Terminus Redux

I have mixed feelings about the renovation of the Terminus.
Although it's been restored,not demolished or replaced by apartment blocks as so often happens, it has been stripped of its poetry.

P286A 'Terminus Redux'
2017-8 ink, charcoal on paper 131 x 106cm
Enquiries : janecooperbennett@gmail.com
I painted a large mixed media work on paper, as well as an even larger oil on canvas, just before the iconic vines were removed. The awning had been stripped back to a fragile skeleton, but the bricks had yet to be sand-blasted.
However well a place is renovated, inevitably there must be compromises between keeping the original character and making it a viable business.
No expense was spared on the fitout.The designers and architects have done their best to restore the old pub building while retaining quite a lot of the original pub from tiles to timber. The pressed metal ceiling upstairs is a sympathetic replacement not the original, which was too badly damaged.

P286 'Terminus Redux'
2017-8 oil on canvas 122 x 183cm

Enquiries -janecooperbennett@gmail.com

I miss the vine-covered facade. It had probably been planted early in the 20th century by a CSR employee, as the same species of Virginia creeper covered the manager's residence and the courtyard of the 'Rum Store'.
Recently I attended the launch of Shirley Fitzgerald's wonderful book on the history of the Terminus. I was honoured that Shirley had asked me to contribute a photo of one of my paintings of the Terminus facing opposite its longtime companion and rival, the Pyrmont Point Hotel (aka the Royal Pacific).

P252 'The Terminus and the Point'
2011 oil on canvas 31 x 61cm
Private Collection : Sydney
Enquiries : janecooperbennett@gmail.com
When I went upstairs, I almost walked into one of the walls, not from one too many cocktails, but because I'd expected the hall that once led through to the building next door. I believe this passageway had to be closed off due to updated fire regulations.
A typical pub menu, priced rather steeply, cashes in on the hipster ambience from the 32 years that the Terminus spent as an icon of urban decay.
As a contrast, when I'd visited the Terminus prior to its closure in the early 1980s, they were giving out free food. Possibly this had contributed to its original decline and fall.
The new owners aren't making that mistake, quite the opposite.

Ironically despite having kept the ghost sign outside, no Resch's is on tap.

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

Ozymandias

Every ruin is a reminder that all things are destined for oblivion.
I am both artist and historian; painting amidst the detritus of the industrial past, walking under rusty girders in the shadow of toppled giants.

'Under the Hammerhead Crane'

2014 ink pastel charcoal on paper 115 x 80cm

FINALIST : 2014 KOGARAH ART PRIZE

FINALIST : 2014 MOSMAN ART PRIZE
Available 

This is a mixed media painting of the Hammerhead Crane, which unfortunately is now being demolished, despite its iconic heritage status and distinguished history.
By now the "hammerhead" of the crane has been almost completely dismantled.
Instead of painting from the more familiar viewpoint of Mrs Macquarie's Chair opposite, I tackled the daunting bureaucracy of the Navy for permission to paint 'en plein air' on Garden Island itself.
I stood directly underneath the Crane and looked up into the top of the soaring structure, to capture its sheer scale. It is the embodiment of the 18th century concept of the sublime.
This painting has now been chosen as a finalist in both the Kogarah Art Prize and the Mosman Art Prize.

People are absent in many of my paintings, even though I trained as a figure painter and for 2 decades spent several days a week drawing and painting figures from life. I find that leaving out figures or relegating them to the role of "staffage" enhances the sense of the powerlessness of the individual against the inexorable forces of destruction and change. The crane itself is the best homage to the absent and largely forgotten workers who created the industrial landscapes that are now being destroyed.

GIHC13 'The Hammerhead Crane - homage to Piranesi' 

2014 ink gouache on paper 56 x 76cm
Available

Spaces that have a sense of history, place and meaning, find an echo in art history.

The safety nets resemble fan vaulting in a ruined Gothic abbey and the zig-zag tangle of girders and scaffolding recall Piranesi's images of the 'Carceri' or the wreckage of the dying Roman Empire.

The Hammerhead Crane was built during World War II, and symbolized industrial might, the march of progress and confidence in the values of Western civilization.
The mood of past triumphalism is now tempered by the present reality of scuffed textures, rust and tarnished metal.
Even as a victim of the slow death of de-industrialization, it had retained a poignant grandeur as industrial memento mori.
The last gasp of the Industrial Revolution, and of Sydney's Working Harbour.
In the words of Shelley's ruin-poem Ozymandias "Look on my works, ye Mighty, and despair!"
Except that a future civilization would be extremely lucky to be able to find any trace of our heroic past.

Related posts

Under the Hammer

Hammerhead Crane

Patina - Beautiful Decay

Rust never sleeps : Painting the Hammerhead Crane Part 2

Painting the Icebreaker "Polar Star"