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.

Tuesday, 30 June 2020

The Milky bar kid - old milkbar 74 Harris Street

Today's painting on the easel of my deck gallery is a 2009 plein air oil painting of a derelict abandoned old shop in Pyrmont, fondly, but wrongly known as the "old bakery".
Plein air oil painting of the old milkbar/bakery corner of Harris and John Street Pyrmont by industrial heritage artist Jane Bennett
P257A 'Old milkbar aka 'bakery'
corner of John and Harris St'
2009 oil on canvas 51 x 61cm
Available


















As far as I can remember the actual bakery was a few doors down and the corner shop was a milkbar, but we're talking at least 3 decades ago.
My standout memory of it when it was in its last days of operation was how rubbish I was at playing their "Fussball" machine, which was lines of wooden footballers attached to a stick that you tried to manoeuver by a lever to kick the ball.
Not a single goal!
The legendary Terminus Hotel on the opposite side of Harris Street, and like its more famous counterpart, was part of the Wakil's real life Monopoly game. They had a landbanking empire of quirky, derelict buildings which were loathed by local residents as eyesores but cherished by artists like myself.
Aren't Artists a perverse bunch - we ignore all the shiny new developments and make straight for the 'shame of the neighbourhood' to immortalize it!
Plein air oil painting of the old milkbar/bakery corner of Harris and John Street Pyrmont by industrial heritage artist Jane Bennett
P257A 'Old milkbar aka 'bakery'
corner of John and Harris St'
2009 oil on canvas 51 x 61cm
Available



















The continuous row of 19th century 2 storey terrace houses between Nos 74 and 80 Harris Street are still part of the Wakil collection of formerly derelict buildings, which once included the iconic Terminus Hotel opposite.
The row of  terraces have rendered brick shopfronts and skillion roofed wings at the rear. They are plainly detailed, with only a string course to the facades as decoration, and a Victorian/Georgian flavour in their design. Door openings are rectangular, and window openings are also rectangular as well as slightly segmentally arched. They are without parapet or verandahs and feature corrugated iron gable roofs with low corniced or corbelled chimneys.

Plein air acrylic painting of the old milkbar/bakery corner of Harris and John Street Pyrmont by industrial heritage artist Jane Bennett
P256A 'Old Milkbar (aka 'Bakery'),
corner of Harris and John St'
2009 acrylic on paper 21 x 28cm
Available

















No 74 is similar to the rest, but was a corner shop and is faceted with a corner entrance. It  was a milkbar for a long time, although often and wrongly referred to as the 'old bakery'.
Number 82 was the actual site of the "old bakery", although now the entire block seems to have adopted this name.

Plein air oil painting of the old milkbar/bakery corner of Harris and John Street Pyrmont by industrial heritage artist Jane Bennett
P257 'Old bakery corner of John and Harris St'
2012 oil on board  35 x 28cm

Available





















For many years the corner and north facing doorways were boarded up and featured an endless layering of illegal posters promoting long forgotten bands.
 
Plein air acrylic painting of the old milkbar/bakery corner of Harris and John Street Pyrmont by industrial heritage artist Jane Bennett
P256B 'Old Milkbar and 'Chicks on Harris''
2009 acrylic on paper 21 x 28cm

Available

















Until about 2014, No 82 still partly kept up the milk bar tradition,traded as a "charcoal chicken" outlet called "Chicks on Harris".
Bearing in mind the seedy reputations of previous establishments at the north end of Harris St, I'm not sure that the owners had really thought through the implications of their name!
Milk bars are now imbued with mythical qualities they never possessed in life. In decline and death, they’re trendy and retro.


P256 'Black Dog (old milkbar -
aka 'bakery' from John St)'
2009 oil on board 31 x 25cm
Available


No 74 has now been recently and very sympathetically redeveloped by the current occupants - appropriately, 'Belle Property' real estate agents. And now it really is a 'belle' property indeed.
It's been painted a tasteful off-white shade, and the former layers of peeling posters have been replaced by large picture windows.
I couldn't resist having a sneaky peek inside.
The interior still has the original wall material visible, and the beautiful old hardwood stairs have been polished, but otherwise in their original state. The architraves are dark walnut stained hardwood, but the rotting floors had collapsed long ago and had to be replaced with polished concrete.
The huge tree outside is a relic from when both sides of John Street were edged with a row of trees whose branches would meet in the middle of the street to form a cathedral-like canopy. Lush and cool in summer, but most beautiful in winter when the feeble rays of the sun would pierce through the tracery of bare branches.
A lovely tree, but its roots went straight for the plumbing, and the pavement outside is cracked and humped by the twisting roots underneath. I know that a few years ago, several people had considered this old shop on as a renovation project, but weren't quite crazy-brave enough to take it on.

For more information about Harris and John Street in Pyrmont, including the Terminus and Pyrmont Point Hotels
see My Pyrmont page in this blog

Related posts



Looking over the overlooked-Urban decay in Pyrmont
To the Point
Wrong side of the tracks - Darling Island Bond and Free

Pretty vacant

A Tale of two hotels - the Terminus and the Point

The bad twin of Pyrmont Street

Pyrmont Paintings past and present


Monday, 29 June 2020

Painting Spirit of Tasmania in drydock Garden Island

Today's painting on the deck shows a plein air painting of the Spirit of Tasmania 1 in Captain Cook drydock, Garden Island.

Plein air oil painting  of Spirit of Tasmania 1 in Garden Island Drydock  painted by industrial heritage artist Jane Bennett
GI 5 'Spirit of Tasmania 1 in Captain Cook drydock'
2013 oil on canvas 45 x 92cm


It was an amazing experience to watch the whole operation of drydocking and I was so lucky to be able to paint it from the floor of the drydock, with the immense bulk of the ship looming up above me.
On this occasion the Spirit of Tasmania 1 was in drydock for about 3 weeks between July and August 2013.
Every sea-going vessel has to undergo this maintenance process twice within a period of 5 years.
Plein air oil painting  of Spirit of Tasmania 1 in Garden Island Drydock  painted by industrial heritage artist Jane Bennett
GI 5 'Spirit of Tasmania 1 in Captain Cook drydock'
2013 oil on canvas 45 x 92cm


When the ship arrives at the dock, it has to be positioned accurately so that when the water is pumped out it will rest exactly on the blocks at the bottom of the dock.
Once the ship is in position, the entrance to the dock is closed using a watertight gate, known as a caisson, sealing the ship off from the rest of the harbour.
The time from when the stern of the ship first touches the blocks, to when the full weight of the ship is bourne by the blocks is the most crucial and potentially dangerous period in the entire operation.
The ship must rest on an even keel and not be lopsided or tilting down at one end.
Even 1 metre off the sender line could result in the ship toppling over.
Care also must be taken that the ship doesn't refloat after it is resting on the blocks.
When the ship is finally resting on the blocks it is called "Taking the blocks" and after all the water has been pumped out of the dock, then the inspection, cleaning and repairs can be carried out.

Plein air oil painting  of Garden Island Drydock  painted by industrial heritage artist Jane Bennett
GI 11 'Captain Cook drydock Garden Island'
2013 oil on canvas 25 x 51cm

An awe-inspiring 280 million litres of water had to be pumped out of the Captain Cook graving dock before work on the ship can begin.
It is a hypnotic sight to watch the water slowly drain over a period of several hours.
This is a painting of the southern end of the dock, and inside the walls you can see the black depth indicators pointing like giant rulers into the bottom of the dock.

Plein air oil painting  of Spirit of Tasmania 1 in Garden Island Drydock  painted by industrial heritage artist Jane Bennett
Plein air oil painting  of Spirit of Tasmania 1
in Garden Island Drydock





















Dry dock walls are built on a heroic scale. They need to resist the enormous hydrostatic forces unleashed when the dock is being dewatered.
They reminded me of the monumental architecture of lost ancient civilizations such as the Egyptian, Mesopotamian or Aztec.

Plein air oil painting from the bridge of Spirit of Tasmania 1 in Garden Island Drydock showing a forklift being lowered into the dock painted by industrial heritage artist Jane Bennett
GI 5B 'Fabulous flying forklift in Captain Cook drydock'
2013 oil on canvas 10 x 10cm

Heavy machinery
such as forklifts, cranes and scissor lifts were then lowered onto the dock floor by the two cranes on either side of the dock.
In my largest canvas you can see no fewer than 8 cranes, as well as 2 portaloos!
It was a very long walk up to the surface!

The first major job was to wash the slime off the outer shell plating with high pressure waterjets. Although this certainly does make the ship look much prettier, the real reason is that it helps reduce fuel consumption and emissions.
Then the outer shell plating is coated with anti- corrosive paint, as seawater takes an enormous toll on any surface exposed to it. Any parts of the ship that will be submerged are then painted with a coat of anti-fouling paint.

Plein air oil painting  of Spirit of Tasmania 1 in Garden Island Drydock  painted by industrial heritage artist Jane Bennett
GI 5A 'Workmen on Spirit of Tasmania 3
in Captain Cook drydock'
2013 oil on canvas 10 x 10cm 


















Propellor blades, rudders, underwater valves, cathodic protection systems, anchors and cables must be inspected for corrosion and cracks.
There was also extensive work on the interior and the stern doors.

Plein air oil painting from the bridge of Spirit of Tasmania 1 in Garden Island Drydock showing the Hammerhead Crane and the Sydney Harbour Bridge in the background painted by industrial heritage artist Jane Bennett
GI 7 'Andre on bridge of Spirit of Tasmania 1
in Captain Cook drydock'
2013 oil on canvas 25 x 51cm













I included many of the contracters in my series of paintings. This, painted from the bridge of the ship also shows the soon to be demolished Hammerhead Crane set against the scenic backdrop of  the Sydney Harbour Bridge.


Related Posts

Artist in Residence on the James Craig Part 1

Friday, 26 June 2020

Royal Edward Victualling Yards (REVY), Darling Island, Pyrmont

Today's painting on the deck shows a small panorama of Sydney Harbour with a cargo ship berthed at the East Darling Harbour Wharves in the background. The strange looking building in the centre surrounded by piles of timber is the REVY C building on Darling Island. I painted it in the early 1990s from Ways Terrace.
Plein air oil painting of East Darling Harbour Wharves, Sydney Harbour and REVY, Darling Island in Pyrmont  painted by industrial heritage artist Jane Bennett







 
 
 
P8'REVY C from Ways Terrace'
1992 oil on canvas 31 x 61cm
On Darling Island, nothing is now left of the timber and shipbuilding yards. Today the water’s edge bristles with new apartment blocks gazing over sheltered waters. Yet beneath the silvery surface lies a hidden history.
The Royal Edward Victualling Yard, ( REVY A,B & C), was built between 1890 and 1911, by the revered Government architect Walter Liberty Vernon in the Federation Free style.
They were some of the last working buildings on the Pyrmont waterfront and had rivettingly odd architecture. Revy A and B  consisted of a 5 storey and a 6 storey pair of large red brick warehouses set at right angles to each other and linked by a square central  water reservoir tower. They were built in a flamboyant neo-Gothic style which reminded me irresistibly of the Bargello in Florence.
Plein air oil painting of East Darling Harbour Wharves, Sydney Harbour and REVY, Darling Island in Pyrmont  painted by industrial heritage artist Jane Bennett

 
 
 
 
 
 
 
 
 
 
P8'REVY C from Ways Terrace'
1992 oil on canvas 31 x 61cm
Revy C is a narrow, skinny, rather ungainly eight-storey, red brick Federation Warehouse, and still the tallest structure on Darling Island.  It had a rusticated ashlar bluestone ground floor, and a riveted truss jib crane facing Jones Bay Wharf. Its 4 large lift towers on the roof always reminded me of the crenellations on top of medieval castles.
Early fire fighting relied on steam pumped water pressure which could only reach up to a maximum of 2 storeys. So the set of external steel fire stairs at either end were a very practical solution to this problem, even though I used to curse them for being a perspective nightmare to paint.
Plein air oil painting of East Darling Harbour Wharves, Sydney Harbour and REVY, Darling Island in Pyrmont  painted by industrial heritage artist Jane Bennett


 







 
P12B REVY 3 from Jones Bay Wharf with 'Nederburg'
1990 oil on canvas 25 x 51 cm
SOLD
Enquiries about other paintings of Darling Island

Revy's original purpose became obsolete due to the increasing size of cargo ships and the introduction of container shipping.
The painting above shows the 'Nederburg' one of the last cargo ships docking at the Pier 19/20/21 (now known as Jones Bay Wharf) opposite Revy C.
During the 1980s REVY C was remodelled for the Defence Science and Technology Organization.
Plein air oil painting of East Darling Harbour Wharves, Sydney Harbour and REVY, Darling Island in Pyrmont  painted by industrial heritage artist Jane Bennett














P12 REVY from Jones Bay Road
1990 oil on paper 25.5 x 31 cm

Available for sale
This small oil study shows the timber yard on the other side to the previous painting.
In 1994, REVY A and B were renovated for Naval Support Command , and I was commissioned to paint 3 huge paintings for their foyer.
They could be seen from Jones Bay Road until 2005 when Channel 7 moved in. Now these paintings are on Spectacle Island, where unfortunately they can't be seen by the public.
REVY C was vacant from 2005 until its recent redevelopment for apartments.
 
Related Posts 
 
 
 

Thursday, 25 June 2020

Barangaroo - tabula rasa

Today's painting on the deck is a panorama painted on the East Darling Harbour Wharves. It includes 2 of my former studios - the Harbour Control Tower and Moore's Wharf.
The now demolished Harbour Control Tower dominates the empty wharf. A row of pink terraces perch on top of the golden sandstone escarpment
while the Sydney Harbour Bridge can be glimpsed behind Moore's Wharf, a handsome heritage sandstone building housing the Sydney Ports Corporation.
The cute little federation building on the left is a Federation era sewage pumping station. It has since been cleaned up and relocated.
plein air oil painting of  the former East Darling Harbour Wharves about to be redeveloped into  Barangaroo Headland Park with the Harbour Tower painted by industrial heritage artist Jane Bennett
BAR60 'Barangaroo north -
The Harbour Tower,
escarpment and Moore's Wharf 2'
2010 oil on canvas 38 x 76cm
















This canvas was painted just after the wharves had been cleared of all their maritime infrastructure, and just before work began on the construction of the Barangaroo Headland Park that replaced it.
It shows a place in a state of limbo.
I've included a couple of photos of this and a couple of other canvases as works in progress, to show some of the process involved in their creation.
I had to lug a french box easel, paint, brushes, medium, canvases, a couple of tables, a chair, and my lunch, packed inside trolley luggage. After doing this for several decades, I've become quite fit and strong!
plein air oil painting of  the former East Darling Harbour Wharves about to be redeveloped into  Barangaroo Headland Park with the Harbour Tower painted by industrial heritage artist Jane Bennett
Plein air oil painting behind the barrier
on the East Darling Harbour Wharves
Showing this canvas as a work in progress
with my trolley luggage, table, chair, french box easel,
paints, brushes and other equipment.

























Barangaroo is a paradox.
The area now known as Barangaroo was off limits to the public for over a hundred years but was the central core of Sydney's economy. Necessary, yet ignored ; in full view yet strangely invisible.
Now it is centre stage, hotly debated and fought over, yet still unknown to the vast majority of Sydney.
Once a despised slum - now prime waterfront. Only the fashion has changed...
plein air oil painting of  the former East Darling Harbour Wharves about to be redeveloped into  Barangaroo Headland Park with the Harbour Tower painted by industrial heritage artist Jane Bennett
BAR60 'Barangaroo north -
The Harbour Tower,
escarpment and Moore's Wharf 2'
2010 oil on canvas 38 x 76cm
















It had a complex. fascinating multi-layered history but has been treated as though it is tabula rasa - a blank canvas for architects to impose their will upon.
Nearly 200 years of maritime heritage disappeared with barely a token gesture to its previous existence.