EXTRA is an Australian networked zine collaboration building from past, present and future ‘living’ archival initiatives. https://linktr.ee/extra_zine

Melbourne Art Book Fair brings together publishers, artists and designers to showcase some of the world’s best art and design publications. This year, experience events at NGV, across Melbourne and regional Victoria with participating venues spanning bookstores, galleries, art spaces and rooftops.

The Online Fair Shop features over 80 local and international publishers and artists. Browse webpages and online stores to discover newly released publications, limited editions and more.

EXTRA ZINE Issue 1 will launch as part of the MABF2021 as a FREE Downloadable Zine which you can access below.

EXTRA is an Australian networked zine and zine making collaboration. Building out from past, present and future ‘living’ archival initiatives, fanzines and participatory practices this new project celebrates contemporary networks of independent DIY. From the artist-run to Queer, from LGBTQIA+ , BIPOC to the grassroots and phantasmagorical this collaboration aims to be fun, open-ended and ongoing…



In celebration of the launch of EXTRA zine making project and the very first issue, we are making a small edition of 10″ x 8″ (21 x 28 cm) print posters of the Issue 1 # cover art work on beautiful archival museum – quality hand-made Hahnemuehle Photo Rag 188 paper.

Extra #1 Zine Poster Edition. These are available as part of the Melbourne Art Book Fair 2021 experience for zine and poster lovers everywhere for $75.00 per poster including postage (Only within Australia, International is extra please get in touch for purchase, if you are outside Australia.)

A certificate of authentication will be provided and the edition is limited to 100. Proceeds from sales of this edition will help us to make, share and network the next few issues planned in the series.

You can download, print and fold your own copy FREE here, and check out our EXTRA Zine Instagram for video instructions on how to fold!

DOWNLOAD EXTRA Series One Issue 1


Building out from ARI Remix Collective [2011-2022] EXTRA Zine is a new zine collaboration with artists Joanna Kambourian and Paul Andrew cofounded in January 2021.

Tidal Meditation (Turtle Swamp, Canaipa & Deanbilla Bay, Minjerribah), May – August 2019

Since beginning as an artist member of the Ferny Hills Painter’s Group convened by artist educator Audrey Kelk, the Northside Creative Artists Association in Brisbane and the Brisbane School of Art with artist educator Irene Amos in 1977 and 1978 its almost 43 years now that I have been involved with artist collectives and groups in Australia and overseas.

From March 2018 until November 2019 I had the pleasure to be involved with two local Canaipa artist collectives; ‘Canaipa Mudlines’ and ‘Trica Dobson’s Weaving Circles’ . These two groups include local artists who focus on and feature personal and collaborative creative responses to art and ecology in the SMBI [Southern Moreton Bay Islands] region on Quandamooka country.

‘Field Notes – Walking Meditation’, is part of the ‘Tidal Meditations’ series of video and sound works. This particular work was made as a response to the Canaipa Mudlines site generated residency in May 2019 at Deenbilla Bay and is imagined as a queer walking meditation composition. It draws on my earlier art and ecology work where personal walking meditations are performed as a way to contemplate and reflect on the impermanence of life.

We acknowledge the Quandamooka People as the traditional custodians of the lands in which we live, make and work where sovereignty was never ceded. We pay respects to their elders and their youth, past, present and emerging – and stand in sovereignty with the Uluru Statement from the Heart and their ongoing resistance against colonisation.

Take Care of Yourselves: Re-authoring Self-Harm

Mental Illness and diffability are key themes in my personal life and my creative practice. In 2014 and 2015 I collaborated on this photo media work with artists Angelina Martinez and David Corby. Exploring self-injury in an art-based approach to cultivating empathy, understanding and mindfulness this work used the flower of life motif, a geometric pattern of overlapping circles as a metaphor for self-transformation. The scars used in the work are the spiralling leaf scars from the ancient pandanus tree, the species Pandanus tectorius. This work is conceptualised as a nod to Sophie Calle’s work, ‘Take Care of Yourself ‘ (2007) . It forms part of series of my autobiographical photo media works which represent queer relationships, break-ups, correspondences, health and well-being, anxiety, social phobia, depression and PTSD as subjects for art making as a re-authoring narrative form. This recent series builds out from a 1995 documentary work titled: ‘Engaged’ a queer video art work about men who have sex with men during the HIV AIDs pandemic.

Canaipa Ephemeral Works – new site generated making on Quandamooka country – June 2018 ongoing

Making ephemeral works has been on ongoing theme in my art practice. Working in many ephemeral artist-run spaces in Brisbane’s artist-run ecology in the 1980s during a time of widespread demolition and gentrification had a significant impact on my making and exhibition approach. During this time the traditional ‘white cube’ model became less of a focus in my practice and an increased interest in ephemeral art, a work of art that only lasts for a fleeting amount of time, perhaps occurring once, and that can be embodied in a lasting object or not at all continues to enervate my making. This ephemeral nature of art work is part of my feeling and experience of queer temporalities, where so much creative work produced by queer artists throughout time has been fleeting. My experience of the lives and works of queer artists during the HIV AIDs pandemic were also fleeting much like the vivid mandalas that are painstakingly made and then swept ceremoniously into the ocean. Being queer in my direct lived experience continues to console me and to grow my mindfulness about the impermanence of life.

My ancestors come from the United Kingdom and other places around the globe. As children growing up in Eveleigh Street, Arana Hills in Brisbane Meeanjin my siblings and I were fortunate to experience these Quandamooka skies, lands and waters throughout the late 1960s, 1970s and early 1980s as our parents had a small boat for adventuring, camping and nature walking. For me it was a foundational time for a young artist making ephemeral art along the tidelines, in the sand dunes and tea tree swamps.

I am thrilled and delighted to be living and working in this spiritual place in 2018. During March 2018 to November 2019 I was involved in a small way with two local artist groups named ‘Canaipa Mudlines’ and ‘Tricia Dobson’s Weaving Circles’ . It was a beneficial collaborative experience for me and opened up my studio practice again into the ecosystem of Canaipa. According to one source the name Canaipa was collected from Yugambeh people[and identified as a Yugambeh-Bundjalung language word from the Ngaraangbal dialect spoken by the Pimpama clan meaning place of ironbark spear/digging stick, the name is used by both the Quandamooka and Yugambeh people, who assert traditional ownership.

During that recent and intensive time of excursions, picnics and residencies I was reacquainted with the power, play and beauty of mud, local clays, wet sand and dry sand. It reignited my passion and enthusiasm for ephemeral environmental art making. It was during these recent experiences, reflecting in reveries while sitting and making on country that I wrote these words about the affective contours of my art practice today, ” …mud is possibility, mud is an ecosystem, as a queer artist mudlining offers transmutation, a way of transforming trauma, grief, loss, bullying, homophobic violence and mudslinging into poetry”  …

We acknowledge the Quandamooka People as the traditional custodians of the lands in which we live, make and work where sovereignty was never ceded. We pay respects to their elders and their youth, past, present and emerging – and stand in sovereignty with the Uluru Statement from the Heart and their ongoing resistance against colonisation.


‘Chaos Geometry Casuarina’, May 2019 at a Canaipa Mudlines site generated artmaking excursion. Photo: Paul Andrew

Whistling Kite Bird Hide Artist Studio

Established in June 2018 on Canaipa [Russell Island, QLD] this new artist studio builds out from earlier artist-run studios created by interdisciplinary artist, curator, writer and researcher Paul William Andrew. Artist studios including Jedda Studios [Ballina, NSW 2013-2018], Black Glossies Studios [Katoomba, NSW 2012-2013], Newport Studios [Williamstown, VIC 2008-2012] , St Kilda Studios [St Kilda, VIC 1999-2005], Enmore Darlinghurst Bondi North Studios [ Sydney, NSW 1989-1999 ], AXIS Clinton Street Studios [New York City, USA 1988], London Studios [London, UK 1984 & 1988], That Space Studios [Brisbane, QLD 1985-1988] , Arana Hills Studios [Brisbane, QLD 1964-1984]

We acknowledge the Quandamooka People as the traditional custodians of the lands in which we live, make and work where sovereignty was never ceded. We pay respects to their elders and their youth, past, present and emerging – and stand in sovereignty with the ULURU STATEMENT FROM THE HEART and their ongoing resistance against colonisation.”

ARI Remix Living Archives & Social Memory Project – http://remix.org.au


“Artist-Run Stories. Archives. Information. Ideas. Inspiration.
For everyone”


PROJECT ONE – Currently in progress
ARI Remix is a living archive project, study resource and Web 2.0 artwork #ariremix

Stage One – A QLD Remix
QLD ARIs 1980 to 1990 Nov. 2012
Completed Jun. 30 2017

Stage Two – A QLD Remix
QLD ARIs 1980 to Now
Currently in development
(Jun. 2017- Dec. 2019)

Stage Three – ARI Remix Community Archives Project: Living Archives, Artist-Runs Past Present Future A QLD Remix 1970 to Now – in progress
Jan 2020 – March 2022

Collectively Reframing Art Ephemera
TBA 2022

The ARI Remix collective acknowledges and respects the traditional and ongoing custodians of the lands where we live, make and work. We pay our respects to elders past, present and emerging, and acknowledge that sovereignty has never been ceded. We support the Uluru statement from the heart.

ARI Remix is a living archive; LGBTQIA+, cis, non-binary, trans and BIPOC inclusive, and involves active participation and collaborative collecting engagement by artists, artsworkers, co-creatives, peers and artist groups. It is an enthusiast-led, community-based, non-profit and art ephemera study resource and Web 2.0 art work #ariremix. It is made entirely possible through immense kindness, generosity, volunteerism and collaborative collecting efforts of over 300 Australian artists and significant arts philanthropy;

PROJECT ONE – Stages One & Two
of this project are supported by the Queensland Government through Arts Queensland and have been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. Stage Three of this project is supported by the Queensland Government through Arts Queensland


ARI Remix Living Archives & Social Memory Project- A Queensland Remix 1980 to Now

Photo: New York Pride Festival 1988, artist Paul Andrew


My personal artist web site is currently in development in 2020 – 2022. Thanks for dropping by….meanwhile maybe connect to an ongoing ‘living archives’ collaborative memory project and Web 2.0 artwork we are working on this year in 2021 located at https://remix.org.au

ARI Remix Living Archives & Social Memory project – A Queensland Remix 1970 to Now

The Re-authoring Impulse – Epicormia Collective on now at NRCG Ballina | 23 November-18 December 2016

Ossuary, Artist Jeremy Hawkes, NRCG Ballina - The Re-authoring Impulse, Epicormia Collective, Curator Artist Paul Andrew
[Photo] Ossuary, by artist Jeremy Hawkes, NRCG Ballina 2016 – The Re-authoring Impulse, Epicormia Collective organised by artist curator Paul Andrew

This month six Northern Rivers Artists inspired by the botanical term “epicormic” meaning new or adventitious growth from a dormant bud, or after trauma have responded to the epicormic concept as a lens for re-authoring through artistic practice after difficult personal experiences of trauma. This artist-run initiative includes artists Julie Barratt, Scott Trevelyan, Jeremy Hawkes, Julianne Zoviar Clunne, Marion Conrow and Paul Andrew. This artist-run collaboration also celebrates ten years of activities at Willowbank Studio in Alstonville and the extraordinary anniversary  group exhibition Decade of Catharsis.

On now until December 18, 2016

Artist Paul William Andrew, Strange Monologues (Non-Finito Remix), including works from The Hopewood Peace and Non-Violence Project 1916-2016



Thank you dear dark Darkslider for this evocative music for the ‘Strange Vignettes’ video artwork I made for my art installation as part of the Epicormia Collective artist-run exhibition | The Re-authoring Impulse exhibition back in 2016 !!! https://darkslidermusic.com/strange-vignettes/


Thank you dear Scott Trevelyan and Susie Forster for making this terrific micro doc, and for kindly sharing it on You Tube, it captures the shared feeling of epicormic joy and rapture.


Thank you dear artist designer and community leader Joanna Kambourian for your impassioned and unwavering support during the past decade I am truly grateful. Thanks everyone involved in this arts and diffability ARI [2014-2017] hopefully it will inspire others to start an ARI in the Northern Rivers and anywhen too. Here is the link to our DIY zine as community archives project is here : https://au.blurb.com/b/7460964-epicormia-collective-the-re-authoring-impulse

Artist-Run Project, Australia

The Patient – The Medical Subject in Contemporary Art

One of my video art works, The Man in the Irony Mask is included in this inspiring exhibition on now at the UNSW Gallery.

The Patient examines the embodied experience of the artist as medical patient and the medical patient as living subject in contemporary art.

The word patient has a dual meaning. It describes a state of being – of bearing a situation quietly, without complaint. It also describes a person in a hospital or clinical context, who is ill and undergoing diagnosis or treatment. The word originates from the Latin patiens, which means “suffering, enduring”. And for the medical patient, it is a common enough experience to wait, with pain.

The exhibition explores the ways in which artists engage with powerful human experiences in the fields of health, biological science and medicine, contributing to discourse on the representation of illness, disease, care, individual agency and what it is to be human.

Curated by guest curator and UNSW Art & Design PhD candidate Bec Dean, the collection of works, new experiments and ongoing projects featured in The Patient are all variously difficult, fearless, funny and sometimes unlovely. They range across media and connect to us as viewers and occasionally as participants.

The artists in this exhibition are drawn from Australia and the world, past and present. Their work deepens our own enquiries into the actual stuff of illness and disease, death and life – how they manifest viscerally and psychologically, as well as socially and politically.

Through its exhibition programs, UNSW Galleries fosters and advances research and discourse around the pressing issues of our times. Exhibition projects that draw on knowledge and research from a range of disciplines – such as art, medicine and science – have the capacity to impart and investigate new approaches to understanding the fluid and rapidly evolving 21st century society in which we live.

Participating artists: Ingrid Bachmann (Canada), John A Douglas (Australia), Brenton Heath-Kerr (Aus), Carol Jerrems (Aus), Eugenie Lee (Korea/Aus), David McDiarmid (Aus), Helen Pynor (Aus/UK), Jo Spence (UK), ORLAN (France), John Wynne (UK) & Tim Wainwright (Aus/UK), Bob Flanagan & Sheree Rose (US), and Guy Ben-Ary (US/Aus) with Nathan Thompson, Andrew Fitch, Douglas Bakkum, Stuart Hodgetts, Mike Edel.


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