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

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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 Eveleigh Works. Show all posts
Showing posts with label Eveleigh Works. Show all posts

Wednesday, 24 June 2020

Blacksmith forging in the Australian Technology Park, Eveleigh Railway Workshops

Today's painting on my isolation deck gallery is of one of the blacksmiths in Bay 1/2 of the Locomotive Workshops, South Eveleigh, Eveleigh Railway Workshops.

Plein air oil painting of blacksmith in the Eveleigh Railway Workshops painted by industrial heritage artist Jane Bennett
E93 Blacksmith quenching chisels,
Eveleigh Railway Workshops 2011
oil on canvas 152 x 122cm

This canvas is so large that parts of it are obscured by the railing and roof of my pergola.
However, I did paint it from life - nervously trying to keep my oil paint and turps out of the way of the blacksmiths who were swiftly carrying red-hot metre long metal chisels from the forge and quenching them in a vat of boiling oil!
As you do!

Plein air oil painting of blacksmith in the Eveleigh Railway Workshops painted by industrial heritage artist Jane Bennett
E93 Blacksmith quenching chisels,
Eveleigh Railway Workshops 2011
oil on canvas 152 x 122cm



More recently, Matthew Mewburn of 'Eveleigh Works' has taken over this important and historically significant task.
The posts below include the stages of these paintings as works in progress on the easel, and some photos from several Open Days at the Australian Technology Park, Eveleigh Railway Workshops.

Irons in the fire
Watching the forge fires fade
Playing with fire
Macdonaldtown - A Station without a suburb
Strike while the iron is hot
Eveleigh- Industrial Heritage Artist at Work
 Eveleigh paintings
The village smithy (sydney-eye.blogspot.com)
Time for Safety 
The slow return from the fire 
The fire within 
En plein air with street cred (sydney-eye.blogspot.com)

Thursday, 2 May 2019

Selfie at South Eveleigh (Watching the forge fires fade)

I don't usually paint self portraits, but this is the exception.
I've been asked to exhibit in "Selfie", an exhibition of self portraits by artists who don't normally specialize in portraiture.
I have painted myself in front of the largest surviving forge remaining in Australia, the Eveleigh Locomotive Workshop
"Selfie" is on display from 11th - 26th May at 1047 Gallery, 1047 Botany Road Mascot.
Opening Saturday 11th may 2-5pm, closing drinks 26th May 2-4pm.
 Open Saturday & Sunday 11 am - 4pm
0401 037 359     ten-forty-seven@mail.com

Invitation to "Selfie" Exhibition at 1047 Gallery, 1047 Botany Road Mascot
Invitation to "Selfie" Exhibition at 1047 Gallery
















 

self portrait with blacksmith forging at Eveleigh Works, South Eveleigh by industrial Heritage artist Jane Bennett
 E158 'Watching the forge fires fade'
 2019 acrylic on canvas 31 x 61cm
 










Available for sale
From 1886 until the 1980s, the Blacksmith’s Workshop produced equipment and parts for manufacturing and maintaining steam locomotives.
The modern blacksmiths of Eveleigh Works still use traditional machinery in homage to this bygone era of steam trains and handmade tools.
However, despite their much-loved status as icons of industrial heritage, the blacksmiths face an uncertain fate as a Woolworths will be built next door. 
In the maelstrom of inner city gentrification, blacksmiths are anachronisms; living fossils from the 19th century.
Much like plein air painters, I suppose.
The deep shadows and dramatic lighting of the forge evoke the evocative, melancholy poetry of nocturnal scenes painted by my heroes Caravaggio, Joseph Wright of Derby and Georges de la Tour. Their nocturnes are ‘memento mori’ paintings contemplating  transience and mortality. The flickering flame will soon be extinguished. 
My canvas is cloaked in darkness, yet a flash of intense illumination throws eerie green highlights across my face. Behind me the blacksmith darts gracefully backwards and forwards in his dangerous dance with fire.
My face looms in the foreground towards the viewer, lost in thought. My gaze doesn’t meet the viewer directly, but peers intently at something just out of sight. Am I looking back in nostalgia to the past, or staring warily at an unknown future?