Industrial Cathedral

Industrial Cathedral
"Industrial Cathedral" charcoal on paper 131 x 131 cm Jane Bennett. Finalist in 1998 Dobell Drawing Prize Art Gallery of NSW Finalist 1998 Blake Prize Winner 1998 Hunter's Hill Open Art Prize

About Me

My photo
Sydney, NSW, Australia
I'm an Industrial Heritage Artist who paints "en plein air".If it's damaged, derelict, doomed and about to disappear, I'll be there to paint it.
Showing posts with label city. Show all posts
Showing posts with label city. Show all posts

Saturday 22 April 2017

City larrikins, past and present


I took advantage an almost deserted CBD during a public holiday, to record some of the buildings in Castlereagh St that will soon be demolished to make way for new metro stations around Martin Place.
plein air oil Painting  of Panorama of Castlereagh st, from Hunter st to Martin Place' by industrial heritage artist Jane Bennett
Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm
 
I took a panoramic canvas to try to squeeze in as much of the streetscape as possible.
On this canvas I've managed to get the lovely Art Deco building on the north corner of Hunter and Castlereagh St, 55 Hunter St, 10 - 12 Castlereagh st and a doorway of the lovely old Commonwealth Bank building that now houses Macquarie Bank.
plein air oil Painting  of Panorama of Castlereagh st, from Hunter st to Martin Place' by industrial heritage artist Jane Bennett
Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm
 
Ironically there is a keystone in the Macquarie Bank building that was placed there by the controversial NSW premier Jack Lang, who once attempted to nationalize the banks and cancel Australia's war debts to the UK. I can't help wondering what Jack Lang would have thought of Macquarie Bank!
plein air oil Painting  of Panorama of Castlereagh st, from Hunter st to Martin Place' by industrial heritage artist Jane Bennett
Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm
Several skateboarders and parkour experts can just be seen in the distance, grouped on the stairs of the soon to be demolished 17 storey building at 55 Hunter street.
Unfortunately I had to break the news to them that their favourite ramps and railings at 55 Hunter St where they practise their jumps will soon be demolished. They will make the most of their unofficial skate park until it is knocked down next month, and entertained me with over 2 hours of death defying jumps, twists and somersaults.
plein air oil Painting  of Panorama of Castlereagh st, from Hunter st to Martin Place' by industrial heritage artist Jane Bennett
Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm

There seems to be something about this street corner that attracts larrikins, past and present.
A trio of slightly less acrobatic larrikins of the past, also used this unassuming corner of the CBD to rattle the cage of conservative society over 50 years ago.
A famous copper sculpture by Tom Bass, bites into the Hunter street facade of this office block. It had been commissioned by P&O as a wall fountain  in 1961, and was intended to be seen as a purely abstract design. 
However, when this work was unveiled, its indirect resemblance to a Parisian pissoir and its position opposite the French Airline Office, led to a notorious lampoon in the 6th edition of Oz magazine. The editors of Oz magazine, Richard Neville, Richard Walsh and Martin Sharp, were charged, tried and sentenced to jail with hard labour for "obscenity and encouraging public urination", although the defendants subsequently appealed against the sentences, which were revoked.
plein air oil Painting  of Panorama of Castlereagh st, from Hunter st to Martin Place' by industrial heritage artist Jane Bennett
Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm

Tom Bass wasn't offended by the Oz magazine send up of his sculpture, and actually appeared in the trial for the defendants.
plein air oil Painting  of Panorama of Castlereagh st, from Hunter st to Martin Place' by industrial heritage artist Jane Bennett
Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm
 
Through the Chifley arcade are a couple of other buildings due for demolition, 5-7 Elizabeth street. 7 Elizabeth street is an elegant art-deco apartment block, recently vacated by its reluctant ex-residents.

Thursday 29 October 2015

Sydney Sandstone - Painting the Lands Department building

The Lands Department building 22-33 Bridge Street Sydney, is one of the most outstanding surviving Victorian buildings in Sydney. The building had been used continuously for the purpose which it was designed for - as the administrative head office of Department of Lands.
Unfortunately, this will soon change.
I don't know whether all the original features which makes this building so wonderful will be retained, but I thought that I should attempt to paint it while it is still in its original state.
I managed to set up my easel in Macquarie Place Park, directly opposite the corner of Bridge and Gresham street.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

Enquiries
James Barnet was the architect mostly responsible for the design of the Lands Department building, although Walter Liberty Vernon and William Edmund Kemp also made contributions.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

Enquiries





































The foundation stone was laid in 1876 by the Minister of Lands and it was completed in 1893. The Renaissance Revival Style facades are of dressed Pyrmont sandstone
The ground, first, and second floors have pilasters and entablatures of the Doric, Ionic and Corinthian orders respectively, each standing on appropriate pedestals.  
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

Enquiries
A large copper dome, 55' square at the base, but changing to an octagon at the top, rises above the Bridge Street facade.
The clock tower has a copper onion-shaped dome which was allegedly influenced by the shape of the water carafe of Sir Henry Parkes.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

Enquiries




















The best of Classical tradition was fused with the most cutting edge technology for the period. Heating, lighting, ventilation and a system of communication involving speaking through tubes and operating pneumatic bells was incorporated in the design.
Builder John Young introduced one of Sydney’s first reinforced-concrete floor slabs, with concrete vaults to improve fire resistance.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
 2015 oil on canvas 31 x 31cm

Enquiries























There are 12 niches on each facade, which were all intended to be filled with sculptures of explorers or legislators who made a major contribution to the settlement of the nation.
Although 48 men were nominated by the architect as being suitable subjects, most were rejected and only 23 statues were commissioned, leaving 25 niches unfilled. 
In 2010-11 a new statue of colonial surveyor James Meehan (1774-1826) was created and placed in an empty niche on corner of Loftus/Bent Streets.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

Enquiries






































In my painting the statue of the botanist Sir Joseph Banks is on the left, and the statue of the explorer Sturt on the right.
plein air oil painting of Lands Department building in Bridge st Sydney by heritage artist Jane Bennett
U235'Statues of Explorers', Lands Department
2015 oil on canvas 31 x 31cm

Enquiries
In the late 1980s the building was earmarked by the NSW Governnment as one of the potential sites for conversion into a casino.
To protect the building from unsympathetic development, a Permanent Conservation Order was passed by the NSW Heritage Council. 
However, although it is one of the most beautiful and historic buildings in Australia, it still faces an uncertain future.
Both Sydney’s historic
The hotel will open in 2021 after the government employees finally leave in 2018.


Related Posts


Monday 26 October 2015

In the Shadows- Painting the Justice and Police Museum

The Sydney Open will be held next Sunday. For just one day a year, the secrets of Sydney’s most treasured and architecturally significant buildings are revealed to the public.
So, in the spirit of this event, I decided to paint one of Sydney's most beautiful sandstone buildings.
Although it was difficult, bordering on the impossible,I managed to set up an easel and paint 'en plein air' right in the heart of the CBD.
Plein air oil painting of the Justice and Police Museum, Sydney Living Museums by heritage artist Jane Bennett
Plein air painting of the "Justice and Police Museum"
2015 oil on canvas 13 x 18cm

 
The Justice and Police Museum is one of the city's most overlooked heritage gems. It is hidden away on the quiet leafy corner of Phillip and Albert Streets, a stone's throw from Circular Quay.
It was a tight squeeze for the bendy bus!
Plein air oil painting of the Justice and Police Museum, Sydney Living Museums by heritage artist Jane Bennett
Plein air painting of the "Justice and Police Museum"
2015 oil on canvas 13 x 18cm

 
It incorporates the old Water Police Court (1856), designed by Edmund Blacket; the Water Police Station (1858), attributed to Alexander Dawson and the Police Court (1886), designed by James Barnet. 
The complex had remained in use as a police station as late as 1985, when the area was a busy legal hub.
Today the museum tells the story of the seamy side of Sydney’s past.
Plein air oil painting of the Justice and Police Museum, Sydney Living Museums by heritage artist Jane Bennett
Plein air painting of the "Justice and Police Museum"
2015 oil on canvas 13 x 18cm

 

























The golden sandstone, graceful columns and dappled shade give a deceptive impression. 
Behind the elegant facade lurk dingy 1890s holding cells, offices, charge room and courts. A century of underworld Sydney is contained inside.
Plein air oil painting of the Justice and Police Museum, Sydney Living Museums by heritage artist Jane Bennett
Plein air painting of the "Justice and Police Museum"
2015 oil on canvas 13 x 18cm

 



















The guilty, the innocent and the unknown. 
Mug shots of bushrangers, sly groggers, drifters, razor gangs and "colourful racing identities" rub shoulders with cops and judges.
Plein air oil painting of the Justice and Police Museum, Sydney Living Museums by heritage artist Jane Bennett
Plein air painting of the "Justice and Police Museum"
2015 oil on canvas 13 x 18cm

 

























So very Sydney.

Related Posts

Wednesday 27 July 2011

(A total lack of) Art and Coffee on the Rocks!

I've just been appointed as the inaugural Artfiles Artist In Residence at The Rocks Pop Up Project.
As Artist in Residence, I will be on or painting close by around the site from Wednesday to Sunday for the next 4 weeks. Tomorrow I'm going to check out my new space at 47 George St, which used to be an old Westpac Bank office. This project features an eclectic mix of creatives over at 47 and 77 George St, the Rocks. Gaffa, Red Room Company, artists, fashion designers, jewellery makers and even a tailor are just some of the residents breathing new life into the previously empty spaces.
I will take my French Box easel, turn up at a nearby location very early in the morning and create small, quick plein air paintings in and around the Rocks, Walsh Bay Wharves and Barangaroo.
Then later in the day I would be able to work these small pieces up into studio paintings at leisure in the studio space at 47 George St.
I could paint a large scale painting in front of the public, not only providing them with a source of entertainment and information but a chance to communicate, so that it is a “two-way street”. Most people have never seen an artist at work and find it quite fascinating to watch. As a ‘plein air painter’ I am a seasoned practitioner of an almost lost craft. Most of my work, including large scale canvases, not just sketches, has been painted in front of the public, whether workers or casual onlookers. It has been a major part of my normal artistic practice to do so for nearly 30 years, so I'm used to coping with distractions, interruptions and horrible weather. This is an opportunity for people to watch the creative process at work, ask questions and make comments without feeling intimidated by a gallery atmosphere. My subject matter is limitless : The surroundings - Heritage buildings, colourful and disreputable old pubs like the 'Hero of Waterloo', 'The Orient' and the 'Lord Nelson', ferries and water taxis, the cruise ships arriving and departing from the OPT. The people -Rocks residents, the bustle of the markets, shop owners, storekeepers and buskers.My first real "taste" of my new studio, both literally and metaphorically, will be on Sunday 31st July, whilst indulging in coffee from around the world at Australia’s largest coffee event, the Rocks Aroma Festival.
Update

Well that was the plan.

I have been bullied and harassed by the SHFA goon squad of Rangers so badly that I am removing all my belongings from the 'studio' and will never return.

I previously wrote

This is an opportunity for people to watch the creative process at work, ask questions and make comments without feeling intimidated by a gallery atmosphere. Well I have been the one to be intimidated.
The Rocks is no longer a place for an artist.
And if you are creative in public you will be treated like a criminal.

I had never attended the Rocks Aroma festival before.

I will make damn sure that I will never be silly enough to do so again.

Sunday 8 August 2010

Terminal, End or Extremity

Paintings of the Arrivals Hall of the former cruise ship terminal Wharf 8 at Barangaroo.
These are unfinished oil paintings on canvas of the interior of the deserted former cruise ship terminal at Darling Harbour Wharf 8.
My first day of painting this canvas:
oil painting of interior of the now demolished  Wharf 8 cruise ship terminal at Barangaroo by industrial heritage artist Jane Bennett
'I saw the number '8' in red... '
oil painting on canvas 61 x 91cm
Sold 
Private Collection : Sydney
Enquiries about similar paintings 




















The title is my homage to the 1928 Charles Demuth painting "I saw the number 5 in gold..", an icon of American Modernism. Like Demuth, I never let go of reality.
Though not a physical likeness, Demuth used imagery from William Carlos Williams’ poem "The Great Figure," to create an abstract portrait of his friend. The intersecting lines, repeated "5," round forms of the numbers, lights, street lamp, and blaring sirens of the red fire engine speeding down the street infuse the painting with a vibrant, urban energy.

Among the rain
and lights
I saw the figure 5
in gold
on a red
firetruck
moving
tense
unheeded
to gong clangs
siren howls
and wheels rumbling
through the dark city
"The Great Figure" William Carlos Williams
oil painting of interior of the now demolished  Wharf 8 cruise ship terminal at Barangaroo by industrial heritage artist Jane Bennett
'I saw the number '8' in red... '
oil painting on canvas 61 x 91cm

Sold 
Private Collection : Sydney
Enquiries about similar paintings 
The 2nd day of this painting- nearly finished, but needs glazing to emphasize the reflections and the dramatic shafts of light from the doorways.
oil painting of interior of the now demolished  Wharf 8 cruise ship terminal at Barangaroo by industrial heritage artist Jane Bennett
The completed painting: "I saw the number '8' in red... "2010  
oil painting on canvas  61 x 91cm 
Sold 
Private Collection : Sydney
Enquiries about similar paintings 
Starting my 2nd painting of the interior of the Arrivals Hall:
Setting out a rough idea of the composition:
oil painting of interior of the now demolished  Wharf 8 cruise ship terminal at Barangaroo by industrial heritage artist Jane Bennett
"I saw the number '8' in red" 2010
oil painting on canvas  61 x 183cm

Sold 
Private Collection : Sydney
Enquiries about similar paintings 
Starting work on a large panoramic interior of the Arrivals Hall.
This is a Saturday, and apart from the bored security guards on the gate I have the whole place more or less to myself so it is eerily silent.
For a change I have managed to get here early.
I've been battling a killer bout of flu for over a month and I've had to push myself to keep working. My throat has been so sore that I can only eat jelly and chicken soup for the last week.
I've taken in a thermos of icecubes to numb my throat and they seem to help. Whinge, whinge. This is totally self inflicted- I've been painting outdoors in the middle of winter on a freezing cold wharf in a howling gale and to misquote Alice in Wonderland it is bound to disagree with you sooner or later. However I wouldn't swap what I do for anything; it keeps me endlessly fascinated.
I only wish that I wouldn't get ill just at this crucial point in the history of Sydney Harbour - this is the last wharf on the historic Hungry Mile, which has been the fountainhead of Australia's maritime industry since settlement over 200 years ago, and it will be demolished in less than a fortnight!
No other artist in Australia seems to have an MSIC or a greencard; so I am the only person permitted to paint any of this.
Half way through my 1st day of painting :
oil painting of interior of the now demolished  Wharf 8 cruise ship terminal at Barangaroo by industrial heritage artist Jane Bennett
"I saw the number '8' in red" 2010
 oil painting on canvas  61 x 183cm
Sold 
Private Collection : Sydney
Work in progress on the easel at the end of the first day.




oil painting of interior of the now demolished  Wharf 8 cruise ship terminal at Barangaroo by industrial heritage artist Jane Bennett
I saw the number '8' in red" 2010
oil painting on canvas 61 x 183cm
Sold
Private Collection : Sydney
Enquiries about similar paintings

I have used 'terminal' as part of the title of paintings in this series as a play on words. The following nuances of meaning I found particularly apt :

1.situated at or forming the end or extremity of something...
2. occuring at or forming the end of a series, succession, or the like; closing; concluding
7.pertaining to or placed at a boundary, as a landmark.
8. occuring at or causing the end of life: a terminal disease.
9.(Informal) utterly beyond hope, rescue or saving...
10. a terminal part of a structure; end or extremity.
13. a station on the line of a public carrier,as in a city centre ... where passengers embark or disembark...
(Courtesy of Dictionary.com)
Take your pick!

Related Posts





See more at my Hungry Mile page
See more at my Millers Point page

My Studio at Barangaroo

Works in progress
Unfinished oil paintings on canvas.
Painting inside the the former Cruise ship Terminal at Darling Harbour 8 painted in July-August 2010
plein air oil painting of the demolished Wharf 8 cruise ship terminal at South Barangaroo by industrial heritage and marine artist Jane Bennett
BAR7 'Empty Hall, Wharf 8' 2010
oil on canvas 61 x 183cm
Enquiries about these paintings
plein air oil painting of the demolished Wharf 8 cruise ship terminal at South Barangaroo by industrial heritage and marine artist Jane Bennett
My paintings of the soon to be demolished
Wharf 8 cruise ship terminal at South Barangaroo
Enquiries about these paintings 
I make the big move out of the terminal, as it is soon to be demolished.
plein air oil painting of the demolished Wharf 8 cruise ship terminal at South Barangaroo by industrial heritage and marine artist Jane Bennett
"Grabber, ripper,muncher"
2010 oil painting on canvas 31 x 31cm
Enquiries about these paintings 
Yes, they actually are the proper names of the attachments to the excavators! I'm not making them up. Truly.
The "Grabber" is in the centre, the "Ripper" is the wicked looking blade on the right, while the "Muncher" is the monster with the mad fluoro pink "eye" and the toothy jaws in front of the red door to the left. The workmen promised me that there is also a "Pulverizer" that will arrive later.
This I have to see!
plein air oil painting of the demolished Wharf 8 cruise ship terminal at South Barangaroo by industrial heritage and marine artist Jane Bennett
Left to right and top to bottom:
"Behind the red door"
2010 oil painting on canvas 31 x 31cm
"Grabber, ripper,muncher"
2010 oil painting on canvas 31 x 31cm
"Excavators at rest"
2010 oil painting on canvas 56 x 76cm
Enquiries about these paintings

A good day at the office! Three paintings completed before I was kicked out!
plein air oil painting of the demolished Wharf 8 cruise ship terminal at South Barangaroo by industrial heritage and marine artist Jane Bennett
Left to right and top to bottom:
"May open without warning"
2010 oil painting on canvas 56 x 76cm
"May close without warning"
2010 oil painting on canvas 56 x 76cm
Enquiries about these paintings
Everything must go!
This was the very last day that I was able to leave my easels and canvases inside the terminal.
I've been kicked out of Wharf 8 and now have moved my stuff into a room in the loading dock of the old Sydney Ports Corporation Maintenance Depot that has been recently used to display the designs for Barangaroo.
Not for long, apparently - Bovis LendLease has already moved the entrance twice and I've noticed construction of new site offices starting in the north-west corner.
This building will obviously be the next to go after the DH8 terminal.
Exactly when is anyone's guess.

Behind the Red Door

Barangaroo : Terminal - Loading Dock
Plein air oil paintings on canvas of the former Cruise ship Terminal at Darling Harbour 8  painted in July 2010
plein air oil painting of now demolished cruise ship terminal at Barangaroo by industrial heritage and marine artist Jane Bennett
"Behind the red door " 2010
oil on canvas 31 x 31cm
Enquiries about this painting
A tantalizing glimpse of Jones Bay Wharf, Pyrmont behind the door within a door.
Painted inside the loading dock of the former Cruise ship Terminal at Darling Harbour Wharf 8, which will be demolished in a few weeks time.

Monday 26 July 2010

The End of an Era - The "Maersk Gateshead" Arrives

Jane Bennett oil painting of container ship 'Maersk Gateshead' at Barangaroo
Painting the 'Maersk Gateshead' from the wharf at Barangaroo
Enquiries about this painting

This was the last container ship ever to enter Sydney Harbour. I was permitted to paint it, not only from the wharf, but from the bridge of the ship, courtesy of the Captain, Mark Carter.
 
Jane Bennett oil painting of container ship 'Maersk Gateshead' at Barangaroo
On my easel is the completed oil painting of the
'Maersk Gateshead' which I sold to the Captain.
Enquiries about similar paintings
I spent 4 days painting from different vantage points on the ship, knowing that I was witness to the end of an era.
Jane Bennett oil painting of container ship 'Maersk Gateshead' at Barangaroo
Painting the 'Maersk Gateshead' from the wharf at Barangaroo
Enquiries about this painting

The 'Maersk Gateshead' only made her unplanned visit to Sydney Harbour because her engines became disabled. Rather than return to Port Botany or sail further into Sydney Harbour to dock at Glebe Island, as originally planned, the Captain decided to make use of the recently vacated wharf at BarangarooJane Bennett oil painting of container ship 'Maersk Gateshead' at Barangaroo
DH255 'Early morning, the Maersk Gateshead at Barangaroo'
2010 oil on canvas 31 x 61cm
Enquiries about this painting
The 'Maersk Gateshead' was not originally intended to enter Sydney Harbour at all. It had been near Botany, when it was discovered that the engines were disabled, and after some discussion, it was decided at first to send it to Glebe Island.
I was painting the ex-Hmas Adelaide and the OES Barge which were both then docked at Glebe.
Jane Bennett oil painting of container ship 'Maersk Gateshead' at Barangaroo
DH257 'The Maersk Gateshead, preparing to depart Barangaroo'
2010 oil on canvas 40 x 120cm
Enquiries about this painting
On the 7th June the OES Barge was waiting for the weather conditions to permit it to go to Botany, where it was to start the trials for laying cables.
There was quite a big swell at Botany- a wide windy shallow bay at the best of times.
Suddenly the OES people were told to move the barge from Glebe to neighbouring White Bay, to accomodate the disabled ship.
Jane Bennett oil painting of container ship 'Maersk Gateshead' at Barangaroo
Painting the 'Maersk Gateshead' from the
bridge of the ship at Barangaroo.
An unfinished oil painting of the panorama
from Pyrmont and White Bay to Balmain 25 x 152cm

But the expected ship did not arrive at Glebe - the captain had decided to instead move his ship, the 'Maersk Gateshead', to the vacant lot at the former DH5.
Jane Bennett oil painting of container ship 'Maersk Gateshead' at Barangaroo
Painting the 'Maersk Gateshead' from the
bridge of the ship at Barangaroo.
A central view of the prow of the ship
featuring its rows of containers.
The Sydney CBD and the heritage terrace
houses of Miller's Point are in the background.
Oil painting on canvas 38 x 76cm
Enquiries about this painting
Jane Bennett oil painting of container ship 'Maersk Gateshead' at Barangaroo
DH256 'The 'Pacific Jewel at wharf 7 from
the bridge of the Maersk Gateshead'
2010 oil on canvas 38 x 76cm
Enquiries about this painting
The ship was not unloaded at the wharf, but waited for repairs and finally left at 3pm Monday 14th June. I understood the historical significance and made sure that I took advantage of the situation.
As well as painting from the dockside, after a bit of negotiation I was permitted to paint from the bridge of the ship itself.
Jane Bennett oil painting of container ship 'Maersk Gateshead' at Barangaroo
"Night, 'Pacific Jewel' from the bridge of the Maersk Gateshead"
2010 oil painting on canvas 61 x 91 cm
Enquiries about this painting
From the bridge of the "Maersk Gateshead"at night. The "Pacific Jewel" Cruise ship is turning in the background, ready to depart Sydney Harbour.
This was a historic moment - the last time that a cruise ship would dock at the old cruise ship terminal at Darling Harbour Wharf 8.
It is highly unlikely that any other container ship will ever be allowed to dock at Barangaroo again.
If the recent article by Paul Keating in the Sydney Morning Herald is any indication, the cruise ships will be evicted to White Bay as soon as possible.

Related articles




Related Posts





The mother art is architecture