If A Building Had A Face And Could See Itself
By Jack Loel
14 x 23cm, 28 pages, side stitched, edition of 50
*CLICK IMAGE TO CYCLE THROUGH
By Kiah Reading
12.5 x 17.5cm, 28 pages, saddle stitched, edition of 50
by Enderie Nuatal
released with Moontown Tapes
tape & book combo
by Sebastian Moody
Sebastian Moody screen printed purple purple purple.
Approx 15 of each size.
Small Chest = 18″ Length = 28″Medium Chest = 20″ Length = 29″ Large Chest = 22″ Length = 30″
By Charlie Hillhouse
The photographs in this new collection of Charlie Hillhouse’s work appear simple and understated on newsprint. As the collection’s purely descriptive title suggests, there is no concerted theme or narrative that binds the photographs together. There is, instead, a feeling for the fleeting moments, and a sense of their humble importance. The ephemeral nature of the newspaper has the same anti-aesthetic quality of the photographs, and a seeming reluctance to declare itself art. It is an accessible object to be enjoyed, collected, treasured, and perhaps eventually destroyed. It also includes a black and white insert of photographs distorted beyond figurative recognition. Their abstraction is a jarring offset to the newsprint snapshots. This publication is produced in collaboration with Sunroom Press.
28 x 38cm, newsprint, 20 pages, w/ 8 page 17.5 x 20cm insert, edition of 100
By Liam Bhats
The unheimlich is the unfamiliar within the familiar, and this is the experience of Liam Bhats’s Safe Place. It is a place that is both welcoming and alienating. The book guides us through rooms, giving curious attention to small and potentially disturbing things. Its digital illustrations are made with the simple elastic tension of thin lines and gradients of black on a bright yellow stock. It works within its consciously two-dimensional realm to create objects, including fictional books and coffee cups, which quietly explore pattern and shape. The unheimlich is present in it because each room is connected with the outside, to unknowable characters that are out of frame. The domestic in Safe Place has a nature and a mysticism of its own.
14 x 20.5cm, 24 pages, saddle stitched, edition of 50
What Lies and What Forges Through
by Audrey Lam
The full-spread, borderless layout of this book gives Audrey Lam’s photographs a cinematic quality that speaks to her practice as a filmmaker. The photographs are captivating for their stillness. They are depictions of industrial landscapes, and of intimate moments, all with an existential quietness. This book is a collection of affirming observations of birth and collapse, of cracks and holes, and our ability to see what is before us and what is beyond. It is sensitive to things living and things that have never lived, and offers these to its viewer with honesty.
15 x 20cm, 28 pages, saddle stitched, edition of 50
by Charlie Hillhouse
There’s something nice and not too cryptic about the title of Charlie Hillhouse’s latest zine. “Waiya” is the Japanese pronunciation of ‘wire’. These are photographs of electric lines from a trip taken to Tokyo and its surrounds. They are taken with the curious puzzlement of a traveller out of his depth. It is not only a travel document, but it also serves as a published documentation of the risograph printing process. The artist has manipulated the effect of the photographs with the colour changing of a riso ink drum.
17.5 x 25 cm, 24 pages, saddle stitched, edition of 50
by Nat Koyama
Endless Animal by Nat Koyama is a collection of the artist’s drawings. They are intricate in their skilful composition, and grotesque in their crude depictions. Endless Animal has its own distinctive character. It has a naive sexuality. It is an animal that looks at its viewer straight in the eye. Koyama’s first book makes for a visceral and unsettling experience. The Brisbane artist and QCA Honours graduate currently lives in Fukuoka, Japan.
15 x 21.5 cm, 28 pages, saddle stitched w/ plastic wrapping, edition of 75