Darwin Street Art – part two

Having run out of time on our first reconnaissance, we returned a few days later to continue our discovery of the artistic embellishments adorning the lanes of Darwin. As well as the annual Darwin Street Art Festival, the ‘Art to Street’ project in July 2019 invited local and emerging artists to create murals on seven public spaces across Darwin. Two of these colour the walls of West Lane Car Park.

Talented mural artist Lara Connor collaborated with local school student Caleb Schatz (aka Mr Calebdude) to fill the space with subtle colour and quirky characters.

Back to the festival…..a buffalo skull was the inspiration for Darwin contemporary artist Jimmy B4mble’s contribution, Rukus in 2019.

A little further down the lane, the enormous Gouldian Finch was painted for the inaugural festival in 2017 on a wall at the rear of the Darwin Hilton. Melbourne artist James Beattie (aka Jimmy Dvate) teamed with local Jesse Bell to present the three colour variations of the birds; the most common black-faced, the lesser known red-faced and the very rare yellow-faced. There are now fewer than 2500 Gouldian finch in the wild, their existence threatened by changing fire practices that reduce the availability of food and the aviary trade that saw thousands of birds trapped until it was banned in 1981.

With a career spanning four decades, celebrated Darwin artist Colin Holt contributed a vibrant treescape in 2020.

Larrakia, Wardaman and Karajarri artist Jason Lee (aka Choplee) painted the seven main seasons of the Gulumoerrgin (Larrakia) calendar in 2018: Dalirrgang (build-up, September to October) – flying fox, cocky apple and cycad nuts; Balnba (rainy season, November to December) – long bums, black plum and bush potatoes; Dalay (monsoon season, January to March) – crocodile laying eggs and big red apple fruiting; Mayilema (March to April) – dragonflies and bush cherry; Damibila (April to June) – black cockatoo and bush peanut; Dinidjanggama (heavy dew time, June to August) – Dugong and water lillies; Gurrulwa (big wind time, July to September) – stingray and yellow kapok.

There is no denying the overwhelming talent on display throughout this exposition and I was absolutely boggled by the image that emerged from this inconspicuous nook.

Portuguese artist, Odeith, has a special interest in perspective and shading, calling his style “sombre 3D”. On his first trip to Darwin in 2019, he wanted to create a truly Australian artwork, the spectacular result being a kangaroo standing atop a transit van.

Sistagirls are transgender Aboriginal Australians traditionally known in the Tiwi Islands, north of Darwin, as yimpininni. Melburnian artist, Kaff-eine, met with the sistagirls and, in 2018 painted an elegant portrait of Shaniquá to celebrate the strength, power, character & beauty of the sistagirl community.

Also in 2018, Melbourne-based artist, George Rose, drew on her appreciation of the Australian landscape for her colourful work featuring Sturt Desert rose, Hibiscus brennanii and Nymphaea violacea.

Born and raised in Darwin, Larrakia man Shaun Lee (aka Hafleg) combined traditional and contemporary designs to create a beautiful turtle and jellyfish mural in 2018.

Nearby, he collaborated with Trent Lee two years later on a stunning piece featuring barramundi.

Known as the ‘build up’ in the Northern Territory, the weather cycle where heat and humidity increase leads up to the wet season. Build Up/Melt Down by local artist Vincent Poke in 2018 is a depiction of what it is like to live through this experience in the Top End.

In 2017, NT artist Polly Johnstone completed a mural, For the Love of Reading, featuring the image of Darwin local Artia Ratahi. She returned the following year and once again chose Artia, with her Indigenous and Maori heritage, to represent the diverse backgrounds of the community. The vibrant colours reflect the Top End soil, the crystal blue waters and the pinks and purples of the sunsets.

The wall of Monsoons nightclub provided the canvas for a collaboration between Melburnian Cam Scale and NT artist Les Huddleston in 2017. The painting, entitled Monsoon, represents the new life brought to the billabongs after monsoonal rains. Brolgas descend on the billabongs to breed and feed on turtles and fish, depicted swirling amongst the water plants at the feet of the dancing brolgas.

Our connection to animals and the need to preserve our wildlife and their habitats inspired a striking piece by Melbourne- based Tayla Broekman in 2019. The White-Bellied mangrove snake is found in the mangroves of northern Australia, the bright colours are enhanced by the dark background illustrating the sky and vast, flat landscape of the NT desert.

I don’t think these planter boxes are part of the festival but they certainly brighten up the streetscape.

The Street Art Festival has now expanded from the CBD all the way to Alice Spring with more than 18 new murals painted in 2021. I might need a bit more time on my next visit.

Low Head

There are so many beautiful places to visit along the Tamar River, and a scenic forty minute drive from Launceston, the most sublime can be found as the waters empty into Bass Strait. It is impossible to feel anything other than calm when arriving at Low Head, surrounded by the blues and greens that only nature can bestow. This fabulous old Queenslander can be rented as holiday accommodation, with a view like that I don’t think I would ever want to leave.

In 1798, explorers George Bass and Matthew Flinders circumnavigated Tasmania in their vessel, Norfolk and proved the existence of a strait separating the island from Australia (apparently, it took a long time to dig that ditch). With much difficulty, they located the mouth of the Tamar River and made landfall seven kilometres up river at Port Dalrymple, now called Georgetown. Ten years later, the crew of Hebe found the entrance more than ‘difficult’ and came to grief on the treacherous reef, the first of nine shipwrecks to come. Consequently, convict labour set to work to construct Tasmania’s second (Australia’s third) lighthouse from local rubble with a coat of stucco to help with durability and a lantern room built of timber.

First lit in December 1833, the structure slowly deteriorated and was replaced in 1888 with the double brick version still standing today. Originally painted solid white, the red band was added in 1926 to improve visibility during daylight.

The initial four-roomed lighthouse keeper’s quarters were attached to the base of the tower, as seen in this illustration that is exhibited at the site.

A new Head Keeper’s quarters was built in 1890 (now available as holiday rental) and an Assistant Keeper’s quarters followed in 1916.

Tasmania’s only foghorn was installed at Low Head in 1929. For those who might understand, it is one of the largest Type G diaphones ever constructed and is one of only two of the type functioning in the world today. Decommissioned in 1973, it was restored by a group of volunteers and became operational again in April 2001.

The foghorn is sounded at noon each Sunday and can be heard up to thirty kilometres out to sea.

The area around the lighthouse encompasses Low Head Coastal Reserve, home to little penguins, the smallest of all penguin species. Also known as fairy penguins, they are the only species of penguin that are dark blue and white rather than black and white. The Penguin Tour experience sees them waddling back to their burrows after a day in the sea under cover of darkness. We were fortunate to spy this lovely creature settled on the nest, apparently accustomed to human presence.

Wētā Workshop

Having experienced the spectacle of Hobbiton, as well as myriad locations featured in The Lord of the Rings movie, our trip to new Zealand wouldn’t have been complete without a tour of Wētā Workshop. The company, based in Wellington, is the creative home of special effects and props, and they have been producing sets, costumes, armour, weapons and creatures for television and film since 1987. Sneaking past the huge stone trolls cavorting on the lawns

we made it through the Hobbit door entrance.

There was no shortage of memorabilia in the gift shop

and I wondered what was lurking under the loincloth of Lurtz.

The first part of the tour led us on a discovery of miniature effects including real television shooting stages for Thunderbirds Are Go! I remember the original TV series in the 1960s and couldn’t pass up the chance to ride up front with Virgil Tracy in Thunderbird 2.

We were then taken on a fascinating journey through the creation of props, costumes and creatures for The Lord of the Rings and The Hobbit. Photography was only allowed in designated areas throughout the tour, hence the absence thereof. At the end of the tour, we were ushered into a room, seemingly guarded by a life size figure of Orc-lord, Azog.

Here we met special effects artist, Warren Beaton, his appearance the epitome of a mad professor.

Various heads kept watch from above

as he demonstrated his expertise of making prototypes using tin foil and a spoon.

I’m sure it’s not as easy as he made it look, the results are remarkable.

With a fond farewell to Bert (stone trolls need love, too) we headed off in search of sustenance before our next adventure.

delectable dessert

Many of us have the suspicion that we have a separate stomach specifically for the ingestion of dessert. No matter how much we have gorged ourselves on scrumptious savoury fare, we are still tempted to finish with a mouth-watering morsel. I am very happy to report that the presence of a ‘dessert stomach’ is actually a scientific fact, and it’s all because of something called sensory-specific satiety. Dr. Barbara Rolls, a professor of nutritional sciences at Penn State University in the U.S., has been studying this phenomenon since the 1980s. Simply put, the more we eat of something, the less we enjoy it and we have the perception that we are full. However, we have only lost our appetite for that particular food and the offer of something different is far more appealing. The theory is, this is an evolutionary tactic to ensure a healthy, varied diet. My extensive research to date has certainly supported this premise but I think it will be ongoing indefinitely.

There is something comforting about a sticky pudding or slice of warm cake to finish a meal, perhaps it reminds us of a simpler time when we were cocooned in the family home.

There is one word we all associate with dessert – chocolate. The health benefits of chocolate have been proven beyond doubt; antioxidants lower cholesterol, flavanols lower blood pressure and help reduce memory loss and (best of all) it contains phenylethylamine, a natural antidepressant. Of course, the amazing taste and versatility make for wondrous opportunities.

Tarts are thought to have evolved from medieval pie making. I have had a penchant for custard tarts for as long as I can remember but am always happy to indulge in anything encased in pastry.

When it is difficult to choose from the array of enticing offerings on the dessert menu, what better option than a taste of everything?

I’ve never been a fan of buffet style dining but I can make an exception when it comes to dessert.

On the odd occasion where we are not sure whether we should have ordered dessert, the colourful presentation on the plate before us soon piques our interest.

Some are nothing short of spectacular.

I do wonder what kitchen disaster led to the concept of deconstructed pumpkin pie,

and the brilliant mind that came up with the idea of dessert pizza.

I think it is important to scan the dessert menu before deciding on savoury options and there is one tempter I can never pass up – crème brûlée. The first recorded recipe was in a French cookbook, ‘Le Cuisinier Royal Et Bourgeois’, written in 1691 by François Massialot, a chef in the kitchen of the Duke of Orléans. Back then, a red hot iron poker was used to caramelize the sugar on top. I have sampled this divine dessert across the globe and have yet to be disappointed. My research must continue.

I don’t know who uttered these words of wisdom but I wholeheartedly agree,

“No matter how much I eat, there is always room for dessert. Dessert doesn’t go to the stomach. Dessert goes to the heart.”

Darwin Street Art – part one

There are so many great reasons to visit Darwin, especially in the dry season. During my visit last year, I discovered another. The Darwin Street Art Festival invites local, national and international artists to transform the streets and laneways of the CBD into a giant art gallery. Eight murals were painted in the  first year, 2017, followed by sixteen in 2018. A further fifteen were added each year in 2019 and 2020. We embarked on a wondrous voyage of discovery one morning, not realising the magnitude of the undertaking. Our introduction was a colourful graphic work by Melburnian urban artist Andrew Bourke (more about him later).

Riece Ranson started as a graffiti writer in London before moving on to murals. He has paid homage to his love of the coastline and fishing in the Northern Territory with his painting of a Queensland Groper.

Belgian artist, Vexx, incorporated his signature colourful ‘doodles’ to put his own twist on Darwin’s deadly animal, the crocodile.

Beneath the crocodile, in 2020 Northern Territory based visual artist, Polly Johnstone (Miss Polly), raised the question of what the future will bring.

Vibrant graphics burst forth from drab walls and a more subtle illustration emerged from the pavement.

Roller doors provided an alternative canvas for a nature-inspired triptych.

Saltwater Home was a collaboration between Sydneysider Tim De Haan (Phibs) and Darwin-born Larrakia man, Shaun Lee (Hafleg) in 2017. Both men grew up by the ocean and have blended elements of saltwater life with a Larrakia design presented in stunning colours of the outback .

Although not part of the Street Art Festival, some quirky animation graced the walls of the Babylon Bar at the Austin Lane end of Air Raid Arcade.

At the other end of the arcade on Cavenagh Street, the recently opened Birth of Venus Bar was similarly embellished.

Melburnian Mike Maka’s (Makatron) 2017 creation, Poppies for the People, was inspired by the location adjacent to the Darwin RSL Club. The mural links and contrasts the iconic red poppies of the World War I battlefield of France to the green of the tropical vegetation in the Top End.

Explorer John McDouall Stuart was the subject of local NT artist Ryan Medlicott’s portrait in 2018.

House of Darwin is a clothing company that reinvests its profits into social programs in remote Indigenous communities. Graphic designer and illustrator Liam Milner (Luna Tunes) painted a huge building in support of the project in 2019.

Native flora of the Northern Territory feature in the vibrant 2019 work by self-taught local artist, Jason Lee.

Once an illegal graffiti artist in New York, ELLE created a collage style painting in 2018 to tell the history of Darwin. The central image of an Aboriginal woman’s face has one Chinese eye, representing the influx of Chinese during the Goldrush. ELLE was fascinated by the accounts of lightning starting fires in the bush and the Black Kite picking up twigs from the fire and dropping them to spread the fires further in order to burn out food. She has used this creature as well as local flora to symbolise resilience, beauty, strength and pride.

Phibs, once again, contributed in 2018 with an abstract impression of the diverse flora and fauna found in the Northern Territory using a colour palette as seen in Darwin sunsets.

Tom Gerrard (Aeon) has a passion for finding shapes that shape a city and in 2017, the Melbourne-based artist teamed up with locals David Collins and Les Huddleston to capture some of the Top End’s most iconic structures. Gerrard has used his distinctive minimalist colour palette of red, black and white for the work entitled Darwin.

In 2018, Andrew Bourke combined his talents with NT artist Jesse Bell to honour the memory of Geoffrey Gurrumul Yunupingu. The talented Aboriginal musician passed away in July 2017 and, with blessings from his family, the artists have immortalised his image with the lyrics from his song Baru (The Saltwater Crocodile) in the background.

The following year, a piece of traditional Aboriginal design by Nyanpanyapa (Wendy) Yunupingu accompanied her late brother, Gurrumul.

On the opposite wall of the car park are two more magnificent pieces that complement each other. Multidimensional Man, painted by Melburnian Peter Seaton (CTO) in 2018, is a portrait of Hilton Garnarradj an Aboriginal guide from Arnhem Land.

A year later, Brisbane based artist Russell Orrie Fenn (Sofles) added the Interdimensional Space Crab alongside using the same tones as the Aboriginal man.

Polly Johnstone’s 2017 work, For the Love of Reading, features an image of Darwin local Artia Ratahi, representing the diverse culture of the community. The background is inspired by the colours of the Top End from the soil and crystal blue waters to the pinks and purples of the sunsets.

Another Darwin resident, Emma Murphy, combined fashion and nature for her bold creation in 2019. Models faces morph into birds, inspired by the Kookaburra, Hooded Parrot and the Rainbow Bee-eater bird.

Ryan Medlicott’s 2019 mural depicts the rare Oenpelli Python, the longest snake in the NT found only in the sandstone massif of western Arnhem Land.

With a lunch date looming, we ran out of time to complete our mission and returned a few days later but that will be another post. I could find no information on these last two paintings except the second one is titled Winner.