You may have been wondering where we’ve been for the past month. Fear not, we are still alive and have been off on adventures again. As I write this the SIDEROOM.COM team are spread across the globe causing creative mayhem in Sri Lanka, Cambodia, Auckland and Chile.

We apologize to you all for the lack of updates, but be assured we are collecting amazing stories along the way and as always plotting great schemes for creative world domination. You will hear about it all very soon.

Thank you to everyone who has sent in submissions. I promise we haven’t forgotten you and they will be posted as soon as we are back in the world of reliable internet.

Much Love

The SIDEROOM.COM crew.

It isn’t everyday that one can paint on a wall without having to worry about getting in trouble for it, being harassed by cops, or with hushed whispers cloaked in the darkness of night. As I lifted my brush and synchronized its first, careful acquaintance with the pristine wall, I was flooded with an illicit feeling no doubt instilled in me from the punishment resulting from wall-coloring as a child.

However, on that day and place, we were allowed to paint and welcomed to do so. The Don Sol Tourism Office offered us a wall next to their entrance doorway, and along with it a chance to produce a visual that conveys a message of importance. Pilon and I knelt and crouched, squinted and focused, putting brushes to wall to depict the fluid bodies and small, peppercorn eyes of the whale shark. We documented our progression and digression with a camera on a tripod, clicking the shutter every few minutes, adding shots to a stop motion which, when watched in a stream succession, divulged images that slowly crawled onto the wall, patch by line by dot, as ivy jaggedly engulfs a demolished building. Each time I came out of the pleasurable stillness that soaked my hours, induced by the attentiveness of painting, I became aware of watchers. A quiet, inactive group of Filipino shopkeepers kept watch over our murals development the whole two days, laughing from time to time at the enactments of the silly ideas we had to make our stop motion paint process more entertaining. A kind owner of a local coffee shop who, with owl-like powers of observance, noticed our afternoon weariness gifted us with free and heartfelt coffee made from beans which he took great pride in. Jarek, who worked at the Tourism Office, brought us cookies, which we enthusiastically crunched down on like crows hungrily downing the rotting piles of fruit peels in a garbage dump. Paint, paint paint. Two days of it, layer upon layer, sometimes painting on top of what we had just meticulously completed, for the sake of stop-motion, all under the warm blanket sun and intermittent gray skies releasing pinprick raindrops. The most special parts of this project were the frequent interactions we had with passerby. We were painting at a prime location for being seen – by the dock where people left from and returned to on their whale shark snorkeling tours. The mural drew people to us with questions; most commonly, ”What are you doing this for?” which gave us an opportunity to spread the word about the plight of sharks and the gluttony of the human virus. It is a different story from passing out fliers when someone approaches me with questions. There is often more openness, curiosity, less apprehension. We invited anyone who showed interest to contribute to the stop motion, to get in front of the camera and dance, pose, or release whatever creations came out of their bodies. People of differing ages and lands gave us poses, flaunts, smiles. A beautiful, genderless Filipino person came to pose prettily, with a flower behind ear, flirtatious and coy. By the time the sun set on the second day, a large, spotted, and grinning whale shark dominated the wall in a whoosh of movement, with thrasher sharks silhouetted behind her. Blue and yellow, bubbly letters, reminiscent of art of the hippy generation declared, ”Love sharks, love Don Sol”. Paint-streaked limbs, bodies marinated in sunscreen, sore, elderly backs, and the particular feeling of achievement one feels when completing an project in which one can clearly see the results filled our beings. These were quickly replaced with the proverbial longing for a Giddy’s vegetarian pizza. ”Ay, amigo,” Pilon said thoughtfully. ”What dost thou think of a jug of wine and a pizza?” Neither of us mentioned the piteously dwindling remains of our veganism. ”Si,” said I. As we walked away, I could see the newly-born butanding’s speckled soul arise out of her, into the sun’s afterglow.

Growing up in mountains of Virginia, Jade McCully had a fondness for snakes, ruffled socks, playing with her big sister, and asking about a thousand questions a day. That same curiosity still pushes her, but now her camera can document everything she loves, wants to know more about, or finds beautifully interesting. Jade finds her world impossibly curious and is attracted to everything around her.

Her featured work, “Going Home,” investigates Jade’s personal experiences through details of light, space, and objects. According to Jade, “They allow me to ask the questions about my new family, whom I find mysterious, and to answer them honestly. Exploring my environment with my husband Matthew, my new in-laws, and the Deep South. Family is the cohesive element that ties the pieces in this body of work together. My photographs journal what comforts me, what intrigues me, and what is so mystifying about my every day life. They remind me of the stories I have to tell, and invite the viewer to stand in my shoes, to feel my pain, my curiosity, my amusement, and to become a part of my surroundings and my story.”

OUR PHOTOGRAPHS ARE NOT…

Staged. Everything is real life.

PHOTOGRAPHING WEDDINGS CAN BE…

Exhausting. Staying up and keeping people laughing while concentrating on taking unusual compositions and truly capturing couples’ emotions can wear you out. It is also one of my favourite parts of the job!!

TOOLS OF OUR TRADE ARE…

Fixed Lens, Natural Light, and a constant curiosity to explore the world around me.

WHERE WE ARE NOW IS…

Savannah, GA (for today at least)!!

WHERE WE WERE BEFORE…

Mississippi, North Carolina, Virginia

THE BEST THINGS ABOUT JAPAN ARE…

The quiet, the natural beauty, the rich history, and all of the walking to get to those places, as well as good eats!

THE WORST THINGS ABOUT JAPAN ARE…

Their use of fur as a form of fashion.

JAPANESE PEOPLE HAVE…

A different approach to life then I do. Everything seems to be black or white, very structured.

MISSISSIPPI…

Could be one of the strangest places you could ever be.

THE STRANGEST DREAM I EVER HAD WAS…

All of my dreams come true in some way. It is kind of fascinating to envision something in a dream and watch it come to life. But this is one of my weirdest dreams I ever had… It was a recurring dream while in middle school, every year before school started. I would be at the top of a hill trying to get down to the ʻsafeʼ house that was like a McDonalds (donʼt know why)! But there were wolves on the hill that we had to get past. So it was a struggle to reach the ʻbase.ʼ We always got down the hill safely but there were always different obstacles to overcome. Weird I know!!

THE WORLD RIGHT NOW, THE WAY I SEE IT…

Everyone needs to learn from one another as opposed to fighting one another. Everyone has a story to tell and a different way of looking at life. If we could accept that and move on to create a better place, we would all benefit from it. Greed is a dirty dirty thing.

IF HAD IT MY WAY I WOULD…

Be travelling all the time.

THE BEST PLACE I…

Ever visited was Montreal. And I must say it was in the summer time so I missed the wintry weather. It was the perfect mix for us – dog parks, a walking and biking city, good food and open-air farmers markets. As well as good coffee!! I have never felt more relaxed.

IF I COULD EAT ONLY ONE THING FOR THE REST OF MY DAYS IT WOULD BE…

I love to eat well and my husband is the best cook in the world so I would say his food!! Yum!

DONʼT TRUST…

When things seem to good to be true. But always trust your instincts.

SOME PEOPLE…

Love you some people don’t.

THE BEST ADVICE…

I ever received was be yourself. I have followed a path that I have put in to place. I followed my dreams, listened to my heart, and worked my butt off. Oh and to wake up one time every year to watch the sunset. We always wake up on the first day of the New Year and go watch the sun rise. Then we have a glass of champagne, eat a cupcake, and go back to sleep with our doggies in bed. It reminds me that life is what you make it.

Also, words every photographer should live by – “If you don’t have your camera you can’t take the photo.” – Jay Maisel.

EVERY DAY I…

Stretch! I love to do yoga and run. There is nothing better then zoning out and listening to your body.

TREASURE…

Your life.

Want to see more of Jade and Matthew’s work? Check out:

jadeandmatthew.com
blog.jadeandmatthew.com

On a chilly afternoon of quivering gingko leaves in the glitzy shopping district of Ginza, Tokyo, a pack of animals and animal-lovers, humane humans and human-animals gathered. They had a message for the Tokyo-ites indulging in a Sunday afternoon of consumption. The Anti-Fur Demonstration began as the group emphatically raised their voices to the sky, holding up heart-gripping signs of truth. They joined in solidarity and marched through the streets, in step with the rhythm of what felt necessary and just.

A few came dressed as animals, some cute and some grotesque – pink-eared rabbits; a snow owl; triumphant, bloody, chortling wolves with fists upheld. Fur jackets bobbed in the air, smeared with a convincing thick, gummy, blood substitute, looking more like the remains of a slaughter in the plains of Tanzania than something that would be seen in the urban panorama of Ginza.

Posters displayed de-furred animals that resembled mutilated, crimson-dark meat; a glistening blood scab of a roasted animal, eyelashes blood-soaked and dried stiff, protruding like dandelion leaves. The hour I spent behind one of these posters was not enough to de-sensitise me; chicken bumps of empathy and disgust covered my arms and cheeks.

In most of the developed world, wearing real fur has become a social taboo – a mark of uninformed cold-heartedness. However in Japan, this stigma is not upheld, and fur is as commonly seen in the streets as dentist facial masks during flu season. This autumn in particular, fur garments have dazzled many a fashionista with their societal symbols of financial status and luxury.

Deconstructing the Myth

A common misconception is that fur is a by-product of the meat industry, a result of “using all parts of the animal.” While this is true in some cases, animals farmed primarily for fur make up a growing part of the industry.

These creatures are generally imprisoned in conditions of tremendous suffering. Cages are filthy, have little or no space for movement, and are mercilessly exposed to wind, rain and sun. Some animals spend their entire lives crammed in storehouses, and see their first rays of sun only when they are taken outside to be killed.

Even a creature born in to such darkness feels the instinctive need for grass, sky and the freedom to roam. The deprivation of these essential conditions drives animals to a state of distress, causing them to pace frantically, over-groom their fur, digging claws into other animals and ear biting.

A Day in the Life (POV – Rabbit)

Rabbit fur is a popular industry in European countries such as Denmark, Spain, Italy, and France, yet what happens within the walls of a fur farm is often hidden behind a blind disinterest. The mortality rate of rabbits (15%) is the highest of any commercial animal farming in the world today.

In a Danish rabbit fur farm investigated by Coalition to Abolish the Fur Trade (CAFT), each rabbit was given a cage the size of two shoeboxes. The rabbits are unable to hop, dig or even sit up with ears erect, which leads to a painfully deformed spine. Imagine being stuffed under a sink for a lifetime – the resulting back pains, not to mention psychological scars.

The first assault to the senses upon entering a rabbit storehouse is the overwhelming smell of faeces. The cages are stacked in such a manner that the waste that streams in to the cages below, the bacterial fumes causing numerous respiratory and eye diseases.

Reproduction is artificially designed. Bright lights are kept on for 16 hours a day to simulate the summer season in order to increase mating levels. When the rabbits won’t mate naturally as a result of high stress, females are artificially inseminated with forceful methods. Up to 11 litters of babies are forced upon her, with only three days between each gruelling process.

Fur farms are known to cut costs by using unethical killing methods that do not honour the life of the animal. Suffocation, electrocution through the anus, gas, poison, repeated shots or blows to the head are all commonly employed techniques. Another method is to hang the animal upside down, slit the throat, and let the animal thrash as the blood is drained out slowly. While common law states that an animal must be electrocuted to the point of unconsciousness before having its throat slit, a recent rabbit farm investigation by CAFT revealed this law is rarely adhered to.

China: The Land of the Free

Many Western fur businesses are now relocating to China, a land where fur farms are cheaper to run and few animal rights laws are enforced. Here there is a high probability of inhumane practices; in some cases animals have been bludgeoned to death using baseball bats or other hard sticks to minimise the burden of thrashing movement for the the skinner. 50% of the fur sold in the USA is from China, however many furs manufactured in China are purposefully mislabelled ‘European.’

Even if you do not wear fur this issue is still a collective responsibility. Remember: It can take 25 lives to make just one jacket. Yet there are many affordable textiles created from plant matter that are capable of keeping us warm.

Want to know more or find out how you can help?

Check out: peta.org
Japanese: alive-net.net
English: alive-net.net/english

At first glance, Nao Harada, aka Wrecks, appeared to be another needle in the endless haystack of modern Tokyo artists and designers. But after a few Mexican brews, so-cal style cheese burritos (the best in Tokyo by the way), and conversation ranging from Russ Meyers busty starlets to wedding parties with Ray Barbee, I began to realize this skinny Japanese guy came across more like an old skate blood brother  than a blind dinner date. And therein lies the relevance behind the artist and a window into the person.

Flash forward countless shared bottles of Hoppy and Shochu and it’s a hazy present day. That same skinny skate rat, who I now refer to as a close comrade in crime, never ceases to astound or amuse me. The more I get to know Nao, the more his artistic style reveals it’s true grit and honest origin directly related to his everyday life.

In the vein of American wise men such as Mark Twain and Hunter Thompson, Wrecks is in every sense a modern day street poet channeling his keen lyric and observant word through unapologetic art and telltale design.

Like most poets, the work mirrors the surrounding stimuli. In Nao’s case it’s the bloated consumer-crazed nexus that is Tokyo. In a city that force feeds pop culture at breakneck velocity and where peer acceptance is as critical to one’s social survival as multiple wives are to Warren Jeff’s', it eases me to sleep at night knowing a lone ranger stalks the streets with the balls to give it all the middle finger, call it like it is, and kick-flip to his own drummer.

Often laced with clever sarcasm and jocular kid-like depictions of desolate chickens or victimized sharks knockin on heavens door, Wrecks’ approach to his art is much more than skin-deep, it’s a lifestyle worthy of subscribing to.

-Tre Packard

Wrecks is….I’m seriously not sure what it exists for. I just started it to make some tees years ago. Sort of to hide my real name, also I think it probably seems like a brand, I don’t know. Anyway I’ve been using this name for something like projects or work. I mean not for my personal work. It’s kind of complicated. Not a big deal though.

I’m from…Japan.

Now I live in….Hell.

I paint sad chickens because….Somehow painting sad chickens makes me comfortable. I maybe want to express sadness, which every one should have. Life is tough all the time, and happy people have to have bad things like death, cancer, accidents, any small unlucky shit. I guess babies are very pure and almost 100% happy, but already live in this fucked up world. That’s pretty sad. Some animals are sad too. Maybe not. I don’t know. I’m totally not negative anyway. I just don’t like to draw positive things, or pretend like I’m a happy guy. That’s bullshit. Anyway I’m sure that I’m kind of happy in the end.

Being an Artist in Tokyo….Sounds like hell. But honestly I have no idea. I’m not a real artist or not like a person who wants to sell well.

English is….a good way for me to express something. Japanese just looks whack to me and tough to design or paint. Also English has given me many friends. If I couldn’t speak English at all, I couldn’t live like this now. I couldn’t have this interview either.

I love….Drinking, sleeping, snorkeling, skateboarding, painting and cooking.

I hate….Something boring that doesn’t change. I want to do different things every single day. I really hate to feel like I did the same thing yesterday.

Work is….Very important. But I hate work. I want to get $$ without working.

If I didn’t Skateboard I would….Nothing can replace skateboarding. At least I need to skateboard to transport me.

If I choose one thing to eat right now it would be….Monjayaki.

I’d wash it down with….Shochu. Potato one.

I have been to….South Korea, Taiwan, Hong Kong, Laos, Mexico and the States.

I want to travel to….Definitely South America.

Japan is….Weak and closed. But Japanese food is the best in the whole world.

If I didn’t live in Tokyo I would live….Near Tokyo.

Because….I can’t leave this area

More on Wrecks here

It’s been a while since Sideroom has spoken to Kelly Barriball, creator of fabulous local vintage fashion site Gran’s Loose Change, blogger, Art Director and all around creative wee thing. And what a busy lady she’s been in that time!

Kelly has just released her third lookbook for Gran’s Loose Change, Run Away With Me Summer 10/11. The photography perfectly epitomises all the things you’d love a kiwi summer to be – a romantic escape; long hot days and cute summer dresses, sun hats, fabulous legs and a gorgeous man on your arm.

On top of this the savvy business lady, together with Rachelle Duffy of our good friends Idiom Boutique in Mount Maunganui have created the independent creative collective The Little Big Markets. We ask Kelly to tell us a bit more about her exciting new projects…

YOU HAVE JUST COMPLETED YOUR THIRD LOOKBOOK FOR GRAN’S LOOSE CHANGE. ARE YOU STOKED WITH THE RESULTS?!

It was a really hard one… I lacked solid art direction and focus on the day so thank god I had an amazing photographer and relaxed models who helped pull it all together. The result is awesome. It encapsulates summer to me. And the feedback has been amazing. I sold three items from the lookbook within five minutes of it going live!

WHAT WAS THE INSPIRATION FOR THE SHOOT?

A wonderful friend of mine has a place in Raglan and the last time I went there I fell in love with the vibe and atmosphere of the place. When I think of summer I think of no worries. Like the weight has been lifted off of my shoulders – and that’s how I felt when I was there. I didn’t really have a definite idea of look and feel I just knew I wanted it there.

DID THE TEAM CONSIST OF FRIENDS?

I feel incredibly lucky to have such a supportive and creative bunch of friends. They make Gran’s Loose Change what it is as much as I do. The photographer is my extremely talented friend (and now flatmate) Julia Keddell. The models happen to be my other half and one of my best friends. That doesn’t automatically qualify them for model status though – they both just happen to be incredibly photogenic (and Jamee has legs to die for).

HOW IS GRAN’S LOOSE CHANGE GOING?

I never expected Gran’s Loose Change to grow as much as it has. I have people demanding new product weekly. I have emails from all over New Zealand and Australia congratulating me and even just to say hi. Of course I want it to be bigger and also to be sustainable but at the moment she’s still a baby – just over six months old, and that means all of my time isn’t dedicated to her just yet. I still work four days a week so she doesn’t get the attention I’d like to be able to commit… But one day, one day. Watch this space.

YOU ARE GETTING LOTS OF FANS / EXPOSURE THROUGH THE RISE OF FRANKIE-ESQUE STYLE BLOGS, HAS THE INCREASED POPULARITY OF THIS COMMUNITY MADE IT EASIER TO GET OUT THERE TO YOUR AUDIENCE?

Social media and blogging has been the ONLY way I have generated a following. Without the instantaneous exposure Facebook and Twitter alone give me, I honestly believe I would have a third of the followers that I do. People believe in other people’s reviews and opinions. Other people’s words and recommendations are what create my business. And I thank every single blogger, follower and commenter.

YOU SHOW SUCH AMAZING RESTRAINT BY PARTING WITH SOME OF YOUR MOST BEAUTIFUL PIECES. WHAT IS YOUR MOST CHERISHED ITEM, THAT YOU COULD NEVER GIVE AWAY?

Because Gran’s Loose Change is a second hand store, I keep a lot of those ‘most beautiful pieces’ – at least for one wear and then put them online. I have become very good at picking my absolute must-haves and the ‘this is amazing but it’s not really me’ pieces. I wouldn’t however part with my great grandmother’s Cameo ring. I am the fourth generation to have it and was gifted it on my 21st birthday.

DO YOU EVER THINK ABOUT THE ONES THAT GOT AWAY?

Ha ha, all the time. It tears my little heart out to see some of my favourites sell. I have a denim leopard mini skirt online at the moment and I am hoping it doesn’t sell. I’m not ready to part with it I don’t think. I’m not sure. Eeekkk!

CAN YOU TELL ME ABOUT THE LITTLE BIG MARKETS?

The Little Big Markets are a creative collective. My co-founder Rachelle (owner of Idiom) chatted to me about the need for something like it in the Mount (and the Bay) and it all started from there. We took a proposal to the council, fought tooth and nail and won the site we wanted and then put it out in to the market. We have stallholders selling vintage, designer clothing, jewellery, arts and crafts, food, home baking, childrenswear and toys, homewares and more. The Little Big Markets launched on November 6 with 29 stalls and grew to 50 within a fortnight. The markets run right through to March. For more info, visit our blog thelittlebigmarkets.blogspot.com.

WHAT HAS THE RESPONSE BEEN LIKE LOCALLY?

We’ve not only been inundated with requests from people from the Mount but from Rotorua, Hamilton, Auckland, Cooks Beach, Waihi and more. The Bay of Plenty Times feature our markets every time they’re on. Locals are supportive. Visitors are stoked. The council are behind us. The media attention has been amazing – Viva, Love the Mount, Creative Beat, BOP Times… The Little Big Markets are different to other markets. We’re trying to create a creative collective of designers. Business owners. Entrepreneurs. Craftspeople. Artists. We’re not your average car boot sale market and we pride ourselves on the quality of our stalls.

BEST NEW ZEALAND TOWN FOR VINTAGE FASHION FINDS?

Morrinsville and Te Awamutu. But I’m not telling you which shops!

WHAT DO YOU THINK IS CHALLENGING TO FIND FASHION-WISE IN NEW ZEALAND?

Vintage fashion – it would have to be floral dresses, leather boots and men’s rock n roll tees. But I manage to find a pretty good booty – it just takes persistence and knowing exactly what you’re looking for.

WHAT ARE YOU MOST LOOKING FORWARD TO THIS SUMMER?

Feeling like the weight is lifted off my shoulders. Summer sun, swimming, barbeques, a roadtrip with JM, relaxation and vintage shopping.

WHERE WILL YOUR NEXT PLANE TICKET TAKE YOU?

Melbourne! This Sunday in fact!

IF MONEY WERE NO OBJECT WHERE WOULD THE FOLLOWING PLANE TICKET TAKE YOU?

JM and I are planning our very own American Dream for next year so the East Coast of USA would definitely be my next ticket purchase.

WHERE DO YOU DRAW YOUR FASHION INSPIRATION FROM?

My creative and unafraid group of beautiful and wonderful friends, style blogs (They All Hate Us, We the People, The Style Hive, Fashion Toast, So Much to Tell You, The Cowboy Geisha), Erin Wasson, Christine Centenera and Lily Aldridge. In saying that I can appreciate ‘fashion’ but I def don’t style myself on what’s ‘fashionable.’ Personally speaking, I work with what works best for my body. And for Gran’s Loose Change, I work with my friends and models and base it on their personality and style as well as what I like. I am the boss after all!

DO YOU HAVE ANY ADVICE FOR YOUNG DESIGNERS / FASHION ENTREPRENEURS?

Something always comes from nothing. If you think it, believe it and make it happen.

THANKS KELLY!!
xxx

And don’t forget if you’re in or around the Bay area this weekend make sure you go and check out The Little Big Markets, on tomorrow at the corner of Matai St and Maunganui Rd. Delicious food! Fabulous treasures to be found! Don’t miss out.

Check out the rest of the latest Gran’s Loose Change Lookbook here: gransloosechange.blogspot.com
Shop the latest vintage finds here: gransloosechange.co.nz

Find out more about The Little Big Markets here: thelittlebigmarkets.blogspot.com
Idiom Boutique: idiomboutique.co.nz
Maree Wilkinson: mareewilkinson.com

Kelly’s Top Inspiration Sites:

wethepeoplenyc.com | thestylehive.co.nz | fashiontoast.com | somuchtotellyou.co.nz thecowboygeisha.blogspot.com

A stencil was made; a t-shirt was sprayed with the band’s logo and from there, the label began. Following a passion, two ‘chaotic administrators’ and two ‘perfectionist designers’ chipped in to buy equipment and taught themselves how to screen print and Glu Clothing was born.

Glu Director Alexis Sim quotes the phrase coined by fellow Director, Chip McCabe; “We started as gum on the bottom of the shoe.” And that’s exactly how they like it. The Glu ethos ‘we are all in the family’ is one which recognises everyone as equal and is a fundamental part of their culture. A culture that was born out of an old yellow heritage house in Mount Cook.

The house, painted canary yellow and covered in tags, is owned by Foodstuffs, and can’t be knocked down. A Pak’n'Save is being built next door and the nearby construction zone makes it a hazardous spot to live. “Only people like us can live here,” claims Alexis.

‘The Big Yellow’ is mostly known for its parties; raging, multi genre gatherings that support underground artists, creating a platform for them to showcase their talents. Just like the clothing label, the parties represent anyone and everything; drawing in all walks of life because of the culture of inclusiveness rather than exclusivity that they strive to create. Picking up rubbish, paying for sound set ups and lighting, or providing liquor for the performers is no trouble. Music is what they love.

Surprisingly, Alexis insists that in the three years he’s lived in the Big Yellow, there has never been a fight in the house, despite party numbers ranging from a quiet 50 to a raging 200.

At 23, Alexis is living life to the full. He accepts that he is pretty on to it for his age and adds, “We all are. The four of us drive each other, there is a verbal contract that if one person lets off then you let down the other three… And that would be the worst thing in the world to me.”

When I first visited the Glu Clothing headquarters, they had just celebrated their first birthday. There is an orange road cone on the steep steps leading up to the front door; it’s been pinched off the street as a safety precaution. Alexis tells me the step broke during the after party.

This is the only clue to indicate that there had been a raging party there the day before – the lounge looks like an office. Alexis beams, “Look at our new chairs!” They are a sleek, black leather. Chip, Alexis and Glu Designer Keegan are at their respective desks. Alexis’ girlfriend, Becky, is building a robot out of cardboard boxes in the middle of the lounge. They’re working, but they’re chilled out. They explain their door is always open.

As a brand, Glu is still in its infancy. On October 23 the label made its Auckland debut at Home Bar in the Viaduct. The event was a success, with Glu signing 19 year old Auckland skater and Menu Mag writer Rua Nelson to the family within a week of the launch. They also have a new relationship with another young business, The Learning Curve on K’Road, who are now stocking the label.

Laurence Arlidge, Owner and Director of the The Learning Curve says the reason he chose to stock Glu is because he could relate to their position as a young and upcoming business. “They’re a stylish independent label that weren’t corporate and pushy,” says Arlidge.

Glu Managing Director Chip McCabe says it is attitude and a hard work ethic that makes their business a success. He wishes there was more financial support for those who persevere in young, entrepreneurial business, “…because in 20 years time, we are going to be the ones running things.”

They have turned their lifestyle into a business model, which they say is their point of difference, rather than creating a business model that changes their lifestyle. Having a beer and a yarn is what they love most, and people are at the heart of the Glu culture.

All of the Glu founders come from families that are supportive and motivating. Alexis rattles off a long list of family members who he describes as self made business people that act as a caring hub, all vying for the success of the company.

But according to Alexis they are still feeling their way through the industry. Perhaps they have advanced from the piece of gum stuck to the bottom of a shoe to one that is now perched on top and looking out to the view of what’s next.

www.gluaddict.com

One decision that was extremely easy to make however was to head to the monthly Late at the Museum featuring Footnote Dance (as part of the Tempo Dance Festival 2010) and Rhian Sheehan last Thursday October 7. For only $20 you have entry in to the Auckland War Memorial Museum between 6.30 and 11pm which includes admission to the feature exhibits, discussions and live entertainment, as well as a cash bar. Definitely the best value for money, plus you get to pretty much own the museum due to the limited numbers. Sweet! Being there at that time kinda feels like you’ve snuck away from a class trip and been locked in overnight, made all the more exciting by the dim lighting and neon lights.

Unfortunately I missed the Smart Talk panel discussion on Crime and Justice but made it to the outstanding Kai to Pie exhibition, a beautiful showcase of the history of Aucklanders’ relationship with food.

The dance performances were a wonderfully intimate experience, located organically throughout the museum exhibits. With only a programme and floor plan as a guide and without any official signage or direction, the evening became a bit of an adventure trying to pinpoint where the next performance would take place.

Lucy Marinkovich and Robbie Curtis opened the performances with a truly believable and charismatic portrayal of the fragile and tempestuous relationship between lovers, in Lyne Pringle’s Living Arrangements.

Sarah Knox’s theatrical presentation of Sarah Foster-Sproull’s Second Life was uplifting and humorous, a stand out performance of the show. Unwilling assistant Marinkovich provided further comic relief to this cantankerous display of emotion by dispensing a rotating cast of props, one of which included a large sheet of bubble wrap that received a stroppy pounding from Knox’s high heels.

The museum proved the perfect venue for Rhian Sheehan’s epic melancholy electronica, the acoustics amplifying the rich, other worldly sound of the artist and accompanying five piece band.

Malia Johnston’s Weather I Wear You was a real showcase for the talents of Knox and Curtis. The collaboration with Eden Mulholland (guitarist and singer / songwriter for Motocade) contributed to the sense of journey within the piece, an epic sound to match the incredible flow and energy of the performance, the chemistry between the dancers obvious.

The final piece, Kristian Larsen’s Buoy Racer, was a reflection on kiwi colloquialisms that featured all of the Footnote dancers in a frenetic display of energy and skill. This energetic sensory overload was performed in such a tiny space it really was remarkable that no-one lost an eye; a real tribute to their experience. I gained even further respect for the dancers’ skill after learning that much of this was improvised, the dancers adapting each performance to the space with minimal preparation.

This fantastic performance was part of the Tempo Dance Festival (see www.tempo.co.nz for show information) which runs across multiple venues in Auckland from September 15 – October 30. There’s still a couple of weeks left so if modern dance is your thing or you’re keen to check out something new get in quick to see some of the last shows or short films and photography on exhibition.

If you’d like to know more about Footnote Dance, the Forte Series currently touring around the country or any of the Dancers, Choreographers or Musicians involved check out www.footnote.co.nz.

Late at the Museum happens on the first Thursday of every month – for more information check out www.lateatthemuseum.co.nz.

Not only are statistics horrifying, so are the methods through which sharks are caught and killed. A majority of these 73 million are caught alive, hauled onto fishing boats and have their fins sliced off. The live, limbless animals are tossed back into the sea with no means to swim. Thus, they drown.

Thanks to practices like these, declines in shark populations by as much to 70 – 80% have been reported globally. Such a significant change in shark population problematically impacts the delicate balance of the sea because of their role at the upper links of the food chain.

While humans massacre tens of millions of sharks annually, sharks kill just four humans on average in the same time period. Media sensationalism – as well as Hollywood’s hogwash – contributes to our lack of compassion for sharks. Compared to the conservation efforts dedicated to the preservation of whales and dolphins, the efforts directed towards the sustenance of sharks is insubstantial. Enter PangeaSeed and Shark Love.

PangeaSeed is a Tokyo based ocean conservation organisation which focuses on the desperate plight of sharks. This grassroots organisation uses open dialogues with the global community to develop an understanding of the importance in preserving and protecting sharks and shark habitats. They are funded by art exhibitions and events, which are enabled through volunteer artists and activists contributing across a variety of mediums, including design, music, film and photography.

Shortly after its birth in early 2009, PangeaSeed organised No Fin, No Future, Japan’s first shark-focused, art exhibition and fundraiser. The exhibition received support from some of the most renowned contemporary artists; among the many artists donating their original, shark-themed works were Mr. Brainwash, Kozyndan, Dave Kinsey and Yoh Nagao.

This past August, PangeaSeed did it again with Shark Love. 34 internationally acclaimed artists from Japan and across the globe came together in one small gallery located one hour south of Tokyo, and the roll call was just as impressive as last year’s event. Skateboard graphic legend Jim Phillips stepped up to the cause, remodeling his 1970s classic The Camel with a classy PangeaSeed script for the show. This potently symbolic image retains the impact that led to its popular interpretation as a prophecy of dire times. The Camel is printed using silver silkscreen on black paper, and portrays a masked figure and limp body riding a camel. An assortment of auspicious animals and objects surround the riders, including a polar bear, an upside-down wasp, an airliner, and coincidentally, a shark.

Other works of interest included a three-piece series made by Colorado-based artist John Fellows. These lino cut sharks were printed on envelopes originating from Japan that date back to the 1940s. Australian graffiti artist and the brains behind King Brown magazine, The Yok, created a one-off skateboard deck, depicting a skull-faced man dining from the seas. Fellow Australian, Pat Fox also used the skateboard as a medium. Fox laser-cut a simultaneously elegant and eerie image of a woman who maternally hovers over a scale that balances a shark fin and a globe.

Artists from New Zealand’s Sideroom.com and Cut Collective portrayed unique, clever commentaries on the Finning issue in a mixture of mediums, from stencil to digital print. Local Japanese artists George Hayashi, Yoh Nagao, Koji Harmon, AkanorI Oishi, Natsuki Wakita and Wrecks created colourful, quirky pieces, illuminating the small space and portraying sharks in a brighter, less monstrous light.

The piece that stood out to me most from the collection of pieces at Shark Love was Haroshi’s The Shark Coffin. This piece was constructed from recycled skate decks which had been sanded and glued in the shape of a life size, three-dimensional hammerhead shark. Encased inside the cacophony of wood pieces was a complete, vintage Christian Hosoi hammerhead skateboard, complete with Slimeball wheels and Gullwing trucks. A hammerhead inside a hammerhead – hence its title The Shark Coffin.

Shark Love ran for one week and received hundreds of visitors who received equal doses of fine art and uncomfortable truths – the most obvious truth being that sharks, when portrayed in an unprejudiced light, are beautiful animals that deserve our respect.

Much of the art displayed at Shark Love can be viewed and purchased at www.pangeaseed.com. For a limited time PangeaSeed is also offering limited 2010 model Arbor Snow and Skateboards for a fraction of there retail value.

For more pics, upcoming events and further information on PangeaSeed please check out these links:
www.pangeaseed.com
www.facebook.com/home.php?#!/PangeaSeed
www.flickr.com/photos/pangeaseed