presents...

What:

The multifaceted event will feature live, interactive art - created by some of Sydney’s best emerging and established artists exclusively for the event - Sydney’s hottest DJ’s, a live performance by one of Australia’s most exciting new bands Border Thieves, live onsite illustrations presented by LoFi Collective and created by Thomas Jackson, Mia Taninaka, Helen Mycroft and Brent Smith giveaways, silent auctions, user-created art works and so much more. The event will have a strong focus on the creative and the current, on encouraging guests to immerse themselves in the event taking place around them while exposing them to a creative side of Sydney they have yet to discover. Oh, and leave with a lot more than they came with.

Why:

Kluster needs to raise funds to stay alive and our readers need something to do on a Friday night. Kluster has a commitment to unearthing emerging artists. Kluster provides these artists with a unique, established, well-respected media platform that enables them to gain international exposure. By supporting Kluster, you are supporting Sydney’s independent arts community.

Where:

Level 1, 17 Waterloo St, Surry Hills (cnr Kippax St)

More about Kluster:

Kluster is an established, independent, international online publication. Kluster’s primary focus is discovering and supporting emerging artists. We select the artists we feature based on the quality of their work, not the connections of their representation or deftness of their press release.

Kluster has been publishing since 2006.

RSVP:

In order to ensure entry please RSVP to Kluster. Subject: RSVP Me. Entry is by donation. Kluster asks for a minimum donation of $15.

Drinks provided. BYO allowed.

Artist Q & A

Border Thieves

The dominant paradigm that popular music operates under is an unyielding beast, begrudgingly approaching antiquity. Equal parts useful and redundant, the schema places musicians at a crossroads; those who adhere are can be rewarded with success but will all too often self-destruct (Metallica) and those who subvert will work day jobs until their brilliance is discovered in the pages of some retrospective book by someone who had the patience to wade into their murky depths (Mission of Burma).

But as is the case with most system dichotomies, choice is not a black/white divide. Here at Border Thieves, we choose to adhere to the dominant paradigm. Here at Border Thieves, we also get bored sometimes and indulge in some subversion.

Because… how can you smell the roses with a nose cut for spite?

So Kluster, with this in mind we have answered your questions. One answer will adhere to the rules of the interview and hopefully provide your readers with a snippet of information on which we hope an interest may spark and compel them to click a link and go listen to our songs. The other will subvert and we will read them back to ourselves in 10 years' time and say "No wonder nobody understood us" .

We hope you get it.

For a three piece, your sound is pretty epic. How do you manage to create so much with so few musicians?

ADHERE: We recently realised that we have more gear than we have band. Approximately double… maybe more. It started with Oscar playing live drums and drum samples concurrently, then Joel looping and effecting his vocals with guitar pedals and then Kat's sample box of sounds that we have recorded along the way. Everyone has two arms, two legs and two instruments that must be employed for sound creation. These are the rules.

SUBVERT: Much in the same way the disabled/morbidly obese make use of companion monkeys, the band enlisted the help of robots to forge our epic sound. Not all robots are designed to help humans before one day turning nasty and seizing control of the entire world. But the ones we own are. And when they turn... * shakes fist* . But until that time, we continue to employ them as loyal, sound-producing compatriots. In return, we exploit them, feeding through electricity on a fixed ratio schedule. In the future our hard work finally pays off, and each robot buddy learns to salivate in response to the distant tinkle of Oscar's many miniature bells.

Collectively, how did you go about developing a signature sound for the band?

ADHERE: By letting as many ideas end up in a song as possible. Our music making is a democratic process and no one is ever in charge so when it comes to write a song we're never short of someone with an idea they want to lay down. We all also come from fairly different vantage points of taste, so Oscar's subs and beats, Joel's pop melodies and Kat's dirty guitars end up getting a fairly equal share of the end product. All this comes together and sounds like Joel, Oscar and Kat.

SUBVERT:

1. Photocopy the SUPERGRASS logo three times.
2. Distribute copies amongst band members.
3. Turn the page upside down and practice copying the logo with your non-dominant hand.
4. Continue, until mastery.
5. Test your skills by withdrawing money from the SUPERGRASS chequing account.
6. Most money withdrawn in a single attempt = best unique band signature.
7. Sample winner singing ‘Sun Hits the Sky' and teach this version to a local primary school's recorder orchestra.
8. Record the recorder orchestra, slow the recording down 15 BPM, and claim it as your very own and original art.

The three of you used to play for various bands (RiYM, Teenager, Golden Age to name just three) before coming together in early 2009. For the sake of those not yet familiar with the band, let's get a little pedestrian in our questioning: how did Border Thieves form?

ADHERE: We were all last man standing in the wake of our previous bands when it was suggested that, that guy Joel who was in I Love Space and that chick Kat who was in The Golden Age and that guy Oscar who was in New Zealand were looking for a new band. So we did that lame thing were you take your demos to each other and test the water, but then we just got drunk then decided we didn't actually need to listen to each other's songs and we should be a band and write new songs. So we became a band.

SUBVERT: Did you ever wonder what happened to all the kids from Fat Albert after Bill Cosby moved on to a real person pretend TV family? Neither did I, I just assumed “crack” like the rest of us. But imagine, if you will, that the cartoon kids went on to be involved in the development of a Mo-Town inspired series of Voltron, where each of the lions (No, we will not get into this, Lion Voltron is and always will be the superior Voltron) is replaced by one of the kids. Together they form Fat Albert Voltron – traveling throughout the universe to bring a soul inspired sense of justice to those who need it most. That's kind of what happened to us.

We're sure fans are highly anticipating the band's debut EP, soon to hit the stands early next year. What can folks expect from the release?

ADHERE: Vinyl. One side with songs that have singing. One side without singing.

SUBVERT: We're looking at releasing on the most inconvenient format imaginable. Honourable mention must go to the idea of simply releasing sheet music for each song, but the round tabled initiative of having one band member deserted on a mid- Pacific island (rock/paper/scissor round robin) distributing the sheet music via castaway bottle is truly the inspired (aka pointy) end of our business model. The songs themselves are a Kafkaesque reinterpretation of the 1986 John Landis classic, ¡Three Amigos!

Border Thieves' latest offering, Nevermend/The Currency of Ideas was recorded in Oscar's bedroom. In fact, we noticed that for the most part the band has stayed out of the studio thus far. What motivated this decision?

ADHERE: Because we can.

I think it's kinda cool how technology has been such a jerk to musicians on one hand by making songs about as valuable as my right toe nail, but then has also been such a friend by giving us the tools to record it for free. It's like putting a reverse down on the reverse the player before you in Uno tried to screw you with. BAM! Take that.

SUBVERT: If you can promise that this stays between us, I'll let you in on a secret: Border Thieves is actually a front for a pornographic film production company. Boned To Tears has a reputation within the industry for producing the kind of films our country cousins in Fyshwick shy away from, citing “morality” and “ethics” as excuses for an infirm disposition. But I digress. The nature of our film content requires that we have a semi-legitimate front for the business to distract the attention of police and human rights groups alike. This front is the musical troupe Border Thieves. Oscar's bedroom is the best equipped for our film production purposes.

There've been a lot of good things said of your launch last week at Melt Bar in Kings Cross, and needless to say, we are extremely excited to see you play at Kluster Presents… State of the Art. Mind giving us a little preview of what partygoers can expect from your set?

ADHERE: We're gonna structure our set like we are a DJ. Once someone peaks out we will be happy, so will they.

SUBVERT: There'll be a smoke machine and possibly the sort of strobe that brings satellites down. There'll be songs, and in between the songs there'll be improvised noise where the “Hi, thanks for coming to the show” bits usually are. There'll be things played live, and companion robots that salivate whenever a bell tolls. Unless they've turned evil. THERE WILL BE NO FALAFEL. During the second half of the set we'll trace our names out in reverse with our eyes just in case you met us earlier and forgot our name(s). Awkward. There'll be Compact Discs with our music on it available for $5 or probably just if you just ask and say you like us but not necessarily in that order.

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Helen Mycroft

By way of introduction tell us a little bit about yourself, your craft and how you came to be an illustrator and artist.

I studied Graphic Design at Lincoln School of Art & Design in the UK and after I graduated I came back to Australia to do a few internships at design studios in Sydney and Melbourne. While I was doing them I started making stuff in my own studio: illustrations, screen printing and playing with type, making tees, the usual stuff but it really made me keen to do more illustration and less branding.

You came to Kluster Presents… State of the Arts by way of Lo-Fi Collective, a six-month initiative that aims to support our local art community by showcasing works by prominent local and international artists. Care to walk us through your creative involvement with the collective?

I met Marty Routledge through him curating Go Font Urself, which he very nicely let me be a part of. He invited me to be part of Lo-Fi's group show Don't Go Into The Attic and I've been attending the exhibits at Lo-Fi since the beginning. It's a quality idea and a proper good way to meet with and showcase other artists in the area.

What can Kluster readers expect from your live on-site illustrations at the upcoming State of the Art party?

A lot of hand rendered type mixed with lines, shapes and patterns.

What is your thought process when working on a job?

Probably "Stop procrastinating and draw something awesome you lazy twat" …or similar.

Can you let us in on some of your past exhibitions/work?

My first proper exhibition was Go Font Urself but since then I've learnt so much and really worked on my style, so when my work was at Lo-Fi it was so different to past artwork. Since becoming more illustrative, my work has been in SemiPermanent 2010 and next year I'll also be in The 3D Type Book by Fl@33.

Describe your work setting. Tell us a bit about a typical creation day.

My studio is based in the garage of my house and it's a pretty hectic space. My friend once said it remind him of the Weasley's house… which will make zero sense if you haven't seen Harry Potter, but basically it's all sorts of rare things piled to the roof. Typical creation day usually involves me sleeping in way too much, feeling guilty, making lists of work to do in order and then working till 3am to make up for getting up so late. And repeat.

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Brent Smith

By way of introduction tell us a little bit about yourself, your craft and how you came to be an illustrator and artist.

Ah well I'm a man child originally from the Central Coast who failed design school, so I started painting the dark side of light situations. It seemed like the natural thing to do.

You came to Kluster Presents… State of the Arts by way of Lo-Fi Collective, a six-month initiative that aims to support our local art community by showcasing works by prominent local and international artists. Care to walk us through your creative involvement with the collective?

I’m the only one with a set of tools... they need tools.

What can Kluster readers expect from your live on-site illustrations at the upcoming State of the Art party?

Not too sure myself, but I guarantee it'll be strangely lovely.

What is your thought process when working on a job?

Job to job tends to change; I like to mix it up a lot.

Can you let us in on some of your past exhibitions/work?

I’ve been in a few but to be honest my most rewarding would be a group of shoes that me and a mate put on in Terrigal on the Central Coast. It managed to pull a few thousand angry young drunks together to raise money for charity... and rip the shit out of a crappy hotel.

Describe your work setting. Tell us a bit about a typical creation day.

A big desk with a lot of junk on it with a chair that’s too tall for the table. They're all different.

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Thomas Jackson

By way of introduction tell us a little bit about yourself, your craft and how you came to be an illustrator and artist.

I was born in Bolton, UK then moved to the Middle East for a few years before moving to Sydney. In my early teens I started skateboarding and graffiti. I think these two fun activities are the foundations for my love for the arts and illustration world.

You came to Kluster Presents… State of the Arts by way of Lo-Fi Collective, a six-month initiative that aims to support our local art community by showcasing works by prominent local and international artists. Care to walk us through your creative involvement with the collective?

I heard about the Lo-Fi Collective from the very beginning; I was in the Don’ t Come Into the Attic group show. It sounded like an interesting opportunity and just wanted to be involved.

What can Kluster readers expect from your live on-site illustrations at the upcoming State of the Art party?

It’ s hard to say. I could imagine seeing something on the way to the party and end up just drawing that, or I will just revert back to default.

What is your thought process when working on a job?

My thought process differs between illustration and personal artwork. If I have an illustration job where my style does not fit the brief, I’ ll change it to suit for a professional execution. Personal work is some thing that I am always thinking about. It’ s hard not to see influential imagery in day-to-day life. A bird on a wire, a home- built outside toilet or shack…

Can you let us in on some of your past exhibitions/work?

I just moved to Sydney from Melbourne, where I have been involved with a lot of shows (mostly in the street art scene), but have tried to get up to Sydney as much as possible. To list a few would have to be the Luchador Collab-o-mask at per SQ meter, GO FONT UR SELF* at Peer Group and Schwipe, Six Pack at Highlander, White Rabbit at 696 Gallery, and most recently In the Absence of Man at China Heights’ , and Pastmoderism and Attic Antics at Lo-Fi.

Describe your work setting. Tell us a bit about a typical creation day.

My work setup is a mess. Never trust an artist with a clean desk; too much cleaning and not enough creating.

Punk Monk Propaganda

For the benefit of our readers who may not know Punk Monk Propaganda’s backstory can you tell us a bit about the collective and the work you create?

PMP was born in 2005 by newly turned filmmaker Victoria Waghorn and comprises an eclectic mix of creative individuals within a larger web of connected contributors. The group has grown and changed over that time as people fly in, leave their little marks and sometimes stay and sometimes endeavour somewhere else only to return later. It's like a family you can call a home. Even though it's constantly evolving and growing, always remaining is a drive to make media that means something. Punk Monk's origins are in filmmaking, which we owe to our second family Kino Sydney (a cell in the international underground filmmaking movement) but with so many influences in the think tank, it diverges into video art and projections, zine-making, installation art, interactive art events and jams and workshops. At the moment we are concentrating on the revival of the liquid light show and developing and experimenting with mobile film content.

What is it about PMP that sets it apart from other art collectives? Can you tell us a bit about your unique methods and the works that result?

PMP operates in a grassroots fashion - people are the key. At PMP, we are all teachers and students that can contribute in different ways; there is a uniting motivation to grow as both individuals and as a collective. This is only possible by pooling resources, skills, ideas and flavours. Overarching is a powerful creative pull; we bounce ideas off one another and support each other's ideas. We suspect that the fabric starts to come apart when issues of power conquer creative vision. Creative vision is a highly respected concept for us in both a collaborative sense and in the sense that some projects are naturally led by the person that birthed them. A lot of really well intentioned collectives just fall apart because people feel they are less involved or appreciated than others; at Punk Monk, we all have an awareness of our own value and there's nothing stopping any of us delving somewhere new whether it be directing or shooting a film or managing an event because we know we have mentors and friends simultaneously supporting us. Resulting is a diverse range of artworks, which even though directed and shaped by different punk monks, still has that distinct punk monk vibe.

So what makes a punk monk?

Being a punk monk is based on a hybrid philosophy that borrows ingredients from both punk and monk ethics. There is a suggestion of anarchy and a rejection of rules and standards, which influences the craving to experiment and create subverted notions of beauty out of a world of chaos. This is complemented by the monk's dedication to understanding the way the world works, constant learning and growth and perhaps even suffering (for which artists are famously known) for a source of inspiration. The "Propaganda" in our collective name stems from the notion that all production is inevitably and unavoidably a form of propaganda - something that's always good to keep in mind for perspective.

PMP will be featuring “tactile organic projections” at Kluster Presents… State of the Art. The choices of elements in the work include liquid light, oil swirls and optical illusions. We’re intrigued. Can you tell us a bit more about the work and what attendees can expect?

A live performance of low-technology projection art concocted from shiny bowls around the room. We'll be up to our elbows in coloured dyes, grinning mesmerised at the walls as we manipulate moving patterns across them. It’s an immersive experience; people's clothes can get caught up in the madness and their shadows land on the wall. We love working with bands and responding to the music to so we're looking forward to jamming with Border Thieves and building some unique vibes.

What motivated you to create this work?

Early last year we started having parties in our old warehouse HQ and we were looking for ways to turn the space into a total immersive environment. We'd read about these liquid light shows playing with psychedelic bands like Grateful Dead and Soft Machine, doing manual projections in the days before digital video and thought we'd experiment with a new image-making technique. We became rapidly addicted and since then we've spent the last year doing shows, finding more projectors and practicing our techniques.

And your future plans? We hear you are going to be image-bombing this year’s Peats Ridge festival. Tell us more.

(Without giving too much away) we have two projects that will take place in the geodesic dome, a giant spherical playground for artists at Peat's Ridge. The first will involve a 3D version of what you will see on the walls at Kluster in our liquid light live showcase. The second is a new, exciting project entitled (after the famous Warholian saying) 15 Mega bites of Fame ( http://www.15mb-of-fame.tv.) evoking a 21st century world of user-generated fame for the masses. As well as bringing along a mini-film festival that celebrates the new age cinematography of the humble telephone, we'll be jamming with the people at Peat's Ridge to bring their face, voice, experiences and vibe to the screen in a collaborative mobile filmmaking adventure. Everything is going to be made onsite in a giant challenge and race towards NYE. It's going to be a chaotic and exciting hoot!

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