Tag Archives: art

never mind the bollards…

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Soon after starting our walk along Geelong waterfront, we spied a group of likely lads dressed in vintage bathing costumes and later learned they are part of the Bollard Trail. Over a hundred reclaimed timber pier pylons were transformed into quirky art installations in 1995 by artist Jan Mitchell. The bollards represent notable characters who played a part in Geelong’s history and culture. Not realising the significance at the time, I didn’t photograph many but have delved into the history of the few I captured.

The Geelong Baths Swimming Club were an integral part of the community during the Victorian and Edwardian eras. Well known for their colourful caps and club initials on their costumes, they helped bring a carnival atmosphere to the early Geelong regattas with such contests as greasy pole climbing, bun eating and tub races.

First formed in 1854, Geelong’s Volunteer Rifle Corps is the oldest Victorian Militia unit. The Volunteer Rifle Band played its first recital in the Botanic Gardens in 1861, promoting the popular dance music of the day with the ‘The Geelong Polka’.

I was actually photographing the Wharf Shed cafe (unfortunately booked out for lunch) and noticed the Tram Conductress on her smoko break. She is a bit of an enigma from the 1940s being a smoker, not wearing a wedding ring and knitting a bootee for a baby.

From the early 1800s, scallop fishermen sold their produce as far afield as Melbourne. Many boats dredged for scallops in Corio Bay until recently when it was stopped to prevent further damage to the seabed and other species of fish.

The Geelong Volunteer Fire Brigade was established in 1854 (it seems there was a lot of volunteering going on that year), coincidentally the same year the clipper ship ‘Lightning’ was built in the USA for a British firm. One of the fastest wooden ships ever built, it carried cargo and immigrants from England to Australia for the next fifteen years until it earned the accolade of being the worst shipping disaster in Geelong’s history. The ‘Lightning’ caught fire while docked and loading wool in the early hours of 31st October 1869 and the efforts of the volunteer firemen were in vain. The blazing ship was towed away from the wharf and eventually sunk with explosives, losing all cargo but no lives.

One of the much adored personalities of the town was Mrs De Carteret. Kitty was born in 1910 and was the proprietor of ‘La Cabine’ for thirty years where she was renowned for her fresh lemon squash. Apparently, the cafe did a roaring trade on Sunday mornings, refreshing those who had over imbibed the night before. The cafe closed after much popularity in the 1960s and 1970s and is now an office block. I found a photo of Kitty de Carteret whipping up a lemon drink behind the counter, I wonder if she would be flattered by her timber transformation.

From the book ” A day in the life of Victoria” 1983

Outside the Yacht Club, a lovely lady holds the trophy awarded to the winner of the first Geelong Regatta in 1858, an Irish chap called ‘Paddy from Cork’  in his boat ‘Fair Kiss of Fand’. Regattas had actually been held since 1844 but it was only after a conversation over a few drinks that money was put up for a trophy and it is now recognised as Victoria’s oldest sporting event. You may notice a rabbit clinging to the bottom of her frock. Ten pairs of rabbits are depicted lurking around the base of some of the bollards, representing the introduction of wild rabbits to Australia. They arrived on the aforementioned ‘Lightning’, courtesy of farmer Thomas Austin from England,
on Christmas Day 1859.

Earlier that same year, the Geelong Football Club was formed, making it the second oldest AFL side after Melbourne and one of the oldest football clubs in the world. The navy blue and white kit hasn’t changed much in the last 165 years, although the shorts are noticeably shorter these days.

The Joy Ark Sandwich Board Man advertises the Joy Ark but he has lost his board. I found a photo with Board intact on waymarking.com

The Joy Ark was a silent picture theatre built in 1912 by two early Greek-Australian pioneers who already operated a cinema in Geelong. The construction extended over the water at Eastern Beach and was considered the most grandiose and unique movie theatre for its time in the British Commonwealth. Unfortunately, by early 1914, the owners were in financial trouble and filed for bankruptcy. The Joy Ark became a popular venue for dances and roller skating until it was demolished in the mid 1920s. The unusual name resulted from a competition run by the Geelong Advertiser asking readers to submit suggestions, the winner was rewarded with  a ‘significant sum of money’. The site of the Joy Ark is now filled by a giant ferris wheel, it’s a shame the original building has been lost.

photo from Museums Victoria

Modelling the changing styles of men’s swimming trunks over the years is the Town Baths Swimmers Club. Not a budgie smuggler in sight.

Although frowned upon these days, bathing beauty competitions were a popular attraction from the 1930s. These lovely ladies are braving all weather – and the rascally rabbits.

Ian McDonald was the Engineer and Surveyor of Geelong City in 1936. He saw a need to promote Geelong by beautifying the bay waterfront area and, hence, designed the Eastern Beach complex which was completed in 1939. He is proudly holding the plans in his hand.

Another man with great vision for Geelong, Robert de Bruce Johnstone became a member of Geelong Town Council in 1859. He was elected mayor from 1865 to 1867 and became known as ‘the parks and gardens’ mayor for his lifetime support of the Geelong Botanic Gardens. His robes and chain of office are looking a little worse for wear and he has lost his pendant.

The chap second from the right in the line of Eastern Beach Lifesavers is a local icon called Bill Coyte. He is well remembered for giving his time to teach life saving and swimming to many generations of children.

I am pleased to report that the bollards are in the process of being restored. Those beyond repair are being reproduced using 3D printing and all are being re-painted by local artist Vicki Clissold who will replicate Jan Mitchell’s original work.

Geelong Waterfront

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Since relocating to Tasmania in 2008 and enduring a very rough crossing of Bass Strait on the Spirit of Tasmania, our subsequent return trips to Adelaide have been by air. We decided to take our vehicle with us on our most recent visit and, with much trepidation, booked a day sail from Devonport. After a relaxing eleven hours on calm seas, we arrived in Geelong for two nights before embarking on an eight hour drive to Adelaide. We ventured out for a stroll along the waterfront to discover the many attractions, from heritage structures to modern works of art. We first noticed a collection of objects, resembling shark-fins, randomly scattered on the foreshore. The art installation ‘North North’ comprises seven (only five pictured) 2 to 3.5 metre high cement fins, all positioned on a different plane.

The Floating Christmas Tree is an annual feature of the city, with the initial lighting on the night of ‘Carols By The Bay’ at the end of November. It didn’t look particularly bright on this overcast morning but the nightly Sound and Light Shows, running for 6 minutes every 15 minutes, are apparently quite spectacular.

We were a bit befuddled to see the Spirit of Tasmania moored in the harbour until we realised it is one of the new ships. Version IV is awaiting upgrades to the intended berth after it was discovered the wharf was not strong enough!

We set off across Steampacket Gardens, a lovely verdant open space named for the steamships that once docked in the area.

Following the path along the waters edge, we looked back at Cunningham Pier, stretching 250 metres into Corio Bay. Now commonly used as a fishermen’s pier, it was once part of the Geelong port system. The building at the end of the pier houses a restaurant and function centre.

We continued on, past the Royal Geelong Yacht Club marina and club rooms. Their first regatta ran in 1859 and they now host Australia’s largest regatta, the Festival of Sails.

For those unable to enjoy the walk, the Eastern Beach Train provides a 20 minute return trip along the waterfront

and the Giant Sky Wheel offers a different perspective.

Once past the yacht club,

the pathway bisects the white sands of Eastern Beach and the eye-aching green of Eastern Beach Reserve.

Much of the redevelopment of the east end of Eastern Beach was undertaken in the 1930s to promote tourism. The most striking addition is a huge swimming enclosure (I’ll get to that), a shallow children’s pool complete with fountain in the centre

and iconic ‘Spanish Steps’ rising to Eastern Beach Road above.

A classic red brick Art Deco building serves as a kiosk with a fine dining restaurant on the upper level.

Back to the swimming enclosure. A double platform wooden structure sweeps in a half circle around eight and a half acres of seawater. Protected by shark-proof netting, there is a lap pool, diving tower, floating islands and lifeguards on duty in high season.

The boardwalk was rejuvenated in 1993 and locals were encouraged to buy planks inscribed with their names to help fund the project.

The view westward from the promenade shows the extent of the waterfront precinct.

We returned to our starting point. I neglected to mention the glass building adjacent to the Christmas tree. It houses an original Armitage-Herschell steam-driven, hand carved wooden carousel with 36 horses and two ornate chariots. Built around 1892, it was purchased and restored in 1996. Unfortunately, we didn’t realise it’s importance and didn’t take a closer look which means we also missed the music from the 1898 Gavioli Band organ accompanying the ride.

With the skies becoming increasingly inclement, we left Cunningham Pier in search of lunch.

If you are planning a stay in Geelong, whether for a night or extended period, I highly recommend the wonderful apartment we found. It is in a perfect location just off Little Malop Street, with secure parking. https://www.rentbyowner.com/property/modern-apartment-in-central-geelong/BC-12939097

Moonlight Stories

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Atop Table Cape, an extinct volcano rising 180 metres above the ocean in northwest Tasmania, is a heritage listed lighthouse. Each weekend evening throughout the month of July, the structure becomes the centrepiece for a stunning visual and auditory light experience.

Moonlight Stories is one of a series of events, collectively known as Permission to Trespass, presented during our Tasmanian winter. Other events, offering exclusive access to private properties in the stunning Wynyard and Table Cape areas, include long table feasts, creative workshops and secret whisky tastings. As the volunteer contingent for one Saturday show, we arrived before dark to arrange a few hay bales with blankets for seating and prepared the headsets to hand out to the anticipated crowds. With three shows of ten minutes duration and twenty minutes between shows, there was no time to rest. Fortunately, we were able to enjoy the final session of the evening.

Inner Light is the work of Tasmanian artist, Alex Moss, who encourages discovery and challenges perceptions through projected light, sound design and interactive elements. We took a few photos, though they don’t really convey the true spectacle of the visual revelation on the 25 metre high tower, and of course, the narration is absent. At times, the wall of the lighthouse appeared to crack and fall away, revealing colourful images beneath. (Click on the images to see enlarged version).

bonsai boffin

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Michael developed a fascination with all things Japanese in his mid twenties and so began his interest in the art of bonsai. When we met, fifteen years later, he came as a package deal and his beloved bonsai found a home in a sunny spot under the pergola of our suburban backyard.

Five years on, we moved to a property in the Adelaide Hills and one of the first items we added to the garden was a shade house to protect the bonsai from unpredictable weather. (It did become airborne in one particular storm but, fortunately, no bonsai were harmed. We then concreted the corner posts into the ground.)

Fast forward another seven years and we made the bold decision to relocate to Tasmania. By this stage, there were over forty bonsai to consider in varying stages of evolution. There were strict biosecurity rules for entry into Tasmania, any potted plants had to be fumigated by a registered authority and sealed until arrival across the creek. Sadly, all but four were sold or given away and the remaining plants travelled with us on the Spirit of Tasmania to their new abode. More specimens have been procured and nurtured since our arrival but they have been somewhat “out of sight” in various spots around the garden.

After years of planning and procrastinating, the new bonsai stand was finally created last winter.

The little trees received some long overdue attention with pruning, root trimming and re-potting.

Let me introduce you to the collection. The radiata pine was given to Michael by someone who no longer wanted to continue with bonsai, and the three sticks on the right are English oaks that had self-seeded on a friends property at Table Cape.

Spring brought verdancy to the oaks but, regrettably, the radiata failed to thrive.

The origin of this liquidambar is uncertain (meaning forgotten) but, despite resembling a twig in winter, it perked up once the warmer weather arrived.

We have a huge holly tree in the garden from which we occasionally find young saplings, the perfect source to experiment with bonsai. So far, this one is a success.

I bought Michael this olive as a gift nearly thirty years ago. He re-trained it and it is one of the chosen few who came from South Australia with us.

The ash tree is quite spectacular. Liberated from between two pavers on a suburban footpath in the mid 80s, Michael trained the roots around a rock before planting in a deep pot. The roots were then gradually exposed and this is the result.

The oldest exhibit in the collection is a copse of English elms. One of the original seven died in transport to Tasmania but there are two new saplings growing in the grove and one will be nurtured to reinstate the preferred uneven number.

The dwarf camellia has done well and produced a beautiful pink flower last year.

Perhaps the hardiest of them all is the Japanese maple. Firstly created as a bonsai, it was then planted in the garden to enable it to reach its full potential. That wasn’t to be when the neighbours horses reached over the fence and ate most of it. Reclaiming it into a pot seemed the kindest thing to do, now we just need to find a way to stop the nocturnal wildlife having a nibble.

The Australian blackwood was gifted at the same time as the radiata but has fared considerably better. Several root suckers have emerged and will hopefully result in a miniature blackwood forest.

Dogwood trees are prolific in our forest and Michael took these three from the path to see if they could become bonsai. I’d say it was a successful experiment.

With the Japanese Buddhas enjoying themselves at the watering hole,

the new display is complete….for now.

World of WearableArt: part 2

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Continuing our circuit of the World of WearableArt Museum, we entered the Transform Section. Designers were challenged to create a work that changes in form, nature and appearance. I only captured two of the five pieces, they don’t translate too well to static visuals. Meg Latham (NZ) was inspired by the paper dress-up dolls she played with as a child. Using polyethylene, canvas and acrylic paint for her version of Dress Up Dolls, the models change costumes as if turning pages of a book.

Tara Morelos, Ahmad Mollahassani and Nelia Justo (Australia) have employed electronics, along with acrylic, cardboard and fabric for their homage to Japanese artist Yayoi Kusama. They describe Infini-D as, ‘a meditation on geometry, dimensionality and cinematic post-modern gothic’.

The Aotearoa Section draws on the deep sense of place New Zealanders have and celebrates who they are as people and what makes them proud. Ocean beauty comes to life with Sacha Mail’s (NZ) Fatal Attraction. 30,421 hand-dyed cable ties and foam remind us to protect it before it turns to plastic pollution.

Dylan Mulder (NZ) combined 100% merino wool and 3D-printed jewellery to merge Artificial Intelligence and Māori design. He claims the garment, Natural Progression, intuitively designed itself.

Te Kotuku Rerenga Tahi is a Māori whakatauki or proverb, which means ‘a white heron’s flight is seen but once’ and is indicates a very special and rare event. Jenny Sutton (NZ) used paper, plastic milk bottles and weed matting to depict the lovely spirit-like bird.

The Crux and the Long White Cloud marries the Southern Cross in the heavens with the anthem of New Zealand. Autumn Minnear (NZ) chose gold, wood, wool and harakeke (flax) to complement the oil on linen images.

Stephanie Cossens (NZ) has honoured the New Zealand lesser short-tailed bat, Pekapeka-Tou-Poto, using ceramics, faux fur, Dacron and aluminium.

Fabric, plastic and elastic have amalgamated to form Erica Gray’s (Australia) Echinoderm, a monochromatic representation of the colourful sea creatures.

The title says it all, Our History? It’s Complicated… Lynne Dunphy (NZ) worked with woollen blankets, calico, silk and brass to share the message that there is more to Aotearoa than blankets and guns.

Lisa Vanin’s (NZ) depiction of Kaitiaki, a Māori term for a guardian or protector of the environment, is an understated combination of bamboo and copper.

An interesting conglomeration of tulle, rattan, shells and modelling clay make up the intricacies of Shelley Scott’s (NZ) JAFA (Just Another Fabulous Aucklander).

The colour white (yes, I know, there is some controversy as to whether it is actually a colour) is often associated with peace, light, love and purity. In some parts of the world it can represent death and mourning. The White Section incorporates the entire spectrum of emotions in spectacular fashion.

Renee Louie (NZ) has shaped PVC pipe, fabric and nylon string to create Symbiosis, her message that, ‘Alone they are great but they are even better together.’

Intricately woven aluminium wire and white wire make up Dreamcatcher, a fairy of the night by Tsao Chien-Yi and Lu Pei-Hsin (Taiwan).

‘The incarnation of an ethereal soul, protected by many different, textured layers’, describes Integumentum. Marine Arnoul (France) used 3D-mesh, spandex, foam and 3D-printed glasses to achieve the image.

A sterile white armour attempts to fight disease, but it is flawed. Hanna Smith (Australia) shaped Faulty Armour from Tyvek, cork and surgical masks.

This gorgeous garment by Galina Mihaleva (Singapore) is fabricated from polyester, plastic and sequins. Losing Touch? represents the uncertainties facing nature.

On a similar theme, Erica Gray (Australia) has used plastic and fabric for Face Coral, reflecting the underwater species stripped of vibrancy and colour.

Although many of the pieces on display are stretching the concept of ‘wearable’, I feel this would be particularly challenging. Ruth Arkless (NZ) has used cotton, tulle, mesh and sequins to create Cultural Peak, expressing the strength of the country’s heritage, casting large shadows and reaching new heights.

Taking ‘wearable’ to the extreme, the Bizarre Bra Section showcases some outrageous examples that have been entered in the competition over the years.

Paying homage to a typical Kiwi breakfast, Fried Eggs made from rubber adorn toast formed with painted sponges. Kelsey Roderick and Rhys Richards (NZ) cleverly added straps constructed from cutlery.

The oldest recorded ‘National Flower’, the Scottish thistle, inspired Lyndal Linton’s (NZ) EdinBra.

A less sedate, carnivorous tropical plant motivated Leon Vaz and Noel Braganza (India) for their colourful Venus Fly Trap.

Alexa Cach, Miodrag Guberinic and Corey Gomes (USA) combined hand-painted Cicadas, brass leaves, Italian leather, faceted crystals, epoxy and wire for their golden Renewal entry.

Stainless steel was the material of choice for the arachnoid creation, Miss Muffet, by Bikramjit Bhowmick and Sangeeta Patra (India).

Mark Crocker (NZ) found a use for teapots, bicycle parts, egg cups, kitchen utensils, leather belts, fabric and rivets for his painfully titled Grinder Bra.

Equally uncomfortable is Jantar Mantar by Khadimul Islam (India). I would think those parts made of iron, plastic and reflective sheets would pinch a bit.

Sebastian Denize (NZ) created Re-Decked entirely from recycled skateboards.

I’m not convinced that Tanya Marriott’s A Pair of Spitfires would really take off.

Denise Laurie (NZ) had to learn taxidermy to present Lunar Duo. A tribute to the possum, the unfortunate pair of road kill have been joined together with rubber from a car tyre.