Gobstopper is from his final album Donuts shortly prior to his untimely passing. On the face of it it’s an extremely simple song; a loop lifted from a 70s soul record and some drums. Yet it also displays Dilla’s impeccable ear for melody and demonstrates his command of groove that many musicians/producers (myself included) strive to channel in our own compositions.

David Axelrod – Songs of Innocence

I discovered this artist when I was sampling vinyl for my hip hop group in the early 2000s. The marriage of heavy drums, guitars, organs, vocals and orchestral instruments was a revelation; I realised the music I loved was not bound by a particular era and you don’t have follow many genre-specific rules when writing music.

Mndsgn – Alluptoyou

Mndsgn is an artist on one of my favourite and eclectic record labels, Stones Throw. This particular track has a dreamy, ethereal quality to it and, as with most of Mndsgn’s catalogue, makes me want to stop listening and sit myself in front of a keyboard and start writing.

In terms of my musical practice, I describe myself as a producer/beat maker/synth nerd. My roots are in hip hop (The Optimen) and spent many years collecting and sampling vinyl records. I’ve since been involved in a soul outfit (Bankrupt Billionaires) and released solo electronic/synth based music under the moniker ‘Exploko’. Most recently I’ve scored an ABC iView documentary featuring street artist Amok Island.

Check out Sunny’s playlist on Spotify



Here’s a mix of around 20 songs from classic rock, heavy metal and a lot of funk.

What can I say? As a musician, primarily drummer and guitarist, I am driven towards big sounds or sounds that really make you get a groove on.

I’ve been on a self-taught musical journey for about 10 years (composing and producing for around three) and there have been a few standout tracks I can pinpoint as key to my musical development.

Dr. Funkenstein

This track by Parliament showed me a couple of things about composition that I’d been ignorant of until the point of hearing it. The first is you don’t need a fat guitar tone and lots of notes to make your guitar sound really good in the mix. The other is you can break from the standard rock formula of guitar, bass, drums and vocals and add other instrumentation (notably brass in this track) to really compliment the song.

Black Dog

This song, if I can remember correctly, was my first introduction to syncopated drums. Now up until this point (and partly due to my lack of formal music education) I had been a strictly 4/4 player. I couldn’t really wrap my head around how to play this track for a while and it opened a huge door of ideas and ways of making my playing sound interesting.

American Ghost Dance

Anyone who knows me can tell you I’m a huge Red Hot Chili Peppers Fan. It’s not unique for the Peppers to sing about sensitive or important issues. The issue being addressed in this track being the slaying of native American people and the claiming of their sacred lands. This song showed me that you can write about melancholic material while still being uplifted. This song jams and you can really get down to it.

The rest of the music in my playlist follows similar inspiration and I’m sure that at the end of the list you’ll be bobbing your head or tapping your foot in time.

Check out Will’s playlist on Spotify

Kitchen Chemistry with Dr Musk

Kitchen Chemistry

You can tell that chemistry is important because of the way we use it in our everyday lives, without even knowing. Washing the clothes, putting a new battery in the remote and baking a cake in the kitchen all rely on simple chemistry to enhance our lives…

…but, what else can you do with the chemistry all around you? Come along to The Edge’s Old-School Chemistry Kit workshop to find out and take home the knowledge and equipment you need to begin your new adventures in science.

Mixing solutions to make bubbles of flammable gas, learning how to get electricity from scrap metal and salty water, or how to give something a shiny copper coating are just some of the tricks included in The Edge’s Old School Chemistry Kit.

Take a trip to the hardware and the pharmacy to find the ingredients you need, borrow a few things from that bulging third drawer in the kitchen, then add the safety knowledge you will learn at The Edge to explore the surprising variety of chemistry that is possible with stuff you pass by every day.

Wrap it all up in the retro design kit we provide and you have the perfect Christmas gift for the budding mad scientist in your family.

There is just one Kitchen Chemistry workshop session on offer, so don’t miss out!

  • Sunday 18 December
  • 1pm-5pm
  • $80
  • No skills required
  • Suitable for ages 16+


Guest Post by Fine Art Photographer, Scott Raylor

Next month, The Edge will host a new community exhibition by Australian Fine Art Photographer, Scott Raylor. But, before then, he’s penned a post to introduce himself and his work.

By Brisbane-based Fine Art Photographer, Scott Raylor

‘Good work is not synonymous with perfect work. Art is human. Humans make errors. Thus, art is errors. To require perfection is to invite paralysis.’ David Bayles & Ted Orland – “Art & Fear”.

When it comes to art-making, never were truer words spoken, and as the countdown to my ‘Still Lives‘ exhibition marches on, I am reminded of the challenges I’ve faced over the last eighteen months creating and refining these images. I recall times in the process where my frustration levels have peaked as I’ve sought that elusive perfect image. I’m reminded of the times I sat at the editing desk refining and refining and refining, only to find the rawness of the original image was gloriously imperfect unto itself. Doubt played a major role in this project. I felt at times ineffective, lost, and uninspired, not really knowing which way the series should run. I tried too hard to make images that made perfect sense literally. All these elements joined together to conspire against me, so it seemed.

Only after digging in and waiting for the doubt storm to pass did I realise that all these elements are a part of the process.

This reflection has given me the ability to loosen up; a creative exhalation of sorts. Through recognising the imperfect nature of art-making, I’ve felt the freedom of creative inhibition, and I feel relinquished from the necessity of consistently pumping out top quality images. Only through doing our work, over and over again, imperfectly and humanly, can we find unexpected loveliness in what we produce. And hopefully, others will see this loveliness too.

Scott Raylor

My workspace at home


Meaning-making can so often feel like a solitary mission between subject and maker, but this could not be further from the truth.

The truth is, it takes a community to bring a project to its full potential. Friends and family, galleries, social media and local businesses play key roles in the development of the project. A friend who knows a friend gives you a contact from someone in the gallery business. Friends on social media share posts of your work on their pages, and the local coffee shop offers up a space on their wall for your flyer. One of your mates offers invaluable advice after they have just finished their project, how to save money in certain areas allowing for smarter spending in others, pushing you for one more image that will fit the space that they know so well having just exhibited. The framer and printer bring your beloved project to life through their skill and experience.

And so it is that I’ll be presenting my works, wrought from a procession of images I’ve taken over the last eighteen months, at The Edge, State Library of Queensland.

It is within this bunker of a building, perched by a languid stretch of the Brisbane river, that I’ll lay these images bare to the public.

It’s an opportunity for a stark observation in the duality of what all artists face when presenting works to an audience; it is both the final crowning glory, and the embodiment of out greatest fears.

Scott’s exhibition, Still Lives, will be on display at The Edge from 9-18 December.


Still Lives



A very Edgy Christmas!

Historically we’ve not been about theming our workshops to suit the season. But, we’ve changed our mind this year and thought we’d experiment and see what you – our community – thinks… and so far the response on Facebook has been really positive!


Here’s what we’ve got coming up!

Old-school Chemistry Kitsedgy_xmas_fb_chemistry

Work with The Edge’s resident mad scientists to build a chemistry experiment kit out of common – and not so common – household items. Learn how to conduct the experiments and wrap it up to put under someone tree, or not.

This will be a one-off 3 hour workshop, run in early December.




edgy_xmas_fb_storybookPop-up story-book making

Design and fabricate your own pop-up card/short storybook on The Edge’s laser cutter. Wire it up for sound and record your message or story. We’ll even provide some pre-written stories with gaps to insert names.

This 3 hour workshop will run over two session in early December.

**Update 7/11 – unfortunately, we won’t be running the story-book workshop in 2016. But, watch this space next year, when we hope to run a try-it workshop.




edgy_xmas_fb_baublesGlass-blown Christmas decorations

Learn from a master of the trade to design and blow your own glass decorations. Wrap-up your bauble for a special someone, or pop your one-of-a-kind decoration on your own tree!

This 4 hour workshop will run in early December.




As a way of a heads up, these workshops will be live and open for bookings next week! So, keep an eye on our website and our Facebook page for updates.


Recreating the Story Bridge, by Paul Morris

Between March and August this year, Paul Morris used The Edge’s Laser Cutter to cut-out approximately 500 components for a 1:250 scale model of Brisbane’s, Story Bridge. In this post, Paul shares his inspiration for the project, decisions around the choice of material, plenty of archive and process of photos, and all the digital files you need to make your own Story Bridge replica!

Written by Paul Morris

A bit of background…
The Story Bridge was designed by Sir John Bradfield between 1933 and 1935, having previously completed the design of the Sydney Harbour bridge in the 1920s.

Inspection of the Story Bridge construction by His Excellency, the State Governor Sir Leslie Orme Wilson and Dr John Bradfield, 7 July 1938

Inspection of the Story Bridge construction by His Excellency, the State Governor Sir Leslie Orme Wilson and Dr John Bradfield, 7 July 1938

In researching the design of the Story Bridge, I discovered that the original tender design drawings were housed at the State Archives of Queensland. The State Archives are open to the public on selected Saturdays, so I visited the Public viewing room with the intention to photograph a number of the drawings. As it turned out, a copy of the design could be requested in digital format at no cost (BYO USB disk). A total of 92 drawings made up the tender set, dated 1935. A copy of the cover sheet and the drawing block (which shows the design approval by Dr Bradfield) are reproduced below.

Cover Sheet of Tender Drawing Set – Story Bridge, 1935

Cover Sheet of Tender Drawing Set – Story Bridge, 1935

Hand renderings included in Tender Drawing Set – Story Bridge, 1935

Hand renderings included in Tender Drawing Set – Story Bridge, 1935

Close-up of Drawing Block; Tender Drawing Set – Story Bridge, 1935

Close-up of Drawing Block; Tender Drawing Set – Story Bridge, 1935


As an engineer, I find blueprints fascinating. This set, signed by Sir John Bradfield have considerable nostalgic value for Queensland engineering. The first few sheets of the tender design pack are reproduced below.

General Arrangement Plan showing bridge alignment; Tender Drawing Set – Story Bridge, 1935

General Arrangement Plan showing bridge alignment; Tender Drawing Set – Story Bridge, 1935

Bridge longitudinal section used for dimensioning the 1:250 scale model; Tender Drawing Set – Story Bridge, 1935

Bridge longitudinal section used for dimensioning the 1:250 scale model; Tender Drawing Set – Story Bridge, 1935

Bridge longitudinal section used for dimensioning the 1:250 scale model; Tender Drawing Set – Story Bridge, 1935

Bridge longitudinal section used for dimensioning the 1:250 scale model; Tender Drawing Set – Story Bridge, 1935


How it all started…
When shopping with my wife at a homewares store, she spied this $300 metal bridge shelf and said she was keen to buy it for one of my sons. Looking at the flimsy sheet metal construction, I naturally said – “…oh, I can make a bridge shelf much better than that, and probably half the cost….”, which evolved into a 6 month project (that has yet to yield a metal bridge shelf!).

Storey Bridge inspiration

After some investigation, I established that I could fabricate the metal in nominally 4mm, 2mm and 1mm gauge mild steel via a metal fabricator employing a laser cutter. Design was relatively no problem, as I’ve been using AutoCAD for a couple of decades now.

So I spent a fair few evenings designing the metal components and got a couple of quotes for metal laser cutting. No real surprise, the cost to cut ranged from $150 to $600, for a scale ranging from 1:500 (900mm long) to 1:250 (1,800mm long). I eventually opted for a 1:250 scale.


Let’s talk material…
Having completed the design, I contemplated how I could check that all of the components would actually fit together before committing to the metal laser. One option was to model each of the components (as designed) in 3D and using a modelling package such as SolidWorks to check for constructability (ie. that the cut parts fit together). This wasn’t a particularly difficult exercise as I had drawn all of the components in 2D and only needed to extrude each 2D surface to the thickness of the mild steel plate. Needless to say, this is a robust, highly accurate and thoroughly professional approach, but where’s the fun in building a virtual model?

In order to prototype the steel bridge model, I wanted to find a cheap material that was easy to use. Plywood was a natural choice, as were a range of polymer sheet materials. Surfing the internet identified a few laser cutting firms, albeit, when initial pricing came back, I discovered that the cost to cut plywood and acrylic was only marginally cheaper than steel!

After much more surfing of the internet, I stumbled across the State Library of Queensland site with an obscure reference to a laser cutter. Once in The Edge Fab Lab webpage, all was revealed – “…Conceived as a model for the library of the future, The Edge, launched by State Library of Queensland (SLQ) in 2010, is at the forefront of re-imagining libraries for the 21st century. With a mandate to empower Queenslanders to explore creativity across art, science, technology, and enterprise, The Edge is a visionary space for ‘creating creatives’; a melting pot of ideas and innovation, capacity-building, experimentation and innovation….”. Or in other words, The Edge has a laser cutter that the public can use for free!

With induction completed, I experimented with plywood and acrylic and very quickly landed on acrylic as a much cleaner and accurate material to model with. It also had the advantage that I could also model in the same gauge as proposed for the mild steel – that is, in 4mm, 2mm and 1mm thickness.


Time to cut…
After some effort in shopping around, the thinner 1mm acrylic was sourced, however, the very thin nature of this material, coupled with the fine detail proposed for the pieces to be cut meant the 1mm acrylic just couldn’t be cut to the 0.5mm width sought without significant distortion (warpage) of the material.

  • The best result in the thin material was achieved through the following cut measures:
  • Multiple passes at high speed in lieu of less passes
  • Scoring the acrylic to about 0.8mm thickness, then snapping the remaining 0.2mm uncut section – this actually gave quite a good finish with zero distortion of the material (ie. the distortion only happens when thermal stress was relieved when the laser eventually cut through
  • Zig-zagging the cut, which is achievable with AutoCAD, whereby a few centimetres were cut in one location, then the cutting head was moved to another location to allow the original cut to dissipate heat, then the remaining cuts zig-zagged all over the sheet
    Although a departure from the original proposal, I opted for 1.5mm thick acrylic, which actually proved to cheaper than 1mm acrylic.

Tech specs and files…
Design of the model was completed in AutoCAD 2014, then dwg files imported into The Edge’s Corel Draw 7, used as the primary software interface with The Edge’s Trotec Speedy 300 laser cutter. Only problem encountered importing AutoCAD files into Corel Draw was with respect to hatching. The imported hatch areas would be corrupted and could not be used for engraving. Engraved hatching was imported as single hairlines, offset at 0.05mm to create a thick engraved line (eg. a hairline offset 20 times at 0.05mm generates a line of 1mm thickness). I’m sure there is an easier way, so will investigate on the next model.

Files are attached in the zip file, and tabled below. Total cut length was 216m involving 3.6sqm of acrylic, albeit actual acrylic used is probably another 50% on this area with the trials that were conducted.


Cad files are offered for use under a Creative Commons Attribution-NonCommercial-ShareAlike license



Story Bridge - Table of files

In addition to the acrylic as a material used, Weld-On 3 Acrylic Solvent was used for all bonding. This solvent proved to be extremely easy to use and effective in bonding the acrylic. A syringe was used to inject the solvent into the joints. Initially a hypodermic needle was used, but eventually I ordered larger / longer printer-ink needles that were better suited to applying the solvent. In fact, by simply touching the needle end to the joint to be bonded, the capillary tension created by the joint between the acrylic pieces was enough to draw the solvent out of the need without the need to actually depress the needle plunger.

The beauty of Weld-On 3 is that it is dichloromethane solvent which has a very low viscosity and is highly flammable. Or in other words, it evaporates very quickly which means there is no clean-up required. Working time is about 1 minute, with bonding time about 2 minutes. Unless a glue, solvent bonding involves momentarily chemically dissolving the acrylic, after which it re-solidifies. This is more akin to a weld as opposed to a chemical adhered bond. The bonded interface is normally very clear, so the bond is in fact invisible.

What’s next?
Paul’s Story Bridge replica will be on display in The Edge for the next few months! Make sure you pop down and check it out!

Learning the craft of bookbinding

On a Thursday afternoon, in Window Bay overlooking the river at The Edge you will come across a creative group of bookbinders.

The aptly titled, Bookbinding Club, experiments with different bookbinding styles and materials, like; leather, cloth, thread, found objects, and traditional materials, including paper and card.

Bookbinding club meetup

Michelle Vandermeer, organiser of the Bookbinding Club, is an artist and graphic designer who has always been drawn to book design, and the tactility of handcrafted book making.

Using various techniques and materials, Michelle has recently fabricated a book using the lid of a vintage cigar box, she has also previously used other found items such as, vintage gameboards, waxed timber boards, old ornate novel covers, linoleum, storybook pages, vintage sheet music, pianola-rolls, and even a book printed entirely on white cotton.


Bookbinding Club

The craft of bookbinding can be simultaneously highly technical and highly creative. Skills in precise measuring, folding, and cutting are necessary, but a creative flair for materials and methods is the means for creative and

polished works.

Those new to bookbinding find hands-on, collaborative learning is easiest, so you can physically learn the steps and how to use some of the more challenging tools and materials, such as awls, bone folders, book presses, waxed thread, particular glues and pastes.


Bookbinding club

The Bookbinding Club group meets regularly at The Edge to share projects, ideas and skills (for free!).

The group offers a variety of get-togethers and events that encourage anyone interested in learning the craft of bookbinding, with a wealth of information about learning to bind, sourcing the materials and tools required – it’s a fun social gathering too!


For more information, check out the What’s On calendar, or follow the Bookbinding Club on


Alexandra Jack: Vibrant artist & Edge devotee

It doesn’t take long to realise Alexandra Jack is someone who gets to the point, and when she says she loves bright colours, some might think that is somewhat of an understatement.

Alexandra currently has her work hanging in the Brisbane offices of KPMG, the international accounting firm. The exhibition “Scope” was launched on September 12th to mark Disability Action Week. For the fourth year, KPMG have allocated their office space to the skilled and varied works from Access Arts members, where they can hang their work for the coming 3 months. Four thousand people are estimated to walk through the reception area in that time, giving artists a great opportunity to sell their works.

Alexandra Jack

Alexandra says she exhibited in 2013 and this is the first year back since, “I don’t belong to any particular group at Access Arts which are more fine art based, and my work is more abstract digital based work”.


Alexandra, with her iPad close by, displayed her digital works, as well as having her printed pieces on the walls, “I create 3 or 4 works a day and some I like and others no so much, but I don’t delete anything, some people like what I don’t, I don’t mind. I have thousands”.


Alexandra has been coming to The Edge since it opened in 2010 and in that time her interests have spread across many different mediums, while remaining true to her love of the abstract and distinctive.

Alexandra Jack
With her iPad and pencil, Alexandra will spend an hour or so on the bus travelling to The Edge and using Procreate, an application that allows her to paint and draw as she wants. “I wouldn’t go anywhere without it. Except when I lost it that time.”

With workshops in video editing, design and blogging under her belt, Alexandra has now found a new home in The Edge’s Fabrication Lab.

“I have ideas to join some of my art works together using different materials so I’ve done inductions in 3D printing, laser cutting, and also the tools and soldering. I have a Raspberry Pi and 3 Arduinos and I am really interested in using these RGB LEDs for an art installation, that’s where I’m going with it.” Alexandra has just contributed her artwork to another Access Arts exhibition happening at QUT Kelvin Grove titled “Kaleidoscope” which is part of the Brisbane Festival. It involves her work being projected in combination with works from the Access Arts Drama Group and Camera Wanderers.

Alexandra Jack
Alexandra can always remember being interested in art from a young age when she was a primary school student attending the Trustees’ children’s creative art classes in the old Queensland Art Gallery in the Exhibition Building Concert Hall on Gregory Terrace.

“If I didn’t have my art it wouldn’t be me, there is no me without it, if that makes sense?”

Sometimes Alexandra just comes into The Edge to sit in the foyer space and relax. “I never plan anything, I would be no good at an art school I just do my own thing, and if I’m stressed out it calms me down, helps me to relax.”
On her new found home in the fabrication lab, Alexandra says she has had no problems fitting right in,

“I didn’t know about these things until the fabrication lab opened and now I go along to Hack The Evening and people encourage me and everyone is accepting, I like how people share information and help me as well. There’s a guy who’s 70, so that’s good, I’m not the oldest one down there.”