Christopher Inwood - Exhibition 2016

/

"Jugglers Art Space Experience - "Voyeur" Exhibition (2016) - Christopher R. Inwood

In 2016, I had the opportunity to exhibit my second solo show, "Voyeur," at Jugglers Art Space in Brisbane. At the time, I was 25 years old and deeply immersed in developing my own artistic style. It was a period of exploration for me, both as an autodidactic artist and as a person trying to navigate the complexities of the art world. Jugglers, under the direction of Peter Breen, gave me a chance to experiment in a way that not many other spaces were willing to. like drilling straight into the ceiling to hang two projectors without permission. I owe a great deal to Jugglers for supporting me during that pivotal time in my creative journey.

"Voyeur" was an ambitious project for me—it consisted of 16 portraits, 2 projected digital videos, and 1 audio recording, all focused on exploring the relationship between the artist and the subject through the lens of voyeurism and digital realism. I spent months preparing for the exhibition and had a dedicated team of five people helping me install the work. The opening night was packed, with people crammed shoulder to shoulder in the small upstairs room of Jugglers. The atmosphere was sweltering but electrifying, with the space buzzing with energy and curiosity.

Peter Breen's quiet but constant support was invaluable to me. I distinctly remember how, after my artist talk one afternoon, he and I had a group discussion about the exhibition’s themes. His feedback, along with that of others, helped me refine my approach to future exhibitions. While I didn’t sell any artwork during "Voyeur," I consider it a success because it set the stage for my next solo exhibition at Brisbane Square Library. Jugglers gave me a platform to showcase my vision and, more importantly, a space to fail, learn, and grow as an artist.

Over time, Jugglers became more than just a gallery for me—it was a place where I formed connections with other creatives like Peter, Evan Hollis and many others. I continued attending shows and events at Jugglers, watching the space evolve and change over the years, seeing the next crop of artists wander in. 

In retrospect, I feel somewhat disconnected from the larger impact Jugglers had on the Brisbane art scene, but I know it did a lot for emerging artists like myself. It was a space where creativity could thrive, a hub for experimentation and innovation, particularly for those just starting out. While I might not have fully grasped its broader cultural influence, Jugglers provided me with something even more personal—a place to express myself and to learn what it means to be an artist.

Now that Jugglers has closed, it feels tucked away in my past, where all my hope and joy live.Where my artistic career began to take shape. Though it's no longer part of my present, its influence still lingers in my work and my memories."

Kind regards

Christopher R. Inwood

Emily Fong and Urban Art Binge

/

Reflecting on the influence of Jugglers in my life: 

Jugglers. A gallery. A home and a heart. Open to all. I will never forget sitting beside Pete for the first time inside Jugglers Art Space in 2011. I can remember the smell of the white painted walls, the cool concrete floor and the feel of the black ottoman we sat on that day. I told him I was ready to have a studio and I had heard that Jugglers rented spaces to artists. I don't remember exactly what he said to me but I remember feeling seen, welcomed and supported. I was given the keys to an old Queenslander house on Maynard Street, Wooloongabba, shared with another artist, Kristy Morgan, a jeweller practicing as Ruby + Prankstar. It was to be just the two of us, in our art house.  

When I arrived, the house was filled with leather, metal and bones, plants in jars and a quiet that I had not experienced before. The sound of the train line very close by was the metronome. Otherwise, there was so much quiet for my creative mind to hear itself. This gift of silence was a treasure that I did not know that I needed. I knew I needed the space and the time, but the privacy for my art practice to grow was key. 

As well as the creative solitude, I soon realised that I needed to connect with other artists and to share my passion for teaching drawing. From my Maynard studio, I reached out to a painter, Joannah Underhill. I knew she was running workshops around Brisbane and I asked if she would like to meet and share knowledge and experience. We met at Lady Marmalade cafe and two hours later had a business plan sketched out for Urban Art Binge, a partnership that flourished for two pivotal years. Inhabiting Jugglers Art Space as our creative home, Urban Art Binge taught the skills of plein-air drawing and painting around Brisbane to many, and developed these works in studio night classes. Many of the Urban Art Bingers have gone on to continue their creative practices in various forms and Joannah and I were so proud of each of them. Although this time was full of beauty and deep connection, Joannah lived many of her years with cancer. She passed away in August of 2014, leaving behind a beautiful legacy of creativity, joy and humour. Jo remains present, walking alongside those who love her in myriad ways. 

I handed back my keys to Maynard Street around this time, however, this first studio at Maynard and Jugglers Art Space lives within me. Once you are offered a creative home so fully and so generously, it makes a space inside the body that is intangible, yet so solid. I continue to practice as an artist. My focus has never wavered from the body, yet the ways in which I see continue to develop and be influenced by these early formative connections. The more I dig, the more I have realised that I need a scientific lens to see the body at different scales. My practice continues to investigate the layers between architecture, the body, science and the natural world. The art house within me is open.

 I am forever grateful to Peter Breen, and every other person who has very contributed to the existence of Jugglers. From my whole heart, thank you 

Emily Fong

 Emily Fong (she/her)

www.emilyfongstudio.com

@emilyfongstudio

 

From mates who painted at Jugglers in the early days

/

Reminds me of the kinda shit we pulled at jugglers when Melbourne street art fest came to town. Ruthless days

Peter Breen

Jugglers?

Peter Breen yeah they were great days, thanks for everything you did for the local art scene, you opened up a lot of doors for us including your own. Much respect

Ted Black Thanks Ted much respect - they were great days indeed . If I may I will add your comment to www.jugglersartspace.com.au / two pages. Many thanks.

Jugglers - early images

/

As we move towards collating images and text for our Monograph here are some early images at the Everton Hills church site where it all started and then in the early days of 2002 - 2004 at 103 Brunswick Street. Photos Credits - with some anonymous - as far as we know: Phil Lock, Peter Breen and Tony O’Hagan

Jon Adams

/

FINAL EDIT 30/07/2024

 

JUGGLERS ARTS SPACE

 

Most businesses have a limited lifespan, and art galleries and studio spaces are no exception. The difference with Jugglers was it lasted way longer than most people expected. Jugglers opened its doors in 2002 at 103 Brunswick St, Fortitude Valley, and quickly became a meeting spot (and melting pot) for Brisbane's rapidly growing progressive arts community, who turned up (almost without fail) for the Friday night exhibition openings often spilled into the courtyard.

 

Over the years, Jugglers became synonymous with cutting-edge art, its contrasting exhibition spaces and studio program providing fertile ground for shared ideas and creative exploration. Of course, there'd been other art spaces in Brisbane before Jugglers, invariably artist-run ventures that struggled to stay afloat or maintain momentum over the long term. But Jugglers Arts Space was different. It had an aura of permanency and a sense of purpose and direction that others lacked.

 

Jugglers was also more than just a gallery. Its paint-splattered walls housed and protected the throbbing heart of Brisbane's emerging underground art scene, with dozens of young artists finding a safe and inclusive environment where their talent could flourish.

 

By the time Jugglers shuttered their Fortitude Valley headquarters in March 2018, the team behind the iconic arts venue had been supporting Brisbane's creative community for 16 years and continued activating empty spaces and providing affordable studios for artists, poets, musicians and comedians for another five years.

 

Many artists who gravitated toward Jugglers in the early days were the OGs of Brisbane's burgeoning street art movement. Sofles, Buttons, Fintan Magee, Drapl, and Guido van Helten are just a few of the artists who achieved international fame on the back of a quirky little art space born in Fortitude Valley. Pretty cool, huh?

 

Words: Jon Adams

 

 

 

 

Sarah Sculley - images

/

Sarah Sculley - Queensland artist, muralist, mentor, innovator, leader within a once predominately male domain.

/

Sarah is involved in a number of projects including Women on Wall [ Indonesia] and Micro-Galleries [ Nepal]

I had known about Jugglers for years. I had seen some of my favorite local artists reside in the space and go on to do amazing things. I knew, that the first place I wanted to exhibit my work in Australia was at Jugglers Art Space. When I gave myself a year to make it as a full time artist, I approached Jugglers to hire the venue for a solo exhibition at the end of that year. To my surprise, they said yes.

I planned the exhibition to within an inch of it's life. I spent all of 2015 creating works, curating, playing. On install day, Peter took the time to give me a few tips on how to professionally hang my works - d-rings one third of the way down the canvas. The show almost sold out and I've been a full time practising artist since. Jugglers has given me opportunities to run workshops with schools. Jugglers has given me a space to host international female street artists and to paint together. Jugglers has given me so many friends and connections in the Brisbane street art scene. Jugglers has given me a mentor in Peter. Opportunities to paint for the Queensland Government, to collaborate with artists such as Lucks and Clay Smith. Jugglers has given me space to have a second solo show and many group shows. Even after the closure of the Jugglers Art Space, the people I have met and the collaborations I have been part of have still thrived. I now paint murals in collaboration with other Jugglers artists, I exhibit work in Brisbane most recently in Sydney with artists I met through Jugglers. I have gone on to teach everything Peter has taught me to school students and emerging street artists. I have bought art from and sold art to Jugglers artists. 


Jugglers Art Space was the heart of Street Art in Brisbane. Although the building doesn't exist anymore, the friendship and collaborations and education and support continues within that generation of artists that were lucky enough to work in the space.

Jordan Bruce - Brightsiders

/

Hey Pete,

Here are a few words about my experience at juggs.

My experience at Jugglers Art Space Fortitude had a formative impact on my life and work as an artist. I had made marks on the walls like so many graffiti artists in Brisbane. The walls were everchanging with high quality graff productions and there was no shortage of inspiration to be found. 

I learnt more about the spirit of the organisation through my involvement with mentoring programs through BCC and the Youth Service that I worked at Brisbane Youth Service. We would hold workshop at the fortitude valley location with homeless and at risk young people. The groups that we would bring could be unpredictable with participants often coming from traumatic backgrounds, you would never really know what might happen. Peter Breen and the team would always provide an accepting and supportive environment for the young people. In a world that would often shun or turn their back on these young people Jugglers represented something different and special. 

I was also a direct beneficiary of this spirit with my introduction into painting murals coming through jugglers. I have not looked back since and will always remember the value that was placed on an art form that is often maligned and the impact that this had on the people that participated in this. 

Jordan Bruce 

Mark Pierson - art loving seed sowing motivator

/

I fell in love with Jugglers Art Space almost as fast as I had done so with Peter. The fact either happened was somewhat disconcerting on reflection. I wasn’t an artist and didn’t have much understanding of art, I just liked hanging out with creative people and wanted the Church to support them. About all we shared in common were introversion, creative juices and a distrust and discombobulation with institutional church things. We also shared a common experience of the lesser known biblical practice quoted in the Book of Acts, of “kicking against the pricks”. While having a more agricultural meaning in Roman times, the phrase communicated well our shared experience of the institution in contemporary times.

I had the great delight of watching Peter push through the pricks, at significant personal cost, to form Cafe Jugglers that would go on to become Jugglers Art Space. Endowed with a huge intellect and an earthy practicality to match, coupled with a dogged commitment, he and wife Maeve and their boys followed their hearts. Their deep concern for people unmoved by religious institutions, led them into laneways and along train-tracks where the Christian church had not ventured. 

The arts, and artists, are generally not well understood or supported by churches and church institutions. Street art…, well it all comes under the “anti-social tagging” label. The terms, ministry, church funding, and pastoral care never intersect with it. But for Peter they were all in the same basket. “People are people whatever they eat for breakfast.” (Lyric, Ray Columbus). 

The first time I stepped into the Tunnel at 103 Brunswick, I was overwhelmed - not only by the fumes, but by the sheer depth and weight of the creativity as half a dozen artists with aerosols as tools of creativity went about their thing. The Back Space was an arena filled with beauty and passion and collegial acceptance. I cried. Studios, White Space, exhibitions, commissions, court appearances, the Stairwell project followed. Fifteen years later when I held a 4mm thick piece of paint off the Back Space wall - layer on layer on layer of spray-paint build - I cried again. Here in this fragment of paint the despair and hopes, successes and failures of untold artists were embedded and embodied. It felt as significant as any fragment of the biblical story. In fact it was, and still is, a part of the biblical story: the story of God moving among people in healing ways bringing flourishing and hopefulness.   

Thank you Peter. I know there were others involved with you. I also know that the vision and drive to fulfil it originated in your heart. The face of the juggler in your logo should be changed to one with a smile on his face. I know that God smiled often at what you did and continues to do so on what you have done. Thanks for allowing me to share in your pilgrimage. It’s an honour to know you. What’s next…?

Mark Pierson

Former owner of 103 Brunswick Street - Jeff Hopkims-weise and Rev Mark pieson - 2003

Artist at The Shed - Hamilton

/

Hi Peter, I’m not much of a writer and not at all a story teller but I do have such fond memories of my associations with Jugglers and I am forever grateful to you for giving an ageing woman dreaming of being an artist, the opportunity to share space at The Shed all those years ago.  So a few words I’ve put together below:

Although I have been drawing and painting most of my life and did lots of weekend and evening workshops, it was only after I retired from my public service job that I was able to go to proper Art School.  I can’t remember exactly when it was but around 2012-2013 I was lucky enough to be offered a studio space at The Shed. I was in heaven. Having a studio at The Shed was perfect for me as I lived in Hendra, a 5 minute drive away.  My space was on the Mezzanine level and I shared that space with Mel and later, Rose Moxham.  Downstairs were the wonderful glass artists Jo Bone and Aaron Micallef and Paul Harris working on his highly expressive portraits.  Other artworks were sprinkled around the ground floor and occasionally there was performance art.

I loved the shed - the studio looked out across a bitumen tarmac (now Eat Street) to the river and across the river to Colmslie and the boat building sheds.  This scene was the subject of many of my works.  Mostly my time in the studio however, was spent gazing out the window at the boats and the birds, never a boring moment.  Forever grateful to Peter Breen and Jugglers for the opportunity and the experiences to nurture my and many other’s creative spirit.

Joy McDonald

Across the river

From the shed studio

/

Anthony Jigalin

Hey Peter loved jugglers and having many shows there! I remember Richard Bell opening one for us! Drawings covering the roof and lots of regular community minded projects and people. Saw Wade and Tas get married there. Lots of art shows and fun ways to get involved.

Blair Hall

“This place was the best of my teenage years and helped me get away from the wrong side of life, Peter Breen was like a grandfather to some of us young artists. I still remember staring at this piece sooo many times for soooo long and getting lost in it. Words can’t explain how much Jugglers ArtSpace means to me “ Blair Hall 

Muchukunda Menheere

Hi I just wanted to say jugglers was a big part of my youth in Brisbane.

It provided a safe and friendly atmosphere to express myself with spray paint. It was a place I could paint, meet up with friends and socialise in a way that was usually at the risk of being arrested. 

I remember sometimes having no camera to capture my work and I'd rock on the office door and ask to borrow the jugglers camera. They'd even send the pics to my email. 

Those guys were truly for the youth.

Jugglers is a model I'd use if I started a youth space. It ticked all the boxes and the main one being that it provided a space fir youth to be seen, respected and valued. 

Image from Donna Randell

partying out the back at jugglers 2009

before the joys of smart phone photography - 2009

Merideth McLeod

/

Jugglers Art Space

A Reflection

I first met Peter Breen not long after I moved to Brisbane in 2000. My first Brisbane exhibition Androids Do Dream of Electric Sheep ii  (neon, screen prints and paintings) was held in 2001 at Cafe Jugglers in a church hall situated on the Northside of Brisbane. Due to family, work and study commitments it was a number of years before I could rekindle my association with Jugglers. Eventually I was able to attend the weekly life drawing group run by Nic Plowman and later Aaron Micallef. Life drawing became the highlight of my week for many years…serious drawing with wonderful models, great discussions and at times much humour. So many wonderful memories, networks and friendships that will stay with me forever were forged on these nights. This involvement with Jugglers led to participation in many exhibitions including annual life drawing exhibitions, Jugglers group exhibitions and a solo Exhibition in 2016, Helmer’s Tragedy. In 2015 I was a finalist in The Marie Ellis Drawing Award. These events were all extremely significant in my personal art journey and will fondly be remembered forever.

 Jugglers was a vibrant, active hub and I was always blown away by the philosophies and directions within which the environment moved under the caring, visionary perspectives provided by Peter Breen. The nurture provided to young people with a diversity of backgrounds was exemplary as was the amazing graffiti produced on everything from the walls to the garbage bins. I still miss the smell of spray paint and walking in to the space to discover new and often brilliant images in the making. I remember the ‘excitement’ when the back wall fell apart revealing the multiple layers of paint and imagery. I now have a very special framed piece of the graffiti wall that reminds me regularly of the extraordinary times and memories of Jugglers that will never leave me.

 A very special congratulation to Peter Breen, his family and members of the board for everything that was Jugglers.

 

Meredeth mcleod - “Helmer’s tragedy” at jugglers art space

“Helmer’s tragedy” jugglers art space

out the back of jugglers - an opening night event

“Androids do dream of electric sheep “ MEredith mcloud 1998 everton hills

An Enigma Turned Home

/

Jugglers

An Enigma turned home

Words by Sarge

In the early 2000’s, unless you drove an Audi and lived on the hill in Hamilton the Brisbane art scene seemed somewhat non-existent. That was until you stumbled across Jugglers. It was a beautiful, grimy, graffiti littered space in the heart of Fortitude Valley. It had rad studios for artists, two main gallery spaces, a small bar and shop and a huge courtyard out back. It was an artist’s paradise.

I had graduated art school in 2000 and after a stint overseas was desperate to get back to painting and creating, I needed an art crew. By chance I stumbled across a punk art show in West End in a small gallery /studio space called S & M studios. I was hooked and immediately asked to join the residency. I had found my people; artists, musicians, punks, misfits, provocateurs of change. My world had opened up exponentially and soon after, I quickly found other spaces that these artists were frequenting. One space in particular was Jugglers. It was bigger, better and far more shit together than our space but completely welcoming. I’d set myself a goal and that was to have my work shown there.

Jugglers were regularly hosting group and solo shows so I took a chance and applied for one. Long story short I was accepted and so began a long and rewarding affiliation and a conduit through which I met a multitude of artistic peers, forming lifelong friendships. It was Jugglers that inspired me to open my own artist run initiative and other small galleries and ARI’s have blossomed in similar fashion thanks to the standard Juggers set. Jugglers created a legacy for Brisbane artists and has been an integral tool in bringing the arts to the people. Thank you

 

A reflection on being at Jugglers - Steve Falco

/

I look on my 3 years as a resident artist at Jugglers 103 Brunswick St, as a major influence in my development as an artist. I used to love arriving to the space in the early hours of the morning before anyone and sit in the courtyard, having a coffee, contemplating, while listening to the sound of the city wake up and the traffic begin. 

I always remember the feeling of opening the garage door, driving into the tunnel. The moment the garage door closed behind me, the outside world didn’t exist anymore. It was replaced by my safe haven of creativity, excitement and endless possibilities. 

I created the body of work for my first solo exhibition during this period. I painted one of my best ever solo pieces on the back wall. I developed my painting skills in both brush and aerosol, in that courtyard and studio. I was able to have my daughter hang out with me there and experience the magic of jugglers. I painted a tribute piece for my late grandmother there. I did countless collaborations, and forged many friendships that are still strong today, from my time at Jugglers. 

I grew as a person, interacting with people such as Pete, Katherine, Phil, Carmel, Buster, Nina, Kira, Lucks and others gave me the opportunity to enjoy the company of a diverse group of individuals who made me feel comfortable and valued. This helped develop my self confidence. 

My time at Jugglers is a part of my journey that I hold dearly in my heart.

I have attached a photo that was taken in my rear view mirror as I drove away from the space for the last time. The silhouette of Peteski at the end of the tunnel, marking my last moment at my then, art home, Jugglers. 

Steven Falco 

Jugglers artists and visitor call out!

/

JUGGLERS STORY

April 4, 2024

Call out:

1. Former Jugglers STUDIO ARTISTS at 103 Brunswick Street, Wooloogabba, Dutton Park, Tarragindi, Norman Park, The Shed ( Hamilton) 2003-2023

We have begun work on our book ( Monograph) and are also working with Paul Andrew on the history of ARI’s in Brisbane ( 1970 - 2024).

We would love to hear from you on the impact on your life and art practice with Jugglers and will post your reflections ( 500 words) on our website www.jugglersartspace.com.au / two pages

We want to offer the most interesting and affecting story one of 9 drawings by Carolyn McKenzie Craig of her winning work in the Marie Ellis OAM Prize for Drawing ( 2015) “ The Truth About Mirrors” ( below) The Jugglers Board will read all the stories.

Deadline: June 30, 2024

psbjugglers@gmail.com.

Jugglers board members:

David Fittell, Phil Lock, Randal Breen, Marissa Lindquist, Giuseppe Filardo, John Fitzwalter, Aaron Micaleff, Peter Breen

2. We are also keen to hear from you if you visited Jugglers ( 2003-2019) - maybe you exhibited or performed or as a graffiti writer used the back space. Your story can be up to 500 words and we will post it on our website ( Two Pages) The affect and impact is what we are looking for.

Send to Peter psbjugglers@gmail.com

Peter Breen

Stairwell Project COVID-19 Survival Fund Raiser - Thankyou

/
CollageSTWL copy.jpg

Thank you to all who gave in support of these and other musicians who form the team of The Stairwell Project. It is greatly appreciated. 

Many of you who have given are up against it financially and emotionally and so we are more than grateful. It shouldn't have to be this way!

It adds to our successful Jugglers ArtSpace Australia Council grant [$5000] for 11 musicians!! So each musician will get around$600- $700 - about a month's pay for some musicians on the road these days! 

And for that we are grateful but reality says that it feels like charity not a serious German-like commitment*.

[*Germany Has Rolled Out a Staggering €50 Billion Aid Package For Small Businesses That Boosts Artists and Galleries—and Puts Other Countries to Shame. "Artists are not only indispensable, but also vital, especially now," says the country's culture minister.Mar 25, 2020]

The failure of the Conservative Federal Government to recognise the value of the arts at this and all times [ unless its the top 5% of galleries/museums/concert halls/some festivals] has been highlighted slowly and now with increasing intensity. The investment into the arts has not changed - only the voices are being given a louder voice on the ABC at least. 

We are artists, not businesses. 
Our "business" - let's call it out calling - is the arts not business. 

But without the arts there is no cultural depth, health, well-being and a society that is alive. 

We live in hope that one day a long term strategic visionary change will make Australia an arts nation as much or more than a sports nation.

93721531_10158890511281874_3703253216452935680_o.jpg
Screen Shot 2020-05-08 at 1.27.51 PM.png

ANDREW SARAGOSSI - He's the guy playing the saxophone!

/

 For some time now, Jugglers Two Pages and our weekly newsletter has been featuring stories from artists,musicians and other creatives who are part of the Jugglers family or have had a step up through their engagement with us over the years. Today it is a joy to have Andrew Saragossi’s story in his own words. We have watched his evolving success over the past 5 years with great excitement and we are sure that he and his partners/colleague Helen Svoboda will continue to grow deeply. Peter Breen.

Hello readers of TWO PAGES. 

 My name is Andrew Saragossi, I am a saxophonist/organiser/educator/composer from Brisbane and I am currently living in the Netherlands completing my Master of Music studies alongside my partner and collaborator Helen Svoboda.  This time away from the comfort and familiarity of home has proven to be extremely valuable and profound for me – I feel as though I have a clearer vision and confidence in my individual musical identity as well as a better understanding of where and how I want my career in the arts to develop into the future. 

Before I go further, I just want to thank Peter Breen for offering me this platform to share my current doings.  Peter’s leadership and ethos continues to inspire me in my artistic pursuits (and life in general) and the time we spent together at the RBWH with the Stairwell Project was truly life changing for me. It allowed me to experience the power of music and art and their importance in our society on a level that I had never comprehended before and showed me how much good can be done through community building and outreach – values I still hold close today.  

 My personal practice and research are currently centred on the exploration and development of a personal approach and musically functional application of unconventional & extended techniques for the saxophone.   This concept was born out of my frustration with always being limited to the melodic/soloistic role in any given musical situation – I wanted to know what it felt like to truly accompany or occupy a different musical space AND I wanted to develop my own way to do this utilising the saxophone to its fullest potential.  

 This has opened up a whole new world of musical possibilities for me, fully manifesting in my newest duo project MEATSHELLco-led by Helen Svoboda (double-bass/vocals).  Self described as experimental-folk, we utilise traditional song forms, non-traditional musical roles and unique textures in the pursuit of serving the story of the music in the most expressive ways we can.  We had the opportunity in late last year to take this concept even further as we wrote, directed and performed in our debut immersive theatre production entitled “Peaceful Co-Existence” which won the inaugural Award for Innovation for Music in Maastricht.  

 I am still writing, recording and touring with my main Australian project Milton Man Gogh(co-led by Benjamin Shannon, drums & Zac Sakrewski, bass/effects) as well as my other European project AHA Trio(co-led by Helen Svoboda, bass & Andre van der Heide, drums).  MMG are coming to Europe in March to participate in the finals of the B-Jazz International Competition in Leuven, Belgium (along with MEATSHELL) and AHA Trio will also be competing in the final of the Jazz Burghausen Awards in Germany in the same month.  Even though it can be difficult, for me it is extremely exciting to have so many different projects based in different places around the world.  

 Aside from performing, I have been very fortunate to be working as the Head of Production with the team at Jazz Maastricht, a non-profit organisation bringing local, national and internationally renowned jazz artists to this region.   This job has allowed me to build on my experience with my Brisbane based labels Green Chimneys Records and SuperSonic and I now feel a new level of competence that I am excited to continue developing.  

 I feel lucky to have had so many inspiring people in my life who are ambitious, pro-active and think in terms greater than themselves.  As I write this, I keep circling in on one fundamental idea that I believe is of upmost important for anyone (especially those in the arts) to embrace and act through.   People should consciously and consistently put themselves in positions that force them go beyond what they think they are capable of.  This could mean radically different things for different people but the essence is that creativity, progress and development are born out of discomfort. Why would anything change otherwise? 

ASV20681.jpg
ASV20682.jpg
AndrewSaragossi#2.jpg
85138546_2487641731489824_9222867794809323520_n.jpg

#BushfireBrandalism - for the future, for now, for the kids. 

/

#BushfireBrandalism - for the future, for now, for the kids. 

#BushfireBrandalism 

 41 Artists take to the streets across 3 Australian cities for the nation’s largest unsanctioned art campaign 

 The streets of Sydney, Melbourne and Brisbane have become the backdrop for the nation's largest unsanctioned outdoor art exhibition. Organized and realized by 41 artists, 78 advertising posters have been replaced with bespoke thought-provoking images and messages. Speaking to the current climate crisis seen via devastating drought and unprecedented bush fires, this undertaking is a direct reaction to the feelings of hopelessness and powerlessness experienced nationwide in recent weeks. 

Last weeks intervention throughout Sydney, Melbourne and Brisbane #Bushfirebrandalism  

 “As a collective group of Australian artists, we have been driven to reclaim public advertising space with posters speaking to the Australian government’s inaction on climate change and the devastating bushfires.  

We do not accept that this situation is ‘business as usual’. We are making these issues visible in our public spaces and in our media; areas monopolized by entities maintaining conservative climate denial agendas.

If the newspapers won’t print the story, we will!” 

  Original designs focus on a range of subjects including the fossil fuel industry, the bravery of the local firefighters and the destruction of the country's unique flora and fauna. With their combined 700,000 social media following, these artists hope to raise awareness of the underlying causes of this abnormal fire season and the actions needed to prevent and control it in the future. The work installed on local bus stops and similar advertising spaces promote relevant information as well as direct contact to over 30 charities combating the issue via a QR code.   

 Beyond the Bushfires, the intervention speaks more broadly to the use of conventional advertising space in Australia. With one entity controlling 59% of all daily newspaper sales, the artists question the position of the media landscape in Australia and its coverage of issues concerning climate change.

  Artists include Georgia Hill, Tom Gerrard, Sarah McCloskey, Amok Island, Andrew J Steel, Blends, Callum Preston, Cam Scale, Damien Mitchell, Dani Hair, DVATE, E.L.K, Ed Whitfield, FIKARIS, Fintan Magee, HEESCO, JESWRI, Ghostpatrol, Leans, Lluis fuzzhound, Lotte Smith, Lucy Lucy, Makatron, Michael Langenegger, Peter Breen, The Workers Art Collective, Stanislava Pinchuk, The Lazy Edwin, Thomas Bell, Tom Civil, WordPlay Studio, 

Thanks to the many participating artists and creative professionals who chose to remain anonymous, 20 volunteers, MilkBar Print, Brandalism UK , Bill Posters, Sasha Bogojev, Ian Cox, KGB Crew, Public Access, Nicole Reed, Luke Shirlaw, Jordan Seiler, After Midnight Film Co, Everfresh Crew, The Culprit Club, The Peep Tempel, Wing Sing Records, Waste, Adam Scarf, NCCP, Gabby Dadgostar, James Straker, Partier Bresson and Charlotte Pyatt 


*Please note that this campaign has no affiliation with *marketing agency ‘Brandalism Australia’ This is an independent action coordinated by Australian artists and creative professionals**

 

Copyright © 2020 Charlotte Pyatt, All rights reserved.
Charlotte Pyatt

Our mailing address is:
Charlotte Pyatt

London

London, KT16 0RS

United Kingdom

490937ca-b616-44e1-b686-bf727f329fae.jpg
9d8a271c-9446-42cf-95e1-b3d21272ff42.jpg
84610112_10158591117346874_3352948661519646720_o.jpg

Dung beetles and rain - lessons for artists and composers. 

/

Dung beetles and rain - lessons for artists and composers. 

Randal Breen was the Director of Jugglers Art Space from 2002- 2010 at 103 Brunswick Street, Fortitude Valley initiating and overseeing a range of community and fine art initiatives, development and expansion: The Marie Ellis OAM Prize for Drawing, Brisbane Artist Run Initiatives Festival [ BARI], Emerging Artist Development Program [ EADP] and public murals - e.g. Platform 9 [ Roma Street Station] Platform 1 [Central Station]. 

Randal, with his wife, Juanita and children Eli and Bridey is now happily farming at Goomburra [ SE Qld] working through issues around sustainability in drought within a regenerative farming model and has found with the recent rain some remarkable and ongoing lessons about our world, ecology and the environment. Here is his report today on the beauty of dung, beetles and a little bit of rain: 

"With moisture comes life, and not just plants but animals too. Check this out. Recently after some rain we saw an eruption of life burst forth on the farm. For a short period these beetles were everywhere flying, breeding and burrowing back into the soil. They appear to me to be a type of cane beetle that lives as a grub in the soil. The symbiosis between animal, plant and soil, the environmental cues they send each other, and the rich tapestry of life never ceases to amaze me. The natural world just seems to be able to listen to each other so effectively. 
I can’t help but get a bit jealous of this truly interconnected relationship, a system that doesn’t work on clock time but works on natural time. 

As a noisy brained human we can find it so difficult to just shut up and listen. 

Maybe one day if we all try hard enough we will be able to reconnect with these natural elements and learn from the beetles. 😀🐝🐛🌻 #bettlesandbugs #regenerativeagriculture#newlife #moisturerestoresfunction 

Follow #echovalleyfarms on Instagram and Facebook.

www.echovalley.com.au

78419319_2337915839669367_6216133590866984960_o.jpg
83371411_2466345130159770_8807503504772956160_o.jpg
68555333_2151950954932524_385689197052166144_o.jpg
54194750_1904228459704776_548056823609950208_o.jpg

Made Now Music and a little bit of Duchamp: Brodie Mcallister

/

Hello! My name is Brodie McAllister. I am a trombonist/composer/educator/organiser,born, raised and residing in Brisbane, Australia. Peter Breen has offered me the opportunity to write about my career and artistic process, so if that is something you’d find interesting,please read on!

Brodie [ Left] and his good mate, Caleb Colledge at the opening of the Glasshouse at 33 Charlotte Street Brisbane CBD.

Brodie [ Left] and his good mate, Caleb Colledge at the opening of the Glasshouse at 33 Charlotte Street Brisbane CBD.

I co-founded the music label, Made Now Music in May of 2017 alongside theoutrageously talented, kind and dedicated jack-of-all-trades, Caleb Colledge. I am a coremember of the team behind the Talkin’ Jazz program: an initiative that teaches high schoolaged students about learning and playing jazz. I teach both within schools and privately, and I play/compose for various projects from experimental (solo works, Rogue Three ,Muhng-Gruhl ) through to hip-hop brass band, BULLHORN . A great deal of my work todaycentres around the idea of bringing value to a community.

If there’s one take away from my time working with Peter Breen, it’s that compassion,consideration and determination are the lifeblood of the working artist, and the community at large. I first met Peter on my way to an early meeting with him and Ben Marks (for Underscored festival, curated by Janet McKay) at Jugglers around September 2012… Peter was staring me down on the train ride in! Once we officially met, it felt like a connection that was waiting to be found. We have worked on many projects over the years, starting with Underscored, followed by the Paint it Red series (curated by Luke Carbon and Molly Collier-O’Boyle), the developmental and early stages of The Stairwell Project and Made Now Music , and in more recent times, the music venue, Glasshouse. All projects are community projects at their core and have only survived and/or thrived through the generosity and guidance of Peter and the artistic community.

I studied jazz on the trombone in early high school and throughout my undergraduate studies and was very fortunate to learn from some of the most amazing teachers and mentors that I now call friends. My studies in jazz landed me somewhere near late Coltrane, Anthony Braxton and Ornette Coleman. During my undergrad, I was incredibly fortunate to be learning from the guru himself, Ben Marks. Through Ben I was exposed to the musical world known to me as ‘New Music’ through the works of Giacinto Scelsi, Iannis Xenakis, John Cage, and Morton Feldman, to name a few. The music I make today is, of course, an amalgamation of both of these traditions; combining notation with improvisation, jazz with noise, and exploring the outer reaches of both genres as best as I can through my creative lens. If you’d like to hear some of the projects I’ve led or been involved in, please check out: BMJO , Muhng-Gruhl , Eigengrau Ensemble/Brass Trio , Lawrence English’s ‘ Cruel Optimism ’,Ben Marks’ ‘ Circular Ruins 1-3 ’ and Clocked Out’s ‘ The Piano Mill ’ Easter event.

Over the years, my approach to making work has evolved into something resembling a code. If there’s any takeaway from this writing, I feel it’s probably this:

"Design Principles/Aesthetic" Strong intention is always visible (clarity):

Explore until you have a clear vision/idea and present that idea; don’t dilute your expression and don’t fall victim to trends. Stay as authentically you as possible.

FORM is PARAMOUNT:

The construction of material/ideas is the most important aspect of a piece of work; we learnt the practical application of this through Marcel Duchamp.

TRADITION to back INNOVATION:

You can only truly start exploring the boundaries once you have a grounded understanding of the shoulders on which you’re building upon. Don’t skip the research; acknowledge the work of the makers before you.

Minimalist (no excess):

Say what you need to say and then be silent! There’s too much noise already.

Contrary to (obvious) emotions:

Subvert the obvious and kindly ask your audience to search for ‘meaning’ (if there is one); it’s better to search and find your own meaning than be told what to think.

If you are able, you must (community):

Remain community focused and remember, change comes from numbers not narcissism.

Create without agenda:

Make things you think are amazing and maybe others will too.

“ Be the change you want to see in the world ”.

“Art is to disturb the comfortable and to comfort the disturbed” - Cesar A. Cruz

I think it’s appropriate to end this writing with a glimpse at future aspirations (as I’vebeen waffling on about the past for too many words) and luckily they are pretty simple from where I sit: I’d like to see Made Now Music expand upon the work we’ve been doing (local releases, concerts, workshops) and continue to assist in growing the loving, considerate and supportive community we’ve come to expect from Brisbane creators. I’d like to see a community form around the idea of creating for the sake of creating, taking risks and perform self-sustaining practices.

Personally, I am focusing on my role as a performer/composer and as an educator (expect some recordings and performances of my own work this year). Finally, I think the way forward is together; connect regularly, offer what you can to the community (time, skills), support new works (shows, albums, exhibitions) and create new works yourself! The plant (community)can’t grow without soil (support) and water (creators). Times are challenging, and it can be difficult to stay hopeful, but that’s part of the job. Don’t shy away… run towards the fear.

#swampcityrideordie

Brodie and a few friends in the early Stairwell Project days, RBWH.

Brodie and a few friends in the early Stairwell Project days, RBWH.