Millers Point from the top of the Harbour Control Tower

Before the inevitable demolition of the Harbour Control Tower, I wanted to paint a very large panorama of this amazing view.

I'd had the run of the top floor and the amenities level of the 87 metre high Harbour Control Tower from the early 2000s until port operations finished there in April 2011. Afterwards I had occasional access to create paintings of various stages of the construction of Barangaroo. 

I'd spent many unforgettable New Year’s Eves on the top floor, painting 360 degrees of the fireworks exploding underneath against the spectacular harbour view.

The perspective was very tricky, so I warmed up with a few smaller works first.

This is a small study of the rooftops of the heritage Miller's Point terraces and the former Bond stores of the Walsh Bay Wharves.

Work in progress " Miller's Point  and Walsh Bay Wharves

from top of the Harbour Control Tower "

2014 oil painting on canvas 36 x 46cm

.

There was such an overwhelming mass of tiny details that I needed to tackle this subject in a series of small works before risking getting bogged down in a huge oil painting. I wanted to understand the rhythm of the landscape.

The perspective is made more complex by the landbridges over the twisting streets winding their way from the angled rows of Walsh Bay Wharves up the hills.

The entire suburb of Miller's Point lies at my feet and the roads seem to curve towards the Opera House in the middle distance.

HCT47  'Millers Point from top of Harbour Tower'
oil on canvas 36 x 46cm

As you can see, my palette changed by the time I finished this work - one of the hazards of working 'en plein air'. I started early, but didn't finish for a few hours, so the clear pale yellows of the morning deepened to the burnt orange and rich purple shadows of the afternoon.
I had to stand on a chair to paint this, as the windows on the Amenities floor were a bit too high for me to see the terraces.
I'm only 5'1"- short, even for a woman.
Exactly the same height as Toulouse-Lautrec. Unfortunately I love painting canvases on an epic scale.

The tower would sway in the wind, sometimes almost imperceptibly, and sometimes with a rolling motion that can induce seasickness which is distracting when trying to paint fine details.

In the far distance, you can see the silhouette of the half-demolished Hammerhead Crane on Garden Island, which was finally removed by October 2014. I had just finished a stint as 'Artist in Residence' on Garden Island painting this before the demolition started.

The demolition of the Harbour Control Tower would be next. However I did manage to finish a few large scale panoramas from the top floor, before I lost one of my best studios forever.

The State library now has several of these works in their collection.

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The mother art is architecture

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.


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.

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.

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

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.

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.

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.

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.

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"The Mother Art is Architecture"

"The Mother Art is Architecture" is part of a quote by Frank Lloyd Wright.

The full quotation is  : "The Mother Art is Architecture. Without an Architecture of our own we have no soul of our own civilization".

I am one of 6 artists, John Waters, Isabelle Devos, Jane Bennett, Stephen Nova, Chris Brown, and Hadyn Wilson currently exhibiting in the group show "The Mother Art is Architecture" at FrancesKeevil Gallery, 28-34 Cross Street Double Bay. Architecture is  the theme; yet each artist takes it in quite different directions.
Almost everything that I have ever painted has either been demolished or changed beyond all recognition: the pubs have been gentrified, working class terraces are now apartment blocks and Sydney is no longer a Working Harbour.
I have spent most of my career painting the loss of Sydney's "soul of civilization".

Without an architecture of our own we have no soul of our own civilization.
Read more at: http://www.brainyquote.com/quotes/quotes/f/franklloyd127711.html

Without an architecture of our own we have no soul of our own civilization.
Read more at: http://www.brainyquote.com/quotes/quotes/f/franklloyd127711.html

I was "Artist in Residence" at the "Hungry Mile", East Darling Harbour Wharves during its last years as a working port, courtesy of Patrick Stevedores and Sydney Ports Corporation. When I knew that port operations were ending, I used the wharf itself as a studio and gained unprecedented access to every aspect of the activities there. I painted on the wharves, from the bridge of the ships (courtesy of the ship’s captains) and wonderful bird’s eye views from the top of Harbour Control Tower. After the last ship had sailed, I continued my epic series of paintings of Barangaroo, the largest and most controversial Sydney Harbour construction project in living memory.

MW62 Harbour Tower from Moore's Wharf '
2015 oil on canvas 51 x 41cm

I had the run of the top floor and the amenities level of the 87 metre high Harbour Control Tower from the early 2000s until port operations finished there in April 2011, and afterwards had access to create paintings of various stages of the construction of Barangaroo. I spent many  New Year’s Eves on the top floor, painting 360 degrees of the fireworks exploding underneath against the unforgettable harbour view.

Two major works on paper which I painted from the top of the Harbour Control Tower a couple of years apart, will be featured in this exhibition.

These two large mixed media drawings show the maximum possible contrast between old and new; between heritage and development; between tradition and progress.

One shows views over Barangaroo and the waterfront. The other looks out over Millers Point towards the bridge. A nod to the past - and a look to the future.

The 2 works overlap slightly,  sharing the sweeping curve of the workers terraces of High Street as well as the quirky asymmetry of the old Palisade Hotel in common. They are on the far left hand side of the earlier work, and on the far right hand side of the later work.

HCT34  'Millers Point and Barangaroo
 from the top of Harbour Tower' 2010
ink acrylic gouache on paper 102 x 125cm
Enquiries

 

 

By the time of painting the later work, the Palisade had nearly completed its transformation from a down at heel wharfies’ dive into a luxurious upmarket watering hole for the new residents of Barangaroo and Walsh Bay Wharves.

The earliest version of the Palisade was built in the late 1800s, but the Sydney Harbour Trust commissioned Henry Deane Walsh to build a hotel on top of the pub, which was completed in 1915. The Palisade Hotel was literally a landmark as it was the highest building in Sydney at the time. Many diggers sank their last beer at the hotel before they boarded ships bound for the First and Second World War. It was also used as a lodge for workers constructing the Sydney Harbour Bridge. Over the years, the hotel has been frequented by many “colourful characters”. There's almost too much history in the walls.

Atop Millers Point, high above the harbour, the old Palisade Hotel sat forlorn for 7 years from the end of World Youth Day in 2008 until its reopening in August 2015, just in time for its centenary.  It had been closed in 2008 for an renovation by the then owner and sold at auction in March 2015 for about $20 million. Now the new owners have given it a $5 million renovation and reopened the ground-floor public bar.

This large mixed media drawing shows the view looking south from the Harbour Tower. The wharf buildings have just been cleared, revealing a bare expanse of concrete with a few cryptic markings which could either be for vehicles or possibly guidelines for future construction. The white marquee in the centre right of the wharf is the temporary cruise ship terminal. Soon afterwards, it was removed when the new cruise ship terminal at White Bay was opened.

 A faint shadow of the Harbour Tower is cast over a section of the wharf, about to be excavated for the Barangaroo Headland Park, which opened a year ago in August 2015.

The left hand side shows the early 20^th century Federation heritage architecture of Millers Point, still at this stage inhabited by the descendants of 5 generations of waterside workers. The staggered walls and gables that serrate the roofline of High Street are groupings of 4 individual flats, rather than individual houses.

Upper flats were divided from lower flats by an ingenious use of panels, to lessen noise and the risk of the spread of fire. Each flat had its own ventilated laundry, bathroom and scullery at the rear to maintain hygienic living conditions.

The lower flats had a courtyard to dry clothes and access to a rear lane for rubbish collection. The upper flats had rooftop drying platforms made of solid hardwood beams, packed tightly side by side and bonded by steel rods. The washing was launched into the air by nifty pulley mechanisms. Brick chutes and concrete tubes allowed rubbish to be dropped to the lane below.   

These humble dwellings were actually cutting edge design solutions to the problems of medium density urban living. They pioneered some of the earliest use of now ubiquitous technology in Sydney housing and incorporate some of the aesthetics and principles of Frank Lloyd Wright, who believed buildings should be made from the land and benefit the environment.

Another famous quote by Frank Lloyd Wright can be used to contrast the modest utility of the workers flats with the pomposity of recent development at Barangaroo : "A building should appear to grow easily from its site and be shaped to harmonize with its surroundings if Nature is manifest there.”

 

HCT42 'Vale Millers Point' 2014
 ink acrylic  gouache on paper
106 x 136cm
Enquiries

This mixed media drawing was one of the last I was able to paint from the top of the Harbour Tower.

It's the quintessential Sydney Harbour view, with a breathtaking panorama of Walsh Bay Wharves and Millers Point below my feet, and the Sydney Harbour Bridge in the background.

 I have painted every single building in this canvas from ground level, often from several angles, and met most of the residents and workers, old and new.

Detail of protest banners in High Street -

HCT42 'Vale Millers Point' 2014

ink , gouache on paper 106 x 136cm

Enquiries

 

The heritage architecture of Millers Point is festooned with a few defiant banners protesting against the inevitable eviction of the residents of High Street, Windmill Street, Lower Fort Street and Dalgety Terrace.

Reg Mombassa designed a T-shirt with the logo of a skull smoking a cigar and wearing a top hat, symbolizing the real estate agents and developers now infesting the once sleepy backwater.

A few hang from the rooftop drying platforms in Dalgety Terrace.

Close up detail of
protest T Shirts in Dalgety Terrace
HCT42 'Vale Millers Point' 2014 
ink acrylic  gouache on paper 106 x 136cm

Enquiries

 

At the time of painting, the Palisade Hotel was soon to be re- opened after 7 years of emptiness. In contrast, the city and Walsh Bay Wharves remain shrouded in darkness. 

In the background, cranes pick at the skeleton of the half demolished Hammerhead Crane on Garden Island. 

Earlier that year I had braved the daunting bureaucracy of the Navy to become the ‘Artist in Residence’ on Garden Island for several months so that I was able to paint the last days of this historic naval relic before it was demolished.

While painting this work, I realized the Harbour Control Tower was under threat of demolition, despite being an iconic landmark. 

The demolition process began in March 2016 and will continue until the end of the year.

Another quote from Frank Lloyd Wright :

“Architecture is life, or at least it is life itself taking form and therefore it is the truest record of life as it was lived in the world yesterday, as it is lived today or ever will be lived.”