Painting the 'Poolya' at Glebe Island

This was the 60 year old work boat known as the Crane Lighter 'Poolya', up on stumps, waiting forlornly at Glebe Island Wharf.

Starting my canvas of
"The 'Poolya' at Glebe Island waiting to be broken up"
2013 oil on canvas 31 x 61cm
Enquiries about this painting

Despite being added to the State’s Heritage Register in March 2009 by the then Ports and Waterways Minister Joe Tripodi, here the “Poolya” is waiting to be broken up.

Starting my canvas of
"The 'Poolya' at Glebe Island waiting to be broken up"
 2013 oil on canvas 31 x 61cm 

Enquiries about this painting

The 'Poolya', formerly known as the 'Kahibah', was built in 1949.

For a long time she was based at Goat Island.

Starting my canvas of
"The 'Poolya' at Glebe Island waiting to be broken up"
 2013 oil on canvas 31 x 61cm 
Enquiries about this painting

She was one of the vessels deployed to recover oil with her brush skimmer from the notorious 'Laura d'Amato' spill at Gore Cove on Wednesday 4th August 1999.

Half finished canvas of
"The 'Poolya' at Glebe Island waiting to be broken up"
 2013 oil on canvas 31 x 61cm 
Enquiries about this painting

I had been painting the renovation of the Walsh Bay Fingerwharves at the time of the Laura d'Amato incident. The smell of the spilt oil was utterly indescribable! I couldn't cope with the fumes and it was one of the few times that I had to go home without finishing my painting. I don't know how the men on board managed to handle it.

Half finished canvas of
"The 'Poolya' at Glebe Island waiting to be broken up"
 2013 oil on canvas 31 x 61cm 
Enquiries about this painting

Until 2012 the 'Poolya' was on standby at Moore's Wharf. 

When she was taken out of service with Sydney Ports Corporation the 'Poolya' was then given to the Sydney Heritage Fleet, who had originally intended to preserve her.

However the "Poolya" is a timber vessel, and all timber vessels are a lot of work. Eventually they get to the stage of requiring significant repair to keep them serviceable. This can rapidly spiral out of control. The 'Poolya', despite being regarded with great affection by the workers from Sydney Ports and the Sydney Heritage Fleet, had become commercially uneconomic.

Half finished canvas of
"The 'Poolya' at Glebe Island waiting to be broken up"
 2013 oil on canvas 31 x 61cm 
Enquiries about this painting

Sydney Ports Corporation have replaced her with a steel hulled vessel of a similar design concept, the 'Manns Point'.

The finished canvas of
"The 'Poolya' at Glebe Island waiting to be broken up"
 2013 oil on canvas 31 x 61cm 
Enquiries about this painting

I was given the heads up by a couple of people at Sydney Ports who had a sentimental attachment to the 'Poolya'.
I arrived at the Glebe Island Operations Centre on Monday about noon and had this medium size canvas finished by the time the blokes wanted to knock off at 5.30pm.

'Poolya' from Moore's Wharf'
2013 oil on canvas 12 x 12cm
Enquiries about similar paintings
Sold
PRIVATE COLLECTION : SYDNEY

I had painted a couple of small canvases of the 'Poolya' in her glory days while she was still operational. A few of these were painted from my loft on the top floor of Sydney Ports Corporation's Emergency Response Headquarters at Moore's Wharf. These canvases usually have a spectacular view of the Sydney Harbour Bridge as well as the historic workboat.
Some of my paintings were in the "tondo" format. A tondo is a canvas stretched over a round or oval stretcher frame.
Some of the Sydney Ports Corporation wharfies would jokingly ask me "When will you be painting another pizza, Jane ?"

 'Poolya' from Moore's Wharf'
2013 oil on canvas 31 x 31cm
SOLD
PRIVATE COLLECTION : SYDNEY
Enquiries about similar paintings

When the 'Poolya' was broken up, a couple of contractors managed to souvenir the portholes.
So these 2 'Poolya' tondos ended up being framed behind these portholes and are now cherished trophies in some canny collector's living room.

Related posts

Storm warning, Goat Island (barangarooartist.blogspot.com)

Pyrmont paintings-Exhibition in Australian National Maritime Museum

From the Hungry Mile - Barangaroo

Artist in Residence at the Sydney Heritage Fleet- Part 5 ' Follow the Fleet'

My first attempt to paint the entire Rozelle contingent of the Sydney Heritage Fleet ended in disaster when my canvas stretcher snapped in two.
I was better prepared for my second attempt, with a bigger easel, stronger canvas stretcher, more ballast and longer cable ties.
Armed with a canvas stretched on the strongest and heaviest stretcher frame I could buy, this time I took my "studio" easel. It might be called a studio easel but I can manage to stuff it in the back of the car and use it for plein air painting.
I brought the longest cable ties that I could find to tie the canvas to the easel, and the easel to my trolley luggage, which I am using as an anchor.
The canvas stretcher weighs about 10 kilos; my large easel weighs at least 15 kilos and the trolley luggage with all its contents of extra paint, brushes, palettes, turps, painting medium, sketchbooks, lunch, thermos of water, folding table, first aid kit, spare clothes, hat and boots weighs in at a good 25 kilos. I also took the French box easel, just in case. It took 4 trips to lug this stuff the 200 metres from the car to my painting site, and 5 to lug it back, as a wet canvas has to be handled on its own.
If all of that starts to be blown around in the wind and into the water it really is time to wimp out and go home.
I'll never need to join a gym or a bootcamp. Who knows, large scale plein air painting could become the latest fitness craze!

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

It isn't immediately apparent which bits belong to which vessels.
I tried hard to take a photo showing both the painting and all the ships in the same frame to show some of the difficulties.
Apart from the distance making details hard to see, there is a narrow window of opportunity to do any painting. I have to choose a day that has no more than the gentlest breeze, and has enough sun to throw some light on my subject. Even then, there are only a few hours of painting time between when the early morning haze lifts, and when the afternoon sun starts to dazzle my eyes.

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

Photography doesn't really work, as a telephoto lens flattens and distorts the relationships between the vessels and the colours are highly misleading. There is such a mad jigsaw puzzle of funnels, prows, awnings and lifeboats all jumbled together. Bits that belong to one vessel can easily be mistaken as belonging to another .
For understanding the close up details, I find it better to visit the Rozelle shipyard and run my canvas past the gauntlet of all the volunteers who have devoted their lives to rescuing these ships. If I've made any truly embarrassing mistakes I can rely on them to correct me. Loudly, often and in great detail!

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

In the centre of my painting, the 'Bronzewing' and 'Currawong', tugs recently acquired by the Sydney Heritage Fleet, are face to face like two old friends having a chinwag.
Crammed behind them, the funnel of the a coal-fired steam tug 'Waratah' juts out at a jaunty angle. 'Waratah' was built at Cockatoo Island in 1902.
After a lot of untangling. the steam tug 'Lady Hopetoun' appears shadowed in the background of the dilapidated hulk of the 100 year old ferry 'Kanangra'. The 'Kanangra' is another link with Cockatoo Island. I remember catching her in the morning when I was painting on Cockatoo island in the early 1980s. I think she was retired by about 1985.

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

Beyond the 'Kanangra' are the runts of the litter, the 1908 motor launch 'Protex', the 1943 motor launch 'Harmon' and the 1955 motor launch 'Berrima'.

My plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

To the right of the canvas is the graceful 1903 "gentleman's schooner", 'Boomerang', which I have just finished painting on the slipway at Noakes.

My half finished plein air painting of the

"Sydney Heritage Fleet from Blackwattle Bay"

2012 oil on canvas 122 x 183cm

Available

All of these are dwarfed by the bulk of the 1927 steamship "John Oxley", currently being restored to its former glory.

My half finished plein air painting of the

"White Bay Power Station from Blackwattle Bay"

2012 oil on canvas 41 x 51cm

Available

By 1pm the changes in the direction of the light had made it difficult to see any useful details on the ships.
It was still about an hour before the wind would change, so I started painting a small canvas of the silhouette of the White Bay Power Station.
I have frequently painted this beautifully brutal building, from the inside as well as the outside. However I have rarely painted it from Blackwattle Bay, so I'm making up for this oversight.
The wind whipped up about 2pm, so both canvases are going well, but still unfinished. Till next time.

Related posts

Artist in Residence at the Sydney Heritage Fleet Part 1
Artist in Residence at the Sydney Heritage Fleet Part 2 : The 'Lady Hopetoun'
Slipping away
Artist in Residence at the Sydney Heritage Fleet - Part 4 'Blowing in the wind'
'From the Hungry Mile to Barangaroo'
"Lashed to the Mast" - Plein Air painting as extreme sport
Painting the 'Poolya' at Glebe Island
Jane Bennett paints the 'Lady Hopetoun'
Exhibition SALT IN THE AIR 27 April - 3rd May 2013 (asma-artistinresidence.blogspot.com)
Boat at Goat (janebennettartist.blogspot.com)

Artist in Residence at the Sydney Heritage Fleet - Part 4 'Blowing in the wind'

I have been commissioned to paint a monumental canvas of all the vessels of the Sydney Heritage Fleet from the foreshore of Blackwattle Bay at the end of Glebe Point road.
There are a few obvious challenges to overcome.
One of the challenges is that from this distance it is difficult to separate one vessel from another - they seem to merge into each other.
After my first session of painting this, I made several visits to the Rozelle shipyard and to the Noakes shipyard at Waverton to paint smaller canvases of some of the vessels such as the 'Lady Hopetoun', the 'John Oxley', the 'Kanangra' and the 'Boomerang'. Even though these were from different angles to the way they are from this viewpoint, I now have a much better understanding of what I have to deal with.
The sheer complexity of the subject could swamp the viewer in a mass of inchoate detail, so I have to choose carefully which areas to highlight and which to shadow to create enough rhythm to tie the composition together.

Painting 'The Sydney Heritage Fleet from Blackwattle Bay'

2012 oil on canvas 122 x 178cm

Available

A much bigger problem is very size of the canvas to be painted 'en plein air' . This canvas is 122 x 178cm.
The concept is for the ships to dominate the space and immerse the onlooker in the unique world of the Rozelle shipyard.
I have painted works on this scale 'en plein air' before and know all too well how it can turn into a wrestling match with the artist pitted against the elements.


Painting 'The Sydney Heritage Fleet from Blackwattle Bay'
2012 oil on canvas 122 x 178cm
Available
My painting was really starting to come together, but by noon the light had shifted so that I was looking into the glare of the afternoon sun.
And the wind was steadily rising.
The scene in this photograph looks deceptively calm, with Blackwattle Bay looking as still as a mirror, but less than half an hour later, I was chasing my brushes all over the park.
I knew that I should really stop painting, but the temptation for just one more brushstroke was too much.

Painting 'The Sydney Heritage Fleet from Blackwattle Bay'

2012 oil on canvas 122 x 178cm

Available

A sudden gust of wind and it was all over.

My canvas stretcher had snapped clean in half!
I had used cable ties to secure it to my easel, but the wood itself wasn't strong enough to withstand the weather conditions.
Fortunately, some people who had been watching me paint while they walked their dogs, helped me drag the flapping canvas and the rest of my belongings to my car.

If they hadn't, I would have been in some danger of going hang-gliding into Blackwattle Bay.

The other side of the canvas.

Painting 'The Sydney Heritage Fleet from Blackwattle Bay'

2012 oil on canvas 122 x 178cm

Available

 
Unfortunately this is 122 x 178cm which is not a standard size for a canvas.The standard stretcher size is 122 x 183cm.
I will have to unpick the staples and restretch it. By a miracle, the canvas itself wasn't damaged, just the wood.
But I will have to restretch this on another stretcher of the same type which is made of lightweight wood, probably balsa. This will withstand moderate wind up to about 25-30 km/h but a random gust of 35-40 km/h might be too much.
At the moment the wind gusts at Blackwattle Bay are so strong that I will need to use an extra heavy duty stretcher frame composed of stronger wood, and twice the depth of this one. And these types of stretchers are not available for a 122 x 178cm size canvas.
I will finish this painting one day, when there are a few calm days together. But I really need to get this done by the end of October, so rather than risk another lightweight canvas suffering the same fate I might as well start a fresh canvas.

Update
At times I never thought I'd live to see the day, but at last I have finally finished my giant canvas!
And now with 9 other women members of ASMA, the Australian Society of Marine Artists I will be holding an exhibition of my paintings of the Sydney Heritage Fleet.
In 2008 the Sydney Heritage Fleet in conjunction with the Australian Society of Marine Artists inaugurated an Artist in Residence programme, with the commission from sale of paintings going towards funding the Fleet's maintenance.
Our group of 10 artists will hold an exhibition of our completed paintings on the 'tween decks of the tall ship 'James Craig', which is the jewel in the crown of the Sydney Heritage Fleet, from 27th April 2013 - 3rd May 2013.
This must be the world's coolest gallery!
As well as this enormous canvas, I will exhibit 16 other paintings. Some of these were painted at the Rozelle headquarters, some from the Noakes slipways, others from the Australian National Maritime Museum and others from vantage points around Sydney Harbour.
The official opening will be 2pm on Saturday 27th April by Tanya Plibersek MP.
Everyone is welcome!

Related posts

Artist in Residence at the Sydney Heritage Fleet Part 1

Artist in Residence at the Sydney Heritage Fleet Part 2 : The 'Lady Hopetoun'

Follow the Fleet

Slipping away
'From the Hungry Mile to Barangaroo'
"Lashed to the Mast" - Plein Air painting as extreme sport

Painting the 'Poolya' at Glebe Island

Boat at Goat

Jane Bennett paints the 'Lady Hopetoun' (asma-artistinresidence.blogspot.com)

Exhibition SALT IN THE AIR 27 April - 3rd May 2013 (asma-artistinresidence.blogspot.com)

Artist in Residence at the Sydney Heritage Fleet Part 2 : The 'Lady Hopetoun'

Painting the 'Lady Hopetoun' in a quiet spot in the 'Ability Barges' yard next to the Sydney Heritage Fleet.
As the 'Lady Hopetoun' was the first vessel acquired by the Sydney Heritage Fleet, it seemed appropriate to kick off my residency in earnest with her portrait.

starting my painting of 'Lady Hopetoun' oil painting on canvas 36 x 46cm

$1,500

Enquiries  

'Lady Hopetoun' a classic Edwardian VIP steam launch  was built in Berry's Bay and launched on 10th April 1902.

starting my painting of 'Lady Hopetoun' oil painting on canvas 36 x 46cm

$1,500

Enquiries  

While she was officially described as a vice-regal steam yacht, not all her duties were so aristocratic. She was used as a relief pay boat, for small towing jobs and even ferried the children who lived on Fort Denison to school.
So even though she looks very stylish  with her low profile, raked lines and graceful counter stern, the 'Lady Hopetoun' was really a workhorse.

starting my painting of 'Lady Hopetoun' oil painting on canvas 36 x 46cm

$1,500

Enquiries  

On the left of the 'Lady Hopetoun'is flotsam and jetsam belonging to Ability Barge Services, who are the real workhorses of the present day Sydney Harbour.

starting my painting of 'Lady Hopetoun' oil painting on canvas 36 x 46cm

$1,500

Enquiries  

The hull of SS John Oxley looms in the centre of the background. To the left is part of the 'Kanangra', a dilapidated 100 year old ferry that the men's shed seem to have been restoring forever.

starting my painting of 'Lady Hopetoun' oil painting on canvas 36 x 46cm

$1,500

Enquiries  

starting my painting of 'Lady Hopetoun' oil painting on canvas 36 x 46cm

$1,500

Enquiries  

starting my painting of 'Lady Hopetoun' oil painting on canvas 36 x 46cm

$1,500

Enquiries  

starting my painting of 'Lady Hopetoun' oil painting on canvas 36 x 46cm

$1,500

Enquiries  

You can see how I've chosen as my vantage point a sheltered nook in between a collection of large rusty pipes. The weather might gradually be warming up and Blackwattle Bay looks deceptively calm, but on the waterfront there is still a nip in the air.

starting my painting of 'Lady Hopetoun' oil painting on canvas 36 x 46cm

$1,500

Enquiries  

starting my painting of 'Lady Hopetoun' oil painting on canvas 36 x 46cm

$1,500

Enquiries  

half finished painting of 'Lady Hopetoun' oil painting on canvas 36 x 46cm

$1,500

Enquiries  

Related posts in this blog

• Artist in Residence at the Sydney Heritage Fleet Part 1
• "Lashed to the Mast" - Plein Air painting as extreme sport
• Storm warning, Goat Island

Related articles

• 'Lady Hopetoun' Article in Afloat.magazine May 2011
• 'Lady Hopetoun' page Sydney Heritage Fleet 
• The Artist in Residence Program at the Sydney Heritage Fleet 
• Painting the 'John Oxley' at the Sydney Heritage Fleet

Artist in Residence at the Sydney Heritage Fleet Part 1

I am a member of ASMA, the Australian Society of Marine Artists.
In 2008 the Sydney Heritage Fleet in conjunction with the Australian Society of Marine Artists inaugurated an Artist in Residence programme. 

starting my painting of 'SS John Oxley

 2012 oil on canvas 36 x 28cm

$1,200

Enquiries janecooperbennett@gmail.com

 Usually there is a sole artist appointed to be Artist in Residence for a period of 3-4 months. However this time no less than 11 of the female artists of ASMA (Suzanne Alexander,  Jane Bennett, Monika Brookes, Marijke Greenway, Jan Harrington-Johnson,  Christine Hill, Leonora Howlett, Brenda Kitteridge, Gwendolin Lewis,   Elena Parashko, Jan Sindel-Hand ) have been given the opportunity to have a stint as Artist in Residence at the Sydney Heritage Fleet.

starting my painting of 'SS John Oxley

 2012 oil on canvas 36 x 28cm

$1,200
Enquiries: janecooperbennett@gmail.com

 Secure studio space has been provided on the top deck of the 100 year old ferry 'Kanangra', which is berthed adjacent to the Museum’s restoration and maintenance yard off the James Craig Road, Rozelle on Blackwattle Bay. The artists are given freedom of the site as well as other museum locations, to choose and record activities and the opportunity to travel in museum ships when they are operating.
As well as painting at their yard at Rozelle, we have been given the opportunity to paint the vessels moored at Wharf 7 and the Australian Maritime Museum.

With my almost finished painting of 'SS John Oxley'

$1,200

Enquiries: janecooperbennett@gmail.com

The first day was mostly devoted to exploring the yard and to receiving the necessary safety induction.

Almost finished painting of SS John Oxley

$1,200
Enquiries: janecooperbennett@gmail.com

However I managed to squeeze in a little painting time and nearly completed a small study of the 'John Oxley'.
See the ASMA blog "Artist in Residence Programme"

Almost finished painting of SS John Oxley
$1,200

Enquiries: janecooperbennett@gmail.com

There is a bewildering array of vessels to choose from - it's an embarrassment of riches. Some have already been lovingly restored, while others are still dilapidated and waiting for their turn.
 Although there are 11 artists, it will be a miracle if we manage to paint every one.
Our group of artists will hold an exhibition of our completed paintings on the 'tween decks of the tall ship 'James Craig', which is the jewel in the crown of the Sydney Heritage Fleet, from 27th April 2013 - 3rd May 2013.
The official opening will be 2pm on Saturday 27th April by Tanya Plibersek MP.
Everyone is welcome!

Related articles

• Slipping away
• Artist in Residence at the Sydney Heritage Fleet Part 2 : The 'Lady Hopetoun'
• "Lashed to the Mast" - Plein Air painting as extreme sport
• Painting the 'Poolya' at Glebe Island
• 'From the Hungry Mile to Barangaroo'
• Artist in Residence at the Sydney Heritage Fleet Part 6 - 'Hail, hail, the gang's all here!'
• Artist in Residence at the Sydney Heritage Fleet - Part 4 'Blowing in the wind'

• Exhibition SALT IN THE AIR 27 April - 3rd May 2013 (asma-artistinresidence.blogspot.com)