Ursula K Frederick Ursula K Frederick i(14093365 works by) (a.k.a. UK Frederick)
Gender: Female
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Works By

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1 2CUZ-FM Paul Magee , Emma Philips , Paul Collis , Jen Crawford , Ursula K Frederick , Denis Holyoake , Wayne Knight , 2025 single work criticism
— Appears in: TEXT : The Journal of the Australian Association of Writing Programs , February no. 29 2025; 'This is a work of indigenous knowledge. It involves creating an experience into Country and culture. This experience is specifically linked to Gundabooka corroboree place, the Baarka river, to Bourke, and to the voices coming through 2CUZ-FM outback radio. The research aim is to see how Country speaks and what it says, which includes what it says through the cultural productions of Barkindji and other people in town. We are using a mass-media setting and technology – radio, and now print – to discuss and send out messages about Barkindjiness, Country, history and modernity. It’s about using the master’s tools to dismantle the master’s preconceptions. By bringing poets Jen Crawford and Paul Magee into the discussion and space, we are investigating communication between Barkindji Country and Barkindji people with white society. The discussion was broadcast live.' (Introduction)
1 Germbuster 2 : The Aerosol Edition Ursula K Frederick , Caren Florance , 2023 single work prose
— Appears in: Axon : Creative Explorations , July vol. 13 no. 1 2023; 'Fred & Flo is a publishing collaboration by artist/archaeologist UK Frederick and artist/ writer Caren Florance. We are also academics. We recognised each other long ago as fellow gleaners, those who follow and find cultural traces, who take without taking (Bize, 2019). Our joint commitment to material and text-making processes has seen us work together over the years, sharing skills such as letterpress, printmaking, cyanotype, and other visual art processes. Our first Fred & Flo zine was made for the 2019 conference of the Heritage of the Air (HOTA) project, and was titled HOT AZ. We sourced a bulk quantity of waxed-paper airline sick bags which we screenprinted with the conference logo and filled with a 12pp photocopied zine and a laminated Conference Emergency Card.' (Introduction)
1 We All Need a Break : Introducing 'On the Mend' Ursula K Frederick , Tracy Ireland , Monica Andrew , Kerry Martin , 2021 single work essay
— Appears in: Axon : Creative Explorations , December vol. 11 no. 2 2021; (p. 1-4) 'When first setting out to edit a volume on care and repair it seemed like the world, in so many and varied ways, was in need of serious attention. Although many of the issues confronting us were not new, the increasingly devastating effects of climate change and the emergence of COVID-19 had brought the need for mending into sharper focus. At that time, only a year into the pandemic, we envisaged breakages, fragilities and fault lines as things that urgently needed fixing. That perspective is still valid, but we now also sense a more nuanced understanding of the opportunities that ‘breaks’ may bring.' (Introduction)
1 Loose Threads : Materialising the Poetics of Celebrity Death, Discarded Flannel and Art Making as Memento Mori Ursula K Frederick , 2018 single work criticism
— Appears in: Axon : Creative Explorations , May vol. 8 no. 1 2018;

'I once read that after Kurt Cobain died Courtney Love gave all his clothes to the Goodwill. Their daughter didn’t need a pile of baggy sweaters or torn jeans to remember him by, or something like that, it said. This anecdote has hung in my mind like one of those ill-fitting sweaters ever since. What has captivated me most about this story is the prospect of random people walking around in Kurt Cobain’s clothing, masquerading as rock stars, without knowing it.

'This paper offers an exegetical account of my efforts to materialise the poetics of Kurt’s missing shirts and the contingencies that inevitably arise when attempting to creatively work through tragic circumstances. I outline my creative response to Courtney Love’s ‘throw away’ line and the image it produces of celebrity fashion cut loose. I discuss the experimental practice emerging from my engagement with the fabric of memory and flannel and how corresponds to my broader interests in photography, musical cultures, melancholy and commemorative gestures.'  (Introduction)
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