May I share Mark Saddler

Here's some of my work for Western Riverina Arts, where I am helping to raise the profile of local artists.

Wiradjuri artist Mark Saddler has joined the growing display of talent at the Leeton Visitor Information Centre.

His work ranges from the traditional to the inventive, from handcrafted didgeridoos to clocks made from recycled materials, yet indigenous culture remains central.

"I'm in the process of using different mediums and different styles to tell a story in my artwork," says Mr Saddler. "Like my clocks which show different types of flowers that are used by Wiradjuri people. One is based on a kurrajong tree. Kurrajong trees are a great source of food. Much of the tree can be used for food, such as the seedpods which can be ground and used like coffee."

"In Aboriginal art we tell a story that's a story within a story within a story. I'm trying to keep my art very basic, working with different materials to tell a story that's relevant to our mobs here."

"My art aims to get people's attention so I can lead them back to our culture. To get people thinking about Aboriginal people."

Mark Saddler is active in promoting Wiradjuri culture and has developed school and workplace cultural programs that he travels all over New South Wales and Victoria. These programs explore indigenous culture and the personal benefits to be gained through making art.

His art is his passion and one that allows him to communicate culture. "I'm moving to give art a greater role in all our lives," he says. "Art's a thing where everyone can have a crack at it."

Saddler’s work with students at Wagga Wagga's Willans Hill Special School and inmates at Junee Correctional Centre are two examples. "Every time I visit a school I learn something. There are questions that lead me to research. One student asked how did we boil water so as to have a hot drink. I learned we used possum skins to hold the water and brought it to boil with stones that were heated in fire. Learning should never stop, as with sharing knowledge, it must continue."

"Wiradjuri people were known for possum skin cloaks and we traded with other groups up and down the Murrumbidgee River. Didgeridoos were brought to our region through trade. It wasn't a traditional tool but my great-uncles made them, so it is part of my culture" says Mr Saddler. "We tend to be an adaptive people."

"Language and art is one to us," he explains. "Our art comes from the red dirt, our land. It comes from what we know, see and share. Our art and culture comes from thousands of years of being here."

Mark Saddler collects materials from the landscape to create and each artwork tells a story. "Every piece is completely different, a one-off that's unique and when it's purchased my story goes with every artwork."

Leeton Visitor Information Centre has information sheets that accompany Saddler's artworks. When his art is bought, the story of how it was created or the culture represented goes with it.

Through his artwork Mark Saddler is helping to keep Wiradjuri culture alive.

May I share Marissa Lico

Here's some of my work for Western Riverina Arts, where I am helping to raise the profile of local artists.

Selections from Griffith-based photographer Marissa Lico's 'Familiar Strangers' series are currently on display in Western Riverina Arts' windows.

The 2012 series of photographs capture scenes of people using mobile devices in public. "My intention was to capture and document a common contemporary gesture with mobile phones in public spaces," Lico said.

"While a few of the general public were fairly attentive and anxious when they realised they were captured in a photograph, the majority were so engrossed and preoccupied with their devices that they were entirely unaware of their gesture being the prime focus."

Art reflects society and documentary photography is one medium where this role is central, particularly when identifying a trend. Marissa Lico has a passion for documenting gesture and body language among aspects of ordinary life.

"What I admire most about photography is the beauty of irreplaceable time, where unique moments are captured and will never occur again. That spontaneous connection that transpires then and there, between the eye, lens and subject, is a gift I don't take for granted."

Lico developed her photographic practise through studies at the Australian National University School of Art. She cites the work of a number of photographers as inspiring 'Familiar Strangers', including Anne Zahalka, Martyn Jolly, Beat Streuli and Henry Cartier Bresson.

May I share Jo Roberts

Here's some of my work for Western Riverina Arts, where I am helping to raise the profile of local artists.

The windows of Western Riverina Arts currently feature a colourful collage by Leeton-based artist Jo Roberts.

"The phoenix represents transformation and willing submission to change. A symbol of the idea that in every end there lies a new beginning, which ties into the theme of Burning Seed this year 'Re:Creation'," said Ms Roberts.

"My collage focuses on the principle of de-commodification, so it has a strong anti- consumerist theme. Burning Seed is not just another form of recreation that you consume but an experience that requires participation to fully enjoy.”

Burning Seed, inspired by the US Burning Man festival, returns to Matong State Forest this October. The event draws an eclectic audience around principles including radical self-expression, inclusion, participation, and gifting.

"The event creates a temporary village in the bush where everyone brings everything they need to survive, something to share, and money is not exchanged," said Ms Roberts.

"Last year was my first 'burn' and I found a community that was welcoming, inspiring and supportive. The event is a radical experiment where revelry takes equal billing with environmental and social consciousness."

"The Burning Seed principles provide a framework that remove many of those artificial barriers which can inhibit people from genuine expression and allow for authentic, non-manufactured experiences between participants," she said.

Also displayed in the Western Riverina Arts windows are photographs from the 2012 event, including the displays of fire and art that are essential features of the Burn.

Local artists are invited to come and discuss displaying their work in our windows.

May I share Lee Blacker-Noble

Here's some of my work for Western Riverina Arts, where I am helping to raise the profile of local artists.

Leeton-based artist Lee Blacker-Noble will hold a retrospective at The Roxy Gallery from 26 September to 4 October.

This exhibition will present works from a career that spans nearly 60 years.

"You'll see a difference in styles because I've been painting so long," said Mrs Black-Noble.

Her mother introduced her to painting in 1955. "She gave me a set of oil paints because she thought I was running around too much after the birth of my child."

In 1956 Lee Noble-Blacker started a painting group in Leeton and an early work watercolour of The Roxy Theatre will feature. "In it you can see the window where the exhibition will take place, which is a nice link across time."

Works from her final year studies at Southern Cross University will be included, as well as designs for her first commission. "I was funded to paint a mural of the history of Casino for the Australian bicentenary in 1988 that is still in the main street today,” she said.

It is worth mentioning that Lee Blacker-Noble's experience in murals includes the history of the region presented on the walls of the bar room at the Historic Hydro Inn.

Her time in Casino from 1974 to 1991 included set designs for musical productions and she also directed three musicals.

"Half of me is music," explains Mrs Blacker-Noble and she sang for many years in the Lismore and Casino choral societies as well as the Murrumbidgee choral group.

A self-described "Tolkien tragic," she has included characters from the Lord of the Rings stories in many of her paintings. Her garden also features on many recent canvasses and, at times, her yard serves as a setting for imaginings of scenes from Tolkien's works.

Since returning to Leeton in 1991 to be closer to her grandchildren, Mrs Blacker-Noble has focused on landscapes and foregone the requirements on oil painting. "I've gone back to my first love, watercolours."

The retrospective is a chance to see the scope and breadth of this artist's career through many mediums and styles, from abstract to expressive to realistic representations.

Lee Blacker-Noble is a polymath and, while painting will be central, she will also share her poetry, etchings, prints, ceramic and felt-based works. 
A number of her artworks will also be available for sale.

May I share Sarah McEwan

Here's some of my work for Western Riverina Arts, where I am helping to raise the profile of local artists.

Birrego-based artist Sarah McEwan features in the Western Riverina Arts office windows this October with an installation of red shoes, text and textiles.

McEwan is a core member of The CAD Factory, which began as an underground warehouse space in Sydney during 2005 and relocated to the remote location of Birrego in August 2010. Since then The CAD Factory have developed a variety of artistic projects in the region.

The window gallery installation explores how gender is perceived and influences perception. The objects of shoes, fabric and thread ground the text on the windows in feminist discourse and create an interplay between how one is seen as opposed to how one feels.

"I was influenced by Julie Briggs' poem about red shoes in the Art Misadventure #3 exhibition at The Roxy Gallery earlier this year," said Sarah McEwan. "She was re-interpreting a Hans Christian Andersen story with the image of a woman who can only walk faster and faster trapped in her shoes.

"The red threads in the work that are dangling down suggests ideas dropping, like thoughts manifesting into reality, and is something I've been developing for a while," continues McEwan. "It emphasises the space in-between."

This thread continues in her work for the Reimagining The Murrumbidgee exhibition that opens at The Roxy in December.

The high heel shoes in Western Riverina Arts’ window gallery were purposefully picked for their symbolism. "It's playing with the idea of gender and the internal frustrations of how one is seen," says McEwan. "What really is your authentic self?"

May I share Emma Piltz

Here's some of my work for Western Riverina Arts, where I am helping to raise the profile of local artists.

Narrandera-based artist Emma Piltz has curated a collection of organic and found objects in our window gallery this November.

"I was on a plane when Western Riverina Arts emailed offering the window gallery space," said Emma Piltz.

"I remember looking out the window at the paddocks below and seeing the outlines from pivot watering systems. When I returned home I began making hoop shapes from branches, which have become landscape forms."

Circular shapes are a motif in Piltz's display this month. Her work draws on the landscape for inspiration as well as materials. Weathered human-made and organic object are arranged and presented.

Her collections are in a sense curated landscapes, bringing together items in a way that pleases the eye with competing textures, colours and shapes.

"I love finding things and appreciating the beauty or character in an object. It seems silly to spend time trying to make an object look old or weathered when there's so much around that's going to waste."

Some items have been with Emma Piltz for many years, changing as they lose a limb or gain cracks and textures.

The skills in presentation and maximising potential complement those she has developed in her career as a hairdresser.

"I find it's a great way to work with my hands and it's rewarding to see an item taking shape. There's a meditative aspect to it that I also enjoy."

May I share Automata

Here's some of my work for Western Riverina Arts, where I am helping to raise the profile of local artists.

"It's three childhood friends navigating the subconscious via art," says Leeton-based artist Jo Roberts of the exhibition 'Automata: 3 is a magic number' that she will open with Allis Maun and Benjamin Roberts at The Roxy Gallery this month.

The artworks in the exhibition are united by the theme of bringing hidden meanings into the open.

"Often you have clear ideas of images you want to use but my process this time has avoided that. I've used automatic processes, such as the cut-up method of making poetry, to come up with surprisingly apt juxtapositions that I wouldn't have developed with my conscious mind."

Ms Maun uses a similar technique, explaining her art arrives from a dream world. "Usually I stop my critical mind when I draw and see what comes to me."

"It's a bit like when I used to play music, if I thought about it I'd make mistakes. So I switch off my conscious mind and sometimes the results makes sense and I can rationalise them later."

When asked if intuition plays a role, Ms Maun says the term captures the relationship. "Intuition, as in 'in tuition' like it literally suggests an inner teacher."

“I guess things come from the subconscious all the time,” says Benjamin Roberts somewhat warily. “Usually I have an idea what I want to produce [in art] but end at a different destination. Mistakes along the way aren’t always mistakes.”

“This exhibition allows me to feel a lot freer. I’ve let go of many opinions and there’s less pressure. It’s about acknowledging what I enjoy doing in art after working semi-professionally on projects in Melbourne.”

“The works produced for this exhibition have been more about process than producing a particular result,” says Mr Roberts.

"The line 'Three is a magic number' is a play on our friendship obviously," says Jo Roberts. "The number also represents a sense of how a child is born from the blending of masculine and feminine energies. This for me represents art process, a blend of creativity and discipline leading to a realisation."

Ms Roberts says she proposed the exhibition as a way of promoting non-conventional art practise and to ensure the visibility of art in Leeton. "I think it's extremely important that the Roxy Gallery continues to be used as an art space."

"It was also a way of creating momentum for my own art-making, setting a deadline and working toward it. Not waiting for a muse or inspiration but adopting a practise. Even just thinking about art and developing ideas everyday is a discipline."

"Benjamin will tell you he's compulsively driven to draw and has been since he was a child," she says of her brother. "I really enjoy placing constraints around my practise as I find the idea of infinite possibilities paralysing, rather than liberating."

May I share Melanie Ifield

Here's some of my work for Western Riverina Arts, where I am helping to raise the profile of local artists.

Leeton-based writer Melanie Ifield always wanted to be an author but it wasn't until she contracted chronic fatigue syndrome that she found the opportunity to publish.

For Ms Ifield the desire to write started early. "As a little girl I filled exercise books with stories," she says. "I think it's something I always wanted to do."

"I got side-tracked working for Federal Government in Canberra writing policy documents all day. Writing policy is a particular voice, a journalistic style. It was hard to come home and find my own words and you do need an authentic voice to write fiction."

"Now I'm finding time, even if it is due to ill health. Chronic fatigue has freed the words."

In late 2103 Melanie Ifield published three books under her own imprint. The books are available through the Amazon website and each aim at different genres of the fiction market.

The Chicken Liberation Army is a story of action and adventure for young readers. Published 31 October 2013, it details young protagonist Bella as she investigates the abuse of chickens on a local farm.

"A mate had some chickens and mentioned euphemistically that a fox had 'liberated' some of the chickens, so the idea began to develop in my head," says Ms Ifield.

"Then I was thinking on a catchy title and liked CLA for the CIA kind of reference. I liked the idea of really adventurous kids. These days childhood seems cloaked in bubble-wrap and kids hate that. It's important to provide that fantasy I think."

The Candlestick Dragon is a fantasy for middle grade readers and young adults published on 13 November 2013. The plot introduces Daniel Smith, who discovers a magical doorway into the land of Novarmere.

"It's based around the loneliness of the lead character and his need to fit in to society. He gets outside of the bullying that allows him to step into an adult role of being a hero. It's based around courage, he goes from feeling inadequate in the 'real world' to stepping up to the challenge when confronted with the threat of death. And he realises that he's had that strength all along."

Three more books in the series are scheduled for release in 2014.

The Age of Corruption was published on 6 December 2013. This is an action and adventure novel for adults as lead character Fiona Page finds herself hunted by a psychopath and protected by a retired assassin.

"When I started this book I was living in Canberra, and the impression of that city is that it's so boring. So, I thought about what else could be going on here? I'm not going to be a martial arts killing machine, so I started developing a fantasy life to see where the story would go and it kind of got away from me a bit."

While the two previously mentioned books were written for middle grade to teen readers, this one is aimed at an adult audience. "It's called The Age of Corruption because it explores the question of how far you could go without a moral compass?"

"These three novels are my beginning as an author," says Ms Ifield, who is currently writing a book detailing her own experience with illness and chronic fatigue. "People ask for help and any ideas on how to cope and, after I email a lengthy reply, they encourage me to write it down."

"Some times I feel 'human' but others I feel like a foreigner in my own skin, struggling with exhaustion, nausea, and headaches to find the words to express myself."

She believes that writing is an important pursuit. "It helps me get up in the morning. Illness can be demotivating but, even if I write only 500 words, I'm still doing something I love."

"Follow your dreams," Ms Ifield advises. "It's difficult when your brain is in a fog but I've managed to do it. Don't give up."

May I share Melanie Baulch and Kristy Brown

Here's some of my work for Western Riverina Arts, where I am helping to raise the profile of local artists.

Griffith-based artists Melanie Baulch and Kristy Brown are the first to exhibit in Western Riverina Arts' windows this year. Their landscapes were displayed at Griffith Regional Theatre in 2013 and are the first to be shown in Leeton as part of the Western Riverina Arts' Exhibition Trail initiative.

The Trail is a partnership between Western Riverina Arts and Griffith City Council that will provide opportunities for local artists to exhibit their work in Leeton's main street and in Griffith's Council and Regional Theatre foyers.

"Melanie and I decided to have a bit of fun with what we do," explains artist Kristy Brown. "We're both into colour and design that fits into a sense of place and being. As we got into it we thought we'd base it on landscapes."

"I seem to be on a landscape bent at present," agrees artist Melanie Baulch. "My work has a lot to do with nature as I'm a bushwalker and birdwatcher. I try to capture the colour and life, sights and sounds around me with the paintings drawing on the interplay of what's out there."

The landscapes by Baulch and Brown provide an interesting contrast, with each artist showing their own perspective. One uses paint in an impressionistic style, while the other mixes media through the use of digital design and textiles. These differing approaches reveal much about the artists.

"When I put things on the canvas it's a communication between myself and the painting," says Ms Baulch. "I think my best work comes when I’m able to empty my brain and stay within the creative zone." One characteristic that distinguishes her paintings is their vibrancy. "I love colour and mix my own. Some people call me a colourist."

"The painting ‘Where the Wildflowers are Hiding' is inspired by walks through Cocoparra National Park. The other artwork is titled 'Round and Round the Garden' is a montage of shapes, textures, sights and sounds in the Riverina -- the amazingly abundant agricultural garden we live in."

In comparison Kristy Brown's work unites photography, graphic design and sewing. "The works play and experiment, it's kind of a summary of all the things I work with," she says. "I was interested in bringing the handmade into the digital with photography and illustration emphasising shapes and how they fit into spaces."

"As a designer the graphic element comes into it. The photography is where I often take snaps and I like the accessibility of the medium. That handmade element comes into it with the sewing, that's where my craft skills developed. I would watch my mother and nonna sew. I like to make and create with my hands and feel textures."

The landscapes presented by Melanie Baulch and Kristy Brown are currently on display in Western Riverina Arts' window gallery. All works are for sale.

May I share Peter Kopilow

Here's some of my work for Western Riverina Arts, where I am helping to raise the profile of local artists.

Adlethan-based artist Peter Kopilow's history with Leeton Shire led him to enter the 2014 Penny Paniz Arts Memorial Competition. He ran a gallery in Yanco for a few years and it was a painting showing this time that won him the open category.

"It's my first impressionist work," says Kopilow. "I've done a lot of expressionistic work but this was my first attempt. The painting shows the view out the front yard of where I lived in Yanco. I took a photo of it and this is my impression of it."

The winning work 'Canal and Palm Trees in Yanco' is currently on display in Griffith, one of a dozen of Kopilow's paintings showing as part of the Western Riverina Art Trail. It's a distinctly recognisable scene among abstract works showing the play of light in different settings -- a series is called 'Elemental Studies'.

"All those works are subconscious," explains Peter Kopilow. "It's not about reality, as we know it. It's what comes from the subconscious mind. It's an automatic process, I start painting and see where it leads. The paintings were a complete surprise. They started as a doodle but I was pleased with the result."

Likewise Kopilow's career has taken shape through reflection and incremental steps. "It's taken 50 years to get to this point," he says. "I chose a career in window-dressing then taught myself sign-writing, which led into painting."

Peter Kopilow wonders whether he should have pursued painting earlier, having won awards in 1973 but waited 20 years before joining the Queanbeyan Art Society and then the Fairfield City Arts Society on moving to Sydney in 1997. "I taught myself sign-writing and ran a business for 25 years. I can afford the luxury of painting now that I'm on a pension."

As a self-taught artist he experiments with styles and materials to explore painting. "I'm now experimenting in oils again after working with acrylics," says Kopilow. "It's like I'm continually experimenting with myself."

The effort is clearly rewarding for painter Peter Kopilow, both personally and now financially through winning the Western Riverina Arts' sponsored open category in the 2014 Penny Paniz Arts Memorial Competition.

Jim Lambie at Sydney Biennale

Fiona Hall gives a dog a bone

Fiona Hall is probably my favourite Australian artist. Her work is varied but always distinctive.

This work, Give a dog a bone, I saw at the Sydney Biennale exhibition at the Museum of Contemporary Art. The blurb is shown below.

I'm now thinking about making a set of shelves from cardboard boxes in my studio.


Got a portrait by one of my fave artists today.

My Rock

Saw Barbarion on the weekend, who were a great show. I've had this song stuck in my head since.

Sydney Biennale at MCA

Cool collage

Seen at the Museum of Contemporary Art in Sydney. Sorry, totally failing the moral right of the artist to attribution as I can't remember their name.

Sydney alleyway

Melbourne is the Australian capital city that's known for arty alleyways but this one near Sydney's Chinatown shows they're prepared to have a go too.

Poetry workshop with Ron Pretty

Ron Pretty is a poet who has many decades experience writing and promoting the form. He was part of the South Coast Writers Centre and had a role founding Five Islands Press and the Australian Poetry Foundation. Ron has also taught writing at the University of Woolongong and the University of Melbourne.

There were a number of exercises that he led at Narrandera, starting with asking us to write a final line for the poem Madonna and Child by Craig Powell:

An image of silence: fine dust falling on hair
where two of them sit motionless the light
glides with a rhythmic stillness out of sight
yet leaves a kind of radiance upon
mother and child asleep in armchair

Many in the class interpreted the poem as describing a Renaissance painting but I thought I’d be a bit cheeky and think of it as a photograph of Madonna bringing home a child adopted from a third world country. My line was:

as they journey to a new life beyond the night

As it turned out, Powell’s final line was surprising and powerful:

rags stuffed under the door, the gas turned on

Ron said he has a routine for writing, including pouring a glass of wine and lighting a candle at a regular time each week regardless of inspiration. So the next exercise was to write non-stop for 10 minutes and I was surprised how quickly a piece began to take shape. I’m tempted to work on this prose further:

Hold on to that thought
The cats shriek, it could be murder but more likely carnal
Shut up, I think as they’re distracting me from work
The thought has left than and I’m forced to step back
Seek space so that my idea may re-emerge, seek a stimulant:
a cup of tea

The kettle squeals, it be a train but more likely an alarm
Stop it, I think as the children are sleeping and not distracting me
The thought hasn’t returned and then I’m forced to step back
Seek a spark so that it may return, seek an inducement:
a glass of wine

The creaks, it could be an old window but more likely a door
Spill it, I think as the glass fills with liquid seduction
The thought returns that space is still needed
Seek fresh air to clear my head, seek a moment:
a quiet garden

The distractions are calling me, might be important but more likely not
Stay out, I think as the light escapes and the subject darkens
The thought now has company
Seek space to coax it into the present
And give birth to an idea

This exercise demonstrated a couple of things for me, that inspiration isn’t always needed and that writing can be surprising. I really love those times words flow onto the page and inspire their own direction.

Ron continued the workshop by discussing technical aspects of writing, such as line breaks and stanzas. In a traditional poem line breaks are determined by rhythm and the challenge is to keep the lines fresh as “English is not rich in rhymes”. Another challenge is metre as “it must sound like natural speech”.

In the organic form of free verse “your job is to find the best form the poem can go into. Every poem you write should be in a different form because it is a different poem.”

The line is “the most fundamental unit of the poem” and Ron encouraged experimenting with variations to see what works best. He offered a quote that “poetry is not so much a profession as a predicament” as the writer tries to make the form suit the message and intent of the content. Is each line a sentence? Is there a rhythm or pattern and is it conveyed through beats or syllables?

“There’s a lot of playing in poetry to see what works and you don’t try to do it all in one sitting.” Allow time to come back with fresh eyes and remember other people will read your work differently than how you read it yourself.

The last word of a poem “carries more significance than any other in the poem”.

At the other end, a title is an opportunity to create a reference outside of the work, offering “another way of looking at the poem”.

A question was asked about the difference between poetry and prose. Ron said there was much overlap but poetry uses heightened imagery. Imagery used should be consistent.

He quoted a Melbourne poet who thought “accessibility is a dirty” which is an attitude that makes me despair. Ron was of the opinion that “the best poets write work that speaks to people” but countered this with the view that “if you want to tell people things, give a lecture. You write for yourself because you want to explore.”

Ron promoted creative use of language. He offered a sentence and then rephrased it as a way of showing how to control the flow of words:
a) The cathedral stands on the least frequented, sunniest square in the city.
b) One the least frequented, sunniest square in the city stands the cathedral.

“One of the things poets do is experiment with usual ways for exception effect”. As an example, Dylan Thomas wrote “a grief ago” rather than a day ago. “Look at stock phrases and ask how might you show the reader a different view? It’s important to ask what the reader is going to see, hear and feel.”

“One thing that deadens a poem is too many abstractions,” said Ron. “Words like love have a lot of baggage” and he started a final exercise. In one column we wrote abstractions (or concepts, it seemed to me), in the next we wrote contrasting descriptions (long/short, hot/cold, strong/weak), and in the final we joined them together.

For example, the concept love was joined with descriptions: ‘love is sweet, young, wet and hard’. This seemed a bit too ribald to me, so I experimented: ‘love is weak, fat, brittle and old’. This proved to be a challenge when Ron asked us to think of an image for this line. I settled on ‘like a spoilt pet’ then put it together into a haiku:

Love is like a spoilt pet
that’s weak, fat, brittle and old
indulged for too long

Ron said the image line can be useful as the title of a work. So I tried a different approach:

Like a spoilt pet
hidden in my heart of hearts
a truth carefully crafted
concealed with care
this love I bear

In closing Ron shared some things to avoid. “These are things that usually stand out for me in poetry that doesn’t work”:
  • forced, artificial structures
  • polysyllables, flat rhythms
  • abstractions
  • confusing, self-contradicting images
  • cliches
The workshop was stimulating for me. It’s been many years since I learned anything about poetry, so that helped, but Ron shared a palpable sense of enthusiasm for the form. It was great that Booranga Writers Centre shared him with the ‘From Pen to Paper’ group in Narrandera.

La Planète Sauvage

La Planète Sauvage (1973) from Chaivalla on Vimeo.

Watched this today and it was trippy. Great soundtrack too.

Foucault would've loved Twitter