Sonic Spheres

Detail of TarraWarra Biennial artist Dylan Martorell’s exhibition work, Sound Tracks TarraWarra 2012, mixed media, dimensions variable. Courtesy of the artist and Utopian Slumps, Melbourne

I write my best blogs in the shower.  Words and phrases wash over me until they form themselves into sentences. This Biennial exhibition, Sonic Spheres, currently showing at TarraWarra Museum of Art has taken up a lot of my shower time lately. Two words kept bobbing up, demanding attention - avant-garde and adventure.

Installation view of Sandra Selig’s work hold me in scattered light 2012, monofilament, nails, site-specific installation, dimensions variable. Courtesy of the artist, Milani Gallery, Brisbane and Sarah Cottier Gallery, Sydney.

The curator of Sonic Spheres and director of TarraWarra Museum of Art, Victoria Lynn, is no stranger to the avant-garde.  Her father Elwyn Lynn surrounded her with art and the avant-garde from a very early age.  No doubt conversations around the dinner table had art and ideas at their centre. When I asked her at what point she realized that she would work in the arts, I knew immediately that it was a superfluous question. She has never considered any other profession.

Here in the Yarra Valley we are all the richer for her early certainty. To prove my point, her exhibition, Sonic Spheres, successfully explores the idea that the disciplines of music, sound, visual arts and performance are indivisible. The diversity of the work exhibited is impressive, including installation, assemblage, interactive video sculpture and experimental musical notation. Nothing is predictable or as it may initially appear.  Be prepared to be challenged, because that is, after all, the job of the avant-garde.

Installation view of Nathan Gray’s work Treatise (Pages 131 and 78) 2012 (based on drawings by Cornelius Cardew) wood, aluminium, stainless steel, rope and tape, 320 x 480 x 180 Courtesy of the artist and Utopian Slumps, Melbourne.

For me, this was an adventure into the unknown.  I didn’t completely understand the theory behind it, or it’s historical underpinnings until I spoke to Victoria Lynn during an interview shortly after the Biennial opened.   The penny dropped when Victoria suggested three things to keep in mind while viewing the exhibition.

1.) Think about music and sound in your own life. Think about times in your life that were quite powerful and memorable and often a sound will come to mind. It might be a song, a sound that was very disturbing, a crash. Think about memorable sonic moments and how sound can get under your skin… Embrace the fact that sound is something within all of us. That music has had an affect on all of us.

2.) Music has influenced these artists in a myriad of ways. For one artist it might be that they have dual practices. They’re in a band and they make paintings. And the two are conceptually interlinked for them. For the aboriginal artists from the show, who are from Kiwirrkura, the song cycle that has inspired the work, is an integral part of the creation of the work. So they are visually representing a set of stories and a set of songs and for them they’re completely integrated. Another artist Nathan Gray created a sculpture on the wall in response to a composer from the mid century and his sculpture during the opening was played and the same for Dylan Martorell the sculpture is actually also an instrument. So think about sculpture as an improvised form of instrumentation. So it’s a cluster of responses to sound and music. And each one will be quite different.

3.) The integration of art and sound goes way back to the early 20^th Century and the Italian Futurists who wrote a manifesto called the Art of Noises where they celebrated the idea of noise. That avant-garde tradition went right through to the mid twentieth century, to the Fluxus Artists in Germany, to Nam June Paik, to John Cage and his celebration of found sound and chance experiments right through to experimentation today. There is a long and respected history of this kind of integration. It’s not a history that we’ve really seen in Australia. In Australia we tend to see Picasso and we see less of the alternative avant-garde streams, which are a bit more underground. (Quoted from an interview with Victoria Lynn on 8/8/12)

Detail image of TarraWarra Biennial artist Dylan Martorell’s exhibition work, Sound Tracks TarraWarra 2012, mixed media, dimensions variable. Courtesy of the artist and Utopian Slumps, Melbourne.

With this framework in mind, I was taken through the exhibition with Victoria as my guide.  Lucky me!  I was struck by her enthusiasm and her generous, open ability to share her extensive knowledge and deep understandings.  Perhaps Sonic Spheres was working its magic, as I began to hear the dynamic melody in Victoria’s voice when she referred to the ‘etudes’ in Marco Fusinato’s work and the ‘vibrations’ and ‘refrains’ evident in other work.

By the end of our tour, my appetite for adventure was still not satisfied.   I wanted more, so snuck back to prolong the experience. I let my hair down and did the wah tootsie to activate David Haines and Joyce Hinterding’s interactive video presentation.  I marvelled at the sonic possibilities of the Goataphone and imagined the spine tingling experience of hearing one of our treasured indigenous people singing the song cycle that inspired the work of Ray James Tjangala. Finally, I allowed the haunting video, ‘Some dance to remember, some dance to forget.’ to move me to tears.

I left TWMA that day with a felt sense of the power of the avant-garde. Sonic Spheres reverberated through my being, having activated my body, mind and soul.  The following morning, I knew the whole experience had settled into place when my morning shower was taken up, not with words and phrases but with listening to the sounds of the water and playfully flicking water here, there and everywhere to see what sounds I could create. My sonic experiment built up to a crescendo with a joyous ‘splat’ into the puddle of accumulated water on the shower floor. A wild notion of adding dry pigment to the whole shower experience let me know I was going too far, but then… maybe not.

To the artists who participated in Sonic Spheres and Victoria Lynn…  Bravo for offering art lovers a breath of fresh air and a unique opportunity for adventure in the Yarra Valley.

Close up (detail) view of TarraWarra Biennial artist Victor Meertens Goataphone instrument for the making of experimental sound, on which he will give a live performance the first Sunday of every month throughout the exhibition. Courtesy of the artist.

Paul Grabowsky opened TWMA’s 2012 Biennial.  I leave you with his concluding words,

“I’ve had the pleasure of working with Victoria Lynn on two Adelaide Festivals. She made an enormous impact on the art world there, demonstrating a perfect balance of charm, conviction and rigour through which she was able to bring the visual arts back into the Festival spotlight. Here at Tarrawarra she has license to realize her philosophies, her pluralism, her humanity, her vision.”

TarraWarra Biennial exhibition opening visitors enjoying the view from TWMA’s North Gallery. 

Sonic Spheres closes December 9^th 2012.

PS.  I neglected to mention that a series of performances on the first Sunday of each month enhance the sonic experience.  For details of the two remaining performances, click on this link.

Also, with the help of YouTube, readers can view recordings of live performances of exhibition artists Dylan Martorell and his installation Soundtracks TarraWarra 2012, the experimental sound group Snawklor, Nathan Gray and collaborators in A Scratch Ensemble and Victor Meertens and Alexis Ensor on the Goatafone.  

Via SoundCloud, listen to a selection of the exhibition artists’ sound art from the TarraWarra Biennial 2012: Sonic Spheres catalogue CD, it includes Marco Fusinato, Christian Thompson, Snawklor, Ross Manning, Eugene Carchesio, Victor Meertens and Alexis Ensor and A Scratch Ensemble. 

Tripping the Light Fantastic with Hugh McSpedden

Well not tripping exactly or even dancing for that matter, but "light fantastic", without a doubt.  The exterior of St Andrews Hall was transformed a treat with Hugh McSpedden's trademark light projections for The Light Show last Friday night. From my initial vantage point (across the road at A Boy Named Sue, enjoying the best pizza) the whole scene looked magical. There were audible gasps in the restaurant when Hugh fired up his generator and bathed the building in light for the first time.

Hugh is a local legend.  When I first came to the area his name popped up so often that I simply had to meet him. I understood immediately why people spoke about him with such affection. He's quirky and engaging in the most delightful way. 

He's well known for his work with local and international groups -  The Monkees, Tangerine Dream, Captain Matchbox, Daddy Cool, Eucalypso, Gondwanaland, Hunters & Collectors, and Madder Lake to name only a few. Among an enormous string of achievements in the entertainment industry, I was especially fascinated to read about his Warrandyte Festival light show in 1999 called “River Dreaming” where the Yarra River became his canvas. 

'Dreaming' in that part of the world is something I can really relate to.

Another local, composer and multi media artist, Andrew Garton, along with musician Chip Wardale, produced last Friday's Light Show in celebration of Hugh's work. The night culminated in a light and sound extravaganza with the group Sun Bus 5 (Andrew Garton, Chip Wardale, Kate Adam and Steve Law) providing a soundscape that grew from a combination of Andrew Garton's Drift Theory and a structured improvisation formula. 

The Light Show has two more nights to run at Abbotsford Convent, 1 St Heliers St Abbotsford, Victoria. 

12th. and 13rd. Oct. @ 8.00pm (2hr)

TICKETS Full: $20  Concession: $18  Group: $15

TO BOOK visit melbournefringe.com.au or call (03) 9660 9666

 All photographs in this post are ©Amanda Gibson.

Ruby Tuesday

Ruby Tuesday is very well known to locals as the 'go to' jeweller if you're looking for that little gift for someone special.  They've been designing, making and repairing jewellery in Warrandyte since 1998.  Now they are part of a new initiative to promote local artists and galleries called Warrandyte Arts. Spearheaded by one very enthusiastic local glass maker David Corstorphan, this little group of artists have persuaded Manningham Council to support the production of a very handy little booklet containing details about 17 artists and galleries in the area.  The books are available all over town ( I spotted some recently at the Manningham Gallery).  Some of the artists included have been featured on Isiiad, Jane Annois, Syd Tunn  and Ona Henderson, Amusing Clay,Tin Shed Gallery so click on the links to check out some more of the local talent. On presentation of the booklet you can redeem a free coffee from one of my all time favourite coffee haunts in Warrandyte, the Roundabout Cafe. 

Yesterday I popped in to Ruby Tuesday and snapped these little pics for your enjoyment.  Thanks to Anita Sigmund, Heidi Sigmund, Andrew Finster and Terry Rafferty for making me so welcome.  I felt a bit like a kid in a lolly shop as we arranged countless treasures for these photographs.  In addition to a gallery full of their work, they make to order and are happy to remodel existing pieces. They particularly love a creative challenge.

"We had a customer bring in tiny shells from the beach that they wanted to incorporate in a wedding ring, to remind them of a significant place."

If perchance you can't decide between this necklace or that bracelet,  Ruby Tuesday have devised a very beautiful alternative.  You can purchase one of their very fine gift tokens which allows your loved one the pleasure of making their own choice. 

A little 'heads up'.  While I was there, I bumped into the first artist I blogged for Isiiad, Justin Purser.  He's busy transforming the exterior of Ruby Tuesday with his own special metal worked entry and ballustrate.  I'm hoping to bring you some pics of that when it's finished in a couple of weeks.  Stay tuned.

Material Things

©Libby Schrieber Apple Picking Saints, silk cut linoleum print

There's a little number that's been tucked away at the back of my wardrobe for what seems like a life time.  I remember wearing that cheeky llittle hot pink shirt to a significant dinner with a significant other.  That collection of cotton fabric, buttons and thread, assembled into a garment, has always reminded me of that moment. I haven't worn it for years but I simply can't part with it or the memory it evokes.

So no surprise that when the invite to this exhibition came across my desk, I felt compelled to go. Material Things began with Libby Schrieber's idea that clothing can tell stories. The more she thought about it, the more possibilities presented themselves.

"There's a whole world of stories and history and gender issues in what we wear."

So she gathered together three like minded print makers to add their own interpretations to her original idea. What has resulted, is a fine printmaking exhibition "exploring the use of fabric in our society".

"Libby is inspired by portraits of royalty and religious figures from the past as well as present day characters." from an email  8/10/12, M. Burton

©Libby Schrieber Garden Angel,  silk cut linoleum print

Mirranda Burton has been prominent on Isiiad's radar in the last week or so. On Wednesday 3rd of October she was the Red Chair presenter.  In addition to her  printmaking skills, she's also an accomplished animator.  So it was pretty special to see footage of that side of her work at the Red Chair.  

Given that Mirranda is presently an artist in residence at Dunmoochin, she's been revelling in having 24 hour access to Clifton Pugh's printing press.  All of the work she exhibited in Material Things was produced on that press.

©Mirranda Burton Material Girl, silk cut linoleum print

"Inspired by her experience of moving from the city to the bush. Mirranda Burton creates playful dialogues between the material and natural world." from an email 8/10/12, M. Burton

©Mirranda Burton Cotton Field, silk cut linoleum print

©Kylie Sirett Shear Magic, silk cut linoleum print 

"Kylie’s intimate still life prints explore sewing implements, fashion accessories and furnishings from a bygone era." from an email 8/10/12, M. Burton

 ©Kylie Sirett Looking In, silk cut linoleum print

©Maria Barbaro Catherine, silk cut linoleum print

"Maria’s fluid lines echo the romantic elegance of beautiful gowns in fine silks and delicate textures." from an email 8/10/12, M. Burton

©Maria Barbaro  The Bodice, silk cut linoleum print

The four 'material girls',  clockwise left to right, Kylie Sirett, Mirranda Burton, Libby Schreiber, Maria Barbaro.

Take advantage of a unique opportunity to 'Meet the Artists',  Eltham Library Gallery, Sunday, October 21st, 2:30pm-4pm (Please note change of time from 1-3pm as previously advertised.)

Material Things  4th - 29th October 2012.  Eltham Library Community Gallery, Panther Place, Eltham.

Steampunk

You could be excused for thinking these pics were taken on the set of a movie about the life and times of Jules Verne. In fact they were taken at an event called Steampump at the Meat Market  on 11th of August this year. The event celebrated the Steampunk movement.  

Members of the community here in the Yarra Valley introduced me to the delights of Steampunk. In particular, Amanda Gibson who is just as much at home in a blacksmith's forge as she is on a catwalk.  You may remember that she's the manager of the Tree Project.  She's been modelling for the Clockwork Butterfly for some time.  Clockwork Butterfly put on an unforgetable fashion parade at Steampump. Designer Alexandra Chambers is responsible for the costumes.

I'm always astounded by the way that once I discover something...more information appears, as if by magic, in other places.  While at the Wattle Festival in August, I spotted a wonderful window display at Oku Den, that was also celebrating Steampunk.  Oku Den have been making and selling Steampunk forever.  Incidentally if you're looking for Oku Den, be aware that they have moved to the main drag of Hurstbridge.

In addition to the Clockwork Butterfly parade, Steampump included displays of wild and wacky objects, glassblowing, an old style card game and a very tasteful striptease. It was an alcohol free event.

So strap yourself into your time machine and sit back to enjoy this pictorial record of the night at the Meat Market. Incidentally, photographs are all courtesy of and ©Kerry Cross.

If these pics have you wishing that you could join an event like this, you might be interested in attending Steam being held at the 100th Goldsmith Steam Rally near Beaufort in regional Victoria on November 3rd and 4th 2012.  Clockwork Butterfly will be appearing once again.

Fu Hong - a Retrospective Exhibition

FU Hong Window I, oil on canvas, 152 x 122cm. (Photograph courtesy of the artist)

The above painting is one of many being exhibited in the Barn at Montsalvat, in a restrospective for the artist Fu Hong.  Standing in front of it, I was drawn into the oh so subtle use of colour and the impeccable composition. The three dimensional quality of the figure, in a pose that had me imagine she was contemplating a pirouette, was mesmerising.  I later wondered if Fu Hong's year as artistic designer at the Central Folk and Dance Troupe of China (1974 - 1975) was partly at work here.  In the composition, I recognized the window straight away -  the attic at Montsalvat, my first clue to the home of the artist. Further evidence, a second painting in Fu Hong's window series, where the window looked very like those in the Great Hall.  Then a portrait of Matcham Skipper clinched the deal. Research confirms that Fu Hong lives in Eltham.

I've been posting on Isiiad for just over two years now, but I  still get a little buzz when I discover another accomplished local artist.

His accomplishments are impressive, most notably, finalist in the 2008 Archibald with a portrait of Dr Joseph Brown and in 2009 with a memorable portrait of Dame Elizabeth Murdoch. In 2002 he won the prestigious Shirley Hannan National Portrait Award.

Scroll down to see three more works from the exhibition.

FU Hong My Heart, oil on canvas, 165 x 155cm.  (Photograph courtesy of the artist)

FU Hong Morning News, oil on canvas, 152 x 122cm.  (Photograph courtesy of the artist)

The self portrait below, let's me know something of the intensity of the artist.  His preparedness to push out the boundaries of his work is also evident here. It's a big bold rivetting work that demands attention.

FU Hong Self Portrait, oil on canvas, 183 x 183cm  (Photograph courtesy of the artist)

Fu Hong's retrospective was curated by Naretha Williams,  Arts Manager Montsalvat.

The exhibition closes on October 28th.

Potters Cottage: a tribute

 Sylvia Halpern© 1918 - 2008

In days gone by, Warrandyte was synonomous with the Potters Cottage (1958 - 2004). So what better exhibition to open the new Manningham Gallery than a tribute to that old Warrandyte institution. This is such a nostalgic exhibition. Apparently many visitors have expressed their delight in the opportunity it affords them to renew their aquaintance with the Potters Cottage. With an extensive collection of ceramics made by its founders, black and white footage of setting up the cottage and glass cabinets rich with photos and written material, Potters Cottage: a tribute offers a great insight into the importance of ceramics in the area.

Sylvia Halpern©

Sylvia Halpern (Deborah Halpern's mother) is well represented with birds, figures and vessels.

Sylvia Halpern©

Gus McLaren© 1923 - 2008

Work of Potters Cottage founders Gus McLaren, Reg Preston, Phyl Dunn, Charles Wiltom, John and Betty Hipwell and Artur Halpern, shows the diversity of what was created there.

Gus McLaren©

Reg Preston© (detail)

Reg Preston©

Later ceramists have acknowledged the contribution Potters Cottage made to their arts practice.  In a catalogue accompanying the exhibition Paul Davis is quoted as saying,

Potters Cottage was 'Camelot' for us; a satellite for potters to gravitate to.  You only had to go into the gallery to see the work of practically all those who were working at that time.  For both young students - who came in cavalcades - and professionals, it was an inspiration, and a welcoming and generous place. page 131,  Potters Cottage: a tribute  by Grace Cochrane, 2012

Another later ceramist, Alexandra (Hipwell) Copeland first came to my attention through her business Weft which she runs with her husband Leigh. They sell magnificent tribal arts and textiles from Afghanistan.  I was fascinated to learn of her early exposure to ceramics at the Potters Cottage.  Her bowls in this exhibition show an exemplary use of glaze and colour.  The influence of Reg Preston, who introduced her to Italian maiolica pots is evident here. See page  134 Potters Cottage: a tribute  by Grace Cochrane, 2012 

 Alexandra Copeland©, bowl (detail)

Alexandra Copeland©, bowl (detail)

Deborah Halpern ©  

Much loved local artist Deborah Halpern has a couple of pieces in the show.  For her, Potters Cottage set the scene for a successful career in ceramics and sculpture.

Manningham's new Gallery space.  

The new Manningham Gallery is divided into two distinct spaces. Its designers have ensured that multi media presentations can be included in exhibitions. This facility is put to good use for the Potters Cottage exhibition. Make sure that you have plenty of time when you visit this exhibition.  It's well worth taking your time and absorbing all of what's on offer.

Potters Cottage: a tribute

5th September - 10th November

Manningham Art Gallery, Manningham City Square, 687 Doncaster Road, Doncaster, Victoria.   Melway Ref: 47 F1

Gallery Hours  Tuesday - Saturday 11.00 am - 5pm.  Free Entry 

Engaging Form

Maria Vanhees, More Than Skin-Deep ll, earthenware, press-mould and coil built, soda fired, H47 x W53 x D34cm.  2009  (detail)

Feast your eyes on these examples from an exhibition showcasing 45 of the best of Australian Ceramists.  The exhibition, Engaging Form, was curated by Austrailian ceramics guru Anna Maas,  within the Barn at Montsalvat. Public response was outstanding.  Anna was there every day to explain technique and to offer information about the history of the artists. Her wealth of knowledge and generous approach to interested visitors added an extra dimension to the exhibition.

Included in the exhibition were Victor Greenaway and Timothy Clarkson who have both been featured on Isiiad. If you would like to know more about any of the artists, please contact Anna Maas through her website Skepsi on Swanston.

Natasha Hosny©, Passing Through, porcelain, installation, H14 x W17 x D30, 2012

Dean Smith©, Palladium Light, fine white stoneware, matt crystalline glaze, applied palladium leaf, H60 x W30 x D12cm, 2012

Fleur Schell©, Duck Wanting to be a Rabbit - Tea Set, porcelain, teapot H37 x W30 x D13, cup H11 x W12 x C8, 2012

The whimsy of this piece was utterly delightful.  I imagined that any minute the Mad Hatter would appear and invite me to tea.  This work beautifully reveals the essence of Fleur Schell's arts practice,

"...I am drawn to objects that teleport me back to my childhood - a time when many inanimate objects cluttering the sills of our farm house secretly winked, giggled or pretended to be frozen when I glanced up at them.  I was convinced our 70's Bakelite tripod salt and pepper shaker danced across our dining room table while we slept.  

My immediate surroundings and an intimate involvement in the lives of my two young children Heidi and Harry, their infectious joy and unwaviering belief in magic, are a continual inspiration to me."  Page 43, Engaging Form  Exemplary Australian Ceramics Skepsi on Swanston @ Montsalvat 2012

Kirk Winter©, Pitjantjara Donkey, earthenware, Axedale ball clay, glass cullet, Thorpdale bauxite, iron oxide, titanium dioxide, Yarra River yellow ochre, carbonized rice hull, Acacia deal bata resin, H24 x D22cm, 2012.

Jeff Minchin© (detail)

"There is something sublime in the experience of nature, between you and what you see, and that's where the important art is. My work arises from direct experiences within the landscape, and is loaded with metaphors of memories related to those special places.  The surfaces reflect an ongoing  passion for the South Australian countryside.  These environments are expressed through bold graphic interpretations of patterns, colours and textural effects which summarize my thematic work."  Page 30, Engaging Form  Exemplary Australian Ceramics.  Skepsi on Swantson @ Montsalvat 2012.

Kim-Ahn Nguyen© 

"Underlying my work is a profound respect for the historical and cultural significance of all indigenous people.  This work has reference to the spiky spinifex grass, which is widely found in the Great Victorian Desert, in Western Australia, and the story associated with the Spinifex people and their land."  Page 34, Engaging Form  Exemplary Australian Ceramics Skepsi on Swanston @ Montsalvat 2012

Garry Bish©, Vessel: The Space Beyond, wheel thrown ceramic, H16.6 x W16cm, 2008.

The catalogue for the exhibition, Engaging Form  Exemplary Australian Ceramics, is available at Montsalvat reception at a cost of $22.  It's an exquisite production featuring photographs and artist statements along with a photographic record of the makers marks for each artist.  Invaluable for collectors.

My congratulations to the artists and Anna Maas on putting together a very fine exhibition.

Launch of The First Train to Allwood at The Wattle Festival

What better place to launch the local yarn bombing spectacular - The First Train to Allwood - than at the 2012 Hurstbridge Wattle Festival?  The festival was held one week before National Wattle Day (1st September) and thanks to recent high rainfalls, the wattle was better than ever. 

Organizers of The First Train to Allwood, Margaret Summerton and Robina Summers, were pleased as punch to be able to offer phase one of their ambitious project to the public.  Sponsors, Nillumbik Tourism Association proudly launched it.

With some skillful adaptations of the words to This Train Is Bound For Glory by Woody Guthrie, a little trio from the Warrandyte Sanctified Singers, (with ukelele) accompanied the launch.  Is there no end to Margaret Summerton's talents?

I'm already looking forward to phase two...as it's pretty clear that this train is definitely bound for glory!

Directly across from the train, a little yarn bombing tribute to our native flora had everyone talking.  In fine yarn bombing tradition, no one was saying who had done it.

Follow The Train on Facebook.

Some Sad News 

Regular readers will be aware that Isiiad has been dormant over the last few weeks.  I therefore feel I should share with you dear reader, the reason I've been absent from the blogosphere for so long.

My dear dear Dad, Ralph Thomas Heily passed away peacefully on the 31st of August.  My family gathered at his bedside and were with him during his last hours.  

It was a great privilege for my Mother, my sister and me, to arrange his sendoff and receive the words and gestures from the many people who were moved to honour his passing.

He was indeed a most extraordinary man who, having lived with the ravages of polio for the greater part of his life, still managed to make a significant contribution to his community.  In recognition of this he was awarded an Anzac of the Year Award in 2000. 

Closer to home, he worked the family farm by defiantly modifying run of the mill farm equipment to suit his own particular needs.  I often watched with admiration as he winched himself up onto his tractor with a contraption he had designed and welded himself.  This bit of rudimentary engineering made it possible for him to put in his own wheat crops for many years. 

He was a well read, cultured man, who enjoyed opera and roots music with equal enthusiasm.  

He instilled his great love of the English language in me and my sister Tina.  In her eulogy for him, Tina said,

"...he loved words, the feel and the shape of them, their bite and flavour, their rhythms and cadences and their use for thrust and parry.  His dry wit enjoyed the sly, droll comment and could skewer any hint of pomposity and self satisfaction."

He was born with a keen intellect and a genuine curiosity for the lives of others.  That combined with a wicked sense of humour and an open generous heart created a charismatic character whose company people sought out and clearly enjoyed.   None more so than me.

While I will miss him terribly, I'm happy in the knowledge that his enormous spirit will live on forever.

                                                           RALPH THOMAS HEILY

                                           NOVEMBER 24th 1924 - AUGUST 31st 2012

Beyond the Trees-  A celebration of Thomas Lloyd Guitars.

A guitar is shaped like the body of a beautiful woman.  All sensuous curves and smooth 'skin'.  Any wonder that they're capable of making such seductive sounds.  

I'm a lapsed classical guitarist.  For my teaching diploma I learnt classical guitar for a year. The joy of making that beautiful instrument create an equally beautiful sound was part of my daily practice during that year. A well played guitar still stops me in my tracks today.  So yes, I admit it, I was the person in the Barn at Montsalvat last Friday night, sitting in the chair nearest the stage, listening rapturously to classical guitarist Michael MacManus make his guitar sing.  

Others were blissing out over the fine array of hand made guitars on display.  There were 63 guitars in all, made from more than 20 different species of Australian tonewood.  Chair of the Board at Montsalvat, Morag Fraser, showed her delight with this exhibition by pointing out aspects of the skillful craftsmanship- some delicate inlay here or an unusual bridge there. She's well qualified to comment. Last year she made her own guitar at Thomas Lloyd Guitars under the tutelage of its luthier Chris Wynne.  

Chris and his business partner Fiona Mitchell, were responsible for putting together this unique exhibition. It showcased, the work of 25 luthiers trained at Thomas Lloyd Guitars. There were replicas of guitars from the seventeenth century to the the present day.  Styles included Fleta, Ramirez, Hauser & Torres, Gibson, and Ukelele guitars. 

Montsalvat CEO Rob Hauser and Chair of the Montsalvat Board Morag Fraser at the opening.

Brend Bunte from Eltham with his own guitar.

Michael MacManus (above) at the Opening.

The weekend culminated in a concert on Sunday evening featuring classical and acoustic guitar.  The exhibition and concert celebrated the community of craftspeople and performers who have been associated with Thomas Lloyd Guitars since its beginning ten years ago.

Peter Boyd.

Antoni Field and Dan McKay                                                                                                                           Photograph ©Kerry Cross

Simon Watt

Richard Jeffrey played a double neck guitar made by Chris Wynne.                                                    Photograph ©Kerry Cross

Singer song writer Jenny Biddle rocked the crowd with a rousing rendition of  Billie Jean (pure MJ).  

Chris Wynne

Fiona Mitchell

If you would like more information follow this link to the Thomas Lloyd Guitars website or follow them on Facebook.

The Caladenia Rosella Orchid

One of the really lovely things to happen since beginning Isiiad has been the making of connections at Dunmoochin.  It's meant, life drawing sessions, exhibition openings and opportunies to meet many of the fine artists who take up residence there.  Last weekend I was afforded yet another considerable privilege courtesy of Dunmoochin. I was escorted through the bush to the location where the exquisite Caladenia Rosella Orchid grows. So rare and carefully protected is this endangered species of native orchid that if I told you exactly where it can be found, I'd have to kill you. So my lips are sealed.

The Dunmoochin Foundation's charter has been based on the belief that, 

a community can gain knowledge and inspiration from living in a close relationship with nature. (Dunmoochin website)

Therefore the bush at Dunmoochin and its flora and fauna, is an integral part of the artist in residence program they offer.  Accordingly, the Foundation works hard to protect the environment.  The Rosella Orchid holds a prominent place in that care and protection. Follow this link to read the story of its care, involving the Foundation and the work of Geoff Carr and Cam Beardsell.  

Many things have conspired to make the orchid's future precarious-  the White-winged Chough, which eats its tuber, the recent drought, which had it unsuccessfully compete with an introduced grass (Briza Maxima) for water and ultimately the threat of houses and buildings being built over its habitat.  The plant is tiny.  A small ribbon of grass announces the flower's imminent arrival.  I was acutely aware of my big size eleven feet while weaving through the bush toward it.  What if I were to unwittingly step on a plant and render it unable to flower?  Perish the thought. The above photograph stands as my permanent reminder of this tiny example of the fragility of our environment and the need to tread carefully on the earth. 

Mariella McKinley

 Photograph courtesy of the artist.

Just when I thought Montsalvat couldn't possibly do anything more to delight me, I met Mariella McKinley.  She's been working away there over the last few months, preparing her new studio space.  It's been a big task.  Moving in her lathe (which weighs in at 250 kilograms) was a huge challenge. Thankfully the film crew of  IFrankenstein (filming at Montsalvat at the time) came to her aid with some serious weight lifting equipment.  She's now ready and enthusiastic about getting stuck in to some work.

Photograph courtesy of the artist.

The exquisite vessels above were first blown and then carved. Intricate painstaking work, but I think you'll agree, well worth the effort.

Mariella has excellent credentials.  Born in Melbourne, she studied at Monash University where she graduated with a Bachelor of Fine Arts in Glass (with honours).  She recently returned from taking up a scholarship to Pilchuck Glass School in Washington, north of Seattle, where she was both student and assistant teacher. Well known glass making icon, Dale Chihuly is credited with starting the school. Prior to that, she travelled to Italy, again on a scholarship, to further enrich her arts practice. Closer to home, Mariella worked for several years at the Jam Factory Gallery in Adelaide where she is currently exhibiting work with other artists in an exhibition called "Transparency" (it's all about technique).  

Mariella is so happy in her Montsalvat Studio.  She looked at many studios before she settled on Montsalvat. Most of the others she looked at had an industrial edge. Montsalvat has a softer, warmer atmosphere which  creates a lovely counterpoint to her work. Typical of Montsalvat, the studio has little recesses and mezzanines to add to the fascination.  

The texture of the rendered walls in Mariella's studio adds another dimension to this magnificent vase (above).

In addition to the Jam Factory Gallery in Adelaide, Mariella is represented by Veronica George Gallery High Street Armadale, Kirra Gallery Federation Square and Glass Plus Gallery South Melbourne.  It's a real treat to trawl around these gallery websites...glass extraordinaire.  Enjoy them.

My sincere thanks to Mariella for generously welcoming me in to her studio, thereby reminding me that Montsalvat provides art lovers with endless pleasure.

All work in this post is ©Mariella McKinley.