Monday, February 13, 2017

The 2017 Sticky Institute Festival of the Photocopier Zine Fair

Pictured outside Melbourne Town Hall. Photo credit: Shane Jones.
Featured here are selected highlights from yesterday's sensational Festival of the Photocopier Zine Fair. The fact that this ginormous event went off without a hitch was testament to the superb organisational skills of Sticky Institute, the ongoing support of the City of Melbourne, Melbourne's vibrant zine community and the thousands of visitors who came through. With able assistance from Shane Jones and Gracia and Louise as next stall neighbours, could this zinester ask for anything more? I think not. 
(Click on images to enlarge).

Despite the prediction of the poster in the previous photo,
 there were over 200 stalls. Not surprisingly,
the event was fully booked.

When we arrived at 9.30 am there was already a small queue of stallholders.
(The genial doorman, Paul, pictured in the red waistcoat,
has become a valued fixture of this event. When he
 slipped away for only a fleeting moment around opening time, Sticky refused
to open the doors without him. Waiting zinesters enthusiastically
chanted his name until he returned).

Before very long the queue had extended around the corner.

A short time later, it had continued up Collins Street as far as the eye could see. 

The doors were opened to stall holders at 11 am. I'm on the left setting up
alongside zine stall neighbours, Gracia and Louise. Photo: Shane Jones.

Gracia and Louise with their heads down as the setting up process continues.

Shane and I captured in one of the rare quiet moments,
just before the doors were opened and hoards of
zine enthusiasts streamed in. Photo credit: Gracia Haby.

I was very proud of my brand new Moth Woman Press sign.
Photo credit: Shane Jones.

Pictured with more of my zines. To my right is fellow zinester Louise Jennison.
Photo credit: Shane Jones. 

Gracia Haby and Louise Jennison.

L-R front: Gracia Haby, Louise Jennison and Vicki Fowler and back: L-R:
Shane Jones and myself view the zine fair through rose and blue coloured
 glasses (originally intended to be paired with a special G&L 3D zine).
Photo credit: Jill Kellett.

My able zine stall assistant, Shane Jones.

This and the following photo were taken from the Town Hall stage.
 They aim to give some idea of the magnitude of yesterday's crowd.

Melbourne Town Hall's mighty organ, as seen from
our stall 

Thanks for having us, Sticky Institute and City of Melbourne. See you in 2018!

Saturday, February 11, 2017


The Moth Woman Vigilantes - Story and Pictures by Deborah Klein, 2011, Edition: 80

Back by popular demand, in the nick of time for tomorrow's Festival of the Photocopier Zine Fair, a squadron of Moth Women Vigilantes rests their wings on the working table.

At last year's FOTP only a few copies of this zine were available. Believing that times are particularly ripe for the MWV to put in a return appearance, I have topped up the edition. It's an essential primer for those wanting to learn about the Moth Women Vigilantes.

Sticky Institute Festival of the Photocopier Zine Fair,
Melbourne Town Hall,
Sunday, 12 February, 12 - 5 pm.

Entry is free. The Moth Women Vigilantes say: 'BE THERE!'

Wednesday, February 8, 2017

LEAVES OF ABSENCE: sorting, signing and sending

Yesterday's task: arranging, numbering, titling and signing individual pages of the complete edition of Leaves of Absence (ten, plus one artist proof) before the first copy of the book ventured out into the great wide world.

By mid-afternoon, edition no. 2/10 was on its way to Perth for:

Between the Sheets: Artists’ Books Exhibition 2017
Gallery Central, 
Aberdeen Street, 
Perth, Western Australia
18 March – 8 April 2017

The exhibition will feature artists' books from Australia, Brazil, Canada, Chile, Italy, Lithuania, Scotland, the UK and USA.

Nan Morphett; Joy Tonkin
New South Wales:
Lee Bethel; Julie Bookless; Caelli Jo Brooker; Anne-Maree Hunter; Yvette Sullivan.
Lorraine Lamothe; Helen Malone; Jack Oudyn; Stephen Spurrier
South Australia:
Beth Evans
Barb Adams; Debbie Hill; Deborah Klein; Lesley O'Gorman
Western Australia:
Eve Arnold; Zoe Barry; Bina Butcher-Monsees; Helen Clarke; Claire Davenhall; Martin Dickie; Sandra Dunbar; Tania Ferrier; Caroline Goodlet; Jane Grierson; Penny Hudson; Brontë Jones; Shana James; Rebecca Jensen & Sophie La Maitre; Mari Katayama; Daniel Kristjansson; Pam Langdon; Lesley Le Grove; Eden Lennox; Elisa Markes-Young; Clyde McGill; Shona McGregor; Janis Nedela; Annette Nykiel; Matthew Pope; Adele Price; Layli Rakhsha; Jennifer Sadler; Cim Sears; Annette Seeman; John Teschendorff; Paul Uhlmann; Vanessa Wallace; Rebecca Westlund; Gera Woltjer
Jussara Pires
Lorraine Kwan
Magdalena Cordero
Thurle Wright
Virginia Milici
Kęstutis Vasiliūnas
Su Grierson
United States of America:
Cristina de Almeida; Timothy Frerichs

Tuesday, February 7, 2017

FOTP 2017

There are only a few days to go to the 2017 Festival of the Photocopier Zine Fair, with much preparation still to be done.

Six Moth Woman Press mini-zines will be new to this year's FOTP. The Enchanted Hair Ornaments and The Story of the Moth Masks (top row, left and centre below) were made in 2016 to coincide with the group exhibition, Eventide, at Mornington Peninsula Art Centre. In 2016 I was appointed a Winsor and Newton Global Ambassador. The Moth Women Vigilantes Rogues Gallery (top, right) was made that same year to herald the Australian launch of their revolutionary pigment markers - in fact, Winsor and Newton Australia acquired three quarters of the edition. As already documented on these pages, the three zines on the bottom row, Leaves of Absence - A mini-zine, Pressed for Time and The artist's hand were made especially for FOTP 2017.

I hope to see you there.

Saturday, February 4, 2017

MATERIAL GIRLS on the work table (Part 2)

For the past three days I've been making up additional copies (twenty, to be exact) of an older zine, Material Girls, which was originally published in 2010. (See also previous post). The final stages of production are pictured directly below. It's a relief to have completed it with a week to spare before the 2017 Festival of the Photocopier Zine Fair at Melbourne Town Hall on Sunday afternoon, February 12. For more information about Australia's most celebrated zine fair, click HERE.

Thursday, February 2, 2017

MATERIAL GIRLS on the work table

Yesterday's studio activity involved folding, cutting and collating pages of one of our older zines, Material Girls (2010). Although the edition size of 60 is relatively small, I've always made up copies in smallish batches, mainly because it is particularly fiddly and time-consuming to put together. (With this zine, the devil really is in the detail). The next step is to add the covers and cover illustration. Click on individual images for a clearer view.

Tuesday, January 31, 2017

2017 Festival of the Photocopier Update

As the Festival of the Photocopier Zine Fair looms closer, at Moth Woman Press, it's all about zines, zines and more zines.

As well as topping up the numbers of older titles, including Moth Woman Vigilantes Rogues Gallery, 2016 (see below) Moth Woman Press will be launching three new mini-zines.

In between times, we've given our filing system a much-needed overhaul. Mini-zines are now stored in acid free plastic envelopes and dedicated filing boxes (as shown in the first two photos directly below). We also have a new display system for mini-zines (see bottom photograph), which will considerably free up our table space at zine fairs. Click on images to enlarge.

The Sticky Institute Festival of the Photocopier Zine Fair will take place at Melbourne Town Hall on 12 February from 12 - 5 pm. For further information, go HERE.

Friday, January 20, 2017

Sentimental Journey

Ever since my artist book, Leaves of Absence, was completed, I've had a yen to return to Newstead where it all began.

Our friends Leigh Hobbs and Dmetri Kakmi occasionally house-sit there, and in late June, 2015, they invited Shane Jones and I for lunch. Afterwards we went for a walk in the forest, where I found myself drawn to the remarkable, irregularly shaped leaves of the Eucalyptus saplings; each one was a unique creation. For reasons I didn't completely understand at the time, I began compulsively gathering them. (The visit is recorded HERE).

To abbreviate a long, oft-told tale, those leaves became the basis for the series of archival pigment prints that in time led to the above mentioned artist's book.

I was to return to Newstead on numerous occasions, primarily to harvest additional leaves for my burgeoning project. A particularly notable visit occurred just over a year ago. On our way home from a day trip to Marysville, Shane suggested we call in on our way home. The air conditioner in our old car hasn't worked in years and it was a scorching 40-plus degrees day. In our eagerness to get back to Ballarat and switch on the air conditioner, we considered bypassing Newstead altogether. In fact, we very nearly did.

At some point Shane took a wrong turn and we were well on our way home before we realised what had happened. By now we believed ourselves to be in serious danger of melting and had to force ourselves to turn back. I'll be forever grateful that we did, because this was the day I uncovered the secret of the eucalyptus leaves. While documenting some of the saplings from which the leaves were plucked, I came upon the first of the exquisite insects I was later able to identify as the nymphs of Amorbus alternatus, or Eucalyptus tip bugs - as well as several of the shield bugs they would eventually morph into. At that stage I was fully immersed in the Homo-insecta series of prints, paintings and watercolours, so as subjects, insects were already central to my work. Now I discovered that they were also my artistic collaborators. (Quite rightly, they rate a special mention on the book's colophon page).

Last Sunday's trip was essentially a sentimental journey. (Shane recently asked: haven't you already got enough leaves? Clearly I haven't, because I snagged several more - and some of them are beauties).

For me, Newstead has qualities that border on the magical; certainly, my history with this special place reads much like one of my own fairy tales. I hope these photos, some of which were taken by Shane (including the striking shot of the sun glaring through the tree tops and several of those concurrently published on my art blog) will convey something of why Newstead has come to mean so much to me.

I must admit I was also hoping for a sighting of the Eucalyptus tip bugs, and in this I was not disappointed. Though there were fewer than last year, they were as dazzling as ever. It seems they prefer a hot climate and don't appear on cold, windy days (which Sunday most certainly was not). Ironically, this was probably the reason we found so many the first time we came upon them on that almost unbearably hot day in 2016.

For more views of glorious Newstead, visit Deborah Klein's Art Blog HERE.

Friday, January 13, 2017


Leaves of Absence (closed). Linen box with debossed text and image,
32.5 (H)  x 25.5 (W) x 4 cm (D). Edition: 10, plus 1 artist proof
Yesterday the final milestone of this almost two-year long project was reached. The boxes for the artist book, Leaves of Absence, are now completed with the pages (31 archival pigment prints on Canson Infinity rag paper) nestled inside. I'll be writing about the book at considerably more length in the near future. Meanwhile, the closed book is previewed above, followed by a selection of page views. (Click on individual images to enlarge).