Presented by Denise Keele-bedford in partnership with Fed Square
Fracture Gallery, The Atrium Fed Square 1 – 30 November 2021 24-hour Viewing
Wednesday 3, 10, 17 and Thursday 25 November I will be at fracture Gallery from 1 -4pm.
You are welcome to view the work anytime during November and please contact me if you would like me to meet you on site.
In celebration of Multicultural Week at Fed Square, an armada of origami boats will sail through Fracture Gallery, accompanied by rainbow colour beams dancing across the space. The installation uses colour to convey the kaleidoscopic diversity of nations who have traversed oceans and created a fusion from their cultural inheritances that transforms Melbourne into a unique multicultural society.
Deep Blue Crossing acknowledges our First Peoples, our first-generation migrants who continue to enrich Melbourne’s heritage, and all people of different backgrounds, ideas and cultures who contribute to the harmony of future generations.
With Thanks to: Stony Creek Studio, Kayendee Acrylics, BMG Australasia, Karyn Blokkeerus, Megan Caine.
I also thank the exceptional team at Fed Square who have guided the installation process with consideration and professionalism.
From the beginning of contacting Fed Square with an art installation concept, through Covid restriction concerns, to promotion, schedule planning, contact assistance and ongoing through November, my experience has been one of feeling completely supported.
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Karyn and Megan my assistants.
Thanks Liliana barbieri for your photography.
Denise installing. Thanks Liliana for the photography.
Karyn Blokkeerus installing.
A Long view of the installation.
A close up of boats.
Light, Line, Shadow, Colour at Fracture Gallery
Acrylic Banners that bounce colour around the space.
Boats in the Evening light
Fantastic signage, created just for me.Thanks heaps to bmg.
Today I saw a Facebook post by my dear friend Zheng Xuewu. His post is reflective on a 2006 exhibition and an introduction to a 2009 exhibition. Below is the text from his post.
I was invited to participate in the 2006 ‘Qingzhou International Art Exhibition’, my first real international art exchange exhibition. In a Museum, how exciting. Although many international artist were represented only three attended the event, Kim Nam-Oh, Nathaniel McMahon and myself. I felt like I was representing female artists across the globe and was extremely proud to be an ambassador for my country on this momentous occasion.
We traveled by train for eleven hours. There is much to be said for the fast train today as it now takes four hours from Beijing to Qingzhou. Many of the Chinese artist went by car. Nathaniel and I were offered to go by car, however Wang Lifeng was so nervous about taking us, due to his little experience of foreigners, that he backed out of the offer.
I learnt much about luggage; all the things that I do not need to travel with. I felt burdened by my load of too many changes of clothes, laptop computer, backpack etc. My room mate, the other female Wang Jing, carried so little that I look like I was going for a month, not a week.
The exhibition was a buzz of activity, my rice and bean installation well received and made on site with local produce. I remember Shen Jingdong watching me working in the exhibition hall, whilst a row of artists sat opposite also watching me. They had carried their artworks with them which already were on the walls, while I spent several hours installing my design. Shen Jingdong announced to all and sundry, “Here, you are watching a real artist at work.” Another artist who was also busy creating in the gallery hall nearby was Liu Bolin. Today Liu Bolin is an internationally celebrated artist, who in 2019, was honoured with a solo show at Ballarat Art Gallery.
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Qingzhou International Art Exhibition Catalogue, Designer Lao Lv
In the summer of 2006, Beijing’s art atmosphere is as hot as the weather.
Three big jeeps carried over ten Chinese-foreign artists, starting from Beijing, running six hours to the ancient city Qingzhou that is located in the middle part of Shandong province. On the way passing Dezhou, we were attracted by famous food braised chicken; we stopped for a while and bought a fat one and felt quite good.
Ancient city Qingzhou has a long history and strong culture atmosphere. Colour stone carvings collected in museums are particularly exquisite. Artist Sun Baijun and I together with Qingzhou museum jointly planed “2006 Qingzhou International Modelling Art Exhibition”. Plus, Qingzhou local artists, more than 40 artists attended the exhibition.
The exhibition mode is completely different from exhibitions at art districts in Beijing. It uses the method of local governments organizing large-scale cultural activity. The huge banners and ad billboards, colourful banners, Qingzhou leaders and cultural bureau leaders attend the opening ceremony. Zheng Zuoliang, director of Collection Dep. National Art Museum of China, famous engraving artist cut the ribbon for the exhibition.
In fact, in just short days, people who came to see the exhibition were so many. Besides the local poets and scholars, more were ordinary visitors. This is probably due to the report by Qingzhou radio on the exhibition. People cheerfully communicated with artists. We were also very happy, although the terrible Dezhou braised chicken made me and Shen Jingdong go to hospital for intravenous infusion before the exhibition ended.
This year is just good time of Chinese contemporary art. Beijing is China’s most important art battlefield, with various exhibition activities concentrated here, seeming to fight for land. Many artists are busy with little time to go away from Beijing. In such a background, we planned this modern art exhibition in little Qiangzhou which is far away from the noisy city, really out of serious artists’ art historical responsibility. Modern art in Beijing is already very active, which gets world’s attention. But small and medium cities completely do not know what modern things look like! Like Qingzhou this ancient cultural city, people’s cognition on tradition has reached a high degree. Compared to other places where traditional culture is not deep, choosing such places as pilot locations of publicity and popularity of modern art will have better effect.
We’re really a bunch of idealists.
In the summer of 2009, the weather of Beijing is still hot, but art scene is “cool” a lot.
Artist Bi Hongliang and I together with Zibo Museum jointly planed “2009 Zibo International Modelling Art Exhibition”. To conduct this activity, we drank for many times and had meals for times! Hongliang did a lot of detailed concrete and trivial things for the exhibition, such as implementation of exhibition hall, leaders and insider’s invitation, artists’ accommodations in Zibo, manual mill visit, and pictorial design and printing etc.
Compared with 2006, today’s art environment has changed significantly. Global economic crisis cooled China’s popular art market. Many artists are like hundred hearts scratching, with no interest to conduct any exhibition activities without any benefit. In fact, the exhibition activity is far better than last time. The organizers print brochures for us, arrange accommodation, visit coloured glaze factory and ceramics factory, also arrange special travelling place. This is really quite good cultural and artistic activities.
This exhibition is full of famous Chinese artist elites: oil painting master, professor o
Tianjin Academy of Fine Arts Sun Jianping; engraving master, famous art educator, professor of China Central Academy of Fine Arts Wang Huaxiang; Pioneer modern artist Shen Jingdong; true power heavyweight artists, professor of Luxun Academy of Fine Arts Wang Jiazeng; Representative of the new realism Bi Hongliang and Jin Guangri; active international modern artist, the Chinese character biennale planner Pan Xinglei; Academic painting master Zhang Chun; dean of Nanjing engraving yard, famous engravings artist, “practice power” contemporary engraving literature exhibition curators Liu Chunjie; The Chinese modern experimental ink important artists Sun Baijun; Installation artist, curator Zheng Xuewu; Wang Chuanhe Qingdao drawing artist, well-known for sea drawing. International artists attending this exhibition are Tokyo Kabata Yuuri and Kabata Chihiro sister’s combination; American Chicago site artist Alsion Rhoades, North Carolina young artist Lauren Goding, New York’s installation artist Heejung Cho; Slovakia copperplate painter, Professor Peter Kocak; Australian famous painter Jayne Dyer; South Korea installation artist Kim Namo and Yoon Ilkweon; Dutch photography installation artist Rienke de Vries; American material artist Kathryn Gohmert.
Every artist is like flying flags in the wind. Wherever these colours dance to, there will be bright beautiful scenery. We take on our art sincere, eternal love to art, we will go to more places and enjoy pleasant sensations that come from a collision of different cultures, different space-time, many differences with more people!
We believe, in the future, the climate will remain cold in winter, hot in summer. What will art be like? It is unknown.
But we always expect, if China has more places such as Qingzhou and Zibo to accept and host modern art activities, and through various media with various means, let our ordinary people have access to modern art and foreign culture with various forms and fresh vitality. We ordinary Chinese people’s drab aesthetic orientation formed in hundreds of thousand years will become multivariate.
Thanks to the Chinese and foreign artists; Thanks to all the people that participated in activities.
Here we are in a ‘7 Day’ lockdown which has given me time to stop and reflect on the month of May that went so quickly I almost missed it.
It was such a shame that Walter and I could not attend the much-awaited RISING festival activities as our tickets for all performances were cancelled. On the eve of Reconciliation Week, we were to enjoy Bungul in Hamer Hall and experience the magnificent projection on the Art Centre. I hope that the projection is extended, as it looks great in the video clips.
We did, however, have an at-home dinner celebration and extensive clear view of that giant red-blood moon. Joy for Walter that his oncologist does not want to see him for a year.
May came in a flurry as the Flora exhibition closed, the Nillumbik Prize opened at Montsalvat, and Walter featured on the front page of the Warrandyte Diary that reported on the Anzac Day March.
In between Walter’s medical appointments we managed a few days, with the dog, in Lakes Entrance. What a vibrant arts community, full of energy, collaboration, and some broad thinkers. We spent time with Jan Martin, Cynthia Boyle, Ngaere Donald, enjoying their creative studios, afternoon tea in the converted dairy and great conversations with spouses.
Another lovely dinner at Jan’s place with Josephine Jakobi, Andrea Lane, more spouses, and an introduction to the Lake Tyers Float residency.
At Red Gallery in Fitzroy, with Janet Boddy and many others I listened to Anne Hastie’s presentation, set amongst her artworks in the Peridot exhibition, in gallery one. In gallery three Beatrice Magalotti exhibited her Migration Series of drawings, installation, bronze, and photography.
I was wowed when I walked into an exhibition by Sue Jarvis. Art That Makes You Think was held at the Cardinia Cultural Centre, a superb gallery space where Sue’s paintings were literally awesome. The exhibition was a survey of some 15 years of studio production. An absolute credit to her.
It was a privilege to attend the wake and exhibition of works for Valda Cuming OAM. Valda, at 91, passed away in April 2020. Valda’s legacy continues with the profit from exhibition sales being divided between her three favourite arts organisations. I am pleased to say I now own two small Valda Cuming artworks.
Not knowing whether June will be spent at home in our 5klm zone, Walter and I are in preparation for future activities but keep low key immediately. This time is good for, well, writing, studio work, touching base with friends and family and updating social media.
With a major installation planned for November, I am required by end of June to submit images and text for promotion of the artwork and workshops, whilst continually folding paper for the installation.
As the webmaster for the Melbourne Society of Women Painters and Sculptors (MSWPS) June will see me setting up an online Covid Creations exhibition due to be launched 1 July.
Also, as editor for The Bulletin, a bi-monthly MSWPS Newsletter, my job is to have the publication out before 1 July.
For more than a year I have been planning for a crate of my artworks to be sent from China.
11 June sees the crate landing in Melbourne and delivery to my studio 18 June. I look forward to having a few of my babies in Melbourne.
In February I participated in the Year of Wonder presentation in Warrandyte. The exhibition concludes on 30 June and a celebration with a book launch will take place on Saturday 3 July. I was fortunate to be able to by a copy and full of excitement to see my images included in the publication. Our Year of Wonders Warrandyte 2020 is available for purchase at $40.
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Jan Martin
Cynthia Boyle
Ngaere Donald
With Walter and Dolly at the Cowtell
Lake Tyers Float Residency
Anne Hastie Invitation
Flotilla 5 by Beatrice Magalotti
Sue with Construction Worker 1 and Landscape of Disused Signs
Bluethumb state: We represent over 11,000 emerging and established artists from Australia and work with 20 of Australia’s most remote Aboriginal Art Centres to give you access to more Australian artists and their art than anywhere else in the world.
We have sold over 30,000 original Australian artworks to everyone; from first time art buyers to established collectors and Australia’s finest architecture firms.
As a Member of the Melbourne Society of Women painters and Sculptors, I am happy to say that I am participating in the 111th Exhibition. Changing Perspectives is our Inaugural Online Virtual Exhibition.
All are invited to view the exhibition when it goes ‘LIVE’ at 8pm on Friday 6th November.
Copy and past into your search engine to Open the Exhibition:
2020 has been a remarkably different year for our society. The Annual General Meeting in March was the only opportunity for members to meet before the pandemic lockdown. This meeting took place at The Ola Cohn Centre, the former home and studio of the sculptor Ola Cohn, now MSWPS regular meeting place. Ola Cohn was President of the Society for fifteen years until her death in 1964. On Thursdays, Life Drawing and other activities are usually held at the Centre, but all has been quiet this year with no art gallery or studio visits, paint outs, artist’s talks, workshops, bus or train trips. Yet despite COVID 19 restrictions, the society has provided camaraderie and support to members as in the past. Although not being able to meet in person, General Meetings and Committee Meetings via Zoom have become the norm. They have kept us in touch and informed, as have the comprehensive e-Bulletins. Many members have used this time of fewer interruptions in creative productivity. Works created before our world changed last year will be shown online as well as the diverse isolation works.
Mid December 2006 Walter and I drove the old van to Moorabbin airport to catch our flight to Flinders Island.
I had recently returned home from an amazing adventure in China and my new studio in Beijing and thought that my time on the trip with Walter would be reflecting about my China trip.
Walter was really enthused and with a painting kit all packed and ready to go was eager to discover some great painting spots.
As I was learning the Chinese language, I decided to take my workbooks with me and spend the week studying. I told Walter that as I had had such an exciting time in China, I would not make any artwork on Flinders island.
We had pre booked our accommodation and rental car, so plans were to be straight forward in settling in.
Not a red cross, but Whitemark on the map showed us the main hub of activity on the island. We had a little house on Patrick Street, a short walk to both the Pub and the foreshore.
What is that saying about mouthing off, then having to eat your words? That is exactly what happened to me. After purchasing a few supplies of tea, coffee and breakfast foods we set off to look around.
I was AMAZED. I could not believe that within a few hours on the island my plans were completely and utterly thrown out the window.
Flinders Island is one of 52 islands in the Furneaux Group dotted across Bass Strait, north-east of Tasmania.
When the eastern Bass Strait Islands were still a land bridge between mainland Australia and Tasmania, the region was a highway for traveling aboriginal groups. With the flooding of the land bridge the Tasmanian Aboriginal Community was separated from their mainland cousins and they developed their own culture and practices.
The history of Flinders Island begins with the Tasmanian Aboriginal people who were the first residents 35,000 or more years ago. About 9,000 to 4,000 years ago for reasons uncertain the Tasmanian Aboriginals ceased to be full time occupants of the Furneaux group of which Flinders is the largest island. The next human contact was when Tobias Furneaux discovered the islands in 1773. However, he did not land on any of the islands. In 1797 the merchant vessel “Sydney Cove”, en route from Calcutta to the fledgling colony at Port Jackson, was beached off Preservation Island, south of Cape Barren Island. Read more at the website.
The geological formations across the Southern coast of mainland Australia, Bass Strait and Northern Tasmania are a stunning display of Granite mixes formed some 380 million years ago. An orange lichen that grows on the rocks is a combination of algae and fungus providing food for tiny organisms.
It was these rock formations of brilliant colour and shape against a clear blue sky that shifted my plans to create artworks on Flinders Island. The complimentary colours of Orange and Blue forming positive and negative spaces of harmony for the eye captivated me and I was willing to submit to interacting with nature.
At this point with six days ahead of us we were both very keen to get out and about seeking sites to create. Because we were both wanting to interact with nature but in very different ways; Walter to paint and me to use what nature offered for hands-on creations, he would drop me at a site that I liked and drive to a place that suited him.
We did find two sites that suited us both which meant that we could share a cuppa when finished or on a break.
If you have been following my Blogs, you will know that documentation of my works is significantly important. Even with the artworks created in Farrera, it is the documentation that I take with me, as the work is left behind, returned to nature or given to the Residency Centre.
Walter and drove to a site high above the beach, with mountains in the background, we both loved it. I looked across the beach where not one footprint impacted on the smooth surface. I said, “look at that vast canvas just waiting for an image”. I was smitten and while Walter took out his sketch pad and pencils, I wandered down below.
Think of the ocean, eons of time it has taken to form this island, the sea creatures and the vast expanse of sand. My thoughts of the nautilus and the perfect spiral within gave rise to me stepping out and marking Spiral from the Sea.
The outcome of this island journey is great memories and the realization not to have expectations. I am so pleased that the natural environment of Flinders island drew me in.
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Late 2014 I wrote an article based on an Artist-in-Residence (AIR) in Spain, titled a Tribute to Farrera.
Whilst in Spain, at least three times, I drove to the end of the road, usually up a narrow mountain road. Farrera is at the end of the road on the edge of a valley in the Catalan Pyrenees. A small village of houses and barns, built with local stone and slate, grouped around the 17th century church of Sant Roc, it is sited at an altitude of 1365 metres and is one of the highest inhabited villages in Catalonia. (extract from The Centre d’Art I Natura website)
In the following article I mention six weeks of exploring Spain. It was an amazing journey, however by the end of week five Walter did not want to see any more cities so I took him to the costa del sol where we idled for several days traveling to the end of the road at Capileira on a day trip.
Our one-week artist residency in Farrera was unique in our usual style of touring. It was Walter’s first residency and a week of sheer indulgence to create for both of us. We had the opportunity to stay in one place and really get to know that place. Tourist companies continually advertise the concept of seeing seven countries in seven days rushing guests to the must-see spots for them to tick the site on their bucket list before taking a bus or flight to the next spot.
We have an immense amount to gain by stopping the rush. Yes, there were many ‘must see sites’ in Spain that we did not see and may never see, but we will spend the rest of our lives talking about one week in Farrera; the people we met, the walks, the dinners, the changing weather and the joy of art making.
A Tribute to Farrera Denise Keele-bedford December 2014
Late in 2013 my husband and I decided that we would journey to Spain, a first for us both.
From early September to mid October 2014 we would have six weeks of exploring the Peninsula driving a Northern loop from Madrid to coast and down to Barcelona. A train from Barcelona to Seville then driving a second Southern loop to coast and back to Madrid, virtually a ‘figure 8’ form.
After looking at the resartis website to discover that Spain offers 22 different residencies I contacted two in Northern Spain then applied to one to undertake a one-week Artist-in-Residence (AIR).
In its 18th year The Centre d’Art i Natura (CAN) in Farrera offers workspaces and facilities to artists and natural scientists. It is directed by Lluis Llobet, his wife Fransesca is host and son Anau is chef.
Farrera is sited at 1361 meters above sea level in the Catalan High Pyrenees, close to the Andorra border. There are historical references to its existence more than 1,000 years ago.
Farrera is in a remote location at the end of the road. It is a small village set on a hillside, facing South opening to magnificent valley views to the West and with a fluxing population of 20/25. CAN is owned by the local council and administered by a non-profit association “Friends of the Centre d’Art i Natura de Farrera”.
The Centre d’Art i Natura has renovated the old village school l’Estudi, which was our accommodation, Casa Ramon, set beside l’Estudi and an old barn la Bastida into ateliers, kitchen, dining room and living studios. We had access to the Centre’s Library, Computer, Printer, Dry workroom and Wet workroom.
Llavorsi, 12 kms away is the closest center for produce and supplies and as we provided our own breakfast and lunches, we took supplies in the car with us. When we arrived, we were introduced to l’Estudi, the Art Centre and informed about the group evening meals.
Four other female artists in residence were from Denmark and Spain whose disciplines covered, writing, dance and visual arts.
My husband took paints, brushes, and paper with a plan to create a series of paintings based on the location. He produced 11 paintings approximately A4 size in gouache.
I took a small A5 sketch pad, pens and a small travel set of water colours for I did not know what I would produce as I usually prefer the place, environment, atmosphere and physical space to guide me.
On arrival I was most impressed with the slate roof tiles, old style (hand cut) and new (laser cut) that covered every roof, gateway, and stacked spares in case of breakage.
The first day I walked as far as I could past the end of the road turning back when it became a climb. The area sees many hikers and climbers especially in fine weather. Cutaways along the roadside revealed layers of fine slate. Scattered fragments laid along the roadside in a range of colours from dark charcoal, silver grey and raw sienna from light to dark. Lluis informed me that a clay could be made from the slate, showed me samples and I considered experimenting with this.
The second day I walked to a little village nook, that I had driven through, 1.5 kms from Farrera exploring the different architecture, laneways, steps and gardens. In this remote area, with rich soil, sheep and cattle, many vegetable and flower gardens flourish. Three non-denomination churches form the historic context, and in my eyes, slate was the dominant feature.
I collected fragments of slate in a range of colours and tones and spent a warm afternoon washing and setting them in the sun to dry. I spent time in the Library mainly looking at historic cultural sketches and images of local flora and fauna.
By the third day I had decided that the slate fragments would become a diary of my time in Farrera. I had collected many pieces of slate and was able to be very selective in allowing aspects of the slate to direct the images that I painted on them.
I completed 43 pieces depicting the everyday objects and items about me. Several pieces referenced flora and fauna seen in the village and on my walks. A found feather, tadpoles in a nearby water trough, sheep and sheep dogs, insects that crawled in the apartment and art studio all represented my time in Farrera.
A slope to a stream in the valley is a depot for old slate roof tiles and an afternoon was spent collecting these, some quite large, pieces to from a base for my installation.
The last night in Farrera we had a display of our artwork with village people in attendance.
Due to the weight and delicacy of the slate fragments I donated most of the pieces to the Art Centre, gave several as gifts to Chinese friends on route to Melbourne and arrived with three broken and a few as mementos. Retaining the artwork is not important to me for I have the documentation. The experience of taking an Artist-in-Residence is just that, an experience. We grow and become richer as an artist through these experiences.
I highly recommend experiencing an Artist-in-Residence (AIR)
An invitation to specifically create installation artworks at the DaPu International Art Centre saw me travel into Heilongjiang Province 150 plus kilometers North East of the capitol Harbin, to Daqing. Artists in this recently established city had heard of installation art, however, they had not experienced interacting with this discipline of art making. The attached text was written in response to a series of works titled Lines and Light.
In the early 20th century when Marcel Duchamp, the father of contemporary conceptual art, placed a urinal within a gallery space and called it by another name, the use of functional items in art making came into existence.
His thinking and perspective of our world, society, culture and every day life opened opportunities for artists to think beyond materials specific to art making.
Robert Rauschenberg expanded on Duchamp’s ideas in mid 20th Century, by using objects he found when walking the streets of New York. He used discarded residue of the everyday in his artwork production, hence he formed the basis for recycling in art making.
Conceptual art, ideas of thinking, looking, collecting and rearranging includes the incorporation of anything and everything the artist decides to use.
When arriving at Dapu International Art Centre I found a series of timber crates. They are the residual of packaging used to send delicate ceramics across China.
In my eyes these crates reflect the interior architecture of the Dapu Art Centre. They contrast in material to the metal balustrade, yet the organized geometric structures mimic lines of design in the open space inside the building. The crates, in comparison to the smooth, tactile, evenly painted balustrade and skylight, are not at all tactile. They are rough saw cut and require caution to touch.
The crates when placed within the open space on the first floor of the Art Centre come to life as the sun moves slowly from East to West in the late morning.
At that time there becomes a lively interaction between elements natural, constructed and found. Shadows, light and reflections interplay for approximately 30-45 minutes. Like a flower that opens to light and closes at dusk so too Lines and Light opens and closes.
Using the same crates, varied in form, A Personal Perspective was installed for individuals to create their own dialogue with the artwork. How they move through and around the installation is a personal decision. Designed on Yin/Yang (bagua) concepts, individuals can move through the spaces viewing changing tones, lines, light and reflections.
The artwork ‘He cha 喝茶’ was created during this residency. Read more about it in the blog: Tales of Tea.
Written while travelling on the T5004 train from Daqing to Haerbin.
2011 August 1
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At this time when we cannot travel, I have decided to reflect on some of my journeys that have given me great insight, learning experiences and immense joy in my art practice.
In September 2008 Walter and I toured Islands of Scotland.
The trip included several Ferry crossings, bridges and a causeway to Holy Island, or known as Lindisfarne; just South of the border on the East Coast of England. We toured in The Orkneys, Outer Hebrides, Mull, Iona, Anglesey and one week in Ireland to visit Walter’s ancestral home.
For me the journey was all about history. I wanted to visit the places where earliest humans had established settlements, I was seeking to find where my culture began.
I found that people have lived in Scotland for over 12,000 years and one of the oldest, surviving settlements is Skara Brae. Sited on the southern shore of the Bay ‘o Skaill, in the West Mainland Orkney Island it is dated from roughly 3180BC.
Pre Journey research introduced some incredible locations that I was itching to visit.
That journey was not just about me though, Walter also had an agenda. To have balance for both I concluded that perhaps after visiting several sites I would be satisfied.
Fortunately, or unfortunately that did not happen. The more I saw the more I wanted; I could not get enough of the history I was seeking. I wanted to walk the ground, feel the spirit of those who went before. I traversed fields in fog, climbed hillsides, delved deep into
Chambered Cairns and felt the warmth of standing stones.
I had been chided for some time over my love affair with China, being told that I was becoming Chinese and would forget my culture.
It made me question why I loved the Chinese and realized it was because of the long-established history of their culture.
White Australian history is a drop in the ocean of time. I am very aware of our First People, their connection to the earth and the 1,000’s of years of culture.
I wondered where I fitted in to all of this.
The journey to Scotland was immensely profound for me, I learnt that my people have always been travelers, they have been intrigued with new places. My recent ancestors who came to Australia in 1849 were adventurers, they settled in Melbourne, were successful in business and respected in community.
The main recognition for me is my interest in experience. I now know, through that journey and through my ancestors that I am a person with a curiosity for learning through experience; travel is education.
I was a few years into the Rock, Paper, Water Project that started at Bundanon in 2004, when we traveled to Scotland. I made a fresh series of forty-two bowls that took the journey with me. The goal was to find ideal sites where the paper bowls could be placed into environment to interact with Rock and Water.
The attached images were taken by myself except for one of me, thank you Walter for that.
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