Featured Artist Lisa Sharp: Biographical Note and Artist Statement


Lisa Sharp. photograph by Rowan Fotheringham (2017)

Lisa Sharp is a Malaysian-born Australian artist, writer, curator and co-gallery manager. Currently based in Sydney, her painting practice sets out to explore ‘painting’ as action, object and historical discourse, all at once. Following an earlier career as a lawyer, she holds a Bachelor of Fine Arts with Honours in Painting from the National Art School, as well as Bachelors of Arts (English) and Laws from the University of Sydney and a Masters in Laws from the University of Technology, Sydney. Lisa likes to write and muse about art, art making and artists. Her blog is http://www.lisa-sharp.tumblr.com/


Lisa Sharp Judith and Holofernes, 2016, (diptych) Italian Green Earth pigment bound in tempera, oil and beeswax on panel, 20.5 x 15.5 x 1.2 cm each. photograph by Lisa Sharp (2016)

Selected exhibitions

49 Sighs (solo) Factory 49
The Paddock III: Posted to New York, Aloft Harlem, New York
Annual Group Exhibition, Factory 49
RNPG at The Kiosk, The Kiosk, Katoomba
Ce qui aurait pu ne pas être, Galerie Abstract Project, Paris
Factory 49 at Supermarket Art Fair, Stockholm, Sweden
Support / Surface Movement, Factory 49 Outside Wall Painting

Hype, Creative Space 220
Painting Remnants (solo) Factory 49
Abbotsleigh Alumni Exhibition, Grace Cossington Smith Gallery
Annual Group Exhibition, Factory 49
The Paddock II: virtual fields, Factory 49
Unmake/make / dénouer/nouer (joint) Factory 49 Paris Pop Up

Directors’ Show, Factory 49
Breaking Space, Imperial Hotel Paddington
National Art School Postgraduate Exhibition, National Art School
Honours 2015, Library Stairwell Gallery
Another Day in Paradise, National Art School
The Paddock: Looking back at The Field, Library Stairwell Gallery
To Be Continued (2), Factory 49
Feral, Articulate Project Space (as arts writer)

Stilled Life, Sede Annandale
National Art School Graduate Exhibition, National Art School

Artist Statement

My practice explores the ways in which the form of painting, treated reductively, can conflate the material language, concrete processes and art history of painting. ‘Painting’ is action, object and ongoing historical discourse, all at once. A ‘painting’ can mean many things – it’s a verb, a noun, and also a narrative, and this dialogue underpins my approach. In my studio, ‘painting’ constantly slips between action, thing and conversation. In my mind’s eye, and then with my hands, I aim to make work that captures those slippages around the meaning of painting.

I work with the materiality of painting. The trio of support, surface and paint tend always to be addressed in my works, but to varying degrees and with an ongoing interrogation of the role each element plays. The absence, or surrogacy, of any of these elements can be telling. I am fascinated with the qualities of different materials, whether the absorbency of a surface or the origin of a pigment, and exposing the ways in which they function within a painting is quite often the basis for engaging with a work. Prioritising the role of the materials that underlie painting also shifts the emphasis from the pictorial to the structural and from composition to chance. The use of fairly traditional painting materials and practices alongside unconventional ones enables a playful, process-driven examination of painting while situating it within the contemporary visual arts.

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Lisa Sharp Painting Weaving, 2016, copper pigment in acrylic polymer on woven cotton string and cotton duck canvas, 55 x 55 x 3 cm. photograph by Lisa Sharp (2016)

In some works, there is an emphasis on surface, whether through the result of repetitive actions of layering successively lean paint strata, in horizontal then vertical bands, as if weaving, or through actually weaving the canvas from string and torn strips.

My most recent series, the ‘paintless paintings’ uses the absence of paint to point to traditional materials, nomenclature, even expectations about painting as potentially expressive sources of meaning. In the absence of paint, the support and surface of the works become magnified, leading to an interest in the textile minutiae constituting a canvas surface, and the significance particularly of used textiles. I have been experimenting with domestically sourced textiles as surrogates for canvas.

One series is based on used muslin teabags and uses an embroidery hoop in place of a stretcher.  I found that the absence of paint only stressed the mundane, body-like qualities of the canvasses. The titling ironically references the death of painting as well as bodily ecstasy. The scale, and indeed the surrogate materials are domestic and feminized, offering alternative interpretations and readings of the paintings.

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Lisa Sharp 49 Sighs, 2017, 2017, glue gesso on canvas with beeswax varnish and a copper tack, 10 x 10 x 10 cm each (installation view) Factory 49, Sydney. photograph by Lisa Sharp (2017)

A recent exhibition, 49 Sighs was an installation of 49 paintless paintings. Once more, building upon the material language and rhythms of a painter preparing for painting, these stiffened forms, molds of trapped air (my breath, a sigh) illustrate the unusual qualities of gesso, a traditional primer used to prepare a surface for painting. These interactions and metaphors were made possible between a collision of materials, form, process and body. I was playing with the idea that a painting could be absent of paint yet still be about painting.

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A Single Sigh, 2017, 2017, glue gesso on canvas with beeswax varnish and a copper tack, 10 x 10 x 10 cm. Factory 49, Sydney. photograph by Lisa Sharp (2017)

What constitutes painting? is a question which continues to feed and direct my practice. What are the material (and socio-political) conditions of its creation, and how do they affect its impact and meaning? Taking the most basic material structure of painting – paint on stretched canvas – as a fixed position from which to invert, interrogate and experiment, I continue to paint, and make paintings that speak to the history of painting.

-Lisa Sharp



ISSUE 24. Double Issue October 2017 – March 2018

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Photographer’s Shadow. Anna Couani. Photograph 2017



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Published by Rochford Street Press
ISSN 2200-9922

ISSUE 23. July 2017 – September 2017


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Published by Rochford Street Press
ISSN 2200-9922


Issue 22. April 2017- June 2017


Julie Manning ‘Red Boat on the Hawkesbury’ -2016 Charcoal Acrylic Pastel Pencil on paper 134cm x 106cm.


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ISSUE 21. January – March 2017


Luciano Prisco Terra, earth, osso, bone. acrylic on five panels.


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Issue 19: July 2016 – September 2016

Song Sung DETAIL Pollard
Song Sung (2014) [detail] Georgina Pollard, 1.1m x 2.4m, house paint and curtain fabric, exhibited at Eco Spirit (2014), Modern Arts Projects (MAP), Blue Mountains. Photo credit: Billy Gruner


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Featured Writers Part 2: Past Australian Poetry Café Poets – curated by Zalehah Turner

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Published by Rochford Street Press
ISSN 2200-9922

Issue 18. April 2016- June 2016


Nicci Pratten, ‘Joey Bowie’, mixed media on paper, 2016.


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Kleber Mendonça Filho wins the 63rd Sydney Film Prize for the “compelling and relevant,” Aquarius: review by Zalehah Turner

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Winner of the 63rd Sydney Film Prize, Kleber Mendonca Filho (Aquarius) at the Sydney Film Festival, 2016 (Courtesy of the SFF)

The winner of the 63rd Sydney Film Prize is Brazilian director, Kleber Mendonça Filho for his moving portrayal of music critic, widow and cancer survivor, Clara (Sonia Braga) fighting to retain her Recife apartment and legacy despite the underhand schemes devised by a powerful corporation in Aquarius. The award which comes with a $63,000 cash prize was announced by Jury President, Simon Field on 19 June 2016 at the Closing Night Gala of the Sydney Film Festival. Simon Field claimed Aquarius was “a film of effortless verve and intelligence.”

The Sydney Film Festival’s Official Competition, now in its ninth year, is a highlight of Festival program and the announcement of the Sydney Film Prize is a much anticipated event at the Closing Night Gala. Previous winners have included, Miguel Gomes’s three-part film, Arabian Nights (2015) based on One Thousand and One Nights, Asghar Farhadi’s A Separation (2011) which went on to win both an Academy Award and Golden Globe for Best Foreign Language Film in 2012 and the first recipient and winner of the Caméra d’Or at the 2008 Cannes Film Festival, Steve McQueen’s Hunger (2008).

According to Festival Director, Nashen Moodley the Sydney Film Festival’s Official Competition was a “a compelling program of 12 of films that demonstrate the cutting edge of film-making” with “some of the most exciting films and filmmakers in the world right now.” Of the twelve films selected by Nashen Moodely for the 2016 Official Competition, Simon Field stated that, “the Jury was unanimous in its admiration [of the] strong competition this year.”

Three of the films vying for the prestigious, Sydney Film Prize, came directly from Cannes. Kleber Mendonça Filho’s Aquarius and Xavier Dolan’s It’s Only the End of the World both competed for the Palme d’Or with It’s Only the End of the World taking out the second most prestigious award at the Cannes Film Festival, the Grand Prix. While, Ivan Sen’s outback noir and sequel to Mystery Road (SFF 2013), Goldstone, opened the Sydney Film Festival on a distinctly Australian note.

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Festival Director, Nashen Moodley with Kleber Mendonca Filho (Aquarius) at the Sydney Film Festival, 2016 (Courtesy of the SFF)

Accepting from Recife in Brazil, the 2016 Sydney Film Prize winner, Kleber Mendonça Filho said, “To get this recognition from Sydney Film Festival means a lot to me and to the film, which is building up momentum for our Brazilian release.” Although, he was unable to be at the Closing Night Gala to receive the award in person, he sent a video message to the Sydney Film Festival and its audience expressing his thanks and commending Nashen Moodely for his programming skills, comparing them to that of a DJ. “Being a DJ in a film festival is the best thing that there is!” he said. Mendonça Filho added that, Moodely was constantly surprising over the length of the festival through his programming with different rhythms and different films.

Nashen Moodley explained, after the first screening of Aquarius at the State Theatre on 10 June, that music was very close to Kleber Mendonça Filho’s heart and that this was reflected his direction and screenplay of Aquarius. Mendonça Filho’s first feature film, Neighbouring Sounds screened in the 2012 Sydney Film Festival’s Official Competition although, it did not win. However, there are distinct similarities in the screenplays such as, the location, that of Kleber Mendonça Filho’s home town, Recife, the strength and resilience of the characters and the socio-economic themes.


Clara (Sonia Braga) in Aquarius (SFF 2016)

According to Kleber Mendonça Filho, Aquarius “is very much about the past, the present and the future.” The director claimed that the very “heart of the film is memories” and that he saw it “almost as a time machine” with objects, photos and records providing the impetus for flashbacks and allowing for smooth transitions between the different stages and periods of time in Clara’s life. Music, Mendonça Filho claimed, didn’t get old as we did. More importantly, it contained personal memories of certain times in our lives for all of us, especially, Clara. He said that it was easy to add what he referred to as an expensive soundtrack because music meant so much to Clara and often forms her initial response to the violent attacks from the corporation wishing to tear down her apartment. Director, Kleber Mendonça Filho added that the film was also very personal and that there was a lot of his mother in the strong, female protagonist, Clara.

Jury Chair, Simon Field maintained that Kleber Mendonça Filho had created a “witty, sexy and playful” film that was both political and personal. He stressed that, “Aquarius is a compelling and relevant statement of contemporary Brazil at a very appropriate moment.” He added that, “at the heart of it is Sonia Braga’s astonishing and brave performance of a fearless character resisting pressures from her family and the corporate world.”

For anyone who missed out on Aquarius in the official 2016 Sydney Film Festival program, you can catch it at Palace Norton Street, on Wednesday 22 June at 6pm. Palace Verona and Palace Norton Street are screening twelve of the extremely popular, top-selling films after the Festival’s Closing Night Gala. Festival Director, Nashen Moodley said that, “These screenings are a wonderful way for audiences, if they missed out on Festival tickets, to see some of the most talked-about films of the year.”

-Zalehah Turner



Zalehah Turner is a Sydney based poet currently completing her Bachelor of Arts in Communications majoring in writing and cultural studies at the University of Technology, Sydney. Zalehah is an Associate Editor of Rochford Street Review: https://rochfordstreetreview.com/2016/02/09/welcome-zalehah-turner-rochford-street-review-associate-editor/

By Popular Demand: Aquarius screens at Palace Norton Street on Wednesday, 22 June at 6pm http://tix.sff.org.au/session_sff.asp?sn=Aquarius

‘The Lifeblood of the Poetry Communities Across Australia’: Zalehah Turner reviews The Australian Poets Festival

APF National Program Director Toby Fitch photograph by Tim Grey

APF National Program Director, Toby Fitch. photograph by Tim Grey

Launched in both Melbourne and Perth on February 20, at Blak & Bright and Perth Writers’ Festival, respectively, Australian Poetry CEO, Jacinta Le Plastrier, said that, “The Australian Poets Festival was the crown jewel of the new national program.” She confirmed that it “will bring the passion of poetry to writing and poetry festivals across the country, highlighting the best and brightest of Australian poets nationally, by state or territory” as well as, supporting younger and emerging poets.

Australian Poets Festival National Program Director, Toby Fitch, added that, the festival “is designed to add new and more diverse poetry events to the major writers’ festivals across Australia, so as to bolster the presence of contemporary poetry in the national conscience.” In developing the APF 2016-17 program, Toby Fitch pitched several events to the major literary festivals, two of which, ‘The BIG READ’ and ‘Mysterious Ways: Poets and Publishing’, were particularly popular with the festival directors but he was keen to point out that there were a range of different events in the APF program, with others to come.

Both ‘The BIG READ’ and ‘Mysterious Ways’ have an obvious appeal as part of a truly national program. An impression that is of vital importance to Australian Poetry, which under Jacinta Le Plastrier, is committed to engaging poets across the country through a range of new programs and services despite the loss of four-year funding from the Australian Council of the Arts.

‘The BIG READ’ focuses the poets and audience on the poetry of the state or territory of the hosting writers’ festival and ‘Mysterious Ways’, on ‘the lifeblood of the poetry communities’: poets who not only write but sell, edit, teach, or publish. Both events formed part of the program at the Australian Poets Festival launch on 20 February at the Perth Writers’ Festival with ‘The BIG READ’, featuring different poets, also at Wordstorm: The Northern Territory Writers’ Festival on 7 May and ‘Mysterious Ways’ at the Sydney Writers’ Festival on 22 May.

While, the structure, theme and focus of ‘The BIG READ’ and ‘Mysterious Ways’, remains the same, the selection of poets at each changes as of the APF tours the significant writers’ festivals around Australia. Allowing for a diverse range of opinions, poetic style and experience to inform and engage audiences across Australia. The Australian Poets Festival has the potential to encourage a more inclusive as well as, expansive perception of Australian poetry. Australian Poetry’s new national program may well succeed in revitalising the community’s perception of poetry by showcasing a range of voices “in new and exciting ways” (Le Plastrier) which have the power to engage audiences directly, drawing it closer to the hearts and minds of the community, as a whole. At the sixteen writers’ festivals that the APF will take part in over the next few years, audiences are sure to get a sense of the strength and diversity of poetry and the poetry community within Australia.

While, the Sydney Writers’ Festival did not include ‘The BIG READ’ in its program, it embraced ‘Mysterious Ways: Poetry and Publishing’ as well as, the well-known, Sydney, experimental poetry event, ‘AVANT GAGA’ which was, according to Toby Fitch, “loads of fun.” AP CEO Jacinta Le Plastrier was proud and delighted at the turn out at both Australian Poets Festival events at the SWF. Jacinta Le Plastrier maintained that, “Australian poetry is flourishing and we want to showcase that in a way that is exciting and unexpected” with the Australian Poets Festival, the highlight of the Australian Poetry’s new national program.

Hosted by National Program Director, Toby Fitch, ‘AVANT GAGA’ featured ten poets, including, 2016, Kenneth Slessor Poetry Prize winner, joanne burns, alongside, the short listed, Lionel Fogarty, in a sold event with close to 140 in attendance, on Saturday, 21 May. ‘AVANT GAGA’ is not unique to the APF program but rather, comes from a successful, experimental poetry night hosted by Toby Fitch at Sappho Books which most definitely has been succeeding in showcasing poetry in exciting and unexpected ways. While, every event has a different line up, Sydney-siders that missed ‘AVANT GAGA’ at the SWF, can catch it at Sappho Books in the near future.

At the second APF poetry event at the SWF on Sunday, 22 May, ‘Mysterious Ways: Poetry and Publishing’, Kent MacCarter, Kate Lilley and Michelle Cahill each read a selection of their poetry and discussed the ways in which their work, editing Cordite, Southerly and Mascara respectively, and university teaching in the case of Kate Lilley, impacted or influenced the writing of their own poetry. Chair Ivor Indyk, founder of Giramondo Publishing, co-founder of Sydney Review of Books and university professor, carefully negotiated the poetry readings and discussion which under his guidance, intertwined naturally. Ivor Indyk informed the audience as to poets’ background, including their own publications, impressive awards and achievements as well as, those of the journals they edit, create and publish while all the time, gently steering the poets towards the positive connections between the two.

Editor and publisher of Mascara Literary Review, Michelle Cahill claimed that before working on projects which focused on contemporary Asian Australian and Indigenous writers, she had never really identified as writer from a particular background. Having the voices of so many people from different cultural backgrounds come across her desk as an editor was not only eye-opening but helped her reflect on personal notions of race and identity.

Poetry Editor of Southerly and Director of Creative Writing at the University of Sydney, Kate Lilley, is the author of two prize winning books, Versary and Ladylike, with another, Tilt forthcoming. Kate Lilley maintained that until, poems were published in a book, they remained unfinished, continually open to editing and rewriting. She claimed that through reading the poems she shared with the ‘Mysterious Ways’ audience, she hoped to give them a sense of finality.

Kate Lilley read the title poem of Tilt which is also part of the Red Room Company’s Disappearing app. that connects poetry to place. The poem describes her job at the old pinball parlour, Fonzie’s Fantasyland which used to be on Oxford Street, Darlinghurst. By the end of the poem, she knows she is leaving and on to another life. One, she informed the audience at SWF, she was much more suited to, that of academia. Another poem she chose to read, ‘GG’ from Realia, she felt reflected the interconnectedness between the research she undertook at university and the poems she wrote as a result. She also included, ‘Harms Way’, a poem inspired by her own engagement with the crisis of detention policy in this country.

An active member of Melbourne PEN, Creative Director of Cordite and author of three poetry collections, Kent MacCarter claimed that he would read four poems directly influenced by jobs he was working on at the time. However, his first poem, a combination of bricolage and journalism about the ‘incomputable persistence of life’ was ironically inspired by the hardest job of his life, being a father, and the survival stories of airplane crash victims, among others.

He maintained that while working at Cordite came at a great personal cost to his own writing, it gave him a unique position to see what was going on in the world. He also felt strongly that his varied work experience had exposed him to jargon and terms specific to those particular areas which, when taken out of context and used in poetry, had the capacity for wonderful word plays.

Interestingly, in response to an audience member who had seen the explosion of interest around English poet, Kate Tempest since her appearance on Q & A and her opening address at the SWF and wanted to know how poetry could engage that level of attention consistently and why it didn’t generally, Kate Lilley suggested that poetry was constantly engaging with enormous interest and support from the community particularly, in Australia. According to Kate Lilley, poetry was no longer just for the elite and this intense level of interest in poetry which she claimed to witnessed first-hand was happening around us all the time.

‘Mysterious Ways’ certainly addressed several issues surrounding poetry and the publishing industry from the perception of poets who form the ‘lifeblood of the community’ by not only writing and publishing their own but working in ways that make poetry possible for others. Along with ‘AVANT GAGA’, it gave a voice to a range of poets and lead to a successful Sydney premiere of the Australian Poets Festival.

However, National Program Director, Toby Fitch was quick to point out that there were a range of different events that he had been pitching to the literary festivals around the country. “There’s the BIG READ gala, there’s AVANT GAGA, which originated at the Poetry Night at Sappho Books I run monthly, and there’s Mysterious Ways, but there are other events too, and that will happen at festivals to come.”

While those APF poetry events are part of the programs of writers festivals to come, Toby Fitch announced that, “At Queensland Poetry Festival and at Melbourne Writers Festival, on consecutive weekends, along with the [other] events, I’ve also organised for something called ‘Transforming My Country (by Dorothea Mackellar)’, in which poets will read and discuss a poem they’ve written (say, a version, an experimental translation, a response, or a riposte) to that famous Australian poem about Australian identity.” According to Fitch, “The poets in the two iterations of this panel will reflect the diversity of poets at work in Australia.”

The poem now known as ‘My Country’ by Dorothea Mackellar compares England to Australia and was redrafted several times before its initial publication under its original title, ‘Core of My Heart’ in The Spectator, London, 1908.

Some may remember reciting, ‘My Country’, at school until, the words lost their meaning. Still others, may feel strongly that the intensely patriotic poem written by Mackellar at nineteen while homesick in London does not reflect the experience of the average Australian, let alone acknowledge the original landholders, nor the horrors of what was an incredibly recent history at the time the poem was written.

The title itself, ‘Transforming My Country’ suggests that the event allows members of the panel in both cities to reflect and transform through their response, not only the original poem but the concept of national and cultural identity. Through reading and then, discussing the poem they have written for the event, the poets will have the chance to engage the audience in questions of national identity, pride, history, heritage, and culture. As well as, reflecting on the concepts of place and community which are inherent in both the focus on the Australian landscape in the second two stanzas of Mackellar’s poem and the overall theme of belonging.

Given the significance of ‘My Country’ to questions of national identity in Australia, ‘Transforming My Country (by Dorothea Mackellar)’ has the potential to be a key poetry event in the Australian Poetry’s revitalised, national program and the Australian Poets Festival.

However, the APF program is not just about increasing the visibility and diversity of successful poets but also offers workshops, such as the up and coming, ‘Poetry of the Eye: The Visual Aspects of Poetry’ hosted by the Program Director Toby Fitch at the Emerging Writers’ Festival on Wednesday, 15 June at the Wheeler Centre, Melbourne. ‘Poetry of the Eye’ is part of the EWF’s ‘Writers’ Night School’. Workshop participants are encouraged to bring a poem or text written by themselves or another, to reshape after learning a brief history of concrete and visual poetry.

The APF is also showcasing other events and awards within Australian Poetry’s new national program. At the Australian Poets Festival launch at the Wheeler Centre on 20 February, Samuel Wagan Watson and his mentee, Caution read poetry, rapped and discussed the importance of Blak voices and the AP Blak mentor program at Blak & Bright, The Victorian Indigenous Literary Festival in Melbourne. Samuel Wagan Watson is one of the poets on the ‘Tune Your Poetry’ committee, an online poetry mentoring service run by Australian Poetry that aims to connect prospective mentees with mentors from the same state or background and identity if requested.

Another significant event in the APF program is the announcement of the winner of the Scanlon Prize at ‘SUNBURNT COUNTRY’, the APF event at the Melbourne Writers’ Festival on Friday, 2 September. The Scanlon Prize is a partnership between Australian Poetry and the First Nations Writers’ Network made possible by the Scanlon Foundation.

The Australian Poets Festival is certainly showcasing and increasing the visibility of Australian poetry at writers’ festivals around the country and hopefully will continue to do so with the help of the Copyright Agency Cultural Fund. The Copyright Agency contributes 1.5% of its annual income to development projects, such as the APF, that support the Australian publishing and visual arts industries, and have a broad cultural benefit. The program is truly diverse and national with the launch of the Australian Poetry mentoring service at Blak & Bright, ‘The BIG READ’ reconnecting poetry and place, ‘Mysterious Ways’ focusing on the strength of the poetry community, ‘Transforming My Country (by Dorothea Mackellar)’ on questions of national identity, AVANT GAGA on the playful and experimental side of poetry and ‘Poetry of the Eye’ on practical and informative advice on creating your own visual poem.

Given the significant impact of the funding cuts announced by the Australian Council of the Arts on Friday, 13 May to Australian Poetry, along with sixty-two other arts based organisations, one can only hope that people vote in favour of change and the return of adequate and stable funding to the Australian Council of the Arts.

Blak & Bright x Australian Poets Festival: Samuel Wagan Watson and Caution at the launch of the APF at the Wheeler Centre, Melbourne on 20 February 2016: Blak & Bright x Australian Poets Festival

-Zalehah Turner


Zalehah Turner is a Sydney based poet currently completing her Bachelor of Arts in Communications majoring in writing and cultural studies at the University of Technology, Sydney. Zalehah is an Associate Editor of Rochford Street Review:  https://rochfordstreetreview.com/2016/02/09/welcome-zalehah-turner-rochford-street-review-associate-editor/

The next Australian Poets Festival event is ‘Poetry of the Eye’, a workshop held by Toby Fitch at the Emerging Writers’ Festival at the Wheeler Centre, Melbourne on Wednesday, 15 June at 6:30pm. Tickets cost $35 and $30 for concession holders. ‘Writers’ Night School: Poetry of the Eye’: http://www.emergingwritersfestival.org.au/event/writers-night-school-poetry-eye/

The Vivid Landscape: Zalehah Turner previews this year’s Vivid Sydney

Now in its eighth year, Vivid Sydney will light the facades of many of Sydney’s significant buildings with impressive projections surrounded by interactive installations that respond to touch, sound, and even text messages from 27 May to 18 June, transforming the city into an immersive, interactive, outdoor art gallery. From its initial beginning as a Smart Light Festival with a focus on sustainable energy in 2009, to the world’s largest festival of lights, music, and ideas with over 1.7 million attending last year, Vivid continues to expand in 2016 with new precincts, venues, and over an additional five days.

Executive Producer, Sandra Chipchase, announced that this year’s Vivid would be the biggest yet with an “incredible program where art, creativity, and innovation meet.” She added that, “Vivid Sydney delivers the world’s leading light artists in Vivid Light, cutting-edge musicians in Vivid Music, and creative innovators in Vivid Ideas.”


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‘The Matter of Painting’, Museum of Contemporary Art- artist impression by Huseyin Sami & Danny Rose (Courtesy of Destination NSW)

Artist, Huseyin Sami and Paris-based collective, Dany Rose, explore a key concept behind Vivid Light at the Museum of Contemporary Art, with their aptly titled work, ‘The Matter of Painting’. Treating the building’s architectural facade as a canvas, the artists, use light, sound, and an impressive range of techniques to create a multi-sensory experience which explores the physical nature of paint and the act of painting.


Songlines Sydney Opera House

‘Songlines’, Sydney Opera House- render impression by Artists in Motion, inspired by Karla Dickens (Courtesy of Destination NSW)

‘Songlines’, directed by Rhoda Roberts and incorporating the work of six, Indigenous artists, will Light the Sails of the Sydney Opera House, an event that has been a highlight of Vivid from the first festival with Brian Eno in 2009. As the title suggests, the artwork draws from the First Nation’s traditional, belief system which holds that Songlines are the paths left in the land and sky from creator beings in the Dreamtime. Songlines have traditionally been recorded in songs, stories, dance, and painting.

Two of the new precincts that will light up for Vivid, Taronga Zoo and the Royal Botanic Garden, are celebrating their anniversaries with ten, giant, multimedia, light sculptures of endangered species at the Zoo and the ‘Cathedral of Light’ at the gardens.

New Order, the 1980s electronic dance band that formed after the death of Joy Division lead singer, Ian Curtis, headline this year’s Vivid LIVE program at the Opera House. The band will play four nights, two with the Australian Chamber Orchestra. Ironically, New Order, who were renowned for the minimalist packaging of their albums, will be surrounded by the colourful decorations of the light display across the sails.

While the line up at the Sydney Opera House is impressive, ‘Björk Digital’ at Carriageworks is certainly a highlight of this year’s festival and the Vivid Music program. Björk will curate two nights of music to open the world premiere of her experiment into virtual reality, after which the exhibition will be free to the public until, 18 June.

The Vivid Ideas program is also extensive with the Game Changer talks featuring filmmaker, Spike Jonze, ‘House of Cards’ creator, Beau Willimon, and ‘Orange is the New Black’ writer and creator, Jenji Kohan. Vivid Sydney Executive Producer, Sandra Chipchase said that, “the 2016 Vivid Ideas program is a dynamic showcase of art, creativity, and innovation” which focuses on the creative industries and technology, highlighting “Sydney at its cutting-edge best.”

A festival of lights, music, and ideas, Vivid is sure to impress. For the ultimate, immersive, multi-sensory experience, travel the path of the Vivid Light Walk.

-Zalehah Turner


Zalehah Turner is a Sydney based poet currently completing her Bachelor of Arts in Communications majoring in writing and cultural studies at the University of Technology, Sydney. Zalehah is an Associate Editor of Rochford Street Review https://rochfordstreetreview.com/2016/02/09/welcome-zalehah-turner-rochford-street-review-associate-editor/

Vivid Sydney runs from 27 May to 18 June. Check the website for further details: http://www.vividsydney.com/

The Australian Chamber Orchestra: https://www.aco.com.au/