Chris Ferric

Rough stylised yellow text in all capslock reads: SNUFF SALOOON. Then there is a rough mixed pastel and paint drawing of a skull, styled after Snuff Puppet's iconic skullie puppet. There are paint splatters and clear drawing marks and smudges. A huge pink shape is emerging from between its teeth, maybe a tongue, maybe bad breath, maybe a dick. Smaller white text in all capslock reads: MUSIC ART PUPPETS BAR
Snuff Salooon promo image, mixed pastel and paint by Chris Ferric
For the people asking what you can do:

I’m so damn grateful to Snuff Puppets for supporting the development of this practice. The people who come to their shows are the most amazing crowd, who I get to talk to while I work and who are so generous in telling me what this space means to them.

We know how much we need Snuff Puppets: to nourish our cheeky spirit so that we can keep fighting, and to speak truth to power.

Please tell Snuff Puppets why you need them – don’t underestimate how valuable this is. Or if you are in a position to then donate.

If you’re worried about the cultural future of this state, please write to the Victorian Minister for Creative Industries Colin Brooks and let them know: parliament.vic.gov.au/members/colin-brooks

Chris Ferric is drawing at Snuff Salooon for Snuff Puppets, live, projected onto a massive screen next to the stage.

Each Salooon Ferric responds to new performances, new music, and classic Snuff Puppets, with a mix of collaboration and improvisation. Across 3 hours they produce on-average 5 complete pieces.

Ferric uses artist soft pastel onto wooden boards that they prepare themselves: they are cut, shaped, sanded, mounted, and applied with layers of primer using rabbitskin glue, calcium, and iron oxide. Ferric is exploiting traditional Western ways of working, from recipes in books so old that it forbade a woman’s company, to reconnect with agency and hands-on processes. This becomes a multimedia presentation as it is filmed and projected live and as it engages with performers during their acts: presenting a much-gate-kept Western form of art in a non-traditional way.

February 2026

December 2025

Drawing

November 2025

Snuff Puppets' Skullie reclines against cow carcass nestled in the mince meat
Pastel drawing of Fat Fruit. Sarah Ward is white, fat and queer, with dark straight hair in two buns. She is wearing a sheer skirt over white and green briefs that highlight the curve of her tummy, and green ruffles around her neck and shoulders. She wears clown-like white makeup, with heavy eye liner and red circle cheeks. She is speaking into a microphone and gesturing toward the crowd with two pointed figures, from which multicoloured laser beams shoot. Behind Sarah is Bec. Bec is sitting at a drum kit, animatedly beating it, one stick in the air from which a laser beam emits. Bec is wearing multicoloured puffy sleeves and top. She is white, queer and has light curly short hair with shaved sides and heavy dark-rimmed glasses. Above Sarah and Bec is one of the heads they wore during their performance, but it is hanging from the top of the picture like a disco ball. It's is beige with a simplistic face drawn on.

October 2025


Yumi Umiumare x Rama Parwata, freeform performance + drawing.

September 2025

Animal parade.

August 2025 Snuff Salooon

Not pictured: sausage woman‘s Mother, the ideal woman: radiant, active, endlessly caring — or so it seems… (sold)