Saturday, June 30, 2018

Faerie news, puppet float, conference report & Korean folklore

Faerie News

At our fifth Australian Fairy Tale Society conference this Midwinter, I met an inspiring storyteller from South Korea, Seung Ah Kim. She travels the world sharing folktales and culture. Her current tour is supported by her family association Andong Kim, which has more than 1,000 year long history from the founder (one of the grandsons of the last king of Silla Dynasty), keeping the oldest family tree book in Korea. To quote Seung:

"We have 500,000 members and 15 branches in our association. One of the branches owns a village. They have lived there for more than 620 years. Participants will stay in the village and experience Korean tradition, culture, and meet elders, villagers and my family members and hear a lot of stories."

Fey folk, she'd love you to share her ad with your artistic, folkloric networks:

A unique tour of South Korea unfurls from 16-25 October this year. Travel through time as you stay in a temple and historical homes. Listen to stories from elders and monks. Experience traditional music, calligraphy, cooking classes, a traditional memorial service, making rice wine and more. You cannot ask for a better guide and translator than Seung Ah Kim. Contact her at

photo by LJK of antique fairy book

More Faerie News:

Congrats Reilly McCarron, one of Australian Fairy Tale Society's co-founders, on publishing a story in the Snow White edition of Timeless Tales Magazine! Read here.

Dr Lucy Fraser published her academic book The Pleasures of Metamorphosis: Japanese and English Fairy Tale Transformations of "The Little Mermaid" recently.  It explores Japanese and English transformations of Hans Christian Andersen’s 1837 Danish fairy tale "The Little Mermaid".
Lucy is a Lecturer in Japanese, School of Languages and Cultures at The University of Queensland. View her profile & journal article & buy the book.

Frank's Fantastic Fairy Tale Theatre performed rambunctiously at our conference. The talented puppeteers are running a crowdfunding campaign with the Australian Cultural Fund (a tax deductible platform), raising money to turn a horsefloat into a portable puppet theatre. More about them later in this blog under 'Presenters'.

Thanks Gypsy Thornton for this recommendation:
The Faery Folklorist
Gypsy's own site, Once Upon a Blog, remains one of the world's leading sources of fairy tale news & commentary.

Press Release from Sophie Masson:
Pitch Independent, a gathering of indie publishers, an opportunity for writers & illustrators:
W: here

News from Georgina Ballantine:
An anthology call-out for fey stories on the theme of 'Oath and Iron': here

Sydney's Royal Botanic Garden blogger posted an interview with me, Louisa John-Krol, about The Australian Fairy Tale Society here

Fairy Tale Conference Report:

Australian Fairy Tale Society's 5th annual conference unfurled this midwinter at the Royal Botanic Gardens of Sydney, entitled 'Gardens of good & evil: growing life, plucking death'.

All day: Visual arts included glass slippers, keys and mandalas by Spike Deane, with illustrations by members such as Leila Honari, Lorena Carrington and Erin-Claire Barrow. An accompanying book stall featured writing by attending author-members such as Marianna Shek (The Stolen Button), Thang Dac Luong (Refugee Wolf - new education edition), Monique Mulligan (several titles) of Serenity Press, Phillippa Adgemis (Melpomene and Andonis) and our Keynote, Dr Kate Forsyth (Vasilisa the Wise and other tales of brave young women and her novel Beauty in Thorns).

Noon-2pm was a free public segment, comprising a fairy tale garden tour by Jo Henwood and map with designs by Debra Phillips, puppetry (Rapunzel and Spinach) by Frank's Fantastic Fairy Tale Theatre, storytelling & music by Louisa John-Krol (me) improvising with puppeteers and Les Davidson as impish Green Jack to understudy a cancellation, and Liz Locksley of Thrive Story, with her true tale of Goblin's Gold and the Tardigrade, a super resilient moss.

Sessions morning and afternoon for registered attendees included anthro-botanical research on fairy tale rings, storytelling about an Australian wildflower princess painter, a literary panel (publisher/ writer/ illustrator), Q&A around fairy tales from The Silk Road and presentation of our Fairy Tale Award to Dr Kate Forsyth, this year's Keynote.

Bios/Intros of presenters are below, but first let's thank the dedicated fairy folk who made the practical wheels of this event turn:

Attendees from our main Committee, besides myself:

Spike Deane from Canberra designed call-outs, fliers, printed programmes, web banners and social media promo. Spike also participated in the exhibition with her glass art, and brought along the glass sculpture she created, on which we engrave names of our fairy tale awardees.

Jo Henwood from Sydney, as public officer, Ring Maiden and co-founder, was head of venue liaison this year. She also handled catering & quilting (collecting and sewing fairy tale patches from members for quilts as gifts for the homeless), hosted dinner and led a fairy tale garden tour.

Patricia Poppenbeek from Melbourne volunteered far more than her share of time to stall-minding, and helped set up rooms on the previous day, together with dedicated members of the Sydney Fairy Tale Ring. [Patsy, an author and editor, chairs our sub-committee for a proposed Anthology, South of the Sun - Australian fairy tales for the 21st century.]


Last year's bursary recipients, Georgina Ballantine and Joe Vandermeer, assisted with a number of tasks, from catering to filming, while this year's recipients, Danielle McGee and Monique Mulligan, helped to mind the stalls. Notably, Monique was also a presenter and panelist, as an editorial director of Serenity Press, an indie publisher in Western Australia.


Shirley Way stepped into the role of MC at a week's notice after a cancellation, travelling from Brisbane; she performed admirably amidst several late changes to the programme.

Nicole Logue as part of her course on event management, assisted with many tasks from catering to publicity, and wrote a stunning press release.

Erin-Claire Barrow as Returning Officer for this year's AGM, carried proceedings with aplomb. She also participated in the exhibition with her beautiful art. Erin illustrated last year's Fairy Tale Award certificate. [This year's Award illustrator was Jane Carlisle.]

Apologies in advance for any oversights in this list of thanks. If you notice any gaps, please let me know.

Now for details of our presenters and exhibitors! This might appeal to those of you who missed the conference, or attended but missed a presentation; there are web-links here for you to seek them out yourselves:


Kate Forsyth: Keynote - “Edward Burne-Jones’s obsession with ‘Sleeping Beauty’ and the motif of the rose”: Her acclaimed novel Beauty in Thorns is the story of Pre-Raphaelite artist Edward Burne-Jones’s lifelong obsession with the Sleeping Beauty fairy-tale and the symbolic meaning of flowers, such as the wild rose in ‘The Legend of Briar Rose’. Kate is one of Australia’s best-known writers, with over a million copies sold around the world. Later in the day, Kate - an accredited storyteller - performed the tale of Katie Crackernuts. Her performance was utterly bewitching. Afterwards we presented her with our annual Fairy Tale Award for her contribution to scholarship, storytelling and writing in this field. Her book signing unfurled in the Moore room during our noon-2pm segment for families. Discover more about this fascinating Australian fey woman here

Robyn Floyd, Phillippa Adgemis, Christine Shiel: “A garden always has a point.” ―  Elizabeth Hoyt (The Raven Prince): What is the point of the garden, the bush, the landscape in folktales? We followed Christine, Robyn and Phillippa down a wonderland ‘rabbit hole’ as they explored the impact of transplanting traditional tales into new natural environments: the garden, the bush, the island. They presented a dialogue (trialogue?) that questioned effects of natural settings on mannerisms, behaviour and appearance of characters in fairy tales & mythologies. Find out more about Robyn's PhD on Australian fairy tale maven Olga Ernst, amongst other topics at her blog.

Graham Ross: Storyteller & Historian - “The Australian Fairy Tale Princess”: performed an historically allusive biography with fairy tale elements (palace, royal garden, fairy godparents, magic), helping to deepen interest in the life & work of the Australian painter Ellis Rowan (1848-1922). Graham has been telling stories in an oral tradition for many years, sometimes under the auspices of the local chapter of Storytelling Australia (SA). He is President of this chapter and convenor of the South Australian Fairy Ring. He comes from an eclectic background of psychology, teacher education & performing arts.

Natalie Phillips: Postgraduate Student - “Fairy Tale Rings”: The fairy ring is an intriguing natural phenomenon. Scientifically it is the result of mycelium (fungal threads) absorbing nutrients in the soil - a ring of darker grass, or dead grass, or mushrooms (Rutter 60). Its presence in folklore is more convoluted; a trap, luring mortals; or a portal to a magical world, protection or fortune. This academic paper explored the fairy ring in folktales, art and literature, breaking down elements intrinsic to this phenomenon — magical, scientific, symbolic [Rutter, Gordon. “Fairy Rings”. Field Mycology 3.2 (2002): 56-60. ScienceDirect. Web. 15 Jan. 2018.] Natalie is a doctoral candidate at Western Sydney University.

Helen Hopcroft: Manager of Frank’s Fantastic Fairy Tale Theatre - “Rapunzel and Spinach”: Frank's is a portable puppet theatre in Maitland, telling traditional fairy tales in new ways. All their puppets, stories, costumes and props are handmade, loosely based on the Queen’s Theatre at Versailles. Plays are between 5-20 minutes, appealing to children aged 4-10 years. With a crew of six including a storyteller, MC and sound technician, Frank's (or may I say, Helen's!) transported us into imagination with humour and glee. Truly a highlight of our day, it helped weave the kind of playful, quirky, mischievous, whimsical magic that leads seamlessly into storytelling. Helen has a PhD in English & Writing at the University of Newcastle, focusing on the Arabian Nights and Western-European fairy tales. She’s co-published an article in Marvels & Tales. A reminder to support their crowdfunding for a converted horse float for safely transporting their portable theatre.

Louisa John-Krol: I understudied ABC presenter Cheralyn Darcey ('The Language of Flowers in Fairy Tales'), as other acts weren't suitable for children, and this was a segment we'd publicised as family entertainment. Years of fairy festival experience came in handy as I improvised with puppeteers and Les Davidson who was clad in green, playing Jack, in an impromptu pantomime of storytelling and music that included Rapunzel's Wraggle Taggle, an Italian tale 'Cecino the Tiny', a melody I'd set to a Keats' poem, and an original song 'Moon Willow'. My discography on ethereal labels, with other faerielore, abides here.

Liz Locksley: founding Storyteller of Thrive Story - “Goblin’s Gold”: a storytelling experience - A fragment of Goblin’s Gold, is snatched from behind a wizard in a cave on the wooded escarpment of Alderley Edge. In it lives a Tardigrade, one of Earth's most tenacious creatures. We heard the tale of a lifelong quest, of Goblin’s Gold and the Tardigrade. Goblins’ Gold, also called Schistostega pennata and luminescent moss, is known for glowing and growing in dark places. Unlike other moss, the Tardigrade, or Water Bear, is perhaps the most resilient creature on Earth. It can survive a wide range of temperatures and environments, perhaps even cosmic catastrophe. Liz Locksley is founder of Thrive Story.

Marianna Shek and Leila Honari: “The Silk Road - Cultivating a Hybrid Garden”: The creative journey behind The Stolen Button book, a fairy tale on the Silk Road. They discussed themes of migration, displacement and multicultural stories in an Australian landscape. The Silk Road is a hybrid garden, a space to portray an exotic other, where wands, dragons and goblins mingle with nagas, djinns and huli jings. This Q&A led to an exhibition of Leila Honari’s art. Leila and Marianna worked on The Stolen Button while teaching and completing PhDs in the animation dept at Griffith Film School. Marianna is a transmedia writer working with non-linear narratives. Her latest work If The Shoe Fits won first place in the 2017 Conflux Short Story comp. She has forthcoming works in anthologies by Tiny Owl Workshop. Leila’s research investigates the mandala structure of Persian mystical stories. Her projected installation Farsh-e-Parandeh (Flying Carpet) is available for exhibitions. Find out more here.

Monique Mulligan: Editorial Director of Serenity Press - “Growing beautiful stories: Keeping the flame alive”: S.P. is a small independent publisher now focussing on folklore, fairy-tale retellings and original fairy tales, keeping traditional stories and storytelling alive by fostering understanding and enjoyment of folklore, fairy tales and myth. An editor, author, founder of Stories on Stage in Perth, and journalist, Monique published Vasilisa the Wise and Other Tales of Brave Young Women retold by Kate Forsyth, illustrated by Lorena Carrington*. These tales of courage and cleverness, an antidote to the assumption that classic fairy-tales feature passive princesses. Set in forests, secret gardens and wild seashores, they invoke nature – a doll made of wood, a hazel-twig wand, roses, a silver castle hanging from oak trees, a wooden flute that summons a griffin, primarily created out of detritus from forest floors – leaves, bones, moss, twigs, seeds, mushrooms. Discover more here - and buy the book!

Exhibitors included Erin-Claire Barrow, Spike Deane, Debra Phillips, Leila Honari, Marianna Shek, Jane Carlisle (in absentee) and one of our panelists Lorena Carrington*, who explores lost or forgotten fairy tales. Her work delves into themes around life and death, created from her garden and surrounding landscape.

Fairy Carriage by Lorena Carrington
*Lorena, Monique and Kate united for a fascinating panel discussion in the afternoon.

Fey Regards,

Louisa John-Krol
Australian Fairy Tale Society

Saturday, June 9, 2018

Fairy post #36 - Serenity & Button pre-conference

Faerie News

New Music from Melbourne, Australia

Ambient Pop by Elvan

The Stolen Button
a new fairy tale by Marianna Shek and Leila Honari
who shall co-present a Q&A session
at the 5th annual conference of the Australian Fairy Tale Society

flying from Brisbane to Sydney:
When: Sunday 10th June 2018
Where: Botanic Gardens of Sydney
Art & books by other published attendees will be for sale there too.
Or buy The Stolen Button online now,
so you know what to ask if you attend!

Join us at the Australian Fairy Tale Society's 5th annual conference
on Sunday 10th June 2018 at the Royal Botanic Gardens of Sydney,
'Gardens of good and evil: growing life, plucking death'.
To register, click here 
To view our programme, click here
Liz Locksley of Thrive Story with Goblin's Gold and the Tardigrade
a most resilient moss!

Our panel trio comprises Monique Mulligan (an editor of Serenity Press) of WA,
our Keynote Dr Kate Forsyth (scholar, storyteller, bestselling author) of NSW,
and illustrator Lorena Carrington of Vic, whose pictures will be in our exhibition,
like the gorgeous floating castle below, shared here with her kind permission,
from Vasilisa the Wise and other tales of brave young women - more info here

Saturday, May 5, 2018

Fairy post #35 - Cassandra interview, news & reviews x 3

Faerie News

Hey Ho!
Been about a year 
since my last post, 
so ample news & reviews 
are brimming here.
- Louisa John-Krol

In 2017, after a decade's hiatus, 
I released two new albums in the faerie genre:

cover painting by Belinda John,
Excalibur sword by Rachael Hammond


A compilation of water music from our various albums on indie record labels, celebrating nymphs, nixies, nereids, mermaids, island witches and other aquatic magic. Between each song is a recording of rain, rivers, oceans or Australian waterbirds. Discover wetlands, dream of voyages beyond the estuary, rest by a stream, trace a forest lane in the rain. Torlan is Welsh for 'from the river bank'. Many other languages are cited in poetry throughout the lyric booklet, laced with lush photographs, from fey waterfalls to haunted billabongs.


A double album soundtrack for my unfolding fantasy chronicles, set in an enchanted land below a river. Featuring 50 musicians from 15 nations with eclectic instruments - and an illustrated booklet with illuminated borders - it draws upon magic-realism, fables, mythology and fairy tales, mingling Celtic neo-medieval balladry with dreampop and classical ambience, from the melodic whimsy of Violin Velvet, to baroque blues of The Dwarf of Barberry, plushness of Escalder The Green Lady and shimmering energy of Evander the Unicorn.

Both albums are available via PayPal from my website shop, 
in eco-friendly digipaks. Click here

Display of our open digipak with illustrated lyrics, sleeves & eco-friendly materials.

antique book plate
photo by Louisa John-Krol

A mysterious fairy in contemporary Australia!
Here is Adele as Green Lady.

Reviews by LJK 2018

(i) Music Review



an album of faerie music by 
Karen Kay & Michael Tingle
Pixie Publishing

Intricate coustic guitar plucking sparkles in the foreground like raindrops, with luminous keyboard sounds that glow, echoing faerie lights of the sleeve art: lanterns lighting a secret path on a lake. Inside, bright green leaves unfurl across internal panels of the digipak. These effects are offset by the sensual, smoky, sultry vocals of Karen Kay, reminding me at times of The Visions of Vespertina, an American ethereal gothic project on the German darkwave label Hyperium in the 90’s; also a trip-hop group Baxter, shades of Kate Bush in Never Forever, Wendy Rule in recent albums such as Black Snake, and the singing of Chloé St Liphard on the album Vernes-Monde by the great French neo-baroque chamber art-pop outfit, Collection d'Arnell~Andréa. Karen’s lyrics, particularly in the opening track, carry sharply defined folk lines reminiscent of Australian mythic rocker Adrienne Piggott in Spiral Dance. 

This album’s musician, producer, arranger and visual designer is the multi-talented Michael Tingle, who co-wrote the songs with Karen, except for #7, ’Stars in Puddles’, by Armorel Hamilton.

One of my favourite tracks is #2 ‘Faerie Feeling’, which arrested me initially because the melody reminds me of the verses in a Clannad divine song ‘Magical Ring’, but it also has a charming counterpoint of aforementioned plucking, mixed close-up like fey fingers tickling earlobes, or splashing dew along one’s skin as we venture farther into woodlands. Who knows which sprite in Titania and Oberon’s retinue might be near?

Another fave is #5 ‘A Midsummer Night’s Dream’, which lives up to being the album’s fifth track by a gorgeous vocal melody with leaps in fifths to the word ‘dream’ (and occasionally octaves, to the word ‘joy’), closing key phrases. Loving Shakespeare, and having a numerological obsession with the pentacle/ pentagram, the combination of ‘dream’ + 5 is hard for me to resist. Moreover, it’s a memorable tune. I also enjoy its reverse-recording motifs, one of my longtime favourite sonic effects. Further, lyrically I like the reference to seeing a dragonfly out of the corner of one’s eye; a nod to the peripheral vision so characteristic of faerie glimpses.

Congrats Karen and Michael on pooling your talents to bring us this crepuscular caress. Long may you and your faerie clans prosper.

- Louisa John-Krol

(ii) Art Review

‘All The Better To See You With’ - Fairy Tales Transformed

Exhibition (23 Nov 2017 - 4 March 2018) 
Potter Museum of Art, University of Melbourne

Renowned Australian author and Australian Fairy Tale Society member, Carmel Bird, opened this bewitching exhibition, which featured twenty-one contemporary artists exploring anxieties around such themes as injustice, exploitation, transformation, hope and empowerment with stunning diversity of medium and mode, from a lace crafted venetian blind, to printmaking, installation and animation. One of my favourite pieces was The Table of Moresnet, 2016, by Zilverster (a collaboration between Sharon Goodwin and Irene Hanenbergh), a 19th century wooden table upended vertically, upon which the artists had engraved flourishes arising from conversations together, pictured on pages 114-115 of the catalogue. The latter is a substantial book with eloquent articles by Dr Athena Bellas (‘Prohibition, transgression, transformation’), Kelly Gellatly (Director’s Foreword), and Samantha Comte (Curator’s title-essay). Both cite Marina Warner, beloved of fairy tale buffs here and abroad.

The show’s provocations linger long afterwards. What niggles is a quizzical quibble with our era’s zeitgeist: that seemingly the only way adults may access fairy tales profoundly is through disturbance, horror, eeriness or at least a sense of unease. Why? Granted, fairy tales can be horrifying, but that's not all they are, is it? Many modern practitioners of fairy tales feel compelled to remark that not all fairy tales end happily ever after, as if this phrase is a code to enter the dialogue. Dystopian art can be great, but why such preponderance of it? The Jungian preoccupation with embracing our shadow self has its worth, but may we sometimes let in a little light? Maybe it’s trite to claim that fairy tales are ageless or timeless, but they can appeal at any time, age or mood. They operate on multiple levels without needing to be gloomy, any more than they need to be twee. The binary of ‘cute for children, creepy for adults’ may well be a culturally arbitrary boundary, no less limiting than binaries of good-bad, black-white, rich-poor, urban-rural or left-right. Fairy tales play in liminal spaces. They thrive on eluding expectations. Hopefully intellectual mistrust of fey, sweet, gentle whimsy is just a transitory phase that the global intelligentsia is experiencing.

This concern might already have been working itself out through the exhibition, as expressed in Samantha Comte’s quotation of Angela Carter on ‘heroic optimism’ and her allusion to Marina Warner’s observation that fairy tales are a conversation of centuries, highlighting the fluidity of this subject through historical change, intercultural dialogue and shifting landscapes of the psyche. Comte is fascinated by how fairy tales respond to social context, transforming over time, and this exhibition effectively encapsulates that fascination. Themes of lost children have dominated Australian expression, from Frederick McCubbin’s depictions of bush landscapes in oil paintings (images of which wallpapered the storytelling room of Wonderwings Fairy Shop in Richmond, Melbourne, in the last decade of the 20th century, before moving to a similar venue Myths and Legends in Gisborne, country Victoria, still running after over a quarter of a century); to Joan Lindsay’s novel Picnic at Hanging Rock. This not only evokes fairy tales such as ‘Hansel and Gretel’ or ‘Babes in the Wood’, but - as Australian author Sophie Masson wrote in her 2016 essay ‘Fairy tale transformation: The pied piper theme in Australian fiction’ (M/C Journal 19,4) - carries motifs of ‘The Pied Piper’; a mountain swallows the young, led by Pan, invoked by panpipes in the soundtrack of Peter Weir’s 1975 film Picnic at Hanging Rock.  In flux, yet perennial.

Another point on which I agree with Samantha Comte and Marina Warner is that whilst fairy tales don’t always contain fairies, they do carry magic. I wrote about this is in my 2017 essay ‘Gracing, Musing and the Wishing Well’ (TEXT Journal, 43). 

Thank you to the Curator, Director, Artists and Sponsors for this haunting exhibition.

- Louisa John-Krol

(iii) Book Review

Jack of Spades

 (2017 Eagle Books)

 a novel by Sophie Masson 

Rosalind Duke, Linda for short, cuts a classy heroine with her plucky attitude and acuity. Daughter of a Shakespearean scholar dabbling in espionage, she sails from London to Paris in 1910, unchaperoned and nearly penniless, with her only clue: a Jack of Spades card that a stranger mailed to her home. Raised in a family of avid card players, she interprets that cryptic gesture as a summons, but the handwriting on the envelope isn’t that of her father. Linda finds herself in the cosmopolitan Latin Quarter frequented by students and travellers, sporting a new hairstyle and identity, quite the chic fashionista dashing about in carriages through an international set of spies, detectives, bank robbers, book dealers* and bombs. Oh, and the most delicious confectionary ever! [*bouquiniste: French for second-hand book dealer.]

Descriptions of Parisian streets carry profound love of the culture from which Masson hails. Her entire family is French. Staying with her grandmother Mamizou in France, she learned many tales, and her parents made her speak French at home. (This novel is dedicated to Masson’s mother, Gisèle Masson, who died in 2016, a year before its publication.) The Australia Council awarded Masson a 6-month writer’s residency in Paris. We learn how, in 1910, the district’s main street had been transformed into ‘one of the elegant, wide boulevards’, yet how ‘at its heart lay  a bustling, colourful area reminiscent more of the Middle Ages than the early twentieth century’ (p.17). There is an allusion to the hall of tall mirrors, La Galerie des Glaces (p.173).

Cheekily, Masson breaks the Fourth Wall: ‘Don’t be silly, she chided herself. You’re not in a detective novel. This is real life. And in real life, gentle, unworldly Professors like her father didn’t go around playing Sherlock Holmes’ (p.50). 

Whilst less ethereal than her Snow White or Sleeping Beauty re-spins (Hunter’s Moon and Clementine respectively), Jack of Spades carries several fairy-tale motifs such as riddles and quests, a girl rescuing her father, disguise, hidden allegiances, numerical games, the subliminal or seductive properties of flowers, and the presiding presence of trickster Jack in his guise as joker, referred to as the ‘Wildcard’.

Of all sensory interplay, most prominent is sense of smell, as in the aroma of lilac and violet. Ah, but no spoilers! Suffice it to say the novel Perfume: The Story of a Murderer by Patrick Süskind sprang to mind. Additionally, our protagonist cites The Scarlet Pimpernel by Baroness Orczy (p.189). Indeed this would make a lush film! I agree with Anthony Horowitz’s praise: ‘Nobody weaves history, romance and adventure like Sophie Masson’. This novel combines the clever espionage of her Trinity duology (for adult readers) with the accessibility and pithy charm of her YA fairy tale re-spins such as Hunter’s Moon or Clementine.

It is also politically timely. Reading about 19th nihilism sent a chill down my spine, hinting at conspiracies of our own era: the rise of American libertarians with anti-government bravado; Brexit in the UK, fascist uprisings across Europe, with strident nationalism backed by the Kremlin; Russian troll farms spreading Fake News on social media, stirring civil unrest; nefarious misuse of data by Cambridge Analytica to manipulate voters, linked to an Alt-Right movement fostered by such websites as Breitbart and Infowars; and socio-economic fragmentation, with each tribe expressing loss of trust in established institutions. We also have the rise of Islamic extremism. Nihilists in this novel go by the name of The League of the Black Dagger: ‘international political extremists who for decades had waged a campaign of terror all over the world. Believing the world would be better off without governments, they had bombed courts and Parliaments and killed several heads of State’ (p.56); ‘New groups spring up like mushrooms all the time. Secret societies. Revolutionary cells. Hothead rebels. Most are harmless - just vain, turbulent fools who love to shout slogans and shake their fists and talk big’ (p.57). This reminds me of Trump followers shouting jingoistic chants like ‘Crooked Hilary’, ‘Lock her up!’, ‘Build the Wall’, ‘Make America Great Again’, ‘Drain the Swamp’ and so forth. The description then takes a more chilling turn: ‘But a few harbour much more lethal intentions’ (p.57), calling to mind today’s gun-slinging neo-Nazi protesters in Charlottesville and a murderous motorist, or the powerful lobbying of America’s National Rifle Association, or a recent attack with nerve gas upon ex-Russian spies in Britain, or the fact that President Trump’s father was a member of the Ku Klux Klan. 

- Louisa John-Krol

Storyteller Anne E Stewart has begun holding workshops at her Story House And Garden in Daylesford. She continues her lifelong storytelling adventures via such inspirations as Words in Winter & the Art Gallery of Ballarat, and still finds time for fey mischief:

"All fairies most welcome" - Anne

left to right:
Mary-Lou Keaney, Anne Atkins, Suzanne Sandow, Anne E Stewart

Anne E Stewart at Nutcote 2017

PSST: I heard it was Unicorn Day 9th April, and there's another coming up 16th June... ride with joy!

Australian Fairy Tale Society 

In 2017 we presented our inaugural Australian Fairy Tale Award, with this certificate illustrated by AFTS member Erin-Claire Barrow for awardee Belinda Calderone:

Australian Fairy Tale Society Award illustration by Erin-Claire Barrow, Australia 2017

To view our society's sculpture by glass artist Spike Deane, onto which we carve names of annual awardees, please visit her blog - direct link to the page here. You'll find heaps of amazing pieces & posts! 

Oh, and don't miss our fifth annual Australian Fairy Tale Society conference! 
When: Sunday 10th June 2018
Where: Royal Botanic Gardens of Sydney
What: 'Gardens of good and evil: growing life, plucking death'
Who: internationally acclaimed bestselling author, storyteller & scholar Dr Kate Forsyth as Keynote, and a host of other talented writers, researchers, illustrators & performers. 
Frank's Fantastic Fairy Tale Theatre,
courtesy of Helen Hopcroft,

pictured here as Marie Antoinette.
Day includes free-to-public show at noon with fairy garden tour, storytelling & puppetry! Roll up for 'Goblin's Gold' (Thrive Story), Frank's Fantastic Theatre (Rapunzel & spinach) and find out about 'The Language of Flowers' in Fairy Tales! 

Register here


with Brisbane author Kathryn Gossow

about her novel Cassandra 

(Odyssey Books 2017)

Introduction/Short Review: 

Quoting from one of my favourite poets, C.P. Cavafy, won me over even before the first line of the novel, after the title and haunting cover art had mystified me. After all, Cassandra not only resonates as one of the great classical stories through the ages, but also serves to illustrate ‘HSP’ explored in The Highly Sensitive Person by Dr Elaine Aron. According both books, prescience, the gift of prophecy or at least an eerie sense of foreboding, is not limited to a few sibyls and oracles, but can manifest in the girl next door, and may describe a perceptive person with more imagination, foresight and empathy than most; he/she is likely to envisage ramifications several steps after a decision, or could function as a sort of canary in a cage in our workplace, before disastrous new trends such as open-plan offices/schools are inflicted on an unsuspecting population. Rather than dismiss our Cassandras as toxic troublemakers, we have an opportunity to embrace them as useful guides. Too often we fear or shun them, as happens in Monteverdi’s opera Sir Orfeo, when the Messenger bears news to Orpheus of his beloved Eurydice’s death by snake bite. Interestingly there are echoes of this in Gossow’s novel, when a snake with orange flecks on its belly rears up and bites our heroine Cassie. Is this a tangible event, through which poison transfers some under worldly magic to a receptive child? Or is it more figurative, a symbolic coming of age, a transformation from inquisitive child into prescient mystic? I love the way these possibilities remain mysterious. It’s a mark of good writing that our imaginations are not limited to only one interpretation. Without giving any spoilers, I’ll add that a plot twist in the last couple of chapters was truly arresting.

L: How did you come to publish this novel, and who were your manuscript mentors along the way? I gather that you have been involved in at least one book club or writing group.

K: I was too scared to let my book club read Cassandra until it was published. It’s like how it is easier to give a speech in front of strangers. Or is that just me? I live in the country so I joined an online writers group. The women in that group, who were from all over the world, where incredible at helping me hone and polish my writing at a sentence and word level. Then I won an Australian Association of Authors mentorship and worked for a year with editor Judith Lukin-Amundsen. Winning the mentorship and working with Judith was important for my confidence. I think most beginning writers struggle with knowing when their writing is good enough to be published. The Queensland Writer’s Centre is also a great resource for writers here. Through QWC I did a Year of the Edit course with Kim Wilkins. She is an engaging and clever teacher. I recommend any opportunity to do a workshop with her. Through courses at QWC I have also met writers who have become my friends and supports. I won’t tell you how long I worked on Cassandra. It is too embarrassing. Eventually Odyssey Books picked her up and published her with the most beautiful cover ever. I am so in love with it.

L: Your subtle weaving of Classical Greek mythology into contemporary Australian rural culture is clever. It doesn’t feel at all pastiche; rather, it’s authentically integrated. Some of this occurs with references to iconography that invokes deities at a subconscious level, such as the presence of olives, traditionally associated with Athena. Others are more raw and explicitly in the foreground, such as the near-ravishing of Cassie, alluding to the ambiguity of reporting around Cassandra’s possible rape in Troy. What are some other devices you used to link ancient Greek mythology with our own time and place?

K: Most people don’t have an extensive or even basic knowledge of Greek mythology. At first I had chapters with the voices of the gods talking about themselves and Cassandra because I thought the book would only make sense if people knew the something of the original myth. On the advice of my beta readers I dumped them. It was hard because I liked hearing Apollo claim he did nothing wrong in cursing Cassandra and Zeus believe his womanising was acceptable.

I realised the story needed to stand on its own so people with no knowledge of Greek mythology could enjoy the book. Most people may have heard of Cassandra of Troy but would not know her role in Greek myth, they might just vaguely know she could predict the future. The mythology nerds would pick up on the references, like the olives, or Zeus welding his sculptures together as though lightning were coming out of fingers or Cassandra’s visions of the Fates.

Instead of retelling Cassandra of Troy’s story I have transplanted the characters to 1980’s Queensland and imagined what would happen if a girl could predict the future and how isolating and confusing that would be. I imagined Athena as an independent, feminist know-it-all who never had a mother. I put her in a ramshackle farm house with her arrogant worldly womanising father and made her quest for scientific knowledge greater than her concern for Cassandra’s wellbeing. Essentially Cassandra and Athena moved into my childhood home!

L: You are a member of the Australian Fairy Tale Society. How did you find out about us, why did you join, and which projects or activities do you particularly hope will flourish?

K: I am pretty sure Aunty Google told me about AFTS. I signed up and paid my membership and then found out to my utter pleasure that there were fairy tale rings! I have since discovered a community of amazing people with astounding fairy tale knowledge. I’m ring leader of the Brisbane Ring, in the bureaucratic role of making it happen. Rebecca-Ann Do Rozario with her wonderful fairy tale knowledge helps me facilitate on the day. I hope we will be able to grow the Brisbane Ring and bring more people along. I am also excited about the planned anthology.

L: How do you interpret the word(s) ‘faerie’, ‘fairy’, ‘faery’, ‘fey’, etc. whether as nouns or adjectives, and what resonance do they hold for you?

K: I just finished reading Susanna Clark’s Jonathon Strange and Mr Norrell and I think her fairies are my fairies. The Gentleman with the Thistledown hair is arrogant, self-serving, volatile, unable to fathom the other’s thoughts or feelings, oversensitive, scornful… The world of magic and fairy in her novel are dangerous and charming. (That’s no sort of academic answer. I live my life in fiction.)

Cassandra by Kathryn Gossow,
2017 Odyssey Books, Australia
L: Cassandra represents for many of us, the pain of being misunderstood. Which aspect(s) of her personality or experience drew you to her?

K: I was first inspired by Apollo’s curse. He said that no one would believe Cassandra’s prophecies. If Apollo taught or gave Cassandra the gift of prophecy and she had promised herself to him in return, then perhaps she had already seen he was going to betray her. Is that why she reneged on the agreement? In which case she caused the curse trying to prevent the curse. In part I was exploring the tension between fate and free-will and whether we believe we have control over our destinies. At the same time there is a danger to being future focussed. We all do it, plan our weekends, holidays, worry about things that could happen. We risk forgetting about the moment we are in.

Cassandra’s loneliness and isolation drew me to her as a character. She just wants to be loved and liked but she has this crazy ability to predict the future and it consumes her. Many of her experiences are the way I felt at her age and naughty things I did. The drunken parties on the riverbank, trying to fit in with the crowd, falling for the wrong boy. I also fell in love with Athena. She is the girl I wish I was when I was a teenager. I have a clear memory of the moment I imagined her a young feminist interested in science instead of boys.

Review & Interview by Louisa John-Krol, May 2018

Art by Alyz Tale (when editor of Elegy Magazine), Paris
inspired by my song 'Blackbird' (on Ariel*&
accompanying her story 'Louisa'
published in her collection Mon dernier thé.
* The Ariel album, on French record label Prikosnovenie, is long out-of-print
but set to return in a new collection soon.
* * * * *

Firebird by Edmund Dulac 1916
Australian Fairy Tale Rings are currently exploring 'The Firebird' fairy tale. Enjoying Igor Stravinsky's music by that name, brimming with flurries of plucking and piping in the foreground to depict feathers, conjuring, rustling leaves or a sense of hide and seek, of avian caprice, afore lofty, swirling, arcing vistas.

Patricia Poppenbeek now leads Victoria's Fairy Tale Ring and chairs a sub-committee for publishing an Anthology, giving me a chance to focus on duties as President & Acting Secretary of the Australian fairy Tale Society, a national charity. This year AFTS reached membership of 100 for the first time in its history and rapidly exceeded it.

We've released our 6th edition of the Ezine, thanks to Editor in Chief Claudia Barnett and Sub-Eds Erin Hallowell-Gartlan & Spike Deane, with support of a talented troupe. We are grateful to founding Editor Gypsy Thornton for her beautiful templates on CANVA, and look forward to issue #7 with editorship of fairy tale fashionista Dr Rebecca-Anne Do Rozario & incoming fairy, Sub-Ed Avleen Masowan. Welcome!

Firebird by Ivan Bilibin 1899


In earlier posts I used double inverted commas for quotations and titles. Lately I’ve come to prefer italics for titles and single inverted commas for quotations. After a year away from blogging, I've decided to adopt this preference here.

Future reviews or interviews are set to include more Australian fairy tale works such as Vasilisa the Wise - stories of brave young women - retold by Kate Forsyth, illustrated by Lorena Carrington (Serenity Press); The Beast's Heart by Leife Shallcross (Hodder & Stoughton); The Stolen Button by Marianna Shek, illustrated by Leila Honari; and Child of the Twilight by Carmel Bird (Fourth Estate); and more ethereal music too!

Fey regards,

Louisa John-Krol

Homepage of ethereal music

Sunday, February 5, 2017

Fairy post #34 - Chinese New Year & Interview with Linda Jackson

Faerie News

In February, fairy tale rings around Australia gather to discuss the theme of Sleeping Beauty. Contact your ring leaders for details. (Hint: that might mean seeking The Australian Fairy Tale Society!)

* * *

Happy Chinese New Year
- the Year of the Rooster!
Purpose... Integrity... Honour...
Phoenix, rising from the ashes...
Dynamic creative energy.
Be wary of aggression, yet ready to confront it, whether as a 
Resister (or bro),
or solitary nurturer of dreams.
Take your pick - or peck!
Just don't let anyone
pluck your plumes.

* * *

Sun Loong

Bendigo, one of Australia's historic gold-towns, prepares for the final parades of Sun Loong in 2017 & 2018. Brought to life in Hong Kong circa 1970 by 101-year-old Chinese elder James Lew, who dotted the dragon's eyes with chicken blood, he could probably tell the rooster a thing or two about longevity. 

We thank Sun Loong for his years of distinguished ceremony, and wish him a spangling, serene shimmy toward retirement at the Golden Dragon Museum. 
Read about Sun Loong's approaching last dance.

* * *

Waratah portrait by Linda Jackson
Australian native Protea

Bird in Gum Blossom by Olaf Parusel

How do shapes or hues 

of flora & fauna 

...inspire faerie art?

'Bush Landscape', by Linda Jackson, Australia

'Waratah Beauty', by Linda Jackson

A Tribute to 

Linda Jackson

Australian fashion icon 

& member of the 

Australian Fairy Tale Society


Linda Jackson, 2016, 
Living Arts Centre, Bendigo
A forty year career as Australia’s renown textile artist and fashion designer, has taken Linda Jackson around Australia on wanderings through the outback of Oz, discovering and documenting landscape in a myriad of ways, revealing a colourful, unique passion for telling the tales of her travels. 

Linda Jackson is a true pioneer and free spirit of Australian Fashion and Textile Art. After studying fashion design and photography in Melbourne, she left Australia in the late 1960’s to live in New Guinea, traveling through Asia to Paris and London.  

Returning to Sydney in 1973, Linda met kindred spirit Jenny Kee. Colourful creativity was their flamboyant force, along with staging Flamingo Park fashion parades that became famous for their energetic amalgamation of art, fashion and music. 

Linda Jackson
"Oh, she doth teach the torches
to burn bright!"

- Shakespeare,
Romeo and Juliet
Goddess Sun Star Rain Beauty Flame Opal Angel Auroraustraloz... 
Model Deborah Hutton, Grace Opal Butterfly Angel, Jenny Kee, Linda Jackson
Flaming Opal Follies 1981
Linda Jackson with Grace Kee (left), 1981

Over four decades, Linda played a significant role in development of a distinctly Australian approach to fashion. Working outside traditional boundaries of Western fashion, Jackson’s wide ranging interest in art and design, Indigenous cultures and her love of the Australian bush, inspired and sustained her creativity.

'Beauty and Swampy the Wallaby', by Linda Jackson

Travels to Central Australia and Lightning Ridge led to opening a salon-showroom, Bush Couture, in 1982: bringing the Bush to town in a new Art form… experimenting with unorthodox ways of printing and making cloth and canvas, by exploiting techniques of mark making, monoprint and painting. Linda continued to show Fashion collections in a theatrical Salon style in her studio along with exhibitions of Opal jewellery and Textiles. Commissions included designs for Rugs, several Port Douglas Hotel interiors, Theatre and Film costume and a collection of Scarves and product with Oroton. Her label Bush Kids was sold around the world, while a Bush Kids shop opened at Darling Harbour. During these years, Powerhouse Museum Sydney, National Gallery of Victoria, and the Australian National Gallery of Canberra, acquired Jackson’s Fashion, Textiles and photographic archive.

'Lyrebird Beauty and Friends', by Linda Jackson

Closing the studio in 1992 due to ill health from screen printing inks, Linda relocated to Arnhemland in the Northern Territory; she travelled and lived in remote parts of Australia including WA, NT and North Queensland, worked  in  Indigenous  communities, managed Art projects and continued painting and exhibiting her art and textiles in private or regional galleries.

In 2012, the National Gallery of Victoria curated her retrospective exhibition entitled ‘Bush Couture’, to celebrate her unique form of Art clothing. The displays were a record of Linda’s romance with classical couture, the dress traditions of India, Japan, China and Africa, infused with colours and shapes of the Australian Bush and Indigenous collaborations. Linda’s archive of photographs featured in multi media images in the exhibition space. At this time Linda also collaborated with the Centre for Australasian Theatre in Cairns for costume design of the production ‘The Colony’ performed at Jute Theatre, November 2013, and continued collaboration on ‘This Fleeting World’ ... sets and costume for 2015. 

Flamingo Park And Beyond
Jenny Kee and Linda Jackson
Living Arts Centre 2016
September 2013 Linda unveiled ‘Gold, Dragon, Bush’ fashion extravaganza at Bendigo Art Gallery to open Bendigo Fashion Week. This new body of works were inspired by the city of Bendigo, its rich Chinese history and environment. She worked  in her studio as Artist-in-Resident at Bendigo La Trobe University, sharing lectures, developing workshops for students with Bendigo Art Gallery, also assisting with artworks and decorations for the Festival of Light at the Great Stupa of Universal Compassion. In 2015 Jackson collaborated on three collections with young designers Anna Plunkett and Luke Sales: Romance was Born. One collection, ‘Cooee Couture’, celebrated creative similarities, inspired by the raw beauty of Opals, Australian landscape and wildflowers, handpainted and printed by Linda, incorporating her art and designs. The runway show starred at the Art Gallery of New South Wales during MBFWA 2015 in Sydney. In 2016 Linda was included in the ‘200 Years of Fashion’ exhibition at the National Gallery of Victoria, a retrospective exhibition ‘Flamingo Park and Beyond’ at the Living Arts Space in Bendigo and ‘Hand and Heart’ exhibition at Wollongong Art Gallery of New South Wales.


Louisa: What are your favourite costumes in fairy tale illustrations or films?

Linda: Actually I have loved many... and the more exotic the better. I was an avid reader of many books... Growing up I loved every Walt Disney films. The Jetsons and the Flintstones. I guess they are not fairy stories but cartoons !!! I drew and designed clothes for the characters. I made cutout paper fairy doll clothes and stored them in little stocking boxes. When I was about 15 my dad printed one of my black and white drawings of 3 fairy type girls with big eyes as a card and I would colour them in all with different patterns... and sold to a local shop in Beaumaris, plus other colourful small paintings. Maybe they were my Pixies...

'Gumleaves Tree Fairy', by Linda Jackson
Power House Museum Sydney Collection.
Photo by Fran Moore

Louisa: What are three of your favourite fairy tales, and why?

Linda: Alice in Wonderland… Beauty and the Beast… I guess my own Story, Beauty and the Bush, which I started working on in the 70’s, is based on a combination those two... I feel that this story is really based on those early inspirations and my own life adventures, dreams and visions.  I loved Thumbelina…and later associated that story with Buddhist tales of the Lotus Flower; and Fantasia, the Sorcerers apprentice. I love reading...!! so I have devoured many fairy stories from many countries.

'Rainforest Amongst Gumleaves'
Tree design (& photo), by Linda Jackson
National Gallery Victoria

The Earth laughs 
in flowers."
- Ralph Waldo Emerson, 

Louisa: In Shakespeare's time, it was a crime to dress outside one's designated class. It mattered to identify status at a glance. It's interesting how many of his plays involve disguise. Do you see clothing as a way to hide, escape, or conceal? Or is it more about revealing what we wish to show? A little of both?

Linda: I was inspired by many countries and different cultures, reading National Geographic as a young girl. I liked tribal clothes and costume. My parents were ballroom dancers so I grew up dressing up in mum’s frocks. I did ballet and Calisthenics... I loved dressing up and making up my own costumes. I loved  ethnic dress for the workmanship, the handwoven cloths and embroideries... The way you can tell where someone comes from by their costumes and jewels. 

Louisa: Would you say that fashion is more about letting our internal quality shine through? Before knowing anything about you, I walked straight up to you and pegged you as the fairy I was meeting, because you had that aura. The word “glamour” traditionally meant a kind of enchantment. What is it that you try to evoke or convey?

Linda: I have made all my own clothes since I was around 12, and still do. I never wanted any of the clothes in shops… I always from an early age wanted to create my own. Perhaps I was dressing up as many different characters… I dress to be comfortable and I like to be able to jump around, dance, sit on the floor…peel layers off and dive in the creek... maybe this comes from the travels and life in  remote places. Washing by hand and drying on the Hills Hoist is essential. In the early fashion days I was the mannequin...I experimented and explored all ways of cutting, wrapping, painting, printing on myself. Even with my photographs from the 70’s it was essential to roll up the outfits, both glamorous and practical in the swag back to the location that inspired them. 

Seaweed Fairy, by Linda Jackson

Louisa: If you could design clothing for a fairy tale character, whom would you choose? Why?

Linda: Now I would be only creating costume for my own story and characters, all the Wildflowers the Bush and Opals.

'Opal Rainforest', Silk Scarf by Linda Jackson

'Opal Tribe', by Linda Jackson

Floral textile ...
Wildflowers Embroidery
by Linda Jackson
National Gallery of Victoria

Louisa: You are working on your own fairy tale now, aren't you? If you feel ready to comment on this, we'd love to hear about it.

Linda: This has been a dream for many years. Now I see the main character is probably me; I have had to travel, dream, be inspired, wander the remote places of Oz… experience wild, powerful and magic landscapes full of stories and wonder, and make and create along the way. To be able to write and paint these stories can happen now as it seems a part of my journey has come a full circle… My visual diary is the clothes I have made… the artworks painted and printed along the way. Words like calligraphy appearing as patterns and shapes. 

CV - Archive of Exhibitions:


Australian National Gallery, Canberra, Frances Burke Resource Centre, R.M.I.T., Melbourne
Museum and Art Gallery of the Northern Territory, Darwin, National Gallery of Victoria, Melbourne
Private Collections, Powerhouse Museum, Sydney. Major Archive & costume collection
Queen Victoria Museum, Tasmania, South Australia Museum
The Araluen Centre for Arts and Entertainment, Alice Springs. Chinese Museum Bendigo
2016 Woman in Style Fashion Award
2010 Mossman Storycloths- Scarves  & CIAF. Project Grant, Arts Qld BIA .             
2009 Mossman Storycloths- Scarves  & CIAF. Project Grant, Arts Qld BIA.      
2007/8 Creative Communities. RADF  Arts Qld, 
2006 Essence  DVD Cairns Regional Gallery Project Grant,   Arts  Qld
2003 Life Fellow: Powerhouse Museum, Sydney
2003 1st Prize: Carnivale Art competition, - Port Douglas Gallery of Fine Art
1996 Fellowship Visual Arts / Craft Board  - Australia Council for the Arts 
1977 Lyrebird Australian Fashion Awards - Innovators Award

National Gallery Victoria, RMIT Melbourne Victoria Floor talks, Lectures, Workshops
Port Douglas, Mossman Gorge , Cairns, Townsville, Cooktown, Aurukun, Mission Beach
Indigo Dyes, Natural Dyes, Shibori, Weaving, Painting,  Sewing,  Screen Printing

Presented workshops throughout Australia and Indigenous Art Centres. 
Aboriginal Communities include  from 1980 Utopia-Yuendumu-Santa Teresa-Maruku- Hermannsburg Alice Springs in Central Aust. Tiwi Designs and Bima on Bathurst Island-Ramingining –Maningrida, Oenpelli- Arnhem Land-Darwin NT. Cairns, Mossman, Cooktown. Atherton Tablelands, Mission Beach, North Queensland. Bundaberg. Hervey Bay
Extensive workshops-lectures in Schools, Colleges, TAFE, Universities NSW, Vic, NT Tasmania.

2016 Hand and Heart Wollongong Art Gallery
2016 Linda Jackson Studio Gallery 47 Rylstone NSW
2013 Linda Jackson Studio La Trobe University 
2013 Gold-Dragon-Bush Bendigo Art Gallery
2012 Bush Couture  NGV Melbourne 
2012 Waratah  Kado The Way of Flowers CellArtSpace Cairns
2112 The Avoca Project Installation Watford house Avoca VIC
2011 Waratara Opal cloud  No 47 Rylstone            
2010 Opal Mud Fossil Umbrella Studio Townsville  
2010 Swamplands Paintings   No 47 Gallery Rylestone  
2010 Vintage Jackson  Shapiro
2009 Black Opal  Lightning Ridge    
2009 Opal Jewels,  Giulians Sydney   
2008 Dyeing with the Red Mangrove  Tanks Arts Centre, Cairns 
2006 Essence  Cairns Regional Gallery 
2006 The Opal Forest    Karnak Kaleidoscope Art Theatre 
2005 Reflections in a Blue Lake Port Douglas Daintree Gallery of Fine Art 
2003 Coral Sea Radisson Treetops Resort Exhibition and Residency
2002 Waratah Butcher Café Mudgee- Paintings and Scrolls
2001 Opal Reef  Port Douglas Gallery- Paintings Textiles 
2001 Black Opal  Lightning Ridge  
1999 Fan Coral Radisson Treetops Resort -Exhibition & Residency
Rainforest  Radisson Treetops Resort – Exhibition & Residency
Lipstick Palm  Post Office Gallery Port Douglas - Paintings
Fashion Art Survey Linda Jackson 1974-1999 Span Gallery Melbourne 
1998 Paintings Rugs Textiles Roslyn Oxley 9 Gallery 
  Desert Rivers  Gondwana 11 Alice Springs -Paintings
1996 Pearl Coast  Durack Gallery Broome -Paintings & Textiles
1995 Billabongs Boabs Beyond  24HR Art Darwin 
1994 Opal Country Paintings  Gallery Gondwana Alice Springs 
1993 A Brush with the Bush Paintings  Barry Stern Gallery Sydney 
1991 A Bush Fantasy Museum of Childhood Juniper Hall Sydney 

1988 Jordan’s Darling Harbour - “Bush Couture and Bush Couture for Kids”
1986 Shepherd Street Chippendale Studio – “Bush Couture Christmas Show”
1984 William Street Studio, Sydney – “Bush Couture Blossoms” Collection 
1983 William Street Studio, Sydney – “Opal Essnece -  Perfume – Jewellery and Textile Collection”
William Street Studio, Sydney – “Black Opal Bush Couture”
1982 William Street Studio, Sydney – “SalonOpalinda -Opal Jewellery and Textiles”
William Street Studio, Sydney – “Black Magic Bush”
1981 Queen Street Galleries Sydney -  Opals & Silver Jewellery & Textiles 

1981 Jamieson Street Nightclub Sydney – “Flaming Opal Follies”
1980 Sydney Town Hall – “Red Centre”
1979 Seymour Centre Sydney – “Barrier Reef & Wildflowers”
1978 Queen Street Galleries – “Colour & Shapes”
1977 New York – “Wildflowers”
Milan Paris – “Wildflowers
Windsor Hotel Melbourne - “Trunk Show”
1976 Le Café Sydney – “Flamingo Follies”
1975 Bondi Pavilion Theatre – “Flamingo Follies”
1974 Hingara Chinatown  Sydney – “Step Into Paradise”

ROMANCE WAS BORN Fashion Collaboration 2015
COOEE Collection 2
OPAL ROMANCE Collection 3

Collaboration with Cairns based Centre for Australasian Theatre
The Colony, Jute Theatre Cairns
This Fleeting World, Jute Theatre Cairns
Cargo Club, Metro Arts, Brisbane

1991 Korea - “Australian Fashion The Contemporary Art” 
1990 Tokyo Japan - “Australian Fashion The Contemporary Art
1989 Victoria & Albert Museum, London – “Australian Fashion The Contemporary Art”
1986 Tokyo, Japan – “Art Knits”
1987 Neiman Marcus, San Francisco USA – “Australian Fortnight”
Neiman Marcus, Los Angeles USA - “Australian Fortnight”
1986 Commonwealth Arts Festival, Edinburgh Scotland – “Australian Decorative Arts”
Neiman Marcus Dallas USA - “Australian Fortnight”

2016  Flamingo Park and Beyond. Living Arts Space Bendigo
2016  200 Years of Australian Fashion NGVA Federation Square
2015  The Horse  NGVI Melbourne
2014  When you see this Remember me. NGV Melbourne 
2014  Paternation  The Carlton Melbourne
2013  OPAL -Lightning Ridge  NSW
2012  Rainbow Opal Collection - Dubbo NSW
2011  The White Wedding Dress - Bendigo Art Gallery  Victoria                                                       
2011  Fashion Full Stop, LMFF Melbourne Fashion Festival
2010  Queen Victoria Statue Costume - Sydney Statue Project
2010  Mossman Story Cloths - CIAF Cairns Indigenous Art Fair,  Tanks  
2009  Into the 80’s, Powerhouse Museum Sydney             
2009  Mossman Story Cloths,  CIAF Cairns Indigenous Art Fair,  Tanks  
2008  Low Isles The Reef  & Beyond - Sugar Wharf, Port Douglas 
2008  Across the Desert - N.G.V. Melbourne 
2008  Black in Fashion: Mourning to Night - N.G.V Victoria 
2008  Low Isles: A Fragile Sanctuary Cairns Regional Gallery, Cairns 
2007  Low Isles: A Fragile Sanctuary  - Port Douglas 
2007 Taking it to the Tropics - Tanks Performance Arts Centre,Qld 
2005 Inspired! - Design Across Time - Powerhouse Museum Sydney
2003 Life Fellows Awards Exhibition - Powerhouse Museum  Sydney
         Carnivale Art Show - Port Douglas Galleries of Fine Art 
2002 Federation Square Opening Twister: - The Ian Potter Centre N.G.V. Australia. 
2001 Opal textiles & jewellery -  Lightning Ridge N.S.W.
2001 Opal textiles & jewellery  - Yowah Queensland 
2000 State of the Waratah  - H.S. Ervin Gallery, Sydney 
1999 Photographs - Museum of Sydney 
         Federation Fashion  - Myer, Melbourne 
         Colonial to Contemporary  - Powerhouse Museum, Sydney 
         One Hundred Moments of Fashion - Myer, Melbourne 
1999 Design Show - Ivan Dougherty Gallery, Sydney  
         Southern Bias  - Object Gallery, Sydney 
1996 Great Lengths Central Australian Textiles - The Araleun Centre, Alice Springs 
         Indigo The Araleun Centre, Alice Springs 
         Couture to Chaos National Gallery of Victoria, Melbourne 
1995 The Artists Garden  - Australian National Gallery, Canberra 
1993 The Art of the Scarf - Hyde Park Barracks, Sydney 
1989 Australian Fashion The Contemporary Art - Powerhouse Museum, Sydney  
         A Free Hand - ”Powerhouse Museum, Sydney 
1988 Australian Decorative Arts 1788-1988 - Australian National Gallery, Canberra 
        Art Knits  - Art Gallery of N.S.W. 
        Plastic Rubber & Leather Dress - Australian National Gallery, Canberra 
1986 Linda Jackson & Jenny Kee, Flamingo Park & Bush Couture  - Australian National Gallery,       Canberra 
1984 Permanent Collection  - National Gallery of Victoria, Melbourne 
         Australian Decorative Arts The Last 10 Years - Australian National Gallery, Canberra 
1983 Clothes & Clay - Orange Gallery, NSW 
1983 Costumes, Masks & Jewellery of the Commonwealth - Queensland Art Gallery  
         Textiles  - Crafts Council Gallery of Tasmania 
1981 Fabulous Fashions 1907-1967 - Art Gallery of N.S.W. 
         Art Clothes - Art Gallery of N.S.W.  
1980 Vogue Australia 21 birthday Fashion show - Art Gallery of N.S.W.  
1979 Into the 80s - Textile Museum of Australia 
1973 Winter Fair Bonython Gallery Sydney 

This information was kindly provided by Linda Jackson, with her interview by invitation for this Fairy blog. Special thanks to the Australian Fairy Tale Society, through which we met. AFTS now has registered charity status.

Fey regards - Louisa John-Krol

Leader of the Vic Fairy Tale Ring
Co-editor of the AFTS national ezine
Co-President of the Australian Fairy Tale Society

Storytelling Australia Victoria

Australian Fairy Tale Society