Category: visual art

ILLUSTRATION: Gareth Liddiard for Pelican Magazine April 2016 The final product above, as published in April 2016.

go to site The Drones later shared the cover on their Facebook page, which was very sweet.  Glad they liked it.

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go to link My dear associate Caz Bank was shooting Hidden Mountain #1.

go to site Thus, here are some photos of the art work and the artist.  If you like it, I’ll totally sell it to you, what, $300?  Ha ha.  Perhaps I can be talked down.

In addition, someone wrote a review of this?  Why’d they do that?  They were quite kind though.

As the music evolves into more cohesive ideas, within the soundscape, an element of a desolate landscape appears in Richard En’s painting. Capturing the essence of the music, the painting of a barren skull creates quite a specific visualisation of the music’s harshness.


Sweet, huh!

Thank you Hayden, Caz, Tom, Jess, Kate, and everyone involved in this wonderful night.





Richard x


Board, synthetic ink, acrylic, pva glue, paper.

For Megan.

Mostly done at a live art show, Hidden Mountain, on 16.07.16.

First foray into “fine art”.


Come down on the 10th for this gig at Babushka,  click here CLAP HANDS‘ last for the year.

A reimagined poster for the 1986 cult Australian film 'Dogs In Space'. Main character Sam (Michael Hutchence) is pictured in the foreground in black and white, with a jagged red form and the title in the background in red.  Within the red shape can be seen a 60s Volkswagon Beetle car and boarding of houses. In the background above Sam's head are red comets.  The background is white.

Dogs In Space (1986) is a Richard Lowenstein film about sharehouse punks in St Kilda in the 1970s. Featuring Michael Hutchence, the Primitive Calculators, and a lot of heroin, it’s a classic.

It’ll be up at the Bird for the next month or something as part of an art show reimagining film posters through the styles of Perth artists. The Cars That Ate Paris, the Pissedcolas and Cold Meat will be launching it this Saturday at 8.20 pm with some movie tunes too. So come down basically.

Poster for band Shit Narnia's single launch, showing various dismembered limbs bearing tattoos and scars in hot pink.

Shit Narnia have just announced their single launch for ‘This Is How They Kill Us’, and along with it a poster I did for the same. (more…)

INK WORK: Dog Wedding, April 2015




Inspired by Shit Narnia’s track ‘Dog Wedding’.

Richard En 2015.

INK WORK: Gallows

gallows 001


suicide, catholicism cw //

“So Dante recalls in sound the death of Judas in the death of Pier della Vigna for the same crimes of avarice and treachery. Ahithophel, Judas, your own Pier della Vigna. Avarice, hanging, self-destruction, with avarice counting as self-destruction as much as hanging. And what does the anonymous Florentine suicide say in his torment at the end of the canto? Io fei gibetto a me de le mie case. – – And I – I made my own house be my gallows.”

// Hannibal by Thomas Harris, New York, 1999, 221-234.

ink, 2015.

INK WORK: Lapsed Catholics

lapsed catholics


‘Lapsed Catholics’, ink, 2015.

ARTICLE: Peli’s First CDs American Idiot, Green Day (Reprise, 2004)

I bought my first album, American Idiot, in 2005. Yes, a decade has passed where American Idiot exists, there are fifth graders who have never known a world without American Idiot. I was 14 and I bought it for $20 of Christmas money from Sanity because I liked the title track. I listened to it addictively for over a year, idolising this ‘Saint Jimmy’ character and his politically enraged partner ‘Whatsername’, and relating strongly to lyrics like, “where will all the martyrs go when the virus kills itself / and where will we all go when it’s too late?” – shit’s deep.  Listening to nothing but Green Day’s American Idiot through my formative years lead my 14 year old self to dark places from internet forums on political anarchism and narcotic drugs, to buying a Green Day poster for half price from the local record store when it closed down in 2006 and painting anarchy As on my converse sneakers in puff paint. Several of my friends claim that they enjoyed Green Day as teenagers, but none of them liked American Idiot.  Wait, did you want me to say it’s crap in hindsight? Fuck off. They might have only use four chords and ripped off all that was holy, but Green Day introduced me to punk, political resistance and the idea that I mattered. I still think it’s fucking great. Happy 10th Anniversary Saint Jimmy. Ⓐ

  • Richard Moore (24), 2015

First published by Pelican Magazine Issue 86 Edition 1, 2015. Conceptualised and complied by music editor Hugh Manning.  You can read the rest of this article with submissions by Bridget Rumball, Laurent Shervington and Lauren Crosser on Issuu below, page 31. The featured artwork was completed in black ink.