My exhibition: "From the Hungry Mile to Barangaroo"
Foyer of LendLease 30,'The Bond',
30 Hickson Road, Millers Point
|Paintings of Barangaroo at Sydney Open - 30, The Bond|
From left to right:
easel on left:
top : 'Relics from the Dead House 2' 2007 oil on canvas 91 x 61 cm
bottom left: "Hungry Dinosaurs" 2010 oil on canvas 36 x 46 cm
bottom right: "Grabber, Muncher,Ripper" 2010 oil on canvas 31 x 31cm
easel in centre:
top: "I saw the number '8' in red" 2010 oil on canvas 61 x 183cm
centre: :"Red Square (Arrivals Hall) 2010 oil on canvas 61 x 183cm
bottom left: "The drill rig" 2010 oil on canvas 36 x 36cm
bottom right: "Red Square" 2010 oil on canvas 36 x 36cm
easel on right:
top left:"8 (ate)" 2010 oil on canvas 41 x 31cm
top right: "Dig it! (The archaeologists)" 2010 oil on canvas 31 x 15cm
centre: "A work in progress" 2010 oil on canvas 91 x 122cm (Unfinished)
bottom left: "The last gantry" 2010 oil on canvas 41 x 31cm
bottom right: "Pump it! (The 'Watertank')" 2010 oil on canvas 31 x 41cm
Enquiries about these and other Millers Point, East Darling Harbour Wharves and Barangaroo paintings:
A small selection of my paintings of the East Darling Harbour Wharves and their transformation into the Barangaroo precinct were exhibited for one day only on Sunday 7th November 2010, in the foyer of the LendLease Headquarters in '30, The Bond' directly opposite the Barangaroo site itself.
On the same day a selection of my Pyrmont paintings were also exhibited in the foyer of 'Workplace6', headquarters of Google, and 2 of Paul Signorelli's new restaurants, 'Biaggio' and 'Gastronomia'.
In these photos, my paintings of Barangaroo are displayed in front of the spectacular escarpment wall of yellowblock sandstone, catching the dying embers of the afternoon sun.
I borrowed the "A" frame easels from John Sweaney of ASMA (The Australian Society of Marine Artists) and put my entire black ankle sock collection on their feet to prevent the floor being scratched!
This exhibition consisted of a total of 24 paintings crammed onto 8 easels. The larger canvases perched on the crossbars and the smaller ones tied to the top and bottom legs by cable ties. Not an ideal situation, aesthetically, but not bad under the circumstances.
I'm a big fan of the humble cable tie. Once a large bit fell off the bottom of my car and I fastened it back on with judiciously applied cable ties. It was obviously nothing seriously structural or the car wouldn't have been driveable, although it was by no means a well car at the best of times, and died in traffic not long afterwards.
Until a few days beforehand, it was uncertain whether or not I would be permitted to display my work at all. Then the logistics of how to display paintings and what to display them on became the issue. Finally the problem of transporting easels and paintings to two locations; one in Pyrmont, one in the CBD. Canvases and paintings could not be transported in the same car at the same time, or there was an excellent chance of piercing the canvases with an easel leg. I wanted to put on a good display as both '30, The Bond' and 'Workplace6' have majestic interiors and having fewer paintings would make them look like postage stamps in comparison. Fortunately I received a great deal of help from the people at the Historic Houses Trust, Bradford Kerr, the Building Services Manager at The Bond, and my dealer Frances Keevil. They all arrived heroically early on the Sunday and mastered the arcane mysteries of hanging paintings with cable ties in record time.
Although both my exhibitions were very popular and gave onlookers a unique experience of seeing the past history of these areas in context with their present day surroundings; the Historic Houses Trust has messed me around badly , and I will not be exhibiting in the 2012 Sydney Open.