Scar Tissue

Exploring disused manufacturing can sometimes be a bit depressing – all that decay, all those jobs that no longer exist, all that busy industry that has gone.
I have been painting in the increasingly empty Large Erecting Shop of the Eveleigh Railway Workshops, as they are being slowly stripped of all but the barest essentials,
leaving desolate floors and abandoned walkways.
Echos follow your every move, mimicking and daring you to make your presence known.

'Release' 2017 oil on canvas 41 x 31cm

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Painting is less documentary, more subjective,definitely slower and more labour intensive than photography.

However these qualities can be assets as well.

The painter has to select one image showing a definitive moment and yet implying others, to reveal layers of meaning that reward further viewing.

A bit like an onion. And sometimes it can make you want to cry.

I value the quality of authenticity, of being a witness.
This practice of painting on site produces a more genuinely felt memory of my experience and an understanding of the location’s properties and mood, providing me with a truer record of the colour palette than photography.

'Release' 2017 oil on canvas 41 x 31cm
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With the removal of so many items, I focus intensely on what remains. Instead of panoramas of the interior, I am working on a series of close ups of details I have previously overlooked, attempting to preserve what is left of the once chaotic jumble of relics of over 100 years of railway history.

The paint itself can give a feeling of the volume and presence of the scene being painted.
Texture such as rust, stains or water damage can be scraped back with a palette knife or engraved into the surface. The term for this is “sgraffito”.

'Release' 2017 oil on canvas 41 x 31cm
Enquiries

 

The colours and textures, crumbling render, faded pigments, verdigris, scrapes and scratches – the scar tissue that stand witness to moments in time and history, may be lost in the rush towards the future.

More paintings of the Eveleigh Railway Workshops

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Ghost Train

This is how the light gets in

Ghost in the machine

Painting in the paint shop - The Green Room

The slow return from the fire

The fire within

This is how the light gets in

“Ring the bells that still can ring
Forget your perfect offering
There is a crack, a crack in everything
That’s how the light gets in.”
“Anthem,” by Leonard Cohen from his 1992 album The Future.

Starting a small square canvas 46 x 46cm

of two windows and a door in the

Large Erecting Shop, Eveleigh Railway Workshops

Enquiries

These are healing words to someone who often struggles under the unbearable weight of perfectionism. It is more than a confrontation with the strange beauty of broken things.

It is a powerful message of hope in dark times.There is a crack in everything whether a physical object such as a piece of machinery, or even a state of mind.

But that’s where the light gets in, and that’s where we can find the transcendence we need to interpret painful events in a wider context.

Literally, nothing, and nobody is perfect.That should not be a source of despair or frustration.

Imperfection is a sign of life.

Starting a small square canvas 46 x 46cm

of two windows and a door in the

Large Erecting Shop, Eveleigh Railway Workshops

Enquiries
If the purpose of a window is to be able to let an observer see outside, or to illuminate the interior, the windows of the Large Erecting Shop of the Eveleigh Railway Workshops fail spectacularly.

'2 windows and a door in the Large Erecting Shop,

Eveleigh Railway Workshops'

2017 oil on canvas 46 x 46cm

Enquiries
However, the evocative effects created by sunlight filtering through the grid of rusty bars rival the stained glass of Chartres Cathedral.

'2 windows and a door in the Large Erecting Shop,

Eveleigh Railway Workshops'

2017 oil on canvas 46 x 46cm

Enquiries
Every pane is a unique mix of translucency and texture.

Starting a 91 x 61cm canvas

of the strange green window.

" 2 windows and a door, Large Erecting Shop,

Eveleigh Railway Workshops' 2017

oil on canvas 46 x 46cm 

Enquiries
Their ethereal opalescent quality is not caused by expensive designer frosting, but by more than a century's buildup of deposits of dirt, pigeon droppings, steam and diesel fumes.

Starting a 91 x 61cm canvas

of the strange green window.

Enquiries
And there are cracks galore.

Starting a 91 x 61cm canvas

of the strange green window.

Enquiries
Other imperfections abound.

Half finished 91 x 61cm canvas

of the strange green window.

'2 windows and a door in the

Large Erecting Shop,

Eveleigh Railway Workshops'

2017 oil on canvas 46 x 46cm"

Enquiries
Ghost signs warning of the dangers of long lost machinery alternate with boarded over panes in abstract patterns that would make Mondriaan's head spin.

Half finished 91 x 61cm canvas of the strange green window.
Enquiries
Doors are abruptly cut into them, apparently at random.

Half finished 91 x 61cm canvas of the strange green window.
Enquiries : janecooperbennett@gmail.com
An inexplicably green pane of glass casts an eerie phosphorescent glow.

"Window with pane of green glass"

2017 oil on canvas 91 x 61cm

Enquiries
When the Large Erecting Shop is redeveloped, the windows will be replaced with uncracked clear panes to match the rest of the gentrified ATP.
No rogue panes of eldritch green glass will startle the viewer with their otherworldly light. They will be made safe, watertight, functional, identical and boring.
The chaotic jumble of heritage machinery in the Large Erecting Shop will be culled and tamed. There will be nothing accidental, mysterious or inexplicable.
There will soon be no cracks left to let the light in.
More paintings of the Eveleigh Railway Workshops

Related Posts

Ghost Train

Ghost in the machine

Scar Tissue

Painting in the paint shop - The Green Room

The slow return from the fire

The fire within

On location - A Short film of my paintings

This is the link to view a short film of me painting on location in Millers Point and talking about the paintings in my solo exhibition "Under the Hammer"

Short film of "Under the Hammer" 

 While I was painting some tiny quick studies of terrace houses in Argyle Place in October-November 2014, I was filmed by Lachlan Bennett (no relation!). In the film, I speak about industrial heritage, the de-industrialisation of the city and my latest solo exhibition, 'Under
the Hammer'.

It's impossible to convey the same sense of wonder and beauty that I experience while painting on location, but it's worth a try.

"36 Argyle Place"  2014
 oil on canvas 15 x 10cm
Available
Enquiries : janecooperbennett@gmail.com

As well as capturing me at work, Lachlan also visited the Frances Keevil Gallery to film an interview with me, and to view the paintings of Millers Point in the context of my previous work. Just before my solo exhibition opened, Lachlan visited High Street, Millers Point to film me painting the finishing touches on the large panorama of the Harbour Tower from High St.

Related articles

• Patina- Beautiful decay
• There goes the neighbourhood
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Spin me round

'You spin me right round, baby
Right round like a record, baby
Right round round round...'
"You Spin Me Round (Like a Record)" a song by the British band Dead or Alive. which was released as a single in 1984, the first UK No. 1 hit produced by Stock Aitken Waterman.
Not long after the last workers from White Bay Power Station left, never to return.

WBPS66 'Spin me round' (record player from
recreation room in White Bay Power Station)
2009 oil on board 51.5 x 25.5cm
Available
The Record player from the Recreation room of the White Bay Power Station is the epitome of Jolie laide "ugly beautiful"
This horrible, yet oddly fascinating object was old and decrepit even back in the days when 'Dead or Alive' recorded their cheesy classic.

Record player from recreation room
in White Bay Power Station
It comes from a "lost" entertainment hall in a forsaken building - equal parts creepy and beautiful.
The Sydney Harbour Foreshore Authority had taken ownership of the White Bay Power Station in 2000, but were unaware of this hall's existence for several years.

Recreation room in White Bay Power Station
As you can see from my photo, this room was a time-capsule from the 1950s - murals, the old record player and even a pool table.
The record player sat on the canteen counter, still connected to the room's PA system, ping-pong tables were folded in the middle of the room and murals on the wall had survived.

Recreation room in White Bay Power Station
In this photo, you can see the very kind security guard in the background by the pool table.
In July 2011, shortly after these photos and my painting were done, the record player and pool table were removed, as well as 6 tonnes of pigeon droppings.This was part of a frantic clean out before one of the rare open days.
I was very lucky to be able to see this in situ, and even luckier to have enough time to paint it before it was taken out of its natural context.

Record player from the recreation Room in White Bay Power Station
This was the last time I saw it before it was taken away to be put into storage.
They left it on the ground outside, so I could paint it one last time , waiting for some curator of the future to rediscover it and find a purpose for it.
Waiting for whatever the future holds for the White Bay Power Station.
Art Gallery, funky bar, museum,offices, block of flats?
Tunnels and tollways will encircle it, the schmick new yet-to-be-built fishmarkets will be its neighbour.
The White Bay Power Station remains strangely still and silent in the eye of the tornado of change.
The redevelopment of the surrounding area spins around it.
Like a record, baby, Right round round round...'

Related Posts

Artist in Residence at White Bay Power Station

Artist in Residence at White Bay Power Station Part 2

Tower of power

Inside Out (Inside the White Bay Power Station)

Power House