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Looking through Ellis’ lens 1980’s Australia seemed like a pretty good place to be. A complacent carefree utopia where one esky per person on The Hill at the SCG wasn’t quite enough, a Benson & Hedges and Crown Lager were cure alls and fire hazard polyester and gold lamé ruled the night.

Following on from Decade, Ellis’ changing of the guard account of Australia in the 1970s, its accompaniment Decadent has arrived, in all its excessive exuberance. When scanning through Decadent a single colour palette emerges from the blurry flicker of pages, it is pink, bronzed, glowing, fleshy. Gleaming bodies caught beading and glistening from bulb-flash or sunlight. Decade saw Ellis photographing a nation struggling to pen its own narrative, a renegade spirit navigating brave new territory. With Decadent, it’s as if it’s all spilling over the sides oozing self-assurance, confidence and a party abandon. Its gaze is altogether different from Decade, faces all seem lost in the moment, hypnotised by some grand peacock performance.


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“I came face to face with the see-and-be-seen syndrome”

In Decadent there are no shrinking violets, proud bodies thrust in complete confidence before Ellis’ welcoming eyes. Perhaps this is down to Ellis’ disarming nature as a photographer, but maybe points to an attitude of the times, of display and excess. Whether figuratively or literally Ellis’ subjects are on stage, they are mid performance, screaming to be seen, in all their fleshy luminance.

“There is an element of eroticism (the tits and bums syndrome) in all of my books which is also indicative of my interests and priorities… my photography legitimises my voyeuristic tendencies”

For Ellis bare bums are intoxicating; erotic or everyday, semi or sans cloth, that corpulent pallor appears time and time again. The pure physicality of the images is arresting, we are caught gawking before some wild Dionysian feast.

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Ellis is astute in recognising the power and currency of the nude. The bare body is freedom, pure and simple. Almost boastfully, time and again bodies fall before Ellis’ lens in a carefree symbol of self-assurance and vitality. Even in the strip clubs and boys clubs of Decadence, Ellis manages to dismiss the tired narrative of strippers as disenfranchised; the power lies firmly in the grasp of the performer. He champions scenes where goddesses perform before mesmerised onlookers, their sheer physical beauty subduing the rowdy natives. Ellis’ tale is bereft of the usual moralising that plasters overt displays of sexuality and sensuality, blurring lines between performer and audience. It is after all, a celebration.

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Hot on the heels of its soul-searching predecessor Decade, Ellis’ sun drenched leisure cruise Decadent is an apt companion piece. The two works do not suffer from their rapid-fire succession, in fact they bolster each other, they hint to a man whose archives have a lot to say and we can only hope that we are let back in again for a butchers some time soon.

Decadent is available now through Hardie Grant publishing.

  • S U N ( D A E ) D A Y - S U B M I S S I O N S Last Sunday we were trapped in the mountains on a leisure cruise and completely ignored our submission segment. To make up for its absence here’s a colour focused triple header featuring the work of Thomas Dryden Kelsey, UK, Qendrim Hoti, Toronto and Manuel Tanner, Berlin. Enjoy.Thomas Dryden Kelsey - Images three, five and six.Qendrim Hoti - Images one and four.Manuel Tanner - image two.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs and a portfolio link to:        - submissions@theheavycollective.com  
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Last Sunday we were trapped in the mountains on a leisure cruise and completely ignored our submission segment. To make up for its absence here’s a colour focused triple header featuring the work of Thomas Dryden Kelsey, UK, Qendrim Hoti, Toronto and Manuel Tanner, Berlin. Enjoy.Thomas Dryden Kelsey - Images three, five and six.Qendrim Hoti - Images one and four.Manuel Tanner - image two.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs and a portfolio link to:        - submissions@theheavycollective.com  
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Last Sunday we were trapped in the mountains on a leisure cruise and completely ignored our submission segment. To make up for its absence here’s a colour focused triple header featuring the work of Thomas Dryden Kelsey, UK, Qendrim Hoti, Toronto and Manuel Tanner, Berlin. Enjoy.Thomas Dryden Kelsey - Images three, five and six.Qendrim Hoti - Images one and four.Manuel Tanner - image two.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs and a portfolio link to:        - submissions@theheavycollective.com  
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Last Sunday we were trapped in the mountains on a leisure cruise and completely ignored our submission segment. To make up for its absence here’s a colour focused triple header featuring the work of Thomas Dryden Kelsey, UK, Qendrim Hoti, Toronto and Manuel Tanner, Berlin. Enjoy.Thomas Dryden Kelsey - Images three, five and six.Qendrim Hoti - Images one and four.Manuel Tanner - image two.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs and a portfolio link to:        - submissions@theheavycollective.com  
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Last Sunday we were trapped in the mountains on a leisure cruise and completely ignored our submission segment. To make up for its absence here’s a colour focused triple header featuring the work of Thomas Dryden Kelsey, UK, Qendrim Hoti, Toronto and Manuel Tanner, Berlin. Enjoy.Thomas Dryden Kelsey - Images three, five and six.Qendrim Hoti - Images one and four.Manuel Tanner - image two.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs and a portfolio link to:        - submissions@theheavycollective.com  
  • S U N ( D A E ) D A Y - S U B M I S S I O N S Last Sunday we were trapped in the mountains on a leisure cruise and completely ignored our submission segment. To make up for its absence here’s a colour focused triple header featuring the work of Thomas Dryden Kelsey, UK, Qendrim Hoti, Toronto and Manuel Tanner, Berlin. Enjoy.Thomas Dryden Kelsey - Images three, five and six.Qendrim Hoti - Images one and four.Manuel Tanner - image two.If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs and a portfolio link to:        - submissions@theheavycollective.com  

S U N ( D A E ) D A Y - S U B M I S S I O N S 

Last Sunday we were trapped in the mountains on a leisure cruise and completely ignored our submission segment. To make up for its absence here’s a colour focused triple header featuring the work of Thomas Dryden Kelsey, UK, Qendrim Hoti, Toronto and Manuel Tanner, Berlin. Enjoy.

Thomas Dryden Kelsey - Images three, five and six.

Qendrim Hoti - Images one and four.

Manuel Tanner - image two.

If you would like to see your work featured as part of SUN (DAE) DAY Submissions, please send a handful of jpegs and a portfolio link to:        

- submissions@theheavycollective.com  

  • N I G H T E D - “P L A Y -  O N” - A N D - E V E R T H I N G - E L S EBay area photography collective and independent publishing company NIGHTED have sent us through a list of new reads and activities so long it will keep you busy through to the end of next month. First up they launch “Play On” a joint exhibition by Madison East and Kris Kirk, featuring portraits, moments, and installations representing their lives in Los Angeles. The show will also see the release of a collaborative zine titled “Meet Us Under the Electric Sky”, chronicling their trip to EDC 2014 in Las Vegas. Opening reception: Saturday, August 2nd, 7pm-10pm, at Sunday Los Angeles - 4308 Burns Ave.Only days later “I Hate The Blues” Nighted’s first international show opens with Doomed Gallery. Curated by full patch member K. Eleanor Bleier, I Hate The Blues features a sterling assemblage of photo takers from here, there and everywhere else. Thursday August 7, 2014 at Doomed Gallery 65/57 Ridley Road Dalston E8 2NP. Visit Doomed for more info. lastly, two new shop releases. ”They Don’t Know" a full color photo zine by Evan McKnight an NYC-based photographer detailing his adventures through the city and ”Colors" by Brvinfreeze a large format (8.5x11), perfect bound collection of film photos, drawings and graphics.Nighted doing all kinds of nice things for you. Don’t sleep. Visit their site for more show information and head to their webstore to get your mitts on some of that paper. 
  • N I G H T E D - “P L A Y -  O N” - A N D - E V E R T H I N G - E L S EBay area photography collective and independent publishing company NIGHTED have sent us through a list of new reads and activities so long it will keep you busy through to the end of next month. First up they launch “Play On” a joint exhibition by Madison East and Kris Kirk, featuring portraits, moments, and installations representing their lives in Los Angeles. The show will also see the release of a collaborative zine titled “Meet Us Under the Electric Sky”, chronicling their trip to EDC 2014 in Las Vegas. Opening reception: Saturday, August 2nd, 7pm-10pm, at Sunday Los Angeles - 4308 Burns Ave.Only days later “I Hate The Blues” Nighted’s first international show opens with Doomed Gallery. Curated by full patch member K. Eleanor Bleier, I Hate The Blues features a sterling assemblage of photo takers from here, there and everywhere else. Thursday August 7, 2014 at Doomed Gallery 65/57 Ridley Road Dalston E8 2NP. Visit Doomed for more info. lastly, two new shop releases. ”They Don’t Know" a full color photo zine by Evan McKnight an NYC-based photographer detailing his adventures through the city and ”Colors" by Brvinfreeze a large format (8.5x11), perfect bound collection of film photos, drawings and graphics.Nighted doing all kinds of nice things for you. Don’t sleep. Visit their site for more show information and head to their webstore to get your mitts on some of that paper. 
  • N I G H T E D - “P L A Y -  O N” - A N D - E V E R T H I N G - E L S EBay area photography collective and independent publishing company NIGHTED have sent us through a list of new reads and activities so long it will keep you busy through to the end of next month. First up they launch “Play On” a joint exhibition by Madison East and Kris Kirk, featuring portraits, moments, and installations representing their lives in Los Angeles. The show will also see the release of a collaborative zine titled “Meet Us Under the Electric Sky”, chronicling their trip to EDC 2014 in Las Vegas. Opening reception: Saturday, August 2nd, 7pm-10pm, at Sunday Los Angeles - 4308 Burns Ave.Only days later “I Hate The Blues” Nighted’s first international show opens with Doomed Gallery. Curated by full patch member K. Eleanor Bleier, I Hate The Blues features a sterling assemblage of photo takers from here, there and everywhere else. Thursday August 7, 2014 at Doomed Gallery 65/57 Ridley Road Dalston E8 2NP. Visit Doomed for more info. lastly, two new shop releases. ”They Don’t Know" a full color photo zine by Evan McKnight an NYC-based photographer detailing his adventures through the city and ”Colors" by Brvinfreeze a large format (8.5x11), perfect bound collection of film photos, drawings and graphics.Nighted doing all kinds of nice things for you. Don’t sleep. Visit their site for more show information and head to their webstore to get your mitts on some of that paper. 
  • N I G H T E D - “P L A Y -  O N” - A N D - E V E R T H I N G - E L S EBay area photography collective and independent publishing company NIGHTED have sent us through a list of new reads and activities so long it will keep you busy through to the end of next month. First up they launch “Play On” a joint exhibition by Madison East and Kris Kirk, featuring portraits, moments, and installations representing their lives in Los Angeles. The show will also see the release of a collaborative zine titled “Meet Us Under the Electric Sky”, chronicling their trip to EDC 2014 in Las Vegas. Opening reception: Saturday, August 2nd, 7pm-10pm, at Sunday Los Angeles - 4308 Burns Ave.Only days later “I Hate The Blues” Nighted’s first international show opens with Doomed Gallery. Curated by full patch member K. Eleanor Bleier, I Hate The Blues features a sterling assemblage of photo takers from here, there and everywhere else. Thursday August 7, 2014 at Doomed Gallery 65/57 Ridley Road Dalston E8 2NP. Visit Doomed for more info. lastly, two new shop releases. ”They Don’t Know" a full color photo zine by Evan McKnight an NYC-based photographer detailing his adventures through the city and ”Colors" by Brvinfreeze a large format (8.5x11), perfect bound collection of film photos, drawings and graphics.Nighted doing all kinds of nice things for you. Don’t sleep. Visit their site for more show information and head to their webstore to get your mitts on some of that paper. 
  • N I G H T E D - “P L A Y -  O N” - A N D - E V E R T H I N G - E L S EBay area photography collective and independent publishing company NIGHTED have sent us through a list of new reads and activities so long it will keep you busy through to the end of next month. First up they launch “Play On” a joint exhibition by Madison East and Kris Kirk, featuring portraits, moments, and installations representing their lives in Los Angeles. The show will also see the release of a collaborative zine titled “Meet Us Under the Electric Sky”, chronicling their trip to EDC 2014 in Las Vegas. Opening reception: Saturday, August 2nd, 7pm-10pm, at Sunday Los Angeles - 4308 Burns Ave.Only days later “I Hate The Blues” Nighted’s first international show opens with Doomed Gallery. Curated by full patch member K. Eleanor Bleier, I Hate The Blues features a sterling assemblage of photo takers from here, there and everywhere else. Thursday August 7, 2014 at Doomed Gallery 65/57 Ridley Road Dalston E8 2NP. Visit Doomed for more info. lastly, two new shop releases. ”They Don’t Know" a full color photo zine by Evan McKnight an NYC-based photographer detailing his adventures through the city and ”Colors" by Brvinfreeze a large format (8.5x11), perfect bound collection of film photos, drawings and graphics.Nighted doing all kinds of nice things for you. Don’t sleep. Visit their site for more show information and head to their webstore to get your mitts on some of that paper. 
  • N I G H T E D - “P L A Y -  O N” - A N D - E V E R T H I N G - E L S EBay area photography collective and independent publishing company NIGHTED have sent us through a list of new reads and activities so long it will keep you busy through to the end of next month. First up they launch “Play On” a joint exhibition by Madison East and Kris Kirk, featuring portraits, moments, and installations representing their lives in Los Angeles. The show will also see the release of a collaborative zine titled “Meet Us Under the Electric Sky”, chronicling their trip to EDC 2014 in Las Vegas. Opening reception: Saturday, August 2nd, 7pm-10pm, at Sunday Los Angeles - 4308 Burns Ave.Only days later “I Hate The Blues” Nighted’s first international show opens with Doomed Gallery. Curated by full patch member K. Eleanor Bleier, I Hate The Blues features a sterling assemblage of photo takers from here, there and everywhere else. Thursday August 7, 2014 at Doomed Gallery 65/57 Ridley Road Dalston E8 2NP. Visit Doomed for more info. lastly, two new shop releases. ”They Don’t Know" a full color photo zine by Evan McKnight an NYC-based photographer detailing his adventures through the city and ”Colors" by Brvinfreeze a large format (8.5x11), perfect bound collection of film photos, drawings and graphics.Nighted doing all kinds of nice things for you. Don’t sleep. Visit their site for more show information and head to their webstore to get your mitts on some of that paper. 

N I G H T E D - “P L A Y -  O N” - A N D - E V E R T H I N G - E L S E

Bay area photography collective and independent publishing company NIGHTED have sent us through a list of new reads and activities so long it will keep you busy through to the end of next month. 

First up they launch “Play On” a joint exhibition by Madison East and Kris Kirk, featuring portraits, moments, and installations representing their lives in Los Angeles. The show will also see the release of a collaborative zine titled “Meet Us Under the Electric Sky”, chronicling their trip to EDC 2014 in Las Vegas. Opening reception: Saturday, August 2nd, 7pm-10pm, at Sunday Los Angeles - 4308 Burns Ave.

Only days later “I Hate The Blues” Nighted’s first international show opens with Doomed GalleryCurated by full patch member K. Eleanor Bleier, I Hate The Blues features a sterling assemblage of photo takers from here, there and everywhere else. Thursday August 7, 2014 at Doomed Gallery 65/57 Ridley Road Dalston E8 2NP. Visit Doomed for more info. 

lastly, two new shop releases. ”They Don’t Knowa full color photo zine by Evan McKnight an NYC-based photographer detailing his adventures through the city and Colors" by Brvinfreeze a large format (8.5x11), perfect bound collection of film photos, drawings and graphics.

Nighted doing all kinds of nice things for you. Don’t sleep. Visit their site for more show information and head to their webstore to get your mitts on some of that paper. 


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Over the past ten years Seattle born photographer Andrew Miksys has been documenting the village discos of rural Lithuania. Miksys first visited Lithuania to see family in the 1990’s shortly after the collapse of the USSR. He admits having little interest in going there at the time, but was quickly taken by the people and the atmosphere, recalling an immediate affinity with his ancestral homeland. In 1998 he came back with a Fulbright under his belt and started work on what would later become Disko.

"It seemed like a perfect backdrop to make a series of photographs about young people in Lithuania, a crumbling past and the uncertain future of a new generation together in one room".

We caught up with Andrew to talk about capturing a country in a state of cultural flux, recording the reaction of a new young people born out of a dead empire and the life and demise of the rural disco. 

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You grew up in Seattle, Washington, but your family roots are Lithuanian. Can you tell us about your first experience travelling there and what it was that kept bringing you back to work on this series?

My first trip to Lithuania was in 1995 with my father and grandparents. They were born in Lithuania, but had left at the end of WWII with a horse and buggy when my father was only two. They ended up in a Displaced Persons camp in Germany and eventually immigrated to the US. This was our first chance to meet with our relatives in Lithuania. I actually wasn’t very interested in going on the trip or even photographing. I thought Budapest and Prague would be much more interesting and went there first on my way to Lithuania. But my preconceptions were all wrong. I really couldn’t connect with anything in those other cities and very quickly bonded with my relatives. Lithuania at that time was still very Soviet and you could feel the remnants of the USSR all around you. This fascinated me and having the family connection helped me orient myself in a world that was very different from where I’m from. I knew right away I wanted to come back and do something more in depth. And once I get hooked on something I try to see it though until I’m satisfied. Usually that means several years of work.

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You spent the best part of ten years collecting images for Disko. How did you first come to find out about these dance halls and was it tough work hounding them down?

I didn’t know what I wanted to photograph when I first arrived in Lithuania so I tried many things. I would go for long walks with my camera. Later I bought a used VW Gulf and started driving to small towns and villages. I was just hanging out in one village for the day, when I noticed some kids going into a building with some beer. I followed them in and found my first disco. It was a very simple space with a disco ball and some Soviet decorations on the walls including a Lenin head. After photographing there a few times I noticed other community centers and discos in the villages I drove through on the way home. During the week I’d go on scouting trips to find more discos and try to get permission to photograph on the weekends. I guess if you were on assignment or doing a photo essay, it would be possible to take enough photos in one weekend. But I had a really specific idea about what I wanted to capture, the atmosphere and people. It was a slow process with a lot of trial and error.

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Most of these discos took place in small isolated communities. Did you find it difficult infiltrating the crowd, or were you for the most part welcomed?

It varied from place to place. There was really only one place where I couldn’t get permission to photograph. Mostly I was welcomed and people were great hosts. I always had some anxiety driving down very small or even dirt roads on the way to the discos. But once I got there and started working everything was fine.

Constantly venturing into unchartered territory, were you met with any interesting or confronting encounters?

In DISKO there is a photo of blood on the floor after a fight. Over the years, I saw several fights. Usually, the fights end up outside. However, this one took place right in the middle of the dance floor. I was photographing when the music stopped, the main lights went on, and everyone moved to the edge of the dance floor. There were two guys beating the shit out of each other. Really brutal. And at some point one guy cut his hand with a beer bottle he was trying to hit the other guy with. That’s where most of the blood came from. After it was over and the two guys left, I photographed the blood. I took a few frames and another guy started yelling at me. He didn’t think it was right for me to photograph the blood and started smearing the blood with his foot. But I didn’t stop photographing and even have an image of the smeared blood.

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There are some really beautiful moments of stillness in the photographs, isolating and engaging your subject while the party moves on around them. How was this achieved? Was there much planning behind the images, or were they shot somewhat candidly?

My idea was to do a series about individuals. The action in the middle of the dance floor wasn’t that interesting for me and there are only a few images of people dancing in DISKO. I would usually look around for places off the dance floor with an interesting background to take people to photograph them. The cultural centers had very similar interiors and most had a stage with curtains. So I would often take people backstage, behind the curtains and photograph them there. It was easier to work without distractions and people felt more comfortable and willing to pose.

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Having arrived in Lithuania shortly after the collapse of the USSR I can imagine the country was undergoing a significant cultural shift. You said “Mostly I was fascinated by how strongly these places still echoed their USSR past. All the young people who frequented them were caught somewhere between those memories and an unknown future”. How was it experiencing this push and pull first hand and can it be partially credited for the existence of your subject matter

Throughout the USSR, there had been discos in small towns and villages since the 1980s. They were basically a way for the government to provide a social space for young people on the weekends and to bring some modernity to the villages. But when I was photographing, the Soviet infrastructure was crumbling and people, especially young people, were looking for ways out of the old system. I didn’t exactly realize the pace of the change when I started photographing, but by the end there were fewer and fewer people at the discos. Rural life has changed dramatically and young people have left for other parts of the EU or even the USA as fast as they can. And, yes, all the tension during this transition was one of my main interests.

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You mentioned that most of these parties are now fading, where have all the cowboys gone and is there an after party?

All the cowboys and cowgirls have moved to the big city. Just the other night I went to a newish club in Vilnius, the capital of Lithuania. There were so many bikes outside locked to poles and street signs that my friend and I couldn’t find a place for our bikes. Once we got inside, it felt like we were at a big party in Brooklyn or Berlin. Basically, the uniform international hipster style rules now. I find it incredibly boring and generic. I wouldn’t say village discos are exactly better than what goes on in Vilnius today, but they were definitely more unique and organic. I just appreciate village discos for what they are (or were) and I’m very happy that I had a chance to experience them before they’re gone.

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Q&A with Andrew Miksys on the series “Disko”.

F O C U S : S W A P - M E E T - & - Z I N E - F A I R 

THC will be joining an all star cast of publishers, book pushers and camera mongers for Focus; Bloom Publishing’s first annual camera swap meet and zine fair at Abbotsford convent, Linen Room, Sunday, 10th of August 10am - 4pm.  

Expect to see tables with the following faces behind them: Perimeter Books, No one special, Asia-Pacific Photobook Archive, Hillvale, Knowledge Editions, Small/Heavy Time Books, Hard Workers Club, Editions Ltd., FilmNeverDie.com, Witu, Left Out Store as well as a strong contingent of second-hand camera dealers for those looking to purchase, swap, or sell. Melbourne be about it. Check closer to the date for more information. 

www.bloompublishing.com.au

  • H I L L V A L E  - X - A C PMore drumroll for Hillvale’s newly positioned dropbox at Sydney’s ACP, thanks to Two Thousand. If this is news to you, or you’re not even sure what this means, remedy that with a read through real quick like. It might hurt at first when you think of how much you’re currently paying for develop and scans, but after taking in the price list a swift wave of victory and justice will wash upon you. Be all that you can be, the power is yours etc..Australian Centre for Photography, 257 Oxford St. Paddington. Hillvale Dropbox Hours: Tuesday - Saturday 10am - 5pm / Sunday 12 − 5pm.
  • H I L L V A L E  - X - A C PMore drumroll for Hillvale’s newly positioned dropbox at Sydney’s ACP, thanks to Two Thousand. If this is news to you, or you’re not even sure what this means, remedy that with a read through real quick like. It might hurt at first when you think of how much you’re currently paying for develop and scans, but after taking in the price list a swift wave of victory and justice will wash upon you. Be all that you can be, the power is yours etc..Australian Centre for Photography, 257 Oxford St. Paddington. Hillvale Dropbox Hours: Tuesday - Saturday 10am - 5pm / Sunday 12 − 5pm.

H I L L V A L E  - X - A C P

More drumroll for Hillvale’s newly positioned dropbox at Sydney’s ACP, thanks to Two Thousand. If this is news to you, or you’re not even sure what this means, remedy that with a read through real quick like. It might hurt at first when you think of how much you’re currently paying for develop and scans, but after taking in the price list a swift wave of victory and justice will wash upon you. Be all that you can be, the power is yours etc..

Australian Centre for Photography, 257 Oxford St. Paddington. 
Hillvale Dropbox Hours: Tuesday - Saturday 10am - 5pm / Sunday 12 − 5pm.