Onomatopee
Empathy Revisited: Designs for More Than One

Jeremy Plint is a Meanjin (Brisbane) based painter, ceramicist and art therapist. His visual practice examines the limited constructs of identity and the human form in reflection of personal narratives and environmental symbiosis. His current explorations in ceramics propose a new relationship between material, surface and the body through the ritualism of physical actions; the trace/record of which is found in the surface of his objects.

Bilums are traditional, intricately-woven bags, made by women throughout Papua New Guinea using natural fibres and recycled nylons & acrylics. The complex and unique patterns are integral to bilums, and many are particular to specific communities - recording and expressing provenance, current events and familial stories, often with spiritual or symbolic significance.Natural Fibre bilums are made from small trees and the weavers use natural plant-based dyes and as such are not designed to get wet. Please keep them dry.Each piece is entirely one-of-a-kind, and comes with a hand-written card acknowledging the cooperative and province.

2022Acrylic on canvas 61 x 91cm Samir Hamaiel is a Visual Artist based in Meanjin (Brisbane) working predominantly with paint, drawing and digital techniques. His architectural background, studying and practising in the UK, the Netherlands, Hong Kong and Australia, has significantly influenced his visual approach with strong highly structured perspectives. He has a particular interest in the in-between; less celebrated urban spaces which have evolved over time and demonstrate their history with markings, signage and texture. His background is also expressed through his work. British born with an Egyptian Father and English mother, Samir explores the complexities associated with his cultural identity: the in-between spaces in his work are a representation of this in-between status.

A rare document of the 1960s Black Arts Movement featuring Albert Ayler, Amiri Baraka, Milford Graves, Sun Ra, Cecil Taylor and many more, The Cricket fostered critical and political dialogue for Black musicians and writersEdited by poets and writers Amiri Baraka, A.B. Spellman and Larry Neal between 1968 and 1969, and published by Baraka’s New Jersey–based JIHAD productions around the time of the Newark Riots, this experimental music magazine ran poetry, position papers and gossip alongside concert and record reviews and essays on music and politics. The publication emerged from the heart of a political movement―“a proto-ideology, akin to but younger than the Garveyite movement and the separatism of Elijah Mohammed,” as Spellman writes in the book’s preface―and aimed to reunite advanced art with its community, “to provide Black Music with a powerful historical and critical tool” and to enable avant-garde Black musicians and writers “to finally make a way for themselves.” This publication gathers all issues of the magazine with an introduction by poet and scholar David Grundy.

120 bpm is the average number of beats per minute on a club track. So 120 bpm, the book, raps out some high-density forward-thrusting photo sequences from the years of techno’s meteoric rise in Switzerland to become one of the last great youth movements here, leaving its massive imprint on the nightlife, clubs and ongoing innovation in electronic dance music to this day.Swiss photographer Philipp Mueller covered the dawn of the Swiss techno scene in the early 1990s in his raw shots of Zürich’s first street parades, underground raves, and parties—whether backstage in clubs or in the intimacy of private venues—for various magazines.His photographs are interleaved here with facsimiled clippings from rave magazines and fanzines as well as first-hand accounts from some of the ravers who made the nascent scene.270 pages, 22.5 × 31 cm, hardcover, Edition Patrick Frey (Zurich).

Dane Lovett’s flower paintings both embrace and eschew their historical, thematic and allegorical roots. Dark, often monochromatic and subtly tonal in their palette, the scores of works that populate the Melbourne-based artist’s debut book 'Flowers' gestures towards the syntaxes of minimalism and seriality as resolutely as they do the still life. Where earlier works saw the artist construct still life arrangements from indoor plants and pop-cultural ephemera (VHS cassettes, vinyl records, CDs, ageing tech and the like) Lovett’s recent practice has seen him embrace repetition and delicate variation, with an unmistakably reductionist and art historical bent. Here, he recasts French artist Henri Fantin-Latour’s 1864 still life Flowers: Tulips, Camellias, Hyacinths in countless murky, monochromatic iterations – a single vase of flowers becoming a site for sustained painterly exploration, variation and rhythm. Extended series of foxgloves and waterlilies in various unnatural tones follow.As the curator and academic Rosemary Forde writes in her essay for the book, Lovett’s repetitions ‘each seem to emote uniquely’, his dark and muddy images allowing us to project ‘our own familiar scenes, moments, memories, aspirations, sorrows’. 104 pages29 x 22cmSection-sewn perfect bindSoftcoverPerimeter Editions (Naarm).