On the outskirts of the city named after the great scientist and naturalist, Charles Darwin National Park is full of surprises. Created in 1997, the five square miles provide a natural recreation area as well as protection for significant vegetation, Aboriginal and World War II history. Developed as an Explosive Ordnance Storage Area during World War II,eleven of the bunkers that housed the explosives during the war are still standing. Nine were set into the contours of the hills, the barrel vault constructions are covered with vegetated earth.
There is a display of memorabilia in one of the bunkers and a fascinating insight into Darwin’s role in the Pacific War.
Bomb trolleys were used to move bombs weighing up to 1,000 lb (that’s about 450kg) to be loaded into aircraft and were common at bomber bases in the 1940s.
There are two free-standing storage sheds, one of which is now adorned with a magnificent work of art.
One of Australia’s most important wetlands is also protected by the park. The Port Darwin wetland comprises undisturbed mangrove forests, with 36 of the Northern Territory’s 51 mangrove species within its system of inlets, islands and bays. The vista from Charles Darwin Lookout is spectacular.
While staying inNelson, we relished the opportunity to visit the World of WearableArt (WOW) museum. Local sculptor, Dame Suzie Moncrieff, instigated the World of WearableArt as a means of promoting a local co-operative art gallery; by taking art off the wall and displaying it on the moving body. Each year, the competition culminates with a spectacular show where the works are brought to life on stage. Since the inaugural show in 1987, the competition now attracts entrants from around the world. The museum dishes up a visual feast of which I will share a tasty portion.
The adventure begins just after the ticket counter, with the vibrant colours of Escaped Pods delivering a promise of things to come. Lynn Christiansen (USA) used felt and fabric for her depiction of Castilleja seed pods that have escaped captivity at the seed bank to live for today.
The displays are separated into different sections with each representing a theme. The Open Section is unique in that it has no thematic boundaries, giving designers complete freedom to create, limited only by their imagination.
Synthetic scraps, Fimo (a clay developed in the mid-20th century that could be hardened in the oven) and floor insulation were used by Daniella Sasvári and Aaron La Roche (NZ) to create the monarchial Regnum Dei.
Peeling back the layers to reveal the real you, Mary Turner’s (NZ) Appeeling is made from Worbla (a thermoplastic resin), foam, fabric and paint.
Striking and hypnotic, the changing patterns and colours of Collide-o-Scope were composed from neon acrylic, lycra, aluminium and Worbla by Vicky Robertson (NZ).
Fabrics, hand-painted skulls and skeletons were used by Sheela Stoneman (NZ) for Memento Mori to illustrate that life is short, death is long, so we need to live life to the fullest while we can.
‘Nature, the hero warrior, transfigures forsaken giants of industry into works of inspiring beauty’. Jill Benson (NZ) used PVC foam board, brass and cotton to construct Derelict Beauty.
Wolfgang Amadeus Mozart was obviously the inspiration for Carolyn Gibson’s (NZ) Rock Me Amadeus. Few materials are more fitting than velvet, leather, pearls and lace for a man who declared that love is the soul of genius.
Golf bags, clubs, tees and vinyl were used by Leanne Day (NZ) to relate the overwhelming feeling of having more ideas than time with Engolfed.
The Mythology Section features fantastical designs influenced by dark tales from other dimensions; monsters and creatures, gods and goddesses. Banshee of the Bike Lane shrieks her mourning of the senseless deaths of fallen cyclists. This howling spectre is assembled from bicycle inner tubes, chains, cogs and a wheel by Grace DuVal (USA).
The story of the thread of life – the beginning, middle and end – is told through shape and colour by Tina Hutchison-Thomas (NZ). Velvet, hand-dyed chiffon and embroidery were used to create the garments of The Moirai – the Shape of Us.
Feathers, silk taffeta, paint and crystals combine in the colourful Eden by Ian Bernhard (NZ), a portrayal of a creature of paradise, lost.
Xu Ran’s (China) 3D printed resin, nylon, rope and plastic, Feathers of theRoc, tells the story of giant fish that grow wings and turn into big birds to pursue freedom.
Based on the ancient theory of female hysteria, Louise Byford (UK) has melded latex sheeting, liquid latex and leather to present The Wandering Womb.
Although Nyx, goddess of the night, has the appearance of a multitude of feathers, it was actually created with plastic bags, metal wire and polyester by Dinh Hai Yen (Singapore).
A fascinating fusion of patent leather, beads and non-woven cloth form the convolutions of Chang-Yi-Wei’s (Taiwan) Soul Guardian, the god who guards the soul.
Wrath of Medusa was inspired by the Greek mythological creature Medusa, as sculpted by Italian artist Bernini. Edyta Jermacz (Poland) opted for vinyl latex, neoprene, jacquard and polypropylene padding for her concept.
Experimental, radical and unorthodox, the Avant-garde Section challenges designers to defy the boundaries of fashion and rebel against the norm.
Buddhist altar cloths and kimono obi lining merge to form Shinka (‘Evolution’ in Japanese). Christopher Davis (NZ) poses the question, ‘in a world of change and rapid evolution, will tradition still remain?’
With the stunning use of steel, silk and silk georgette, Thingamla Adrianne Keishing (India) conceived Oracles of Life, influenced by the aquatic world, especially the rhinopias and coral reefs.
The Lady Warrior embodies the toughest warriors in life – women – in their role of daughter, wife and mother. Rinaldy Yunardi (Indonesia) has brought his vision to life using metal and recycled paper.
Edyta Jermacz (Poland) features once again in this section, using latex, neoprene, fringing and buckles to produce Big Lips, inspired by a range of romantic emotions: desire, obsession, sex, love, intensity.
Silk, foil, foam and wire form the bold concept by Anna von Hartitzsch (UK), Clotho – the Goddess of Fate. According to Greek mythology, the youngest of the three Fates spins the threads of human life.
Baroque style and religion inspired Lam Hoi Man Kinki (Hong Kong) to create Holy Light using non-woven fabric, metal and satin.
Silk satin, taffeta and stone beads adorn Joan, Ian Bernhard’s (NZ) ‘armoured figure in liquid splendour’.
This armour is an interpretation of ‘power dressing’ and the illusory power of the stiletto. Louise Dyhrfort (UK) chose vegetable-tanned leather and plastic heels for Walk All Over Me.
Shantanu Singh (India) surmises, ‘we can’t even imagine the world or universe without black’. Velvet, lycra, crepe, pleated taffeta and cords compose Black – an Inner Strength.
The faceless, menacing Dearth Exterm represents a strong, powerful female version of the Knave of Hearts. Nicola Rule (NSW) has combined leather and taffeta for her mysterious character.
With a few more sections to share, I am planning a second instalment. Stay tuned…..
One of the reasons we included Nelson on our New Zealand itinerary was to visit the workshop of Jens Hansen, a must for any true fan of The Lord of the Rings.
Danish-born Jens moved to Auckland in 1952 and, after completing a jewellers apprenticeship, settled in Nelson with his wife and young son in 1968. He knew and loved The Lord of the Rings and was thrilled when approached, in March 1999, to design the fabled ring. Fifteen prototypes were submitted from which the final ‘movie ring’ was chosen. Forty variations of The One Ring were made for the filming, scaled for different scenes and sized to fit Hobbit or human fingers. Then there is the 8” version seen spinning and turning through the air in the prologue of the first film.
Sadly, Jens was diagnosed with cancer in 1999 and died in August the same year at the age of 59, never seeing his rings on screen. His legacy continues under the guidance of his sons and a remarkable team at the workshop.
Having made a very special purchase, we drove a few minutes out of town to the Grand Mercure Monaco Resort, our home for the next two nights.
Reminiscent of an English countryside village, the resort offers a range of accommodation from self-contained two bedroom cottages
to boutique hotel rooms. We had a stunning view of the Monaco Peninsula.
The guest lounge was cosy and comfortable
and we enjoyed a delicious dinner, as well as breakfasts, at the restaurant.
The grounds have been set up beautifully, with a peaceful lake enticing a variety of birdlife.
A short stroll down the road, The Honest Lawyer, exuding the charm of an English country pub, was the perfect spot to imbibe a pint of Guinness in the afternoon sun.
Perusing the menu, we decided to stay for dinner before a slow walk home as the sun was setting in spectacular fashion.
The next morning dawned crisp and clear, another day of adventures awaited.
There are many reminders in the Northern Territory of Australia’s involvement in World War II and a visit to Darwin Military Museum gives a fascinating insight into just how close the Japanese invasion came. On 19th February 1942, the Japanese bombed Darwin, killing 252 people, destroying aircraft, sinking 10 ships and severely damaging the township. Over the next 21 months, the Northern Territory was subjected to a further 97 air attacks by the Japanese, including 51 bombing raids.
Since the mid-1960s, the Royal Australian Artillery Association has been accumulating war memorabilia and the vast collection includes artefacts from the Boer War to the present day. Once past the entrance display,
I realised there were far too many intriguing items to photograph, not least this painted feather. The MV Manunda was launched in 1929 as a passenger liner and souvenirs of voyages, such as this, were common. The vessel became HMAS Manunda and served as a hospital ship during World War II before returning to civilian life in 1946. Ten years later, in an ironic twist of fate, she was sold to a Japanese Shipping Company, broken up and used for scrap.
We continued our exploration outside, where larger artillery pieces and military vehicles are scattered through tropical gardens and various outbuildings. A memorial to the Australian Digger stands adjacent to one dedicated to Gunner, a kelpie credited with the ability to alert his squadron when Japanese aircraft were approaching.
The sheer scale of some of the exhibits is boggling, it is difficult to fathom the logistics of deploying this equipment in the field. Boom net buoys were used to suspend the huge cable for the anti-submarine net stretched across Darwin Harbour. For added security, a massive metal detecting loop was laid on the floor of the harbour to detect any submarine activity.
Vehicle-mounted workshops were primarily used for maintenance in the field, with small engines under the bench to run electrical items such as grinders and compressors.
Probably the most terrifying place to be on the fighter planes was the ball gun turret. Suspended underneath the aircraft, the gunner, usually the smallest man in the crew, had to assume a foetal-like position on missions of up to ten hours.
Some remnants of wartime are still being found in the N.T., like this Japanese drop tank. The tanks carried extra fuel to extend the range of the aircraft and, once empty, could be released to reduce drag in combat situations.
There are several engines and propellors on display, each with their own story. This one separated from the fuselage of a Kittyhawk during a forced landing in 1942. Fortunately, the pilot survived.
Almost as uncomfortable as the ball turret, two personnel would be squeezed into the hot, noisy cabin of the Ferret scout car. One would drive and the other would man the machine gun and grenade launchers.
On a much larger scale, the Buffalo was used as an amphibious transport vehicle, though its design meant it could only operate in the calmest of seas without taking on too much water.
Looking suspiciously like a missile, paravanes were actually used in minesweeping operations. With a cutting cable attached, they were dragged behind a minesweeper at a pre-determined depth and, once the enemy mine was located and detached, it was destroyed by small-arms fire. Sometimes the paravane received collateral damage.
The big guns were just around the corner, an impressive collection of field and anti-aircraft guns, all of which must have been onerous to manoeuvre in battle.
Knowing where to aim the artillery pieces was a little more complicated than it is these days. A rangefinder was used to determine the angle and distance to the target, this one is the largest in the world and was installed at the East Point gun emplacements.
The information was then passed via telephone to the plotters manning the ‘fire direction table’ where they computed such things as wind speed, air pressure, humidity and temperature, all of which affected the shell’s flight.
The gunners were then able to set the correct bearing and elevation to hit the target. The initial 6” guns were replaced by two 9.2” guns but they didn’t arrive until February 1944. Consequently, the only rounds fired from these were three proof rounds, the war ended and, in 1959, both guns were sold to a Japanese salvage firm and cut up for scrap metal. The replicas that now stand on the site are quite impressive.
Operating in conjunction with the rangefinder crews, massive searchlights with a range around 25 kilometres were used to spot enemy ships.
There are many displays of assorted paraphernalia
and a tribute to the military horse troops. Around 1500 horses and men of the North Australia Observation Unit, known as Nackeroos, were stationed in remote locations to watch for enemy activity.
The final outbuilding contained a wonderful array of service vehicles from trucks to Bren Gun carriers.
The most recognisable is the 1942 Willys Jeep. Originally designated a ‘Vehicle General Purpose’ or ’Vehicle GP’, the name resulted in the term ‘jeep’. Willys were the original designers and manufacturers of the Jeep and then contracted the building of them to Ford.
If you are planning a visit to the museum, allow plenty of time, there was so much more to see.
There are many wondrous walks to choose from in Cradle Mountain National Park but my favourite is Enchanted Walk. Just over one kilometre long, the circuit takes around twenty minutes, depending on how much time one spends admiring the scenery. The trail starts at Cradle Mountain Lodge and follows Pencil Pine Creek as it bubbles along, embraced by mossy banks and majestic trees of the rainforest. On this morning the sunlight danced on the water, highlighting natures artistry.
Tannins from surrounding buttongrass moorland created a startling palette of orange hues amidst the shadows.
As we meandered further into the forest, verdant lichens complemented the russet glow.
At the end of the walk, the creek tumbles over rocks at Pencil Pine Cascades on its way to Pencil Pine Falls and, eventually, on a convoluted journey into the Forth River and Bass Strait.
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