On his recent trip to perform at Aussie Anthea Palmer’s Jimmy Hornet Creative Restaurant in Zhongshan, China, Australian Blues artist, singer and songwriter Doc White, took a detour which led to him doing shows in Hong Kong.




And while he performed a one-night engagement at Jimmy Hornet’s, he found himself in great demand in Hong Kong.  Unfortunately he only allowed himself time enough for a brief stopover to check out the lay of the land in this famous former British colony. Hong Kong has, over the centuries, been the most direct route into the celestial world of the Middle Kingdom, China. That’s the way it rolls in this part of the world!

The big question over booking the Doc for gigs in China was whether his brand of Mississippi / Delta and Aussie Bush Blues would cut the mustard with Chinese audiences. This fear dissipated in an instant. As soon as he began plucking on his Resonator guitar he swamped his audience with his melliferous melodious mouthings of hard times intertwined with the antics of lawyers, guns and money, all wrapped up with the comely beauty of a woman’s touch.


Figure 1 Lamma Island’s famous Island Bar which is the first or last bar enroute to the ferry. Minehost; Bradley Tarr


After his gig at Jimmy Hornet’s on Saturday July 29, the Doc’s Hong Kong sojourn began on the Monday. His first gig was at THE bar on Lamma Island that commands the traffic flow to and from the ferry.  Yes the ISLAND BAR is the only route to convey people on a 25 minute journey to and from Hong Kong Central. Owned by Western Australian and his Aussie family, Brad Tarr has lived in Hong Kong for over a quarter of a century. He is well known across large parts of Asia and Australia for his sartorial splendor, his generosity and support of his community, his sporting achievements as well promoting sport (the local HK cricket team has just returned from playing in Mongolia), his business acumen, and last but not least, his commitment to live music and giving exposure to Australian musicians whenever he can.


Figure 2 Inside the Island Bar

Being a Monday night, and at such short notice, the crowd wasn’t huge but their response to Doc’s music was engagingly emphatic. He definitely hit a home-run at the Island. Without a doubt, he’ll be greeted by a large crowd excited to hear him when he returns.

Figure 3 Phil Whelan & Frank Howson

Figure 4 The Lamma Ferry, the only transport link to Lamma Is


Luckily he managed to make the last ferry back to Central at 11:30pm. This saved him a swim back had he missed it. He was thus able to get a good forty winks or so in before a Tuesday morning meeting with Hong Kong’s Master of Ceremonies, Phil Whelan. Phil is the presenter of a very popular morning radio programme, Morning Brew, on the official government broadcasting conglomerate for radio and television in both English and Chinese: it was based on the BBC model. What sets Phil apart, and above other presenters, is not only his natural



encouraging interview style, but many other talents and the training he’s acquired in the past. This gives him a leading edge over the rest of the pack. He has played clarinet since the age of 10; is a graduate of Trinity College of Music in London; did play with the Hong Kong Philharmonic Orchestra; has spent time in Australia playing in the international production of Hello Dolly; and has done heaps of other stuff that has grounded him as a sincere individual who is intrigued and fascinated with every guest he interviews. And yes, he does have a special sensor that reacts very positively with Aussies he has on his programme. After a genuinely interesting and in-depth interview on the roots of Blues music and what inspires him, he asked the Doc to play 2 full songs in the studio. Heavenly blues rang out and filled the studio to the delight of all present.



Tuesday night, August 1, Doc’s first engagement was at La Lune Modern European Cuisine and Whiskey Bar. He was delightfully received by a collection of largely Chinese professionals; architects, authors, actors, architects etc. Doc’s Blues and fine grade whiskey poured in equal measure as clients warmed to his music, especially to the sounds of an Aussie accent giving vent to tender and downtrodden emotions.

Doc playing at La Lune Whiskey Bar:

‘That Woman Made Me Jump’



Following this he was bundled into a taxi in Sheung Wan to make a quick trip through Central to the heart of Suzi Wong’s territory, the Sin-city of Wanchai, and the most prodigal place of sin and salvation, The Wanch Live Music Bar. Owner John Prymmer, at short notice, created a dedicated 1 hour slot for the Doc to strut his stuff in. He set the pace with opening numbers of his own composition and classics of Robert Johnston and other US southern Blues masters. Hong Kong’s own ex-New Yorker on his harps, Steve Starfish, added to Doc’s songs to encapsulate an honest to goodness true southern smokiness to the brew and the audience supped it up with glee.


Wednesday August 2nd, Doc White was back on a plane bound for Mount Dandy where his home can be found in old Melbourne town.

S Francis Butler

For any bands, singers, dancers or other artists looking for gigs and connections in Hong Kong and China, contact Ginko707 through Youtube, or email to


 A quick glance at Hong Kong: 

Dive, Under The Covers

Aly Loren is a queer-non-binary-femme-tomboy-dreamboat who likes her whiskey neat, her face glittered, and her kebabs after 3am. In Share My Blankets she shares with you her most intimate truths. Beneath Aly Lorén’s blankets there are stories of human fluidity and validity which are ready to be un-covered. Through the power of spoken word and, supported by a live electro/acoustic two-piece band. This work’s earnest ambition is to deliver its audience back into the ‘real-world’ with a sense of self-permission. Share My Blankets  is being presented at No Vacancy Gallery, and will be one of the first events presented by this venue for Melbourne Fringe.  During the first week of it’s season audience will also be able to check out the exhibition  Strength in Visions with these two works presented side by a strong voice amid uncertain times where queer lives are under increased scrutiny and attack does emerge. Aly took time out of rehearsals to speak with TAGG about the performance.

Introduce us first to the concept that is behind your performance, and secondly lets talk about the creative process 

Share My Blankets is one big story. What we are trying to do is to give gifts to our audiences. The gift of sharing. The gift of permission. The gift of safety. The gift of surrender. The gift of validation and belonging. Through music, poetry and stories, both tangible and intangible, we want myself and this body to be completely exposed, telling my own truths right there before everyone (hi mum and dad) (and aunty) to give permission to others to populate space in their own story telling. Last night a friend said to me “what a perfect name for your show. Because you are like a big blanket, you wrap people up.” And then because I’d had a few prosecco I started crying. If I can show people that there are others who experience things that are difficult to talk about just like them, I’d like to let them know they aren’t alone. And there is always someone who will believe them and listen to them.

So originally I was discussing an idea for a 10-15 minute performance art piece that I was gonna perform for my friends in a backyard show at my good pal Leon’s house. Us queers love our backyard performances, honestly so much talent and sexiness and rawness. I had found three songs written and recorded by my 18 and 19 year old self – I was at uni studying music and sound production and was practicing with these songs and I thought the lyrics were just place holders but upon listening back I couldn’t help but feel like they were supressed feelings about two quite heartbreaking experiences that occurred during that time. One was a sexual assault, and one was falling in love with my best friend, my first gay love, and her saying it couldn’t happen because of our relationship. I wanted to explore the relationship of the lyrics to both of these occurrences, as well as share some private Tumblr posts I had made about my lost love and explore how feelings and responses may change or remain if the context was changed.

I told some theatre friends about it and they told me to turn it into a full-length show. Bloody lucky I work at a theatre, hey! My very good pal Dirk Hoult of Tilted Projects came on board to direct, and from there it was just off. Dirk and I would meet once a week every week and he would just ask me about my experiences. We’d record them, most of which became the script, and we’d just have beers or coffee and talk for hours and hours. He has a way of helping me see my story telling in a creative way, and since working with him I’ve been writing more and more often than ever. He has the physical and conceptual visions, I have the words, stories and enchanting curls (and extensive glitter collection). I think the fact that he is so keen on learning about my experiences and truths and the way I live and people I know live in society has been such a huge encouragement because I know that even if I can get a message to just one person then I’m doin’ something right.

What do you think about the importance of strong, queer voices entering public conversation particularly now when the battle for marriage equality is recalling heating up? 

Look to be honest I never want to get married. Marriage itself is an old, traditional mess. I hate that corporations use it as something to capitalise off. I hate that some cisgender heterosexual people think this is the ~final boss battle~ for LGBTIQA+ equality. They will all fall asleep to every other LGBTIQA+ issue that are paramount to institutionalised queerphobia and also racism. I hate that some people think that assimilation of LGBTIQA+ people into straight society is the only answer, and also assimilation of PoC into white institutions of marriage. I hate that it is taking away attention from all the really fucked up shit that our government is doing right now, like with refugees and asylum seekers. Some people, namely Indigenous people who live remotely, won’t even receive a ballot paper. But as we know, by law it contains some important clauses that allow couples legal rights for some important stuff. And I’m so for those who wanna marry their partners and it isn’t legal yet, you go for it babes when it’s time. Let me direct you quickly to a Facebook status I made a few weeks ago to sum up my feelings about it in a not at all sarcastic way:

“im so excited about our government spending $122 million on a non-binding voluntary postal vote on whether tHe gAys are human enough to participate in a super old legal tradition that for no reason other than homophobia, bible bashing and political football is it not already legal instead of making these inevitable amendments to the act in parliament like they are paid by the public to do, thus giving permission to homophobes to spend real money on letting everyone know how much they hate us and none of this will be damaging or a waste of time or ridiculous in the slightest. ps register to vote if you haven’t”

Okay I’ll get to the point of the question. The fact of the matter is not all queer people are able to speak up at the moment. It’s not safe for everyone, not at all. It’s still dangerous to be queer, some more than others. But even the very existence of queers is a radical act. We are a VISION. It’s important to not let the crusty homophobes win. There are queer youth out there being batted down by homophobes who are getting a free platform to spew their hate and make people feel less than human because “DEmOcrAcY!!” I am so privileged that I’m generally quite safe in being able to debate this, I’m white, able-bodied, in a harassment free workplace, from an accepting immediate family. I do not want people to forget that this is by no means the last battle for the community, not even a little bit close. Think indigenous deaths in custody, trans suicide rates, homelessness, HIV/AIDS, police brutality, racism, harassment and assault, mental illness, poverty, and the list goes on.

I want to speak out everywhere and be angry and loud and I’m going to be absolutely unapologetic about it. It is because of other loud mouth queers, both in history and at present, that I’m able to do that. We inspire each other and lift each other up and show the straights that we aren’t goin’ down. Stay angry, my mates.

Your original from Brisbane, has your childhood spent in this city help shape your identity, and what are some the comparison between these two places, particularly in terms of the cultural landscapes and the work indicative of the two? 

I think that I learned a lot in Brisbane. I lived an extremely privileged childhood and early adulthood, I was very sheltered from a lot. I met some wonderful people whom I still hold very dearly and for some reason still want to know me and be friends with me, and they taught me a lot about believing that I’m not just a huge sack of shit. I’ve struggled with self-loathing my entire life and have been quite depressed so it was very cool to get so much of that special luuuurve. I learned stuff about music, I started writing, I fell in love, I went out all the time and nostalgia is telling me it was a pretty good time. It was a bit lonely at times, it was tumultuous, I had some pretty traumatic experiences as one does, and I didn’t feel comfortable to come out properly until maybe second year uni, but of course I won’t give much away – I’ll tell you all about it at the show. All of the stories take place in Brisbane and I think that by doing this I’m processing a lot of it. 

I sort of left my little Brizzo life and have taken what worked for me. I again work Front of House at a theatre, though the quality of theatre here is unbelievably different of course. I’m really lucky to be learning from so many people here, namely in terms of activism and learning truths about the world. People who are in marginalised groups go through hell all the time but are still (and sometimes really have to be) generous with their time and emotional labour and I thank every single one of them for things I’ve learned and can pass on. I could crap on about the theatre scene or the ~culture~ in Melbourne (still something I like doing) but the main thing is really that all my pals here are so glorious and gorgeous and creative and wonderful in all their own ways. I wouldn’t be doing any of this without them. Their courage and honesty and generosity and care are absolutely unbelievable. If there’s a question on here about my influences I’ll just give you the name lists from some Facebook groups I’m in.  

Is there a message behind your performance and in extension, how powerful a device do you find performance to be? 

I think I’ve touched on that a bit already and probably will in further Q’s too. I just wanna share with you and let you know you belong and you are valid and you are so cared about. You deserve to have space to talk about feelings and ask for help and tell people you’re not having a great one. Also, you’re gonna make misjudgements and mistakes because you’re a human and that’s what we do, admitting your mistakes is really beautiful and moving on and learning is AWESOME. Hopefully that by confiding in you all, this comes across. You’re giving me the gift of your wonderful time, patience and attention, and I want to give you something for that. 

Nothing quite shakes my very core quite like performance. I want someone to see exactly me in this. I want all the cool arty layers of performance to enhance the words themselves and show people that words, thoughts and experiences are not one-dimensional. I’m lucky enough to see performances really often and each time is life altering, even if only a tiny bit. Even if someone is just singing a song to me. Even if someone just gets up in front of me while we’re sitting by a river and performs a poem for me. How people can teach you when you aren’t even realising it and while being entertained is honestly unreal and I’m so lucky to be a person who is doing that. 

Should art be political? 

Art has no choice but to be political.  Art is social politics, by definition. Art changes worlds, inspires movements and revolutions. It teaches about ideas, concepts, language, brings forth characters that can never be 100% non-fictional. Art that is purposefully political in nature not only inspires others to form beliefs and see them represented on a public platform, but also teaches others about, quite simply, people in a different way than simple conversation (also affective). If someone challenges or asks questions of reality or truth, it is political. I am so inspired everyday by the art that I see being created by beautiful babes around me, seeing someone else’s reality and truth through the lens of art of any form is absolutely prodigious. The very act of creating art against the grain is radical.

Whats your back in creating work, and what will Audience experience in this performance. and how does your performance stand out from the rest of the pack this Melbourne Fringe?

I’ve reeeeally never created a theatre show before. Truthfully. But I’ve played music for ages, mostly by myself, sometimes in bands or with one other person (love you Wheat). I felt like I was ready for something new. Whenever I’m playing I can’t help the stage banter and I just bloody love performing, more than anything, I wanted to do something weird and cool with heaps of layers to it but that also had my music in it and other forms of my art. I found someone who really believes in that and wants to help me show it to you all. You’ll experience tangible and intangible ways of feeling. It’s so much better if you’re just actually there with me and I can show you.

Look you know what it might not stand out. I’m not even sure that I deserve this platform. There are so many tales that need to be heard and have yet to be told because other creative wonderfuls aren’t as lucky to have the opportunities that I have right now, even if that is a modest show in Melbourne Fringe.

The thing is, there is SO MUCH straight cisgender media and performance and art out there. Literally so much to choose from. So if you would like to, I’d like 50 minutes of your time to be on stage before you. A genderfucked queer weirdo with a big mushy heart.

I’m gonna tell some romantic stories, I’m gonna tell some stories of heartbreak, of sexual assault, but I’m not going to stand up there as victim. A friend of mine recently said that queerness is rooted in sadness. It comes from a history of grief and loss and utter sadness. And yeah, there’s that in my show. But there is also vulnerability, and there’s strength, and there’s charm, and there’s having sex with your friends, and there’s fuckin’ laughing, and there’s rrrrromance! And maybe even a goon sack, but that’s a dramaturgical choice that we have yet to decide on. We can have all that too. I just wanna share with you and let you know you belong and you are valid and you are so cared about. Also, if you come the first weekend my parents are coming and boy are they gonna get a shock to their core, so like, that’d be fun to watch.

Share My Blankets opens on the 13th of September as part of Melbourne Fringe, for more info or to book your tickets click here.

Betra Fraval / Moving Mountains                                                                           


James Makin Gallery /16 August – 2 September 2017

67 Cambridge St,Collingwood VIC 3066

Opening: Friday 18 August from 6 – 9pm

T: 03 9416 3966

On Friday 18th August,  I attended Betra Fraval’s solo exhibition opening titled ‘Moving Mountains at James Makin Gallery and  was taken in the moment I entered the gallery space in which I encountered  a full house buzzing with a great crowd, an elevated vibe and of course the star of the show, the paintings.  I couldn’t help but notice the crowd’s admiration while standing in front of the beautifully executed paintings that depict landscapes, inviting the viewer to  experience, to be present in BetraFavral’s art; the art of painting.

Betra Fraval masterly interprets landscapes and scenery and textures of nature’s elements existing with organic forms of matter and space. Her painting technique is clean, controlled yet playful while precisely describing a moment in timelessness. Her work exhales beauty, clarity and respect.

Rarely do I see contemporary art, let alone painting, being so effortlessly understood and appreciated by the viewers, communicating to people from all walks of life.

Painting is alive and kicking and Betra  Fraval does move mountains.


Camille Klose – Gallery Curator

James Makin Gallery is excited to invite you to ‘Moving Mountains’, a solo exhibition by Betra Fraval.

Fraval’s paintings sit in a place of shared and personal experiences; they are at once familiar yet strange. Silently and wistfully referencing time, rather than place, they emit a calming and contemplative sense of nostalgia. There is a beautiful and precarious coexistence between the organic and the man-made that has been constant in Fraval’s practice.

Progressing from her previous works which explored the delicate meeting of science and art in carefully balanced geo-based installations, Moving Mountains is an exhibition of paintings that continues Fraval’s exploration of graphic impositions left on the landscape as a marker of human legacy, whilst also referencing organic cycles of time.


Betra Favral – The Artist

My artwork is focused on the cycle of matter within nature. More recently I have been interested in deep time in relation to finite human time and markers for the Anthropocene. I am interested in how ‘things’ or materials can have a creative potential and power. The artworks are driven by curiosity, a detailed meditation on the nature of wonder, fascination, and enquiry and contemplating our place as humans in the continuum.

Thinking about the geologic and material as our partner in creativity and meaning making. Becoming storytelling matter, which acts both as a marker for time/action and metaphor, allowing us to think about how humans relate to and live on the earth.

The House Of Dior

Dior, luxurious, timeless, elegant and more than just fashion. This current exhibition served up by National Gallery Of Victoria spans the history of this iconic fashion house from 1947 to 2017. It is a sumptuous affair, and the spectacle is at first spell binding and decedent. The House Of Dior is an exhibition that one should put aside an hour or two to really take in. The perfect excursion for a lazy Sunday afternoon, or take it all in as part of NGV Friday Night’s Up late, either way, this exhibition is a once in a life time experience and should not be missed.

Images by  Timothy Treasure Photography for more info head to the NGV website  



I'm there for you
Even when I'm ignored
When you hit out at the world
I sometimes get in the way
Because I appear to be strong
I sometimes am not watered
Like the other flowers in your garden
But I'm there for you
Until I feel empty
From standing in these shadows
That rarely get the sun
I live for the laughter
The words of hope
Spoken by you or others
The light
The common sense that wisdom brings
To all
But is seldom noticed
Or heard
I am there
Carrying the weight
Of every decision made in my name
That scarred me
Humbled me
Blessed me
And saved me
I am there for you
Every step of the way
To lift you up from every fall
To shoulder every tear
To make sense of every confusion
To call your name
When it's been forgotten by others
I have been there
So I can be here
For you

(c) Frank Howson 2017

Night Dance

The nightclub, a place where us adults meet, dance and frolic under the cover of darkness and flashing lights. Jaded memories of the most awesome nights out, easily and often impaired by any number of substances. A study of this phenomenon, the human behaviour indicative of these environments, particularly through dance, an interesting dichotomy with a creative development thats surely not bereft of stimulus.

This work doesn’t immediately hit you with its brilliance, opening with scenes not under pinned by music, solely focused on the body aesthetic, played out in the time taken for our eyes to adjust to darkness. The continued gyration and overtly sexual movements here teeter upon the overly repetitious. It makes sense, and conceptually serves purpose, though falls pray, as dance tends,  to being a little high brow. 

From here however the work grows, the lighting intensifies and the pulsating underscore does slowly emerge. A play, for the most part between Lilian Steiner, Gregory Lorenzutti and Melanie Lane three fine dancers, their skill on show. Though for the most part if not for the choreography then for the subject matter this performance could benefit from most of their training being left at the door.

At 3am on any given dance floor in any nondescript nightclub, shit is starting to get loose, and so too should these dancers.

A succession of cameos that continue to feature, help build narrative and progress the performance. Each disruptive, provoking and at time predatory. Here we see both the light and the darker side of club culture, in final scenes where a cataclysmic mess of odd balls and misfits come together elating, a powerful image.

If not in the sense that we would normally attribute, this work is made by and celebrates community.   

Technically brilliant, the lighting design and its execution, is the stuff of wet dreams for many a performance maker. When this design transgresses to form part of the costuming,   effective and borderline brilliant, though needs a little more refinement. Similarly, the soundtrack could have been just that little louder, we should feel the base rumble through us.  

This work is bold, but needs to be bolder.  It’s almost, almost there and will surely go deeper and really blossom over the nights of it season at Arts House. For lovers of dance, this performance leaves you wanting very little, so go check it out. For more info or to book you tickets click here.

Livres D’Artiste

 Art On The Page grants a rare opportunity to view significant works of European and Australian lineage, that more often spend their time hidden amongst the Rare Book Collection housed by  University Of Melbourne. You stumble across the exhibition tucked away in a second floor annex, soft jazz plays in the background, at odds with the frenetic energy of campus just outside. These pieces trace from our European forefathers,  through to artists and illustrators of a contemporary Australian genre. The influence and similarity between past and present provide continuity and a tangible through line.  Curator Susan Millard spoke with TAGG.

Susan introduce us to the exhibition and the idea that led to it’s presentation? 

We have had this collection for more than 20 years and we knew we had to do something with book arts, and it morphed a bit and it also changed. So this exhibition is essentially about book making and about artist, who have used the book form as their medium. We are looking at the 20th century, looking at artists such as Matisse and Picasso a whole lot of those people who were working together and collaborating. It’s about that tradition and then how that has influenced the Australian artists, and how their book works are very influenced by those European artists.

So, where to begin? Is there are a work here you could describe as being the genesis for this exhibition? 

The first thing to talk about is Petr Herel, He’s Czechoslovakian; his work is just really delicate and beautiful. He came out to Australia in about 1973, and then took over the Graphic Investigation Workshop in 1979. He  inspired others through his teaching of all of these book making and print making techniques, and got them all inspired and off they went. This is sort of where it all starts. 

The next sort of big step is the Melbourne scene, and it really mirrors I think I found as I researched, we’ve had for ages, and known about them and talked to them about it for ages. The one thing I found is that they were all of European background and they all know each other and they all sort of collaborate together, and they are not just artists but writers as well.

Let’s also talk about Bruno Leti, who does a lot of work. He does painting, print work a bit of digital photography stuff, and it’s quite stunning.

And what would you put forward as an explanation for the link between these two sets of artists and the European influence we are discussing?

I think its actually because they are European or their background is European, although not entirely. David Fraser does these beautiful woodcuts, and has done some work with Paul Kelly. He’s been doing a lot of that collaboration too. But he I don’t think is European. His work is still beautiful, so he gets the guernsey in terms of the scene.

But Theo Strasser who is Dutch Bruno Leti, George Matoulas. I know from talking to people, that when they go overseas and they go into galleries, these are the people they are looking at.

I like the idea of the artists getting together and collaborating, and thats what they do and that’s where this beautiful work comes from. Because they do all get together and collaborate. But the other side of this exhibition is the Classic and people taken that and responding to it. But the main thing about this whole exhibition is that its abstract. Australia has been hopeless with abstract art. We don’t love it; we are really cringey towards it and I really don’t know why.

Are there any perhaps more unusual works in the exhibition that are of particular interest? 

I don’t know about unusual. I want to talk about Sonia Delaunay. For a start, its a bit of a head call to get woman, but a lot is more of the male thing. Its just extraordinary. She did abstract art but she did fashion. She made things,  she had a boutique and did a lot of fashion stuff but when she did drawing it was really abstract and I just loved it. Her work here is quite late – from around 69. But she did a lot of early work, she was from pre-war England, but she’s Russian and had problems during the war.  

Delaunay and artists like Alberto Agnelli and Sophie Taeuber-Ap – they were all hanging out together in a commune in Southern France during the war. They were very lucky to escape some of them, really. They just did these works together and they are just magnificent. 

Finishing off, what do you think is the greatest power art holds in terms of the global community?

Its about that creativity, and if you don’t have that creativity somewhere you are in trouble. I think that is a problem with the world today. It’s been taken over by the bean counters. A lot of management is determined by the bottom line. Creativity is almost frowned upon now, its a bit depressing. You can imagine a dystopian future where art is completely repressed or banned, and that’s never a good thing for the community. 

Art On The Page is on show at The Noel Shaw Gallery, University of Melbourne now until January 14th, for more info click here

Feathers and fur – St Kilda to Healesville

Resident Rainbow Lorikeet at Port Melbourne Botanical Gardens image by Kerrie Pacholli ©

images by Kerrie Pacholli ©

Her cousin Rainbow Lorikeet taking in the sights at St Kilda beach image by Kerrie Pacholli ©

Her cousin Rainbow Lorikeets taking in the sights at St Kilda beach image by Kerrie Pacholli ©
Wedge Tail Eagle at Healesville that sadly cannot fly due to wing injury image by Kerrie Pacholli ©
Wedge Tail Eagle at Healesville that sadly cannot fly due to wing injury image by Kerrie Pacholli ©


Pied Cormorants drying off  at St Kilda Pier image by Kerrie Pacholli ©

The Crested Tern posing nicely on St Kilda Pier image by Kerrie Pacholli ©

The Crested Tern posing nicely on St Kilda Pier image by Kerrie Pacholli ©
Baby Torny Frog Owl camera shy at St Kilda Bontanic Gardens. A good luck omen image by Kerrie Pacholli ©
A camera shy Baby Torny Frog Owl at St Kilda Botanical Gardens.  Sighting one of these spirits is usually considered a good luck omen image by Kerrie Pacholli ©

Koala Bear at Healesville Sanctuary image by Kerrie Pacholli ©

Koala Bear at Healesville Sanctuary image by Kerrie Pacholli ©


Tasmanian Devil at Healesville Sanctuary image by Kerrie Pacholli ©

Tasmanian Devil at Healesville Sanctuary image by Kerrie Pacholli ©
Smiling Wombat at Healesville Sanctuary image by Kerrie Pacholli ©
Smiling Wombat at Healesville Sanctuary image by Kerrie Pacholli ©

Skippy retired and living at Healesville Sanctuary image by Kerrie Pacholli ©

Skippy, retired and living at Healesville Sanctuary image by Kerrie Pacholli ©

Sherlock the Bulldog a local resident of St Kilda image by Kerrie Pacholli ©

 Bulldog a local resident of St Kilda image by Kerrie Pacholli ©
Tom the Cat local St Kilda resident who passed away at 20 years of age image by Kerrie Pacholli ©
Tom the Cat local St Kilda resident who passed away at 20 years of age RIP image by Kerrie Pacholli ©


Meet the Artists – St Kilda Art Crawl launch 21 – 24 Sept

Pamella Dias Lotus Arts contributing artist in Fitzroy Street installation as part of the St Kilda Art Crawl

Dino Damiani exhibition in Fitzroy St. precinct as part of the St Kilda Art Crawl

Dino Damiani exhibition in Fitzroy St. precinct as part of the St Kilda Art Crawl

Symmetry’s Shadow Exhibition

Location: Christ Church St Kilda (Anglican), 14 Acland st. St Kilda

Re-inventing LIFE through ART, an ongoing therapy.

Silent intelligence, each soul’s higher self, speaks of a collective, a whole; the human race as one. In our hearts we all know this to be true, one only needs to apply thought. Pressure in the frontal lobe region may follow as a result, tension will subside with gradual use of the minds eye.

If you’re in disagreement I invite you to come along and allow the artists involved to persuade you of another outlook, or more accurately in-look. An in-look which becomes an outlook of the soul. Push the envelope and watch it bend, be like the reed in the wind, the one Confucius spoke of. The Hidden runs our lives, for most of us have no idea of our purpose of existance. Most of us hide behind invisible mask of our choosing.

Man is a walking talking paradox, who’s hypocritical abilities are of legendary status. At this point in humanity’s evolution I believe it is important to pause and take stock of one’s true purpose, lights, gifts and shadows truths. Together they provide the human halone with a third dimensional experience, according to information (thoughts) available.

Seems to me, one’s thoughts and intent should take precedence above all.

by Marko Maglaic – Australian collectable artist

Anthony Breslin contributing painter at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Anthony Breslin contributing painter at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl
We would like you to meet some of Melbourne’s artistic community that are participating at various installations around the five St Kilda Art Crawl precincts.

Woodman contributing painter at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Phil Voodoo Woodman contributing painter at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Jackie Ralph contributing artist at Symmetry's Shadow Exhibition 22, 23 Sept sponsored by St Kilda Art Crawl 2017

Jackie Ralph contributing artist at Symmetry’s Shadow Exhibition 22, 23 Sept sponsored by St Kilda Art Crawl 2017

Andrew Hustwaite contributing arts at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Andrew Hustwaite contributing arts at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Marko Maglaic curator and contributing artits at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Marko Maglaic curator and contributing artits at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Cal the Stoner contributing sculpture at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Cal the Stoner contributing sculpture at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Michael Blamey contributing photographer at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Michael Blamey contributing photographer at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Emmanuel Santos contributing photographer at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Emmanuel Santos contributing photographer at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Apu - Melbourne based Global Musician contributing musician at Symmetry's Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

Apu – Melbourne based Global Musician contributing musician at Symmetry’s Shadow Exhibition opening on 22 & 23 Sept 2017 sponsored by St Kilda Art Crawl

by Kerrie Pacholli @

Pile Of Bones

From darkness, they emerge as a twisting sensation of bodies curled. As the lights slowly rise, so too does this performance unfurl.

There’s something maleficent,  rhythmic and disruptive to the choreography. Brash and unapologetic, the performance continues. Repeated moments that allude to the more classic are elbowed aside. Dancers shift from character to object  and from lucid vision to solid form Through various scenes a loose but clear narrative established. Stephanie Lake Company’s Pile Of Bones, is a direct and all together personal meditation upon themes of genesis, desire and the human condition. 

Each dancer, commands the respect of audience. The detail and precision of which they apply here, incredible. The choreography forms a detailed and intrinsic language that is beautiful and loaded, bringing you inwardly to a place that is realised and authentic. Here we see a display of the way in which we can mould, train and teach the human body to communicate without words.

But amid the refinement, the creators have also allowed room for each dancer’s own personality to feature. There is a cheeky and playful element that rebuts the darker and more pressing subject matter being examined; an intelligent choice that brings further shade. 

Pile Of Bones works intelligently with lighting and owns a keen sense of spatial awareness. Choices made in terms of the soundtrack do border on the cliche, but the unique and altogether contemporary approach taken here manages to just skirt this outcome, for its production values the performance, made all the more refreshing. 

Some scenes do detract from the performance as a whole, whether due to the introduction of props, or a need for more time in development, a question to be asked. But for all the detraction that these brief moments introduce, they also achieve something else, bringing audience into a new place and introduce new trains of thought, to an already heady and cluttered mix of ideas.

Dance work, such as Pile of Bones, is electric, white hot and of universal appeal. It presents the perfect example of dance and its form, in the here and now. Thought provoking, and highly recommended, it’s playing this week at Arts House, North Melbourne. For tickets or more info click here