Why the hullaballoo about Barangaroo?

 Panel Discussion at the Frances Keevil Gallery
Why the hullaballoo about Barangaroo? 

Where Art, Architecture, History, Politics and Economics meet

2 – 4pm Sunday March 10

DH248 'The wharves and High St
from the Stamford on Kent'
2007 oil on canvas 75 x 100cm

Enquiries about this painting

Other Enquiries

It's that time of year again.

Galleries and collectors are slowly waking up after their annual summer hibernation. The Art market is as seasonal as fruit-picking. 

March is "Art Month".All of the galleries bring out the big guns to impress. 
My solo exhibition "From the Hungry Mile to Barangaroo" is the signature event of the Frances Keevil Gallery for Art Month.
Instead of doing the usual artist's talk to accompany the show I thought that I'd try something a bit different.
The trouble with artist's talks is that they probably only really interest other artists.
So what would interest the average Sydney-sider?
How about ludicrous amounts of money, murky politics, waterfront real estate to die for ..... and a little whiff of scandal? Sounds very Sydney to me.

After a great deal of thought, many emails and even more phone calls, I have put together  a carefully selected panel for a no holds barred discussion about Barangaroo.

I hope that it will be a balanced yet informative discussion. Some past history and controversy will be aired, but it's an opportunity to discuss some of the many complex issues raised by the Barangaroo development in front of the exhibition of paintings I actually created on the site.
The  participants are:

Graham Jahn AM Director City Planning Development and Transport, City of Sydney
Dr Jack Mundey AO legendary activist and 'Grandfather of the Green Bans', who was also a member of the jury that chose the original design for Barangaroo
Philip Thalis principal of Hill Thalis Architecture + Urban Projects, whose design team won the competition to design Barangaroo - yet whose design has not been adopted for the actual construction.
John McInerney

former Councillor of the City of Sydney and now President of "Australians for Sustainable Development". John also actually lives in Millers Point.

Related posts

'From the Hungry Mile to Barangaroo'
Storm warning, Goat Island
"See the sites"Elizabeth Fortescue The Daily Telegraph  March 02, 2013

'From the Hungry Mile to Barangaroo'

My solo exhibition 'From the Hungry Mile to Barangaroo' will be held at the Frances Keevil Gallery until 24th March 2013.

'Goat Island from Moore's Wharf'

2013 oil on canvas 122 x 183cm Sold

The 'Hungry Mile''
2007 oil on canvas 100 x 122cm
Enquiries about these paintings
This exhibition will be the major event for Art Month, and will opened by Elizabeth Fortescue, Visual Arts Writer for The Daily Telegraph on Tuesday 5th March 2013, 6 – 8pm.

'Wharf 6/7' 1999 oil on canvas 61 x 101cm
'Harbour Control Tower from Moore's Wharf ' 
2013 oil on canvas 51 x 25cm  Sold

'L3' Crane, with the 'Taiko'

2006 oil on canvas 51 x 25cm

'Barangaroo from Glebe Island' 2010

oil on canvas 31 x 61 cm  Sold

'The empty wharf from shed 6' 2008

oil on canvas 31 x 61cm

'Interior, Wharf 8-9' 2000

oil on canvas 31 x 61cm

'Night, from bridge of 'Maersk Gateshead'

2009 oil on canvas 61 x 91cm

'The 'Southern Cross'

2007 oil on canvas 31 x 92cm Sold

Enquiries about these paintings

'Yellow cranes from the cage'

2007 oil on canvas 153 x 61cm Sold

'Capitaine Tasman' + 'Caledonie Express' night

2007 oil on canvas 31x103cm

'The last call of the 'Tampa'

2007 oil on canvas 31x103cm

'Forklifts in the fog panorama'

2007 oil on canvas 31x103cm

'The Pacific Dawn with demolition of Shed 6'

2008 oil on canvas 31x103cm

Enquiries about these paintings

The gallery was still hanging the exhibition when these photos were taken.

'The Last of the Hungry Mile' 2007 oil on canvas 180 x 122cm
FINALIST : 2008 SULMAN PRIZE, ART GALLERY OF NSW
'Walsh Bay Wharves, Moore's Wharf and the Hungry Mile'
2002 oil on canvas 122 x 152cm
'Relics from the 'Dead House' 2007 oil on canvas 122 x 100cm
Enquiries about these paintings

The paintings show the transition of the former wharf, East Darling Harbour, known as the "Hungry Mile", to the construction site, Barangaroo.

'Sydney Harbour Panorama from the Stamford on Kent'
2007 oil on canvas 25 x 153cm Sold

'Moore's Wharf from the bridge of 'Scholarship'

2007 oil on canvas 25 x 51cm Sold

Moore's Wharf, Sydney Harbour Bridge and Walsh Bay Wharves'

2007 oil on canvas 25 x 51cm Sold

'Wharf Skeleton' 2008 oil on canvas 75 x 100cm

'The wharves and High St from the Stamford on Kent'

2007 oil on canvas 75 x 100cm"

'The Last of the Hungry Mile' 2007 oil on canvas 180 x 122cm
FINALIST : 2008 SULMAN PRIZE, ART GALLERY OF NSW
Enquiries about these paintings

I've had a ring-side seat to paint this fascinating area, courtesy of many businesses and private individuals, who had to put up with having a self-appointed "Artist in Residence" paint from their offices, shops, cafes or homes.

'Harbour Control Tower from Moore's Wharf '

2013 oil on canvas 51 x 25cm Sold

'L3' Crane, with 'Taiko' 2006

oil on canvas 51 x 25cm

'The 'Charlotte ' passing Goat Island 2011

oil on canvas 15 x 18cm Sold 

'Goat Island from Moore's Wharf' 2010

oil on canvas 45 x 91 cm

'High Street from the wharf' 2007

oil on canvas 31 x 41cm

'Forklifts in the fog' 2007

oil on canvas 31 x 41cm

Enquiries about these paintings

I've been able to create large-scale plein air canvases in the middle of the Barangaroo demolition site, from the top of the Harbour Control Tower and in Moore's Wharf, the headquarters of the Sydney Ports Corporation Emergency Response Tugs and Pilot Boats.

'Sydney Harbour Panorama from the Stamford on Kent'
2007 oil on canvas 25 x 153cm Sold
Moore's Wharf from the bridge of the 'Scholarship'
2007 oil on canvas 25 x 51cm Sold
Moore's Wharf, Sydney Harbour Bridge and Walsh Bay Wharves'
2007 oil on canvas 25 x 51cm Sold
'Wharf Skeleton' 2008 oil on canvas 75 x 100cm

'The wharves and High St from Stamford on Kent'

2007 oil on canvas 75 x 100cm

Enquiries about these paintings
These are the last outposts of maritime and industrial activity, once so familiar around Sydney Harbour.

'Wharf Skeleton' 2008 oil on canvas 75 x 100cm

'The wharves and High St from the Stamford on Kent'

2007 oil on canvas 75 x 100cm

Enquiries about these paintings
 
See also my previous solo exhibition in 2011 at the Frances Keevil Gallery : "May Close without warning"

Related posts

The Mother Art is Architecture

Eaten by Robots

The Last of the Hungry Mile

To the Point

Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com
Last week I returned to a painting that I had started 2 years ago but had left half finished due to having to complete other projects.
I had painted the two hotels from this viewpoint on the corner of John and Harris Streets countless times before. I still had several canvases of the Terminus but I especially wanted to paint a panorama giving equal space to the Terminus and Pyrmont Point Hotels.
59 versus 61 Harris Street Pyrmont - the old versus the new Pyrmont, divided by the striding legs of the Anzac bridge looming over the towers of Jackson's Landing.




Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com

I had completed a similar canvas from this viewpoint about 2 years ago, but had sold it almost immediately to a local couple who had met each other at the Point Hotel.


Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com
In the first photo of the work in progress, the previous colour scheme of the "Pyrmont Point Hotel" from 2 years before is still visible. The strange faded plum tone reminded me of an over-ripe version of the once ubiquitous "Paddo pink" in the first wave of gentrification that spread all over the 1980s inner city. It clashed horribly with the dark crimson awning.
Now it is under new management, with a brand new colour scheme to mark the change. The walls are a more subdued and elegant pale yellow green, with awnings and window frames in chocolate. One effect of the new wall colour is to make the "ghost sign" of the hotel's original name the "Royal Pacific" more apparent.
Meanwhile the Terminus hasn't changed a bit.

Half finished canvas on the easel

"The 'Terminus' versus the 'Pyrmont Point Hotel' "

2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com

I spent the first afternoon repainting the walls of the "Pyrmont Point Hotel" to the new colour. It probably would have been quicker and easier to just start a completely new canvas.

The practice of plein air painting often results in many half finished and potentially unfinishable canvases, so that you have to grit your teeth and accept it as an inevitable part of the process. So many elements are beyond the artist's control that plein air painting becomes hopelessly frustrating if you can't cope with "unfinished business".
I love being able to revive a canvas that I have had to turn face to the wall for weeks, months or even years.

Half finished canvas on the easel

"The 'Terminus' versus the 'Pyrmont Point Hotel' "

2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com
By the end of the first day, I had the basics blocked out and the canvas only needed the finishing touches.
And just as well.
When I delivered another work to the Frances Keevil Gallery, I discovered that a couple from Pyrmont were extremely interested in this painting. They had actually watched me while I was painting it!
Unfortunately they were due to leave Australia the next week.
I would have to complete the painting by Wednesday at the latest if it was going to be dry (well... dryish!) by Saturday, when the clients came in to the Frances Keevil Gallery to view it.
I don't think that they realized that it was an oil painting and they were cutting it a bit fine if it was to be finished, dry and ready to be delivered.


Half finished canvas on the easel
"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com

It was Tuesday.

And there were many distractions.
I love chatting to people as I paint. I get to meet interesting people and learn a lot of fascinating things about the location.
But I was under a bit of time pressure and I must admit that I was worried.
The painting looks almost finished in this photo, but the final touches which can make or break a painting are very fiddly and it's perilous to rush them.
One of the most important of these was the "ghost sign" of the Pyrmont Point's previous incarnation as the Royal Pacific. Another vital detail was the light coming from the interior of the Pyrmont Point which contrasted with the dead heart of the Terminus.

The artist with local resident Van Le

with the nearly complete canvas

"The 'Terminus' versus the 'Pyrmont Point Hotel' "

2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:

janecooperbennett@gmail.com

Tuesday seemed to be an extremely busy day on the corner of John and Harris St.
I became a bit of a tourist attraction. Here I am with Van Le, a local resident.

The artist with local resident

Francis Lee with the nearly complete canvas

"The 'Terminus' versus the 'Pyrmont Point Hotel' "

2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com
And with Francis Lee, another local resident, who kindly took these pictures of me in action.

"The 'Terminus' versus the 'Pyrmont Point Hotel' "
2012 oil painting on canvas 31 x 61cm
Sold
Enquiries about similar paintings:
janecooperbennett@gmail.com
I needn't have worried.
The painting was completed.
And the couple loved it and bought it.
Apparently one of the pair had been covertly watching me paint the finishing touches on this canvas from a safe distance at the pub opposite.
I'm glad that I didn't know that at the time or I would have suffered stage fright.
I actually think that this painting turned out better than the one that I had painted 2 years before. Mind you, I've certainly had quite enough practice painting these pubs. The first time was about 30 years ago - doesn't time fly when you're having fun!
Also watching me were 2 photographers who were checking out the Terminus. They took a few photos of me (no makeup, covered in paint from head to foot, looking like a bag lady...oh well!) and chatted about the charms of urban decay as I desperately tried to finish my commission. Like many photographers, they seemed more interested in the freshly squeezed oil paint on my palette than the actual canvas. The process not the result.
Check out the photos they took of me and my painting here at the blog on their site.
Tristan Stefan Edouard Photography
For more information about 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 
Paintings of Pink pubs - Painting the Jolly Frog Part 2
 

My exhibition of Pyrmont paintings at the 2012 Pyrmont Festival

Exhibition of paintings of Pyrmont by Jane Bennett

at the 2012 Pyrmont Festival

Enquiries
janecooperbennett@gmail.com
The photos of the display are courtesy of Frances Keevil, who also very kindly took time out from the gallery to hang and help me label the work. If not for Frances I'd probably still be there trying to cable tie canvases onto the security fence. It was still a nightmare to hang, and having to cable tie extremely valuable and historic paintings to a security fence is far from ideal.
The artworks are at risk of being damaged, and so was I. Due to the unfortunate timing of the Sydney half marathon being run on the morning of the event and the roads being closed as a consequence, there was very little time to unload my art and hang it.

Exhibition of paintings of Pyrmont by

Jane Bennett at the 2012 Pyrmont Festival

Enquiries
janecooperbennett@gmail.com
I had brought 50 paintings on canvas and board for the exhibition. The largest was a 61 x 183cm canvas of a panorama of "Union Square" and the smallest was a tiny work on board of a detail of a window of the Terminus Hotel that at 9 x 13cm could fit in the palm of your hand.

Exhibition of paintings of Pyrmont by

Jane Bennett at the 2012 Pyrmont Festival

Enquiries
janecooperbennett@gmail.com
This shows a couple of paintings of the CSR with some information sheets about my experiences creating them.
I also brought a small folio of works on paper, most of which had never been previously exhibited.

Exhibition of paintings of Pyrmont by

Jane Bennett at the 2012 Pyrmont Festival

Enquiries
janecooperbennett@gmail.com
Despite the rain we had a good audience. I met lots of people who once lived or worked in Pyrmont as well as many of the new residents of Jacksons Landing and the apartments on top of Pyrmont Point.
I am now trying to complete 6 commissions resulting from contacts made on this day.

Exhibition of paintings of Pyrmont by Jane Bennett

at the 2012 Pyrmont Festival

Enquiries
janecooperbennett@gmail.com
This shows a corner of my stall. I'm glad I decided to add this to my allotted space on the security fence, as the stall gave a little shelter from the rain, and I wouldn't have been able to display my books or photos of the rest of my work otherwise.
But the stall and the fence for the daily cost $220, which Ned Kelly would have been ashamed of.
Pyrmont Point was once the site of no less than 5 of my studios. Had the earlier businesses and residents of Pyrmont been as greedy, I wouldn't have been able to create any of the paintings that the current residents enjoy.
Wood if I could...

Table easel made of recycled timber by artist Jane Bennett
I had made eleven small table easels in the weeks before as preparation for the event. Small paintings would get lost on the fencing next to larger works, and it freed up space for sheets of information about my series of Pyrmont paintings. The historical context is becoming more and more important as time goes by and the new residents seek information about their area.

Table easel made of recycled timber by artist Jane Bennett
I'm no carpenter - in fact I've very rarely picked up a hammer or screwdriver in my life before. I had bought a couple of little easels, but they were fairly useless. They tended to collapse or fall over easily - not a good look in a public exhibition. I couldn't find anything that would serve my purpose in the art shops they were either far too big or small, much too expensive, or had useless fiddly bits that would soon snap off or stab an expensive painting in the back.
I was sick of playing "Goldilocks" so I decided to try my hand at making what I needed despite a total lack of skill, knowledge, experience or the correct tools or materials.
I used some bits of scrap wood I found lying around the garden.
"Recycled" is probably too kind a word for it, "rubbish" is closer to the mark. It was a motley collection salvaged from a warped canvas stretcher,part of an old fence, a couple of garden stakes and a rotting pallet that a neighbour put out for council clean-up. But once I had sanded them and covered up the wonky bits with wood stain they scrubbed up quite well.
These "easels" are just simple A frame tripods. I didn't even attempt to make them with adjustable heights. which I knew was well beyond my almost non-existent woodworking abilities. Also most of my easels with adjustable heights have some major design flaw anyway that makes them hell to use.

These are simply to prop up a small to medium size painting so it can be seen with a bit of dignity at an event where there is no hanging system, and very limited time to prepare the display.

No two of them are the same size or shape. I practice saying "quirky rustic charm" a lot.

"Terminus Hotel" displayed on a Table easel

made of recycled timber by artist Jane Bennett

2010 oil on canvas 31 x 31cm
Enquiries
janecooperbennett@gmail.com
But they do the job.
The red cedar woodstain especially suited the Terminus Hotel paintings, as it picked up the burnt siena of the ivy -covered bricks.

oil painting of "Gargoyle on spire of

Maclaurin Hall, University of Sydney"

displayed on a Table easel made of recycled timber

2009 oil on board 25 x 20cm
Enquiries
janecooperbennett@gmail.com
This shows my painting of "Gargoyle on spire of Maclaurin Hall, University of Sydney" displayed on a table easel that I made from parts of a shabby old frame that had warped and had to be removed. Unfortunately I discovered at the festival that the white paint blistered in the rain, so I have now taken it apart, sanded it back and given it a coat of the same red cedar wood stain so it now matches the others.
For more information 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 
Paintings of Pink pubs - Painting the Jolly Frog Part 2 

The slow return from the fire

On the ATP Open Day I had to be in 3 places at once.
I was to exhibit my paintings of Eveleigh in the Exhibition Hall and simultaneously paint while the blacksmiths of Wrought Artworks gave their forging demonstrations.
I would be displaying 38 paintings on 20 easels in the Exhibition Hall.This included 2 works on paper framed under glass, that were so large that they could only just be crammed into my station wagon. Some of the paintings were from my home in the north-western suburbs and some at the Frances Keevil Gallery in Double Bay.
In addition to this, I was exhibiting another 8 paintings of the blacksmiths in Bay 1/2, as well as some large half finished canvases. I also needed to bring my French box easel, palette and paint so that I could give the onlookers an insight into the process of painting from life.
The 20 easels required a separate journey, as I have learnt the hard way that trying to transport paintings and easels in the one trip always ends in tears.   Unfortunately all of the deliveries and all the setting up of the exhibition had to be on Friday, the day before, so this resulted in 5 trips.

With my team of helpers,
Ron, Fay and Tony!

On the Open Day I was helped by the directors of the Frances Keevil Gallery, Frances Keevil and Lynn Westacott, who both came along to look after the exhibition and stayed to pack up and deliver works back to the gallery.
I also received a great deal of help from a most unexpected source. A couple of weeks before, I had been invited to talk about my work at the inner-western Sydney branch of Rotary. Despite my total cluelessness about Powerpoint ( I managed to disconnect my laptop, but I fortunately had brought some canvases with me in case I messed up the technology), I must have done something right. Fay Thurlow, Ron Bottrill and Tony Bastow from Rotary all turned up, full of enthusiasm and energy.
I was so grateful for this as it freed me to be able to paint as well as exhibit my work.
I think the relief and gratitude showed in my face as I painted!

This shows me starting a medium size canvas of the

blacksmiths hand forging and hammering. 

Chris Sulis, dreadlocks flying, is a whirl of action in the background.

Enquiries

The blacksmith in the background is Chris Sulis, who is also the subject of the very large half finished canvas displayed next to me in the photo below.

Art and life. 

I'm starting a canvas of Chris hand forging,

next to my giant canvas portrait of

Chris forging chisels on the Massey steam hammer.

Enquiries

No makeup, no sleep for 2 days, no breakfast and totally knackered!

But finally all the hard work of preparation is over

and I can relax and get back to painting.

 On my easel is the start of my painting of one of the furnaces,

while on my table is a quick study of the master blacksmith,

Guido Gouvernor, hammering.

Enquiries

I quickly started the largest spare canvas that I had. As well as giving the onlookers something to see, it helps just to break the ice. It's important for me to start quickly - to get something on the canvas even if I later paint out every mark I make. If I sit there deliberating too long I can get paralysed with fear that I will make the wrong brushstroke and make a fool of myself in public. There is no time for fear or second thoughts on a day like this.
I have to make every moment count. I make cryptic scribbly marks in paint on a dozen small canvases at my feet, as I try to commit the nonchalant balletic grace of the blacksmiths to memory. They are swift and economical with their movements, as only men who are waving around large pieces of red hot metal in a confined space can be.
 Their gestures sometimes bring to mind echoes of half forgotten classical poses from art history. The tense crouch of quenching a chisel in a trough is briefly transformed into the stance of a Roman about to spear a dying Gaul.
Although their movements are swift, once I pick up the rhythm and sequence of their routine I can isolate gestures that will make interesting paintings
The blacksmiths rarely fire their furnaces now. Most of their work involves welding rather than traditional blacksmithing techniques. This is as much a treat for them as it is for their audience.
There were 2 locations to paint on the Open Day. At the northern end of the Blacksmith's enclosure, Guido and Chris had lit a furnace for a more or less continuous demonstration of hand forging and hammering techniques. About every 2 hours they would open the gates to let people in for the spectacular steam hammer forging sessions. I would then carefully balance my brushes on my palette and scamper past the barriers just in time to set up. I spent all day running from one site to the other in a sort of mad artistic relay race. 
I find painting in these circumstances exhilarating, as much sport as art.

This was painted during the first steam hammer forging demonstration. 

I have just started a small canvas of the master blacksmith,

Guido Gouvernor with Chris Sulis at the Massey steam hammer.

Guido (wearing a festive pair of red earmuffs) is in the foreground.

Enquiries : janecooperbennett@gmail.com

This shows the same canvas

after the next forging demonstration.

I have painted in the face and arms of Chris,

who is holding the object being forged.

Enquiries : janecooperbennett@gmail.com

In the afternoon, I visited my exhibition in Bay 12, and was very impressed with the way that it had been arranged by my friends.

Some visitors in front of my painting of the 

"BHP Goods Yard, Newcastle" 1998.

Enquiries : janecooperbennett@gmail.com

A young train buff taking photos

of my paintings of the lamp trikes

of the Paint Shop of North Eveleigh.

Enquiries : janecooperbennett@gmail.com

One of the features of the Open Day was the inaugural Eveleigh Film Festival.

The photo below shows two of the heroes of my favourite railway film "Darling Island Shunters".

Darling Island  was ending its days a a working goods yard, just as I was starting to be serious about my project of painting Pyrmont.

I'm so glad that I had included a tiny little painting of the Darling Island Goods Yard which I had painted in the 1980s, and a book of photos of my other paintings of Pyrmont. 

They also used to ride the ancient lamp trikes that I had painted in the canvases behind them.

"Darling Island Shunters"

   I have just read Julie's wonderful post about the Open Day Singing the body electric.The Walt Whitman poem chosen to accompany her photos has always been one of my favourite pieces of writing. It manages to put into words the feelings that I have when I paint far better than I ever could.

Related posts

Macdonaldtown - A Station without a suburb

Eveleigh- Industrial Heritage Artist at Work

ATP Open Day - Saturday, 25 Feb 2012
 Eveleigh paintings
The village smithy (sydney-eye.blogspot.com)
Time for Safety 
The fire within 
En plein air with street cred (sydney-eye.blogspot.com)
Watching the forge fires fade

For more information about Darling Island see my Pyrmont page in this blog.
Some of the paintings in the exhibition can be seen at my Eveleigh page in this blog.