John Chavers enjoys working as a writer, artist, photographer, and general creator. Most recently, his writing and artwork have been accepted at The Kurt Vonnegut Memorial Library So It Goes 2016 Literary Journal, 3Elements Review, Foliate Oak Literary Magazine, Ascent, Birch Gang Review, Four Ties Lit Review, Ground Fresh Thursday, Silver Apples and The Ogham Stone, among others. John’s residency fellowships include Blue Mountain Center in the Adirondacks and the Great Smoky Mountains National Park. He has a fascination for the diminutive, works of art on paper, and the desert. John lives in Austin, Texas.
Fabrice Poussin teaches French and English. Author of novels and poetry, his work has appeared in Kestrel, Symposium, Eskimo Pie, The Chimes and will appear in other magazines throughout 2016. His photography has been published in The Front Porch Review, Foliate Oak Magazine, the San Pedro River magazine and more than two dozens of other publications.
Though Hall treats her subject with apparent frankness through her realistic style and the use of photographs on which she bases her paintings, the images retain a considerable degree of ambiguity. Anger is expressed through this ambiguity, a seemingly defiant refusal to be seen openly. This series of paintings contributes to a discussion of the portrayal of mental illness in our society. It is a discussion we would often prefer to keep at arms’ length.
Ceinwen Hall is an Australian emerging figurative artist. Ceinwen studied painting at the National Art School in Sydney and is currently undertaking a Master of Art Therapy. She works primarily in oil paint and her work is highly conceptual; often considered for months before she commences painting. Major themes in her work include issues such as feminism, environmental concerns and mental illness.
Ceinwen was born in Dubbo, NSW. She moved to Sydney from the Southern Highlands in 2010 to complete a Bachelor of Fine Arts at the National Art School. She then spent time in the remote community of Borroloola in the Gulf of Carpentaria, NT where she worked closely with the elders at Waralungku Arts Centre. Ceinwen has been adopted into Gudanji community and is proud of supporting Aboriginal art and culture as well as sharing what knowledge was imparted to her to keep Gudanji culture strong.
Jim Tsinganos was born in Peterborough, South Australia in 1964. He received a Bachelor of Design specialising in illustration from the Underdale campus of the South Australian College of Arts and Education (now UNISA). He has participated in countless exhibitions — both group and solo shows — nationally and internationally and has been commissioned and collected by private collectors from around the world and by Opera Australia.
Throughout his career Jim has been featured and accepted into most of the international juried illustration awards shows across the globe, and has been repeatedly selected as one of the worlds top 200 illustrators worldwide by Lurzer’s Archive Magazine.
Originally working in pastels for the early part of his career, Jim transitioned into the digital medium several years ago and now works almost exclusively in Photoshop. He is interested in producing work with a strong conceptual basis and is committed to always pushing and developing a visual idea.
Predominantly editorial in nature, his work has been commissioned for assignments as varied as designs on an underwear range, packaging for a power super-foods company, and producing a series of stamps for Australia Post. Most recently, he was commissioned by the Australian Mint, which released a limited edition commemorative collectors coin for Australia Day featuring his image.
You can view more of Jim’s work and purchase prints of his images at Jim Tsinganos Iluustration.
Rebecca Stringer is an academic and erstwhile photographer and lives on the Otago Penninsula in Dunedin, New Zealand, with her partner and son. Rebecca lectures in Gender Studies at the University of Otago and is the author of Knowing Victims: Feminism, Agency and Victim Politics in Neoliberal Times (London: Routledge, 2014), and co-editor of Feminism At the Movies: Understanding Gender in Contemporary Popular Cinema (New York: Routledge, 2011). Amidst all this, photography provides a practice of everyday magic and fascination with light and form.
The cubby hut is an archetypal structure, a place of imagination, dreams, refuge and adventures. It is ephemeral by nature, both physically and psychologically, as it passes from our childhood explorations of the world and into the dreams and memories of adulthood. I first came upon these huts in 1999 while walking with my children in a wild Poplar forest in central Victoria. We have returned regularly to this forest, my sons to build their own huts and I to record these structures through the passing of time. I am fascinated by the fundamental engineering principles present in their construction – load bearing, cantilever, bracing, walls, roofs and entrances, etc.
In building these structures children are engaging with the phenomenon of matter and form, exploring design solutions and intuitively learning about the potential and limitations of the materials at hand as well as transforming space into place. These huts are built from and are intrinsically connected to the forest – they are landscape as architecture and architecture as landscape. This relationship to the environment (and time) also alludes to issues regarding habitat and consumption on a global level and the impending need to re-address our relationship to the landscape, flora and fauna.
I have used a homemade camera which utilises a plastic toy camera lens to make these images. This camera presents a primitive image with soft focus, distortion and image fall off (darkening at the edges). For me these qualities evoke the feelings and sense of memory and imagination which is embodied within these archetypal and transient structures.