Centrepoint sunset


Sydney Tower, aka Centrepoint, shimmers gold as the rising sun illuminates the city. As the Autumn sun sets the Tower appears to be etched into the sky. Taken from Catalina Restaurant, Rose Bay, Sydney, Australia. 

Why grey?

For a number of years it has been popular to paint your house grey. I wonder if this pair of houses would look different if the mouldings on the house on the right were picked out in a contrasting colour or shade. I personally prefer the colour palette used on the left, what do you think?

Morosity expunged

Potted orchid gift from you,
Despoiling mealy bugs too.
This symbol of friendship lost
Once bloomed brightly at a cost.
Prophetically distressed;
Motivations are undressed.
Spirit of goodwill sucked dry,
Again left wondering why.
Memories tainted by you;
Time to fade to forget who.

Rainbow hope

This is the first time in its 64 year history as a university that my place of work has raised the rainbow flag in honour of LGBTIQ Pride and the 2015 Mardi Gras. I don’t believe it’s coincidental that our new President and Vice Chancellor, Professor Ian Jacobs arrived in February; a new broom sweeps clean. 

Thank you to Ally and the Kirby Institute, Sydney, Australia, for arranging this auspicious occasion.

More fiddling needed?

Most of the time I haven’t the faintest idea of what I will create using ArtStudio for iPad; pictures evolve. A few squiggles, layered and filtered result in depth and movement.

I have a tendency to fiddle too much, does it need anything else? What do you think?

Aperol Spritz anyone?

I agree that in the main, less is more; I have cropped this image a little. I didn’t want to lose: the sources of coloured light; the mixing of the colours; the effect of light on the pressed metal ceiling, the person providing scale; and the red chair at the top of the stairs.

This bar is in one of our favourites in Leichhardt, Australia, Aperitivo, bar, restaurant, pizzeria.


Art on the fringe

For the last 17 years I have considered travelling along the Parramatta Road, Sydney, Australia, a necessary evil. It’s meandering course separates suburbs with a steady stream of traffic from the edge of the City to Parramatta in the west. Since crossing this busy arterial road to live in Leichhardt, I have come to appreciate the novelty of the highway closest to home. Car, furniture and bathroom showrooms intermingle with bridal shops and brothels. I’m pleased to be wrong in my assumption that I would not come across an art installation in this microcosm of retail delight.
Located on the side of Kennards, former British Breweries Building, Taverner’s Hill, Petersham, is a mural sculpture by Paul Beadle. A finalist in the Sir John Sulman Prize, 1953, the frieze of four figures: “Farmer, Brewer, Drayman, Publican,” stand 12 feet 6 inches (3.81 metres) high.

This photograph entitled “Paul Beadle, Sculptor“, shows the Farmer being created, Newcastle Morning Herald, 1953 (i). An article in issue 38, Cockle Creek News, May 1954, entitled “Interesting Use For Sulphide Cement” (ii), notes the use of half a ton of Celerite cement at a ratio of 3:1 sand to cement, along with the vivid description of the manufacturing process includes ramming the mix into plaster of Paris moulds.

Mr Beadle is also responsible for sculpting the stylised American eagle in aluminium on a bronze ball that adorns the Australian-American memorial in Canberra, Australia, designed by Richard Minchin Ure (iii).

The following biography accompanies a photograph of the artist sculpting, National Portrait Gallery. (iv)

Paul Beadle (1917-1992), sculptor, was born in England and studied at the Cambridge Art School and the Central School of Arts and Crafts during the 1930s. He arrived in Australia in 1944 and became known for his ‘bronzetti’ satirising history, literature and politics. He taught at the NAS for four years before becoming head of the Newcastle Art School in 1952; later he was principal of the South Australian School of Art for two years. Beadle made the 11-metre high eagle and sphere surmounting the Australian-American Memorial at Canberra’s Russell Offices, which was completed at a cost of 100 000 pounds (much of it raised by public subscription) in early 1954. In 1961 he moved to Auckland to take up the position of Chair of Fine Arts at the University’s Elam school. In 1969 he exhibited at the Bonython Galleries in Sydney as well as in Adelaide and Auckland; up to the mid-seventies he showed at Australian Galleries in Melbourne.

I particularly like the “sculptured” style of this portrait of Paul Beadle.

Paul Beadle, 1955 by Jon MOLVIG (iv), oil on (composition board), 152.0 x 122.2 cm.
Accession Number: 3377-4
National Gallery of Victoria, Melbourne
Purchased, 1956
© National Gallery of Victoria
Gallery Location: Not on display

i. Newcastle City Council Library, http://collections.ncc.nsw.gov.au/keemu/pages/
ii. Lake Maquarie History, http://history.lakemac.com.au/images/dynamic/history/lh-11364.pdf
iii. Australian Government, Department of Defence, http://www.defence.gov.au/media/download/2004/feb/160204a.cfm
iv. National Portrait Gallery, http://www.portrait.gov.au/people/paul-beadle-1917
v. National Gallery of Victoria, http://www.ngv.vic.gov.au/col/work/5944