At PULP we love
ART!
ALL ARTICLES (DO NOT DELETE!!!!!!!)
After interacting with the most pompous security guards on Earth, having their bags searched as though they are about to embark on an international flight, and parting ways with €12.50, they finally enter the museum.
As I walk past the Quadrangle every morning, despite the now-manicured lawns, memories of the encampment linger in my mind.
Police State necessitates a reciprocal exchange between the viewer and the performer, which Walter Benjamin defined as “aura”: the integral essence of an original work that fades in reproduction.
Slow craft challenges obsession with productivity targets and overconsumption. The work does not begin with the embroidering of the fabric but instead the preparation of a range of vegetables which are slowly processed into homemade fabric dyes.
The constraints of tangibility truly plague my waking days. Holding hands is not enough, being in the same bed is not enough, lying on top of me with your full weight is nice, but not enough.
The collages can be read as love letters to the Adriatic, the sole force shielding the central Dalmatian archipelago from immediate destruction for centuries. In the ocean one finds freedom and eternity, a feeling I hope to encapsulate.
Find a stimulus, or rather let it find you.
Be transported through space and time, find yourself in that moment again.
Linger in it for a minute more.
spark that inspiration in me again, yeah?
wherever you are, read this letter
and come home to me.
The event carves out a rare space where presence precedes performance, and where the gaze becomes a means of mutual recognition.
“I was falling endlessly…when I landed in a jumping castle…Liam Gallagher was there and he told me to take my shoes off…but I wasn’t wearing any shoes…”
“In dreams, memories rarely return in their original form—they dissolve, blur, skip frames,
and reassemble.”
The chair, in all its forms, is entrenched by the context in which it exists. It reacts and adapts itself to the social, political, and cultural forces, as well as to the body that rests upon it.
“It’s a modern day love language… A series of seemingly unrelated things joined together by the fact that they are all literally us.”
“Cell widths shift and distort. The glyphs become increasingly abstract, teetering on the edge of recognition and chaos. This builds on the principle of CAPTCHA. While a bot struggles to decipher distorted letters, we — adept at interpreting characters across diverse fonts and handwriting styles — can navigate and decode them within irregular and unfamiliar contexts.”
“So I’m there, walking around with L0V3 D0ll and she’s wearing these awfully tight shoes and she tells me it’s so she can always remember her bondage or whatever. Some sexbot thing, I thought. They must know she wants to be a model.”
“The fight for Palestine is a fight that everyone must be involved in — the fight against war and imperialism is a fight for a better world for all of us.”
“Drawing skeletons on things that should not have skeletons on them has been a mainstay of mine for more than five years now”
“Parasites lead to heightened immune activity, making the body more capable of dealing with other invaders like pollen and bacteria. This idea parallels how, despite their destructive power, emotions can catalyse resilience and enlightenment.”
“With each ink roll, I think of those wronged by the police system. With each carving, I think of those lost in the grips of the police system. The police force needs to be defunded, dismantled, and abolished. No justice, no peace.”
“Through drawing, this emphasis is placed on the physical labor and materiality involved in archiving digital sensibilities. An intention to elevate elements often dismissed as ‘low-brow art’ — such as text
PULP is established on the sovereign land of the Gadigal People of the Eora Nation. We pay our respects to Elders past and present, as well as Indigenous members of our creative community.
We respect the knowledge and customs that traditional Elders and Aboriginal People have passed down, from generation to generation.
We acknowledge the historical and continued violence and dispossession against First Nations Peoples. 'Australia' and its many institutions, including this University, are founded on the very same violence and dispossession. As editors, we will always stand in solidarity with First Nations led processes of decolonisation, reflected in the substance and practice of this magazine.
Sovereignty was never ceded.
Always was, always will be, Aboriginal land.
What emerges are abstract compositions shaped by rhythm, melody, and emotion. These sketches outline the space between hearing and feeling.