Kakadu National Park, Northern Territory and Art of the Top End

While looking back through art and travel books, struck again by the incredible conceptual art of the Tiwi. Back in September 2007 managed a one week escape, based in Darwin. Main reason for travelling north was to visit Kakadu National Park, Bathurst Island (part of the Tiwi Islands) and Nitmiluk National Park (Katherine Gorge) plus art galleries in Darwin.

Some of the lasting impressions.
Aboriginal languages spoken in most places. A day trip, thirty minute flight in six seater plane across the Beagle Gulf to Bathurst Island. Multiplicity of dogs, including two great danes, asleep in the ashes of an old camp fire, grey apparitions when they stood to greet us. Meeting some of the Tiwi artists at the Tiwi Design Centre and the Ngaruwanajirri Art Centre, seeing their art in situ, their materials, and the artists in action. Came away with a gift of some white and yellow ochre (still in use) but the red was too precious to be given away.

Day trip to Kakadu National Park. Left early 6:30 am for the drive down the Arnhem Highway through Humpty Doo, and Adelaide River. Walk to Nourlangie Rock, and the famous rock art. Later that day a boat trip along the Yellow Water Billabong, extravagant abundance of bird life including magpie geese, black-necked storks (Jabiru), white bellied sea eagles, royal spoonbills, pacific black ducks, wandering whistling ducks, green pygmy geese to name a few, accompanied by the ubiquitous crocodiles. One hour flight over Kakadu, East Alligator River, the escarpment, then over the awesome stone country of Arnhem Land, and back to Jabiru airport.

Day trip to Nitmiluk National Park (Katherine Gorge). Another early 6:30 start and long drive to Adelaide River War Cemetery and Edith Falls and waterhole. Magnificent still, cool waterhole, some jumped in for a swim, and then almost instantaneously leapt out when they saw the (albeit empty) croc traps. Was it possible they asked for crocs to surf over the waterfall. The guide nodded but said none had been caught that year, yet, could be a problem during and after the wet season. Two hour spectacular boat trip through the gorges, Jawoyn country, red rock canyons, white sand beaches.

Back in Darwin for a round of gallery visits. However, it’s difficult to be a flâneur in late September in the build up to the wet season in Darwin when it feels like humidity is off the hygrometer scale. The only strategy, walk ten minutes, twenty minutes in an air conditioned shop or gallery, repeat for the rest of the day, only expense tonic water, but go easy on the gin until after 5pm.

The visit to the Museum and Art Gallery of the Northern Territory in Darwin, reignited a memory of time and place via the sound booth simulation of Cyclone Tracy. The sound booth gave an inkling of what was experienced in Australia’s worst weather event, Christmas 1974. Shrieking howling wind, difficult to withstand the sound for ten minutes not hours, how anyone survived is a miracle, but survive they did including a cousin, his wife and their infant daughter. All they had left was part of the bathroom wall and a door wedged over the bath tub, which they sheltered under for hours, and a crystal bowl (a wedding gift) which landed in mud in the right place at the right time. Emerging from the cyclone simulation I felt more than a little shaken. Remembering that anxious Christmas night in 1974 with intermittent radio reports of a direct hit on Darwin. We were in the backyard at my aunt’s place in the country town where we grew up. As was his way, to distract the young ones, Dad transformed himself into Nelson Eddy and sang ‘Tramp, tramp, tramp along the highway’.

In addition to the warning on the door to the Cyclone Tracy sound booth, about nausea and fainting, there should have been further warning: ‘those who enter may exit with memories of Christmas past’.

Art references
Contemporary art of northern Australia includes works from and about: the Kimberley, Tiwi Islands, Arnhem Land, Gulf of Carpentaria, Cape York. See art references below and some comparisons.

Aboriginal art has a long history. Recent archaeological finds put human habitation at 65,000 years in the Madjedbebe rockshelter in Kakadu1. ‘The archaeologists found evidence of the mixing of ochre with reflective powders made from ground mica to make a vibrant paint’. In Arnhem Land the Aborigines left paintings chronicling 15,000 years of their history. In early 2017, ‘a group of Aboriginal rangers discovered hundreds of works of rock art while conducting dry season burn-offs in the remote West Arnhem region. The local people estimate there could be more than 30,000 pieces in one area alone’2

Locations
Darwin
Museum and Art Gallery of the Northern Territory
Bathurst Island
Tiwi Design Centre
Kakadu National Park
Nitmiluk National Park (Katherine Gorge)

Sense of Place

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Across the Beagle Gulf to Bathurst Island, 21/9/2007

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Tiwi art gallery and studio, Bathurst Island, 21/9/2007

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Croc habitat, one of the beaches, Bathurst Island, 21/9/2007

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Part of Nourlangie Rock Art, Kakadu National Park, 22/9/2007

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Yellow Water Billabong, Kakadu National Park, 22/9/2007

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East Alligator River, Kakadu National Park, 22/9/2007

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Dry season, Kakadu National Park, 22/9/2007

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The Escarpment, Kakadu National Park, 22/9/2007

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Stone Country, Arnhem Land, 22/9/2007

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‘There’s something down there’, black-necked stork (Jabiru), Kakadu National Park, 22/9/2007

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Some of the locals, royal spoonbill, wandering whistling ducks, pacific black ducks, Kakadu National Park, 22/9/2007

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A sentinel, white bellied sea eagle, Kakadu National Park, 22/9/2007

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Smiling croc, Kakadu National Park, 22/9/2007

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Nitmiluk National Park, 23/9/2007

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Nitmiluk National Park (Katherine Gorge) 23/9/2007

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Nitmiluk National Park (Katherine Gorge) 23/9/2007

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Nitmiluk National Park (Katherine Gorge) 23/9/2007

Art References – relativities and differentials

Tiwi, Tutini (Pukumani grave posts) 1958 AGNSW 20170802_171257
Laurie Nelson Mungatopi , Bob One Apuatimi , Jack Yarunga , Don Burakmadjua , Charlie Quiet Kwangdini , Tutini (Pukumani grave posts), 1958, Tiwi, North region, AGNSW

Mathaman Marika, Wagilag Sisters' Story, 1959, AGNSW 20170802_171340
Mathaman Marika, Wagilag Sisters’ Story, 1959, Arnhem Region, AGNSW

Yunupingu (Munggurrawuy), Lany'tjung - Banaidja Story, 1960
Munggurrawuy Yunupingu, Lany’tjung – Banaidja Story, 1960, Gumatj, Arnhem region, AGNSW

Bedford (Paddy) Untitled (Emu) 1999
Paddy Bedford, Untitled (Emu), 1999, Gija, Kimberley region, AGNSW

Stevens (Keith and Tjampawa) Piltati 2014 AGNSW
Keith and Tjampawa Stevens, Piltati, 2014, Pitjantjatjara, Southern Desert region, AGNSW

Marawili (Nonggirrnga) Lightning and Sea Spray 2014 AGNSW
Nonggirrnga Marawili, Lightning and Sea Spray, 2014, Madarrpa, Arnhem region, AGNSW

Gabori (Sally) Dibirdibi country, 2010 AGNSW
Sally Gabori, Dibirdibi country, 2010, Dulka Warngiid (Bentinck) Island in the Gulf of Carpentaria, AGNSW

Gabori (Sally) Dibirdibi Country 2012 QAGSally Gabori, Dibirdibi Country, 2012, Dulka Warngiid (Bentinck) Island in the Gulf of Carpentaria, QAGOMA

Tjupurrula (Bobby West) Tingari sites around Kiwirrkura 2015
Bobby West Tjupurrula, Tingari sites around Kiwirrkura, 2015, Pintupi, Western Desert region, AGNSW

Cummings (Elizabeth) After the wet Elcho Island 2004
Elizabeth Cummings, After the wet Elcho Island, 2004

Sciberras (Luke) Buffalo country, Katherine, NT, 2016
Luke Sciberras, Buffalo country, Katherine, NT, 2016

Other references

1 Buried tools and pigments tell a new history of humans in Australia for 65,000 years, The Conversation, 20 July 2017

 Indigenous rock shelter in Top End pushes Australia’s human history back to 65,000 years, ABC 20 July 2017

2 Aboriginal rangers discover rock art sites while conducting burn-offs in Arnhem Land, ABC 30 July 2017

Our Way Contemporary Aboriginal Art from Lockhart River, Sally Butler 2007

 

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Shoalhaven River, NSW – Landscape Painting

Nothing captures the power of place quite like Arthur Boyd’s paintings of the Shoalhaven River. The paintings, made over a ten year period from 1972, are exceptional through the intensity of light, the deep defined shadows, and broad range (naturalistic, narrative, fantastic, biblical, mythological) 1. The first time I saw some of the works was an exhibition back in 1989, I knew then I had to go to the place that inspired them, which eventually happened with two field trips in 2009 and 2012. Recently re-reading the book Artist and the River1 brought back memories from those trips.

The two field trips in October 2009 and September 2012, and a day trip to Bundanon in June 2011, made the paintings even more compelling. In 2009 and 2012 stayed at the Old Mill in Braidwood for a week on each trip, with time for side trips to the National Gallery of Australia in Canberra, about a one hour drive away. Art immersion at its best. Our painting site, near Braidwood on the Shoalhaven River, a special landscape to return to as often as possible. The photographs taken on the trips captured some of Boyd’s Shoalhaven, in particular the cleft triangular rock formations where the rock reflections in the water make diamond shapes.

As well as sketching and painting along the river most mornings, the everyday activities away from the city routine seemed unremarkable at the time, and yet it is these experiences that evoke the memory of place. Some of the scenes.

Blazing down the Hume Highway hammered by hail and wind blasted. Morning crystal clear water and perfect reflections, springtime dappled afternoon forest sunlight, wood fire and smoke, downpours and rainbows, a night of howling wind and pelting rain. Chirping sparrow chicks in the eaves, early risers no sleeping in, sound of a crow then complete silence. Rushing around town in Braidwood (population 1,651) in freezing intermittent sleet flurries in search of hot pancetta for the slow cooked one dish wonder for dinner in front of the fire. Arriving at the nearby stream each day just as the local platypus (Ornithorhynchus anatinus) disappeared, that outlier on the tree of life2, the elusive monotreme ‘no relation to fish or fowl, nor bird nor beast, nor horned owl, in fact he is the one and only’3. Standing up sketching on river rocks, one small slip, sketch book flung afar but fortunately no injuries. Driving down an isolated, bone rattling, long dirt ‘road’ to Monga National Park, thought out loud ‘not a good place to get a flat tyre or break down’, no mobile coverage. Then, to reinforce that thought, on a tight curve in the washboard road, a weathered, worse for wear, pre-war (WWII) bungalow with a lone, wary, old blue cattle dog (the breed usually described as ‘energetic and intelligent with an independent streak, prone to accidental injury’) on guard on the veranda, one ear pricked at the sound of the car. Nailed to a dead tree nearby a sign painted in large red letters ‘no public phone here’. The ‘road’ a scene of utter wombat (Vombatus ursinus) carnage. I counted at least twenty bodies in about one hour of driving, and began to wonder if they had been deliberately run down, either that or mown down by an inebriated maniac in a hurry at dusk to get home in time for dinner. The wagon came out of that day a little bit worse for wear which was confirmation of the travellers rule ‘never trust hand drawn maps found in local shops’.

From there, onward to ‘walk ten thousand miles read ten thousand books’ (Gu Yanwu, 17th century late Ming, early Ching dynasty).

Locations
Braidwood
Captains Flat
Majors Creek
Monga National Park
Araluen
Bundanon

Sense of Place

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Platypus territory, near Braidwood 14/10/2009

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Diamond reflections, Shoalhaven River, Bombay Reserve 17/10/2009

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Rock reflections, Shoalhaven River, Bombay Reserve 17/10/2009

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Flying rocks, Shoalhaven River, Bombay Reserve 17/10/2009

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Vision splendid near Braidwood 18/10/2009

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Riverbank and four rocks, the Shoalhaven at Bundanon 12/6/2011

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The Shoalhaven at Bundanon 12/6/2011

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Shoalhaven River, Bombay Reserve 27/8/2012

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Monga National Park 31/8 2012

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Araluen 1/9/2012

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Shoalhaven River, Bombay Reserve 2/9/2012

Sketches in ink and acrylics

2009 Braidwood Pond 14 October 2009 20170827_140250 (2)

Platypus territory, Braidwood 14/10/2009

2009 Braidwood Pond 14 October 2009 P1020651

Platypus territory, Braidwood 14/10/2009

Riverbank Shoalhaven River at Bundanon 12/6/2011

 

2012 Braidwood 3 Sept 2012 P1010512

Shoalhaven River, Bombay Reserve 28/8/2012

Riverbank Shoalhaven River 3/9/2012

2012 Braidwood 3 Sept 2012 P1010544

Shoalhaven River, Bombay Reserve 3/9/2012

 

Art References

Boyd (Arthur) Reflecting Rocks 1975 AGNSW
Arthur Boyd, Reflecting Rocks 1975

Boyd (Arthur) Riverbank and Rock Cleft 1974-6 (2)
Arthur Boyd, Riverbank and Rock Cleft 1974-6

Boyd (Arthur) River, Sandbank, Figure and Red Hill 1975-6 (2)
Arthur Boyd, River, Sandbank, Figure and Red Hill 1974-6

Boyd (Arthur) Shoalhaven River 1976
Arthur Boyd Shoalhaven River, 1976

Boyd (Arthur) Rocks at Budgong Creek 1979
Arthur Boyd, Rocks at Budgong Creek, NSW 1979

Boyd (Arthur) Three Rocks Near Punt Road, Bindanon 1981 (2)
Arthur Boyd, Three Rocks Near Punt Road Bundanon, 1981

Boyd (Arthur) Bundanon Series 1982 (2)
Arthur Boyd, Bundanon Series 1982

Boyd (Arthur) River bank and four rocks 1993
Arthur Boyd, River bank and four rocks, 1993

Walker (John R), CH Crossing the Shoalhaven, 2001
John R Walker, CH Crossing the Shoalhaven, 2001

Walker (John R) View from Arthur_s spot and Calypso Creek, 2001-2
John R Walker, View from Arthur’s spot and Calypso Creek, 2001-2

Rees (Lloyd) The Timeless Land 1965 (3)
Lloyd Rees, The Timeless Land, 1965

Whiteley (Brett) The Meting Place 1981
Brett Whiteley, The Meeting Place, 1981

Exhibitions
Frederick McCubbin, Last Impressions 1907-17, National Gallery of Australia, 15 October 2009
Abstract Expressionism, National Gallery of Australia, 25 August 2012
Arthur Boyd, Agony & Ecstasy, National Gallery of Australia, 26 September 2014
John R Walker, Here I give thanks, Drill Hall Gallery, Canberra, 6 August 2015

 Other references
1The Artist & The River – Arthur Boyd and the Shoalhaven, Sandra McGrath, 1982
2The Invention of Nature: The Adventures of Alexander von Humboldt, The Lost Hero of Science, Andrea Wulf, 2015

3A.B. ‘Banjo’ Patterson, Old Man Platypus (recall it being read out loud in primary school on wet Friday afternoons):

Far from the trouble and toil of town,
Where the reed beds sweep and shiver,
Look at a fragment of velvet brown –
Old Man Platypus drifting down,
Drifting along the river.

And he plays and dives in the river bends
In a style that is most elusive;
With few relations and fewer friends,
For Old Man Platypus descends
From a family most exclusive.

He shares his burrow beneath the bank
With his wife and his son and daughter
At the roots of the reeds and the grasses rank;
And the bubbles show where our hero sank
To its entrance under water.

Safe in their burrow below the falls
They live in a world of wonder,
Where no one visits and no one calls,
They sleep like little brown billiard balls
With their beaks tucked neatly under.

And he talks in a deep unfriendly growl
As he goes on his journey lonely;
For he’s no relation to fish nor fowl,
Nor to bird nor beast, nor to horned owl;
In fact, he’s the one and only!

 

 

 

Daintree National Park and the Art of Cape York, Queensland

Going back through material collected from a trip in 2010 to the tropical north for the Cairns Indigenous Art Fair, continues to provide a wealth of information on the dynamic indigenous art scene. Getting out into the environment heighted the appreciation of the art from the region, with time for day trips to the Daintree National Park and Cape Tribulation where the rainforest meets the reef. The national park, founded in 1981, is part of the Wet Tropics World Heritage Site, achieved after a long environmental campaign in the 1980s.

Despite all the road sign warnings, there were no sightings of the elusive cassowary (aka emu in a party hat). Migaloo the white whale didn’t make an appearance either, the whale cruises up and down the east coast, winters in the tropics and summers in Antarctica.

Held annually, the Cairns Indigenous Art Fair includes works from across Queensland and the Torres Strait. Indigenous Australian art has a long lineage. A recent archaeological dig now puts occupation at over 65,000 years in northern Australia at the Madjedbebe camp site.1 Contemporary indigenous art emerged in the 1970s2. Today many works feature pointillism combined with aerial perspective, intense colours, particularly those from the Anangu Pitjantjatjara Yankunytjatjara (APY) Lands of South Australia which dominate the current art scene3, reclaiming country through art. This year marks a ‘radical change’4 in the Wynne Prize at the Art Gallery of New South Wales, for first time it includes a large number of paintings by the APY artists, and its about time.

In comparison with the central desert (sacred designs), Arnhem Land (bark paintings), and APY paintings, the works from Cape York feature lyrical abstraction, action painting, are gestural, atmospheric with mood and emotion, the ‘Sand beach’ people where art and culture reflect deep understanding of the environment and its seasonal moods.’5 A style dealing with what is important to the community today. Some of the artists from Cape York and works below.

From the Lockhart River area (850 kilometres north of Cairns) 5:
Samantha Hobson scenes of fire, flying over the reef, and the beach at night.
Rosella Namok rain series, psychological impact, mood, atmosphere, ‘metaphysical aspect (conceptual not visual aspects of a subject but understanding and knowledge of it)’, personal experience, understanding of place.
Fiona Omeenyo free flowing line, expressionist figurative compositions, ancestral figures and kin relationships, coastal imagery past and present, Quinkan rock art iconography.

Judy Watson from northwest Queensland. Themes of political invisibility, dislocation, cultural memory, politics of place. Pigment soaked canvasses, works intuitively through listening to oral histories, travelling into country, and research of official records.

Places and events
Cairns
Cairns Indigenous Art Fair
Green Island
Port Douglas
Daintree National Park
Cape Tribulation
Australian Butterfly Sanctuary, Kuranda

Sense of Place

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Port Douglas 22/8/2010

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Daintree River 22/8/2010

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Cape Tribulation 22/8/2010

 

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Sand crab art, Cape Tribulation 22/8/2010

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Sand crab art, Cape Tribulation 22/8/2010

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Green Island 23/8/2010

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Monarch of the tropics 24/8/2010

Art References

Hobson (Samantha) Bust im up 2000 NGV

Samantha Hobson, Bust ’im up, 2000

Hobson (Samantha) Flying Over the Reef 2001_141803

Samantha Hobson, Flying Over the Reef, 2001

Hobson (Samantha) Burn grass season night time coming, 2001 NGV

Samantha Hobson, Burn grass season: night time coming, 2001

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Samantha Hobson, Burn Grass Season, 2002

Hobson (Samantha) Bush Fire 2002_142220 (2)

Samantha Hobson, Bush Fire, 2002

Namok (Rosella) Blue Water 2002_142316 (2)

Rosella Namok Blue Water, 2002

Namok (Rosella) Kaapan & Kuyan 2002_141912 (2)

Rosella Namok, Kaapan & Kuyan, 2002

Namok (Rosella) Boggy Road to Chili Beach 2002_142003 (2)

Rosella Namok, Boggy Road to Chili Beach, 2002

Namok (Rosella) Clan Groups Not Sharing Rough Times 2004 (2)

Rosella Namok, Clan Groups Not Sharing Rough Times, 2004

Namok (Rosella) Soft Morning Rain 2004_142036 (2)

Rosella Namok, Soft Morning Rain, 2004

Namok (Rosella) Today Now..We'pia Change 2004_142350 (2)

Rosella Namok, Today Now..We’pia Change, 2004

Namok (Rosella) Before Time...Proper Strong 2005_142414 (2)

Rosella Namok, Before Time…Proper Strong, 2005

Omeenyo (Fiona) Family Day 2006_141941 (2)

Fiona Omeenyo, Family Day, 2006

Omeenyo (Fiona) Many Rivers to the Sea 2006_141646 (2)

Fiona Omeenyo, Many Rivers to the Sea, 2006

Watson (Judy) museum piece 1998 AGNSW

Judy Watson, museum piece, 1998

Watson (Judy) names of the natives 2010 NGA

Judy Watson, names of the natives, 2010

Watson (Judy) bunya 2011

Judy Watson, bunya, 2011

Other references

1 Buried tools and pigments tell a new history of humans in Australia for 65,000 years, The Conversation 20 July 2017

2 How the Men’s Painting Room at Papunya transformed Australian art, John Kean, The Conversation 30 June 2017

3 Why the remote APY Lands dominate the Australian art scene, ABC RN by Georgia Moodie for ABC Books and Arts

4A delightfully playful portrait, a historic moment for landscape painting, Joanna Mendelssohn, The Conversation 29 July 2017

5 Our Way Contemporary Aboriginal Art from Lockhart River, Sally Butler 2007

 

 

 

 

 

Royal National Park, Sydney – landscape painting

June 2017 The Royal National Park (established 1879), the second oldest national park in the world (after Yellowstone) is a superb location for painting in the field. In this case, a short two day escape and short blog for the field trips record. On the second day the clouds rolled in, so set up on a veranda. Splashed around all morning then, just before pack-up, a catastrophic gust of wind up-ended everything: easel, palette, ink, water, gouache, acrylics all swirling in the middle of a blue tarp. Back to the drawing board.

Fairweather: ‘Painting to me is something of a tightrope act; it is between representation and the other thing—whatever that is. It is difficult to keep one’s balance’.1

Locations
Royal National Park
Audley Weir
Chaldercot

Sense of Place

20170616_134926_Moment

Near Audley Weir 16/6/2017

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The white tree 16/6/2017

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The bridge 16/6/2017

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Rock reflections I 16/6/2017

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Rock reflections II 16/6/2017

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View over Port Hacking 16/6/2017

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View from a deck 16/6/17

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The boat shed 17/6/2017

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Kookaburra on guard at 2 o’clock in the afternoon 17/6/2017

Sketches in ink, gouache, and acrylics

20170617 RNP view over Port Hacking P1020866

View over Port Hacking 17/6/2017

20170617 RNP view over Port Hacking P1020869 (2)

View over Port Hacking 17/6/2017

20170617 RNP The Boatshed P1020872 (2)

The boat shed 17/6/2017

20170617 RNP The Boatshed P1020873 (2)

The boat shed 17/6/2017

20170618 RNP The Boatshed P1020880 (2)

The boat shed 18/6/2017

Art References

Cezanne Le Pont de Maincy (2)
Cezanne Le Pont de Maincy, 1879–80

Fairweather (Ian) Bridge Huchow 1941 NGV
Ian Fairweather, Bridge Huchow, 1941

Fairweather (Ian) Valley and Hills Kulu, 1949 NGA
Ian Fairweather, Valley and Hills Kulu, 1949

Fairweather (Ian) The Pool 1959 AGNSW
Ian Fairweather The Pool, 1959

Boyd (Arthur) Reflecting Rocks 1975 AGNSW
Arthur Boyd, Reflecting Rocks 1975

Boyd (Arthur) Shoalhaven River 1976
Arthur Boyd Shoalhaven River, 1976

Boyd (Arthur) River bank and four rocks 1993
Arthur Boyd, River bank and four rocks, 1993

Other references
1Fairweather Late Works 1953-74, Queensland Art Gallery 2012
Fairweather, by Murray Bail, Queensland Art Gallery 1994
The Drawings of Ian Fairweather, by Tim Fisher, National Gallery of Australia 1997

The Artist & The River – Arthur Boyd and the Shoalhaven, Sandra McGrath, 1982

The Paintings of Paul Cézanne – online catalogue

Fowlers Gap, Far West NSW – Landscape Painting

May 2017. The joy of slow travel, in this case a train journey over 13 hours from Sydney to Broken Hill. Across several NSW regions: the Blue Mountains in early morning mist and fog, across the farming regions of the central tablelands, the central west slopes and plains, five hours across the vast, what seemed to be never-ending plains. Sunset somewhere between Eurabalong West (population 70) and Ivanhoe (population 200). Far horizons red gold landscape.

Intensive six days of painting and art practice discussions at Fowlers Gap, a remote research station in the arid zone of NSW in the Barrier Ranges which form the border between NSW and South Australia. Located 112 kilometres north of Broken Hill. A working sheep station with an abundance of kangaroos, emus, goats, and bird life, with several studios for visiting artists. For this time of year, sublime weather, warm to hot dry still days, clear clean air.

First impression flatness, vast infinity of space. Need to focus on scale and details while trying to walk the fine line between representation and abstraction without tripping over entirely into either. Some of the artists discussed and other art references, NSW western regions and Central Australia, below.

Maybe too much fresh air out there, but came away with a simple question. Why not aim high and try to pull together the entire history of landscape painting? Symbols, fact, fantasy, ideal, natural, light, order (reference Landscape into Art, Kenneth Clark 1949, history of western landscape painting), swill it all around for long enough in the hope, in future, to achieve the probably impossible one shot action painting with a sense of place.

Locations
Fowlers Gap
The Tanks
The X Box Studio
Ochre House Studio
The Lake

Sense of Place

20170522_171100_Moment

Sunset on the plains from the train 22/5/2017

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Remains of a sheep pen at sunset 23/5/2017

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Far horizon from the X Box Studio, dusk 23/5/2017

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Far horizon from the tanks, painting location 24/5/2017

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X Box Studio, painting location 24/5/2017

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Near the X Box Studio, painting location 24/5/2017

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On the way to the Ochre House Studio, morning 25/5/2017

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The Ochre House Studio 25/5/2017

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Near the Ochre House Studio, painting location 25/5/2017

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Ochre House interior late afternoon 25/5/2017

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Snake attempting to eat over-sized lizard mid-afternoon 25/5/2017

 

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Early morning grazers near the cottage 26/5/2017

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The Lake painting location 28/5/2017

Sketches in ink, gouache, and acrylics

20170524 Fowlers Gap near X Box studio P1020716

Near the X Box Studio, gouache 24/5/2017

20170526_100708_Moment (2)

From the X Box Studio, gouache 24/5/2017

20170529 Fowlers Gap Scroll P1020819

Section of ink scroll Ochre House 25/5/2017

20170526_100708_Moment(2)

Near Ochre house studio, gouache 25/5/2017

20170526 Fowlers Gap Work in progress P1020765

The outdoor studio, 26/5/2017

20170527 12 Fowlers Gap View from the cottage_122328

View from the cottage, acrylic, 26/5/2017

20170527 21 Fowlers Gap View from the cottage_122408

View from the cottage, acrylic, 26/5/2017

20170528 2 Fowlers Gap view from the Cottage _122432

View from the cottage, acrylic, 28/5/2017

20170527 Fowlers Gap The Exhibition _170139 (2)

The exhibition (the no smoking sign not mine) 27/5/2017

Art References

Broken Hill Regional Gallery 29/5/17
Henry James Johnstone, A Ford on the Acheron River (1881)
Lloyd Rees, Summer Morn Near Kiama (1945)
Lloyd Rees, The Pool (1946)
Emily Kame Kngwarreye, Wildflower Dreaming 2
Sidney Nolan, Little Boy Lost (1983)
John Olsen, Clarendon Spring Make Sure the Sun Wipes its Feet (1984)

Other landscape references

Gyokudo (Uragami) Frozen Clouds and Whirling Snow early 19th century
Uragami Gyokudo, Frozen Clouds and Whirling Snow, early 19th Century, Kawabata Collection, Kanagawa Prefecture

Friedrich (Caspar David) Monk on the Seashore (1808-10) Alte Nationalgalerie Berlin
Caspar David Friedrich, Monk on the Seashore (1808-10), Alte Nationalgalerie, Berlin

Hokusai (Katsushika) Tama River in Musashi Province 1830-32 MET
Katsushika Hokusai, Tama River in Musashi Province (Bushū Tamagawa), from the series Thirty-six Views of Mount Fuji (Fugaku sanjūrokkei), ca. 1830–32, MET

van Gogh (Vincent) Fishing Boats at Sea
Vincent van Gogh, Fishing Boats at Sea, 1888, Solomon R. Guggenheim Museum

Picasso (Pablo) Landscape with Two Figures) 1908, Musée Picasso, Paris
Pablo Picasso Landscape with Two Figures, 1908, Musée Picasso, Paris

Picasso (Pablo) Landscape 1972

Pablo Picasso Landscape, 1972, Musée Picasso, Paris
Exhibition: Picasso masterpieces from the Musée National Picasso, AGNSW Nov 2011 – Mar 2012

rouault-georges-solitude-1937
Georges Rouault, Solitude, 1937

Guston (Philip) Painting 1954 MoMA
Philip Guston, Painting, 1954, MoMA

Morandi (Giorgio) Still Life 1957 AGNSW
Giorgio Morandi, Still life, 1957, AGNSW

Art references NSW western regions and Central Australia

Streeton (Aurther Fires On 1891 AGNSW
Arthur Streeton, Fires On (Lapstone Tunnel, Blue Mountains), 1891

heysen-hans-the-hill-of-the-creeping-shadows-1929
Hans Heysen, The Hill of the Creeping Shadows, 1929

Rees (lloyd) Evening on the Bathurst Hills 1936
Lloyd Rees, Evening on the Bathurst Hills, 1936

Rees (Lloyd) Evening Landscape Orange 1943
Lloyd Rees, Evening Landscape, Orange, 1943

Drysdale (Russell) Road with Rocks (1949) AGNSW
Russell Drysdale, Road with Rocks, 1949

Nolan (Sidney) Salt Lakes, Wimmera, 1966
Sidney Nolan, Salt Lakes ,Wimmera. 1966

Nolan (Sidney) Desert Storm 1966 (1panel of 8)
Sidney Nolan, Desert Storm 1966 (1st panel of 8)

Williams (Fred) Lysterfield Landscape 1969 NGV
Fred Williams, Lysterfield Landscape, 1969

Boyd (Arthur) Rocky landscape with two figures, 1973, NGA
Arthur Boyd, Rocky landscape with two figures, 1973

Whiteley (Brett) 8 miles out of Cootamundra 8.28 pm 4.1.84 1984 (2)
Brett Whiteley 8 miles out of Cootamundra 8.28 pm 4.1.84, 1984

Ngal (Poly) Bush Plum Country 2002 NGA
Poly Ngal, Bush Plum Country, 2002

Cummings (Elizabeth) From the Two Tanks Fowlers Gap 2012
Elizabeth Cummings, From the Two Tanks Fowlers Gap, 2012

 

 

 

Palm Valley, Finke Gorge National Park, West MacDonnell Ranges, Northern Territory – Landscape Painting

May 2009, first field trip to Central Australia. The location of the camp in Palm Valley in the West MacDonnell Ranges was spectacular: the amphitheatre of massive eroded landforms, the gorges, palm trees, water bleached rocks, and deep red earth after a long dry period. Struggling with drawing and watercolour, after a couple of days in an attempt to loosen up a bit, picked up a piece of palm frond from the flood debris wrapped around a tree near my swag, rolled out some paper on the ground, poured out some ink, thought about traditional Chinese scroll painting, abstract expressionist action painting, gesture drawing, and got into a rhythm. An attempt at combining calligraphy and action painting. Within about ten minutes produced an ink scroll with landscape features from around Palm Valley (see below). A breakthrough at last. Still practicing this on most field trips over the past eight years. I take what’s left of that palm frond and use a roll of Chinese paper as my sketchbook.

There is usually a close encounter with wildlife on these field trips. Anyone who has stayed at a Central Australian national park camp site will have a dingo (Canis dingo) story. Fortunately dingoes will not approach anything taller than themselves. On the first night, savouring the fresh, clean, dry, cold, desert night air, an escape from frenetic city work life, stargazing, stretched out in a swag, deep sleep. Suddenly the sound of a loud siren. Thought I’d been in a car accident, bright light shining into my eyes, but when fully awake realised it was the full moon. Sat bolt upright to witness fellow painter’s swag levitate to the sound of another blood curdling howl. To put it politely, a shout rang out something like ‘what in the name of hell was that’. Moved the swags closer to camp. Now wide awake and wide-eyed in this incredible place. The four legged shadows melted into the darkness. Then the howling chorus started. There must have been some youngsters given the high pitched timbre of some of the howls, sometimes solo, sometimes with the full chorus, sounded like at least a ten strong choir. The following night made sure everything was packed away, didn’t want to lose a boot, and our dingo friends kept their distance. The melodious dingo choir became a nightly soothing, reassuring, routine.

Locations
Finke Gorge National Park
The Amphitheatre
Cycads
Palm Valley
Arankaia Walk
Mpuiungkinya Track
Kalarranga Lookout
Hermannsburg
Desert Park, Alice Springs

Sense of place

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Ghost gum stretch 10/5/2009

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Cycad gorge 10/5/2009

 

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Amphitheatre painting location 12/5/2009

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Looking back to camp and the amphitheatre 13/5/2009

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Water bleached rocks along the riverbed 14/5/2009

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Palm Valley, Mpuiungkinya Track 14/5/2009

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Sunset, 14/5/2009

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Sketching location, track to Kalarranga lookout 15/5/2009

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‘Where’s the food’, Desert Park 17/5/2009

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The old crack open an emu’s egg with a rock trick, Desert Park 17/5/2009

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‘No food here’ hotel car park, Alice Springs 17/5/2009

 

Sections of Palm Valley Scroll 12/5/2009

Art References
Huang Gongwang, Dwelling in the Fuchun Mountains, 1350 Yuan dynasty
Essay by Hung Sheng.
‘Handscroll over 22 feet long. The format of the handscroll allows for multiple perspectives in the same painting, embracing the landscape’s breadth and depth along the river and mountains as a continuous journey progressing through time and space. A Chinese landscape is not a visual record of a particular day or a single view, but rather it captures the flow of traveling through changes in atmosphere and multiple perspectives. According to Huang’s own inscription on the handscroll, it took him three to four years to finish the painting. It was not consciously constructed, but executed in a spontaneous state. Huang added to the painting when the mood was right, using six sections of paper to create “The Master Wuyong Scroll.” Huang did not paint for the court or the art market, but painted for himself as form of leisure and self-expression.’

“The Remaining Mountain” section of the scroll, Zhejiang Provincial Museum in Hangzhou
51.4 centimetres (a little more than 20 inches)

Huang Gongwang, Dwelling in the Fuchun Mountains 1350 (1)

“The Master Wuyong Scroll,” section National Palace Museum in Taipei
636.9 centimetres (nearly 21 feet).

Huang Gongwang, Dwelling in the Fuchun Mountains, 1350 (2)

Huang Gongwang, Dwelling in the Fuchun Mountains, 1350 (3)

Huang Gongwang, Dwelling in the Fuchun Mountains, 1350 (4)

Huang Gongwang, Dwelling in the Fuchun Mountains, 1350 (5)

Huang Gongwang, Dwelling in the Fuchun Mountains, 1350 (6)

Brushstrokes: Styles and Techniques of Chinese Painting from the Asian Art MuseumEducation Department Asian Art Museum – Chong Moon Lee Center for Asian Art and Culture (1995)

 

Finke River, West MacDonnell Ranges, Northern Territory – Landscape Painting

Reminiscing on past expeditions, in this case a second field trip to the West MacDonnell Ranges. A completely different experience to the previous year which marked the end of a long dry period, the land was a deep red then, arid, scorched. The only signs of life, a couple of eagles feasting on roadkill and some dingoes. In the year between May 2009 and April 2010 rain had returned to the red centre. I came prepared with earth colours but the landscape had been transformed. Water in one of the worlds most ancient rivers, the Finke River, a cormorant (probably flew in from Darwin), frogs, moths, tiny fat finches (aka popcorn for crows), and green everywhere. Best part, Ormiston and Glenn Helen Gorges had plenty of water for swimming, the water reflections on the rocks mesmerising.

Fantastic helicopter flight from Glen Helen along the Finke River to Ormiston Gorge and back. One pilot, two passengers, it was cramped but once over the white knuckle take-off phase, the view was amazing, the colours, the waterholes, with ridgelines disappearing into infinity.

In hindsight, great experience to help focus on perspective: central desert Australian Indigenous art, aerial perspective and symbolic language, and multiple perspective found in traditional Chinese landscapes (see art references below).

Locations
Finke River 2 Mile bush camp
Ormiston Gorge
Glenn Helen

Sense of place

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View from the camp 18/4/2010

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Across the river painting location 19/4/2010

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Mount Sonder dawn 20/4/2010

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Dawn textures 20/4/2010

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Gold nugget sunrise 20/4/2010

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Ormiston Gorge painting location 20/4/2010

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Wave Rock painting location 22/4/2010

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Glen Helen Gorge painting location 22/4/2010

From the helicopter flight

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Finke River and Mount Sonder 23/4/2010

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Finke River camp location 23/4/2010

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Infinite ridgelines 23/4/2010

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Near Ormiston Gorge 23/4/2010

Drawings, ink and watercolour sketches

2010 Finke River 18 April 2010 P1020636

Riverbed Finke River 18/4/2010

2010 Finke River 18 April 2010 P1020637

Riverbank Finke River 18/4/2010

2010 Finke River 21 April 2010 P1020653

Riverbed Finke River 21/4/2010

2010 Finke River 21 April 2010 P1020655

Evening Finke River 21/4/2010

2010 Finke River 21 April 2010 P1020656

Rock face Finke River 21/4/2010

2010 Finke River 22 April 2010 P1020654

Wave Rock Finke River 22/4/2010

2010 Finke River 23 April 2010 P1020638 F (2)

Venus Rising Rock Finke River 23/4/ 2010

 

Sections of Finke River Scroll 22/4/2010

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Art References

Namatjira (Albert) Mount Sonder, MacDonnell Ranges 1945-1953
Albert Namatjira, Mount Sonder, MacDonnell Ranges (between 1945 and 1953)

Aboriginal art – aerial perspective

Bedford (Paddy)
Paddy Bedford

Tjapaltjarri (Clifford Possum) Warlugulong 1977
Clifford Possum Tjapaltjarri, Warlugulong (1977)

Gaboi (Sally) Dibirdibi Country - Topway 2006
Sally Gabori Dibirdibi Country – Topway (2006)

Tjapaltjarri (Bill Whiskey) Rock holes near the Olgas 2007
Bill Whiskey Tjapaltjarri, Rock holes near the Olgas (2007)

Watson (Tommy) Waluntja 2010
Tommy Watson, Waluntja (2010)

Chinese landscapes – multiple perspective

kuo-hsi-early-spring-1072
Kuo Hsi Early Spring (1072)

Fan Kuan Travelers Among Mountains and Streams (early 11th century)
Fan K’uan, Travellers among Streams and Mountains (early 11th century)

Wang Meng Dwelling in the Ching-pien Mountains 1366 copy 3
Wang Meng Dwelling in the Ch’ing-pien Mountains (1366)

Ni Tsan The Jung-his Studio 1372
Ni Tsan, The Jung-his Studio (1372)

Tung Yuan Wintry Trees by a Lake (14th century)
Tung Yuan, Wintry Trees (14th Century)

Li Yin Loading Carts (early 18th century) Palace Museum Beijing
Li Yin. Loading Carts (early 18th century)

 

Mpwelarre, Sandstone Country, Northern Territory– Landscape Painting

In July 2011 it was a great privilege to be able to camp at Mpwelarre a small Aboriginal outstation about 30km northwest of Rainbow Valley, 75km south of Alice Springs, Northern Territory. Pristine sandstone country with sandstone remnants of an ancient inland sea (from 350 million years ago). Incredible sandstone formations shaped by wind and rain, like being on the coast except it is in Central Australia.

As on most expeditions, painted a scroll in ink of landscape features plus some drawings and attempts at watercolour.

This expedition in retrospect was all about colour. At Mpwelarre, like Rainbow Valley, the sandstone is topped with iron-rich sandstone that has dissolved through the sandstone to create deep red/orange abstract surfaces, often represented in indigenous art from central Australia (see reference below Emily Kame Kngwarreye).

The landscape has features shaped like a mushroom and an owl (see below) and where, while sitting silently, you can hear the sandstone rocks slowly disintegrating.

The sunset at Rainbow Valley produced an amazing light show with colour changing moment by moment. Yet again nature left us completely mesmerised. No artists’ colour palette could do the experience justice.

As on most expeditions I had a close encounter with some local critics. In this case with some local horses, a Franz Marc moment while sketching under a desert oak (see below). Being friendly but not realising that the horses were territorial, I whistled and they started trotting towards me. It became obvious they resented my presence in their environment by snorting and pawing the ground. I tried some humour (a Billy Crystal meets Gene Wilder moment): hi ho Silver, hey were you a co-star in My Friend Flicker, hey Mr Ed your tail’s on fire. Seemed to backfire badly, outback horses are definitely not into a bit of snappy wisecracking, probably never been saddled with anything.

With my back pinned to the desert oak, I thought it was the end, trampled to death in the central Australian desert. Luckily, somehow I managed to call their bluff. I hid the drawing of the desert oak, kept low and quiet, avoided eye contact until they lost interest and moved on. As I walked calmly back to camp, camels appeared on the horizon. I needed a drink. I knew you can’t bluff a feral camel, they would recognise a fake pleinairist in an instant.

Locations
Mpwelarre
Rainbow Valley

Sense of place

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Mpwelarre camp site 27/7/2011

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Mpwelarre near the camp 27/7/2011

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Rock face abstract 28/7/2011

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The Mushroom 28/7/2011

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Local camel critics 28/7/2011

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The Owl 28/7/2011

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Desert Oak 28/7/2011

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Sandstone sculpture 29/7/2011

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Sandstone cliff wall 29/7/2011

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View from my swag and painting location 30/7/2011

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Rainbow Valley sunset 31/7/2011

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Rainbow Valley dusk 31/7/2011

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Local horse critics 1/8/2011

Drawings, ink and watercolour sketches

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The sandstone mushroom, drawing 28/7/2011

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The sandstone owl, drawing 28/7/2011

 

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Rock face, watercolour 30/7/2011

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Desert oak, drawing 1/8/2011

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The mushroom section of ink scroll 2/8/2011

 

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The owl, section of ink scroll 2/8/2011

 

References

emily-kame-kngwarreye-my-country-1996

Emily Kame Kngwarreye, My Country 1996

marc-franz-the-tower-of-blue-horses-1913

Franz Marc The Tower of Blue Horses 1913

marc-franz-horse-in-a-landscape-1910

Franz Marc Horse in a-Landscape (1910)

 

 

Arkaroola, Flinders Ranges, South Australia – Landscape Painting

May 2012

Into the wild again. It is easy to forget the great distances between places in Australia when driving rather than flying. The drive from Adelaide to Arkaroola (600 kilometres) with stopovers at Willow Springs and Grindells Hut made it very clear. Still, worth it for the stunning landscapes in the Flinders and Gammon Ranges.

My first expedition to the Flinders Ranges, my first attempt in painting with acrylics in the field, and I was ill prepared for what was about to unfold. We spent too long after lunch at the Sevenhill Winery in the Clare Valley. This meant night was falling as we drove further into the Flinders Ranges. It was pitch black as the four wheel drive made its way gingerly down a steep winding track to Willow Springs. Sheep were continually caught in the headlights traversing the rocky steep terrain. At least the camp fire was burning and dinner had been prepared, some hours earlier, when we arrived. But, oh the horror, sleeping bags for some had not been packed and they had to spend the night in the shearers’ quarters. Day broke and what a strange landscape to behold. Arid with pine trees. Surrealists’ landscape.

Rauschenberg would have been right at home with the creative possibilities of the remains of old machinery lying around the shearers quarters slowly rusting back into the ground.

After two days at Willow Springs, where there are no willows, and day trip to Wilpena Pound, drove further north into the Gammon Ranges and set up camp at Grindells Hut. Arid, stark landscape with a dark history. Grindells Hut namesake murdered his son-in-law, for cattle rustling and death of Grindell’s mule. On the run from the law, he set himself up deep in the Gammon Ranges. The law did catch up with him eventually in 1918.

After a couple of nights at Grindells Hut, just as the goat shooters were arriving, drove further north to Arkaroola.

Stretched out in a swag gazing at the clear night sky and the Southern Cross. It was great to be back in the outback. Away from city light pollution, the night sky can be savoured, imagining what it must have been like navigating by the stars.

This expedition even included some intergalactic experience with a late night visit to the observatory in Arkaroola. For most of us, a first close encounter with our galaxy through a powerful telescope left us amazed and stunned into silence. Seeing Saturn and star clusters for the first time has that effect, even after several glasses of wine over dinner around a campfire.

Many excellent painting locations. My first attempt at painting with acrylics in the field and the local crows seemed to know it. While painting en plein air I did get a bit pretentious one day in a dry river bed and shouted ‘sacré bleu’ at a crow for shattering the peace. The crow seemed encouraged and kept objecting to my white paper scroll flapping in the wind or, more likely, my naïf attempts at painting the overwhelming. The crow followed me around most of morning and didn’t shut up, probably trying to warn me about the hazards of being out there. The crow was probably right as I was also aware of other silent and stealthy fauves, fauna, and feral critics constantly on watch, ready for the right moment to pounce on anything edible.

Locations
Willow Springs
Wilpena Pound
Grindells Hut
Arkaroola
Rock Pool, Arkaroola
The Pinnacles, Arkaroola

Sense of place

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Willow Springs 16/5/2012

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Willow Springs 16/5/2012

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Wilpena Pound painting location 16/5/2012

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Sculptural remains from bushfire, Wilpena Pound 16/5/2012

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The Cazneaux Tree, a lot healthier than in 1937, on the way back from Wilpena Pound 16/5/2012

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View from Grindells Hut late afternoon 17/5/2012

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Grindells Hut painting location 19/5/2012

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Local crow critic third branch from the left, Arkaroola 20/5/2012

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Waterhole, Arkaroola painting location 20/5/2012

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The Pinnacles, Arkaroola painting location 21/5/2012

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Leaving Willow Springs 23/5/2012

 

Sketches in ink and acrylics

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Wilpena Pound16/5/2012

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Grindells Hut 17/5/2012

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Grindells Hut 17/5/2012

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Grindells Hut 7/5/2012

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Rock Pool, Arkaroola 20/5/2012

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Rock Pool, Arkaroola 20/5/2012

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The Pinnacles, Arkaroola 21/5/2012

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Foothills, The Pinnacles, Arkaroola 21/5/2012

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Willow Springs 23/5/2012

Moolooloo, Flinders Ranges – landscape painting

July 2013

As on most expeditions I set out with serious determination to make painting progress. However, the old fall back came into play: if it’s not working blame someone else. In this case, the gods of Mount Olympus were creating chaos out there. Don’t know what they were doing there but something was going on. Tired and emotional, after about three hours of painting in high wind, at an amazing lookout, blown over, and fell into my palette. The paint on my hurricane jacket looked better than what was on the canvas. Muttering, cursing, swearing, nothing was working, not ink, not paint, nothing. Then it happened. Time seemed to stop. The clouds parted for a moment as the sun was setting and the whole landscape turned to gold. Standing transfixed, in a state of suspended animation, then the rational analytical side of the brain kicked in, fumbled around for the camera, and then the light show was over in an instant. Threw down the brushes, walked around with hands on head, and then packed up. Impossible to paint, all you can do in these situations is hope the camera is close by and the photos do some justice to the scene. Back at camp I tried to explain what happened. The response: ‘oh yeah and what were you drinking?’ Yeah well no wonder the surrealists and abstract expressionists escaped from realism. How can a plienairist hope to be a realist when nature throws a surrealist light show?

Back to reality and observation. The sheep lifestyle at Moolooloo Station gives a whole new meaning to the term ‘free range’. No risk of the wretched live sheep exports for these sheep. They roam at will, far and wide, mixing freely with local fauna, and then make themselves available for round-up by the waterholes whenever their fleece becomes a problem load. Although I did see the remains of one unfortunate who left it too late, probably got caught in a downpour, consequential torrent, and swept away, unable to run with about half a bale of wet wool on its back. All that was left in the dry river bed was a large pile of wool laced with clods of dirt, leaves, rocks, and twigs. The hard working sheep dogs must have dined out on free take away.

Before the trip revisited the Art Gallery of South Australia and some of the classics of Australian landscape painting:

H.J Johnstone, Evening shadows, backwater of the Murray, South Australia (1880)
Tom Roberts, A break away! (1891)
Hans Heysen, Foothills of the Flinders (1929)
Hans Heysen, Patawarta: Land of the Oratunga (1929)

Locations
Moolooloo Station
Hannigan Gap
Blinman Hut
Parachilna Gorge lookout
Angorichina Gorge

Some photos of locations and sketches in ink and acrylics below.

Sense of place

p1010598On the track to Hannigan Gap 1/7/2013

p1010596Hannigan Gap painting location 1/7/2013

p1010607Moolooloo Station painting location 2/7/2013

p1010625-2Local critic Moolooloo Station 2/7/2013

p1010641Blinman Hut painting location 3/7/2013

p1010666Parachilna Gorge lookout painting location 4/7/2013

p1010668Parachilna Gorge lookout sunset 4/7/2013

p1010683Angorichina Gorge painting location 5/7/2013

p1010685Local critics passing by, Angorichina Gorge 5/7/2013

p1010694Parachilna Gorge lookout painting location 5/7/2013

p1010700Parachilna Gorge lookout painting location late afternoon 5/7/2013

p1010705Moolooloo Station early morning 6/7/2013

p1010701Some of the coiffured sheep 6/7/2013

 

Sketches in ink and acrylics

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Hannigan Gap 1/7/1013

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Moolooloo Station – part of ink scroll 2/7/2013

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Moolooloo Station 2/7/2013

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Blinman Hut 3/7/2013

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Angorichina Gorge 5/7/2013

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Parachilna Gorge 5/7/2013

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Parachilna Gorge 5/7/2013