City larrikins, past and present

I took advantage an almost deserted CBD during a public holiday, to record some of the buildings in Castlereagh St that will soon be demolished to make way for new metro stations around Martin Place.

Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm

Enquiries : janecooperbennett@gmail.com

 
I took a panoramic canvas to try to squeeze in as much of the streetscape as possible.
On this canvas I've managed to get the lovely Art Deco building on the north corner of Hunter and Castlereagh St, 55 Hunter St, 10 - 12 Castlereagh st and a doorway of the lovely old Commonwealth Bank building that now houses Macquarie Bank.

Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm

Enquiries : janecooperbennett@gmail.com

 
Ironically there is a keystone in the Macquarie Bank building that was placed there by the controversial NSW premier Jack Lang, who once attempted to nationalize the banks and cancel Australia's war debts to the UK. I can't help wondering what Jack Lang would have thought of Macquarie Bank!

Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm

Enquiries : janecooperbennett@gmail.com

Several skateboarders and parkour experts can just be seen in the distance, grouped on the stairs of the soon to be demolished 17 storey building at 55 Hunter street.
Unfortunately I had to break the news to them that their favourite ramps and railings at 55 Hunter St where they practise their jumps will soon be demolished. They will make the most of their unofficial skate park until it is knocked down next month, and entertained me with over 2 hours of death defying jumps, twists and somersaults.

Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm

Enquiries : janecooperbennett@gmail.com

There seems to be something about this street corner that attracts larrikins, past and present.
A trio of slightly less acrobatic larrikins of the past, also used this unassuming corner of the CBD to rattle the cage of conservative society over 50 years ago.
A famous copper sculpture by Tom Bass, bites into the Hunter street facade of this office block. It had been commissioned by P&O as a wall fountain  in 1961, and was intended to be seen as a purely abstract design. 
However, when this work was unveiled, its indirect resemblance to a Parisian pissoir and its position opposite the French Airline Office, led to a notorious lampoon in the 6th edition of Oz magazine. The editors of Oz magazine, Richard Neville, Richard Walsh and Martin Sharp, were charged, tried and sentenced to jail with hard labour for "obscenity and encouraging public urination", although the defendants subsequently appealed against the sentences, which were revoked.

Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm

Enquiries : janecooperbennett@gmail.com

Tom Bass wasn't offended by the Oz magazine send up of his sculpture, and actually appeared in the trial for the defendants.

Painting 'Panorama of Castlereagh st, from Hunter st to Martin Place' 2017 oil on canvas 31 x 103cm

Enquiries : janecooperbennett@gmail.com

 
Through the Chifley arcade are a couple of other buildings due for demolition, 5-7 Elizabeth street. 7 Elizabeth street is an elegant art-deco apartment block, recently vacated by its reluctant ex-residents.

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

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The slow return from the fire

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Rust bucket

The now derelict 'William Wallbank and Sons' was a foundry on the Parramatta Road, Auburn, dating from 1932.

One of their specialties had been making the components for brick making machines.

AWW1 'Watching the forge fires fade 1
 'William Wallbank + Sons' 187 Parramatta Road'
2016 oil on canvas 56 x 76cm
Available

In 2008 I exhibited a series of paintings that I had created of old brickworks at Eastwood, St Peters and Brookvale at the Museum of Sydney during the book launch of "The Brickmasters"  , a comprehensive history of brickmaking in Australia by Ron Ringer.

Several of my paintings of Brickworks at Brookvale. Eastwood and St Peters were included in this book. At the launch I met Frank Wallbank, who invited me to paint in the foundry, but unfortunately I delayed taking up his offer.
A friend alerted me to the foundry's closure and I was able to contact the new owner and arrange access to paint. I am kicking myself for not getting there while it was still working, but better late than never!

AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )
2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize
Available

 In a foundry, metal is melted into liquid in a furnace.

To cast the metal into shapes, the molten liquid is then poured into a mould in the shape of the desired part.
Simple designs can be made in a single piece or solid pattern.

More complex designs are made in two parts, known as a split pattern, which has a top section, or "cope", and a bottom section, called a "drag".

Patterns can be made from wax, wood, plastic, or metal.

AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )
2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize 
Available

Traditionally, moulds were poured by hand, using ladles. It must have been horrifically dangerous.
I was told that all the foundry workers were supposed to wear a special sort of protective covering over their boots, similar to old-fashioned "spats" to stop the molten metal droplets burning their skin, but these were unpopular as the metal would still find a way to trickle down the gap and into their boots. Instead of protecting, the boot covering seemed to cause even more damage.

AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )
2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize 
Available

Now modern foundries use robots or automatic pouring machines to pour the molten metal.
As the metal cools it solidifies and then the mould (known as a 'casting') is removed.

AWW2 'Watching the forge fires fade
('William Wallbank + Sons' )
2016 oil on canvas 61 x 91cm
Highly Commended 2016 Auburn Art Prize
Available

My canvas of this set of 3 abandoned ladles was recently runner-up in the 2016 Auburn Art Prize, held in the Peacock Gallery opposite the Botanical Gardens.
The central ladle has a capacity of 7 tons, and is flanked by a "three tonner" on the left, and a "four tonner" on the right.

AWW3 'Watching the forge fires fade  3-
'William Wallbank + Sons' 187 Parramatta Road'
2016 oil on canvas 51 x 71cm
Available

All of these ladles would date from at least 70 years ago.

They could even date from the earliest years of the foundry, as they are all rivetted, so they must date from a time before welding had replaced rivetting. 

Only the largest ladles were fitted with brakes to help modulate the flow of pouring the molten metal.

AWW4 'Rust Bucket' 7 ton ladle,
William Wallbank + Sons foundry 
2017 oil on canvas 122 x 91cm
PRIVATE COLLECTION : SYDNEY

I'm only able to gain access to paint in my strange new "studio" when the gates are opened to remove machinery, and I need to ring up on the night before.

Sometimes potential new owners come to inspect the premises, but they rarely stay for long.

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All fired up

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White Bay Power Station - Inside Out

Power Base - Artist in Residence at the White Bay Power Station

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...'

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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)

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