Published in Overland Issue 235 Winter 2019 · Uncategorized Guest artist for Overland 235: Tia Kass Tia Kasambalis Artist’s statement The cover art pays homage to those organising and fighting against the growing threat of far right political movements here in Australia and across the world. Featured is a detailed portrait of a friend and fellow antifascist organiser, accompanied by two characters symbolising solidarity. Above them, though not too high above, is a timid, racist, white Australian who wanted to ‘express his right to free speech and challenge political correctness gone mad!’. But you and I ain’t having none of that. On the back reads the famous slogan ‘No Pasaran!’ – ‘They shall not pass!’ – used in many a battle against fascist forces, most famously during the Spanish Civil War and the Battle of Cable Street. – Tia Kass Cover Artwork for short story ‘The island’ Artwork for short story ‘Hook. Line. Sinker.’ Artwork for short story ‘The Economist’ Artwork for short story ‘The Garden Bridge’ Artwork for short story ‘Of water’ Back cover Read the rest of Overland 235 If you liked these works, buy the issue Or subscribe and receive four brilliant issues for a year Tia Kasambalis Tia Kasambalis is a walkley short-listed artist and illustrator based in Naarm (Melbourne). He is also a member of the Workers Art Collective. More by Tia Kasambalis › Overland is a not-for-profit magazine with a proud history of supporting writers, and publishing ideas and voices often excluded from other places. If you like this piece, or support Overland’s work in general, please subscribe or donate. Related articles & Essays 27 February 202527 February 2025 · ecology Keeping it in the ground: pasts, presents and futures of Australian uranium Nicholas Herriot Uranium has come a long way from the “modern Midas mineral” of the 1950s. However, in an increasingly dangerous, militaristic and volatile world, it remains a lucrative and potentially lethal metal. And it is so important precisely because of its contested past and possible futures. 25 February 202525 February 2025 · the arts Pattern recognition: censorship, control and interference in Australia’s art ecology David Pledger My final thoughts go to the artist and curator who have borne the brunt of this injury. Selection for the Venice Biennale is a significant event for an Australian artist and curator. To be treated so shabbily must cause pain to both. One can only hope the outcry of fellow artists, the solidarity shown by many, and the strong stance of their shortlisted colleagues, provides some succour.
