My Alien Plasma I made two digital artworks, each with a different approach. The first, Alien Plasma Neo, uses advanced digital editing to show a highly detailed energy being. The second, Plasma Alien, is a gestural painting that focuses on raw emotion. My interest in the 'energy being' theme comes from a lifelong curiosity about forces and life forms beyond what we usually see. I find energies and unseen phenomena fascinating because they represent transformation, vitality, and the mystery at the centre of my creativity. I want to explore how to visually convey inner power and life force, using both digital tools and painting techniques. I like experimenting with different tools to change an artwork. Comparing these two pieces shows how my intent shifts, much as a traditional artist might try out new media and methods. Alien Plasma Neo My first piece, Alien Plasma Neo, was all about hyper-definition and symmetry. I wanted to show this being at its highest energy, even down t...
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Top 5 80's Australian post punk
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jjfbbennett TOP 5 1980's Australian Post Punk
Under rated and more powerful than the UK or USA
Holy Joe: Laughing Clowns Laughing Clowns are an Australian post punk rock band fronted by vocalist and guitarist Ed Kuepper and backed by drummer Jeff Wegener.
Formed in Sydney in 1979 after the break-up of Kuepper's punk rock band The Saints. Where The Saints were a bass/drums/guitar rock band, Laughing Clowns' various line-ups included double bass, piano, tenor saxophone and trumpet. Often referred to as "jazz punk" by critics, the group's songs were often constructed around difficult time signatures and sometimes "off-key" melodies. Kuepper passionately disagreed with the assertion that the music was jazz-like, but rather thought of the music as being soul-like. This is evidenced by the fact that, in amongst the cachophony, many of the songs have strong melodic hooks, epic progressions and emotionally charged lyrics. They released several albums, singles and EPs, including Holy Joe, Mr Uddich-Smuddich goes to town, Ghosts of an ideal wife and Law of nature. They disbanded in 1985 with Kuepper continuing to record and perform under his own name.
Nothing grows in Texas: Sacred Cowboys The ‘Sacred Cowboys’ front man is Garry Gray (lead singer/lyricist), who as a member of the 'Negatives' (1977-1979) and the 'Reals' (1975-1976) was a pioneer of alternative music in Melbourne, Australia. He was a founding member of the 'Sacred Cowboys' in 1982. The 'Sacred Cowboys' began playing inner city Melbourne in early 1982. Within six months, the 'Cowboys' signed with Mushroom/White Label and recorded the 'Nothing Grows In Texas' single. After their so-called 'legendary performance' on Molly Meldrum's Countdown pop TV show on the ABC, Molly said, "This is the worst group I've seen in 5 years." This set the tone for their long career as one of Australia's seminal alternative groups.
Death Death Death: TISM TISM (an acronym of This Is Serious Mum) is a seven piece anonymous alternative rock band from Melbourne, Australia. The group was formed in 1982 and enjoyed a large underground/independent following. TISM have always used a variety of methods to conceal their identities. They have never officially revealed their names, instead choosing to use pseudonyms on their records and in interviews, all the while concealing their faces. Usually this involves the wearing of a balaclava, but ridiculous costumes have been created for the purpose, including Ku Klux Klan uniforms made of newspaper,[29] silver suits with puffy arms and legs to mimic an inflated cask wine bladder,[29] giant foam paintings worn on the head,[29] large foam signs bearing the name of a Beatle,[30] fat 'businessman' suits,[29] and eight-foot-high inflatable headpieces,[7] among others.
Who TISM are beneath the masks has been the cause of much speculation by fans, with one theory contending that TISM is composed of members of other bands who do not want their fans to find out: popular targets of this theory include Painters and Dockers, Machine Gun Fellatio and even The Wiggles.[31][32][33] A theory based on the band's tour schedule's roughly coinciding with school holidays proposes that TISM are school teachers.
God's Not Dead: The Slaughtermen The Slaughtermen were an Australian post-punk southern gospel group, which began in Melbourne in 1984. The band enjoyed a years residency at the Rising Sun Hotel in Melbourne which built a fairly even following of believers and sceptics. Singer Ian Stephen, only added to the mystique and/or confusion by purchasing a twenty five dollar Reverendship from a religious organization from out of the back pages of the National Enquirer. A nationally broadcast hour long live concert on Australia's ABC TV, cemented their unique place to this day, as Australia's first and only southern gospel group, albeit twelve thousand miles from the original source of the inspiration, America's Deep South.
Nick the Stripper: The Birthday Party The Birthday Party was an Australian post-punk group, active from 1976 to 1983.
Despite being championed by John Peel, The Birthday Party found little commercial success during their career. Though often indirect, their influence has been far-reaching. They've been called one of "the darkest and most challenging post-punk groups to emerge in the early '80s."
The Art of Malaka Malaka (Rise Above 'Em) [Verse 1] Jealous cowards try to control! Mean-spirited cloth – cut from the same! Old comments rotting – fourteen years old! Doubling down – you got no shame! [Chorus] Malaka! Malaka! Special Greek word – for scum like you! Malaka! Malaka! Rise above! We're gonna rise above! Vile views – spreading hate and fear! Malaka! Malaka! We ain't taking it – no more! [Verse 2] Who’s next on the list? Indians? Greeks? Vietnamese? Women? Whose next to be cut? Major parties silent – lips sealed tight! Cowards in suits – hiding from the fight! [Chorus] Malaka! Malaka! Pauline and Cory – same rotten core! Malaka! Malaka! Ashamed? You should be ashamed! Hate, division, fear in the air! Malaka! Malaka! We’re calling it out – everywhere! [Bridge] Minorities marginalized – feeling the pain! Unheard, unrepresented – driven insane! This ain’t left or right – it’s decency! Common fucking decency! I’m angry – really bloody angry! How do you get away w...
Creation doesn’t save. Art stabilises. That’s why art continues after belief has died. Not because it promises something— But because consciousness cannot stop itself. The will to create isn’t heroic. It’s involuntary. A reflex. The art of futility A spoken monologue I don’t make art because it matters. I make it because consciousness produces excess. And excess demands release. That’s the first lie we’re taught—that art points toward truth. Truth doesn’t need us. It existed before our gestures and will remain after our silence. Art isn’t revelation. It’s a regulation. An overdeveloped mind can’t remain idle. Thought accumulates. Pressure builds. Expression becomes a discharge—not a message. This isn’t noble. It’s biological. Paintings. Texts. Sounds. Images. All variations of the same maneuver. Not transcendence . Containment . Once you see this, ambition collapses. Influence. Legacy . Relevance. These are metaphysical debts art can no longer pay. The work is finished the mome...
The Struggle for Authenticity in Art I want to speak today about authenticity . And about what we quietly give up to be accepted. We’re told that contemporary political art values autonomy . That artists are free. That inquiry sits at the centre of practice. But autonomy, in reality, is often something we *perform*— not something we’re allowed to exercise. Freedom is celebrated rhetorically, while legitimacy is granted only when work conforms to approved languages , approved theories , approved causes . Autonomy isn’t denied outright. It’s curated. This system doesn’t fail artists by accident. It functions mechanically. It rewards work that aligns with predetermined frameworks and filters out work that doesn’t speak the sanctioned dialect . Many voices are excluded not because they lack skill or meaning, but because they refuse to translate their experience into institutionally legible language. I’m not saying all excluded work is good. I am saying much of it is never heard. An...
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