Bruno’s Art & Sculpture Garden

Leaving Steavenson Falls, we had hoped the rain would abate for our visit to Bruno’s Art & Sculpture Garden in Marysville. It didn’t. As we pulled into the car park, the gallery was obviously closed but we discovered an honesty box for the $10 entrance fee to the garden. Grab your umbrella and come for a walk while I tell you more.

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Bruno Torfs was born in South America and moved to Europe with the family in his teens. After training as a sign writer, his talents evolved through many trips to foreign lands and he made the transition to a full time artist. Oil paintings and sculptures, reflecting scenes and faces of his journeys, were sold in exhibitions at the family home.

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Bruno and his family moved to Australia and in 1996, found the perfect setting to create a permanent sculpture garden in the sub-alpine forests of Marysville. Hand crafted from clay and fired in a kiln onsite, there are now around a hundred and twenty pieces on display.

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The path diverges in all directions through the forest and everywhere you look, there is another character waiting to delight.

On 7th February 2009, the bushfires of ‘Black Saturday’ raged through Marysville, claiming lives and decimating the township. Bruno’s home, gallery and gardens were completely destroyed. For two months, no-one was allowed in the town and when Bruno finally returned, he set about rebuilding his home and restoring his garden.

There are pictures on the website taken the day Bruno returned after the fires. Next to this installation, there is a heartbreaking photo of Bruno carrying all that remained of The Lady of Shallot from the stream.

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Some figures emerge from the remnants of the woods, melding nature’s work with man’s.

Bruno’s courage and dedication has resulted in a wondrous fantasy land, an opportunity to escape for a while in a surreal environment.

As we left, the remains of Bruno’s 1960 BMW R27 motorbike jolted us back to reality with a reminder of the devastation wrought by the fires of Black Saturday.

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The Krystyna Campbell-Pretty Fashion Gift

This exhibition at the National Gallery of Victoria was top of our ‘must see’ list when we visited Melbourne in June. Philanthropist and NGV Foundation Board Member, Krystyna Campbell-Pretty has purchased more than 250 garments since 2015 and gifted them to the NGV in memory of her late husband, Harold Campbell-Pretty. We took our time absorbing the wondrous collection of haute couture garments on display. This was more than just a presentation of beautiful attire, it was a reflection of a changing society and the evolution of women’s roles. The gowns of the Belle Époque, French for ‘beautiful era’ (spanning 1871– 1914), portrayed a diverse range of styles. Around the turn of the century, the exaggerated S-shape was attributed to the diabolical corsetry endured by women of this time.

1.(L-R)Félix,dinner dress 1889; France, day suit 1900

Callot Soeurs was established in 1895 by four sisters who had previously owned a small shop that specialised in quality lingerie, ribbon and laces.

2.(L-R) Callot Souers, afternoon dress 1900; Callot Soeurs, afternoon dress 1905; Callot Soeurs, evening dress 1910

Charles Frederick Worth, considered to be the father of haute couture, founded the House of Worth in the 19th century.

6.House of Worth, evening dreses 1912

Around 1906, dresses became more linear and women were freed from their constricting undergarments.

The Jazz Age of the 1920s brought loose fitting, unstructured garments adorned with sequins, beads, lace and fringing.

The Parisian couture house of Boué Soeurs opened in 1899 and was known for its feminine, romantic style. Their 18th century inspired robe de style featured lace, embroidery and ribbon-work flowers. The contours of the wide skirt were achieved with the use of hoops underneath the fabric.

15.(L-R)Boué Soeurs, evening dress 1923; Boué Soeurs, Romance, robe de style 1925

Elsa Schiaparelli began designing her own collections in 1927. This beautiful green evening coat, part of her Speakeasy collection in 1932-33 during Prohibition, had a small back bustle where a flask of contraband alcohol could be concealed. The black silk velvet evening coat was created by Lucien Lelong in 1935, around the time he was elected chairman of the Chambre Syndicale de la Couture (the governing body of the French haute couture industry).

16.(L-R)Schiaparelli, evening coat 1932; Lucien Lelong, coat 1935

In 1854, the U.S. forced Japan to open up its borders to international trade and the French term, Japonisme, encompassed the resulting fascination with Japanese goods. Capes, cloaks and coats of the early 20th century reflected the form of the kimono, often embroidered with Japanese motifs.

19.(L-R)France,evening coat 1920; France, evening cape 1925; Madeleine Vionnet, evening cape 1928

Madeleine Vionnet was known as the ‘Queen of the bias cut’, her designs were feminine, streamlined and close fitting.

21.Madeleine Vionnet, (L-R) evening dress 1933, 1931, 1938, afternoon dress 1923

Formally trained as a sculptor, Madame Grés began producing high fashion in the early 1930s. The art of pleating and draping was perfected in her designs, the bodices were exceptionally elegant.

Jeanne Lanvin’s garden party dress and Jean Patou’s afternoon dress of the 1930s were floral and feminine.

A marvellous display featuring many incarnations of the ‘little black dress’ took centre stage in a gallery among mid 20th century paintings. The inception of the LBD has long been associated with Gabrielle ‘Coco’ Chanel.

Evening dresses of the 1930s exuded glamour and luxuriant fabrics enhanced the female form.

The 1940s brought a spectrum of silhouettes, from evening dresses to dinner jackets and day suits.

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Schiaparelli’s afternoon dress seemed remarkably demure next to Molyneux cocktail dresses.

Moving into the 1950s, the evening gowns were nothing short of spectacular.

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Christian Dior created thousands of pieces in the ten years he presided over his couture house, continually manipulating hem, bust and waistlines. His stunning, shorter style dresses were in company with those from Rochas, Lanvin and Carven.

55.(L-R)Christian Dior, dress & jacket 1956; Christian Dior, Cuba evening dress 1954; Rochas, dress 1950

57.(L-R)Christian Dior, Mexico cocktail dress 1954; Lanvin, cocktail dress 1955

The creations of Cristóbel Balenciaga reflect the changing trends through the 1950s and 60s.

Paco Rabanne liked to make garments from unconventional materials rather than cloth. I don’t think I’d like to sit down wearing this metal mini dress.

62.Paco Rabanne, mini dress 1967

Through the 1960s and 70s, Yves Saint Laurent presented more contemporary designs with masculine lines and bohemian elements.

His garments from the 1990s returned to more feminine contours, the tribute to his couture house ensemble (on the left) took 700 hours to complete. The rock-crystal and gilt embellishments were all hand embroidered.

70.(L-R)Yves Saint Laurent, Look 46 coat and dress 1996; Yves Saint Laurent, Look 89 evening dress and robe 200171.(L-R)Yves Saint Laurent, Look 96 evening dress 1990; Look 67 evening dress 2000; evening dress 1990

The square shouldered, tailored suits of Claude Montana and Thierry Mugler were a sharp contrast to the flowing form of Azzedine Alaìa and golden ensemble of Zandra Rhodes.

72.(L-R)Claude Montana, jacket & bodysuit 1992; Thierry Mugler, suit 1998; Alaïa, dress 1985; Zandra Rhodes, evening ensemble 198173.Alaïa, dress 1985; Zandra Rhodes, evening ensemble 1981

Christian Lacroix is known for his opulent, colourful garments and his varied designs reflect fashion history.

The exhibition also included original sketches and drawings, photography and fashion magazines as well as handbags and shoes. Far too many to photograph.

quirky cupboard

Following the success of the bespoke bureau,

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we used the same recipe for our next cupboard. Selecting a Huon slab from our stash,

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Michael went to work with the reclaimed timbers for the frame.

We continued the theme with the rusted steel panels for the side

and created the shelves from old fence palings.

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After much discussion and mind-changing, we decided on fence palings for the doors.

Why would you make two doors alike when they can be different?

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A few coats of Cabothane brought out the grains and colouring in the timbers.

The Huon top was precision designed to fit snugly in position, the beautiful markings enhanced by the varnish.

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Another successful trip to the salvage yard rewarded us with the perfect hinges and a pair of door handles that, in a previous life, were used to hang fire extinguishers from. The brand new shiny bolts were given the rusting treatment.

Unfortunately, Dulux have seen fit to discontinue the Duramax 2-pack we used on the steel of the bureau and the alternative product we found dulled the colours a little.

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Nevertheless, we are very happy with the result

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and the cupboard has pride of place by the door.

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On with the next project….

Looking Out for Each Other

Last month, I posted about a day spent at the Tamar Valley wineries and the sculpture exhibition, Artentwine. At Iron Pot Bay Vineyard, there was a memorable installation in the garden, this is what I wrote,

‘The man in blue, poised in the garden, sported an outfit knitted with baling twine. My sister and I had been at Deloraine Craft Fair the previous weekend where we had seen numerous knitters eagerly creating something with the blue baling twine. It seems artist, Grietje van Randen, has enlisted volunteers to help complete a double life size Blue Farmer to be sited on a local farm to raise awareness of those living with depression and as a reminder for us all to be looking out for each other.’

The project is now complete and the full size blue farmer stands proudly at Deloraine. This is a wonderful interview with Grietje van Randen

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Photo courtesy of the ABC

Our property here in northwest Tasmania is surrounded by agricultural farmland, we can attest to the long hours our neighbours toil. Morning, noon and sometimes all night, seven days a week and at the mercy of increasingly unpredictable weather patterns. Without these incredible people, we would have nothing on the table to serve our families each day. How easy it is to pick produce from the grocers shelf without a thought for those whose livelihood depends on what we are willing to pay.

Here is a great news story of the completion and final placement of the blue farmer

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Photo courtesy of the ABC

bespoke bureau

Having finished the back room renovation, our thoughts turned to furnishings. We searched for a suitable sideboard but couldn’t find anything that was just right, though we did get a few ideas. The answer was to create our own. We had some old timbers lying around and supplemented our supply with a visit to the salvage yard where we also found four wooden crates (there were two A.B. Tonic ones).

I cleaned up the crates while Michael slaved over the frame using various reclaimed hardwood timbers

and some old fence palings. I found a recipe for rusting nails and it worked a treat.

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A few coats of Cabothane brought out the natural hues as well as the perfect defects.

We kept changing our minds about what to use for the centre front and side panels so Michael experimented with rust effects on steel. The polyurethane coating has preserved the colours well.

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Precision placed finger holes and felt lining completed the crates.

Over the years, we have accumulated some beautiful timber slabs and we selected a Huon pine for this project. Trimmed and prepared,

it was fixed to the frame

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and the steel took its place in the front and sides.

Some more Cabothane on the top highlighted the grain.

We are very happy with the result.

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