OLIVIA J. BENNETT

Hello! I’m an arts writer, researcher and critic based in Brisbane, Australia.

I've reviewed and written about art, film, music, and digital culture in Australian and international publications. I’ve also played a pivotal role in the programming, digital production, and successful delivery of numerous projects within Australia’s film and music industry.

I'm fascinated by how global trends intertwine with personal stories, revealing the impact of cultural issues on our daily lives. In my work, I prefer to experiment with non-linear storytelling, multiple perspectives, and mixed media to capture the intricacy of modern cultural tensions.

I’ve been honoured to participate in Gertrude Contemporary’s Emerging Writers Program and the Melbourne International Film Festival’s Critics Campus.

I'm also a freelance copywriter, content writer, and strategist whose work is driven by principles of complexity and interconnectedness.

With five years of freelancing, three years in agency environments, and two years navigating Melbourne's strictest COVID-19 lockdowns, I've faced real tests of resilience and adaptability in my career. This experience has enriched my ability to develop copywriting, content, and strategy for various sectors, including tech, health, lifestyle, retail, design, construction, hospitality and (of course) the arts.

I completed a Bachelor of Art History and Curating at Monash University, majoring in Film Studies. For my BA Honours thesis in Screen and Cultural Studies at Melbourne University, I argued that the documentary films of Harvard University’s Sensory Ethnography Lab are hyperobjects. Applying Timothy Morton’s concept through poetics, I explored their capacity to provoke a transgressive experience of ecological thought and feeling.

On a personal note, I'm on track to pass the DELF B2 French exam in 2025, and I am currently working on launching new business ventures that will further leverage my expertise and passions.

Souhaitez-moi bonne chance!

SOUNDS OF GRIEVING

Fleshwater

Written by Olivia J. Bennett
Edited by Isabella Trimboli
Published in print by The Big Issue AU
Issue #704 | 02 February 2024

Fleshwater's debut We’re Not Here To Be Loved (2022) captivated fans with its emotive blend of shoegaze and post-hardcore. Their sophomore effort, Sounds of Grieving, builds on this, interweaving heavy, visceral life experiences with breathy, ethereal vocals that resonate with their namesake. Alongside original compositions, the album includes acoustic covers and electronic mixes of tracks from their debut, showcasing their ability to reinterpret and evolve their sound. The album transcends its initial genre fusion, exploring its roots with robust drums, bass guitar, and electronic beats. The second track sets a powerful tone, featuring Anthony DiDio’s haunting lines against a striking drum and bass backdrop: ‘Break your arms around me like I passed away,’ he wails, ‘And I’d hold on, but my guts twist up when I hear you say / “I love you.”’ Tracks like 'Save these Memories' meld vaporwave vocals with neo-jazz piano, while the title track propels forward with techno rhythms and industrial flourishes. The lyrics throughout Sounds of Grieving weave a narrative of emotional turbulence and apathetic nostalgia, delving into love and loss. This collection of tracks forms a masterful blend, a creative alchemy written in the shadow of impending disaster, marking a significant evolution for Fleshwater.