This month we are proud to share SUPERMANE with you; the latest video editorial work by Lunar Sequence. Turn up the volume and let the vibrant visuals and dreamy pop sound wash over you. Then, read on to learn more about Sohan Judge, the brains behind Lunar Sequence. Keep scrolling and check out our podcast recording of the night’s Q&A; facilitated by Ayeesha Ash and featuring Sohan Judge.
Song: Starslinger - Featuring: Chanel-Loren, Violet Aarti & Gianna Hayes - Set design: Gianna Hayes - HMU: Polina Patrusheva - Styling: Gemma Brookes
This is always so hard to answer, but I'll try! My name is Sohan Kaur Judge, I'm 25-years-old, I was born in Sydney with Indian heritage. My mum was born in Uganda and came to Australia when she was 14-years-old. I'm a video artist, and I also work full-time as a social media editor for BuzzFeed.
As an Australian Indian WOC do you ever feel ‘seen’ by the Australian media?
Definitely not. I think we tend to look to figures in the UK and Canada to see ourselves represented; there are lots of creatives over there, and a huge community of young people who have been able to explore both sides to their identity, and thrive. I think in Australia we are only just starting.
How did you get into making videos?
When I was a kid, I used to make random videos all the time – whether it be fan music videos using other footage to my favourite songs or making a super amateur music video in my backyard with friends. Then, I studied journalism at uni and we learned how to use the more advanced programs and cameras, albeit in a journalistic sense.
You also work full-time at BuzzFeed; do you think you're treated differently as an artist because of this?
I haven't experienced anything specific, but there is a lot of general rhetoric around that to be a "true artist" you have to quit your job and "follow your dreams". Don't get me wrong – this totally works for some people. Personally, I like having the structure of full time work. It means I can fund my own projects and don't need my videos to pay the bills. It gives me the freedom to create. Artists in general shouldn't feel like they're any less of an artist if they have a day job. I am super lucky and privileged that I am in a situation where I really enjoy my job, but I know for some people it isn't that simple, so every situation is different for each individual.
How did SUPERMANE come about?
I wanted to do something that was more colourful and fun compared to my previous works (which have been quite futuristic and monochromatic). I also wanted to slow things down – my editing style is usually quite chaotic but I wanted to take the time to storyboard each scene and almost choreograph every one of girls' movements. It was a challenge to take things down a notch, but I've learned a lot in the process.
Why did you choose the aesthetic of the 70s and 80s?
Thematically, they reflect popular, trendy scenes that I never saw women of colour represented within. The fashion was appropriate too – I knew I could represent strength by getting the girls into strong suits and bold lipstick etc. I was also just eager to experiment with bright colours and a striking, vibrant feel.
What word of advice would you pass on to other WOC video and filmmakers?
Don't be disheartened by the male/white-dominated space in Australia. Keep doing you, stay true to you, and reach out to communities that represent you.