Industrial Cathedral

Industrial Cathedral
"Industrial Cathedral" charcoal on paper 131 x 131 cm Jane Bennett. Finalist in 1998 Dobell Drawing Prize Art Gallery of NSW Finalist 1998 Blake Prize Winner 1998 Hunter's Hill Open Art Prize

About Me

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Sydney, NSW, Australia
I'm an Industrial Heritage Artist who paints "en plein air".If it's damaged, derelict, doomed and about to disappear, I'll be there to paint it.
Showing posts with label workers cottage. Show all posts
Showing posts with label workers cottage. Show all posts

Sunday, 21 June 2020

Tie a yellow ribbon


Today's painting on the deck gallery is a streetscape of Merriman Street, Millers Point.
These colourful terraces are just next to the Barangaroo Headland Park, and at the time of painting, still lay in the shadow of the now demolished Harbour Control Tower, which actually used to have an entrance on Merriman street directly opposite the terraces in this canvas. The Palisade Hotel is just at the end of the street.
They face west and I caught them in the full light of the setting sun to enhance their faded gelato colours so reminiscent of the dilapidated charm of urban Cuba. I kept expecting to hear the Buenavista Social Club from every doorway.
They also reminded me of streetscapes by Jeffrey Smart and Edward Hopper. Behind the colourful facade is a threatening storm.
 
Plein air oil painting of Merriman Street Millers Point near Barangaroo painted by industrial heritage artist Jane Bennett
MP11 'Merriman st' 2014
oil on canvas 46 x 61cm
Available






















Sharp eyed viewers will be able to see yellow ribbons tied to the doors. A yellow ribbon had been used to mark a building destined for demolition, during the original Rocks clearances in the late 19th - early 20th century. The current residents adopted and repurposed this symbol to signal a building where the occupants were threatened with eviction.
Plein air oil painting of Merriman Street Millers Point near Barangaroo painted by industrial heritage artist Jane Bennett
MP11 'Merriman st' 2014
oil on canvas 46 x 61cm
Available


















The early 20th century slum clearances in Millers Point and the Rocks were performed under the pretext of saving the city from bubonic plague. The early 21st century clearances were of the community rather than the architecture, under the guise of economic rationalism.
First the maritime workforce, then the surrounding community was dispersed.
Until recently, the inner city had been regarded as a crowded, squalid slum, so the rich flocked to the suburbs. Now this has reversed, and the poor are pushed to the periphery. The city is spoilt rotten for resources and transport, while the hinterland has been starved.
Plein air oil painting of Merriman Street Millers Point near Barangaroo painted by industrial heritage artist Jane Bennett
MP11 'Merriman st' 2014
oil on canvas 46 x 61cm
Available





















Nearly 200 years of its colourful maritime past has been swept away with barely a token gesture to its previous existence.
Since this canvas was painted, most of Millers Point has passed into private hands, and many of the workers cottages were transformed into short term rental Air B'n'B. Ironically, due to another outbreak of plague (Covid 19 this time, not bubonic) almost exactly a century later, these short term rentals are now mostly vacant and from March to mid June 2020 the Isolation restrictions turned Millers Point into a ghost town.

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Friday, 28 November 2014

There goes the neighbourhood

Plein air oil painting by Industrial Heritage Artist Jane Bennett of Millers Point Barangaroo and the Harbour Tower from High st
MP9 'Millers Point, Barangaroo
and the Harbour Tower from High st'
oil on canvas 61 x 183cm 2014
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In my new exhibition, "Under the Hammer"  at the Frances Keevil Gallery there is a large and pretty panoramic canvas of High Street.
At first sight, it looks peaceful. Charming enough to put on the cover of a chocolate box.
Does it remind you of the Impressionists perhaps? Pissaro, even early Monet?
To the right is a charming row of Federation houses in dappled shade.
But there are undercurrents. All is not well.
There is a sharp sudden drop to the street below.
Behind a camouflaging line of trees there is turmoil. Machinery lurks in the background; inexplicable concrete structures and mounds of debris peek through.
A road carves through the centre to the horizon.
It divides the past from the future.
Welcome to Barangaroo.

Plein air oil painting by Industrial Heritage Artist Jane Bennett of Millers Point Barangaroo and the Harbour Tower from High st
MP9 'Millers Point, Barangaroo
and the Harbour Tower from High st'
oil on canvas 61 x 183cm 2014

Enquiries
Millers Point always had a raffish edge. It was a tough little quarter, the oldest suburb in Australia, and coincidentally its earliest slum. For over 200 years it was the heart of maritime Sydney, as ships loaded wheat, wool and coal at the Fingerwharves that fringed the Harbour from Woolloomooloo to Blackwattle Bay.
Plein air oil painting by Industrial Heritage Artist Jane Bennett of Millers Point Barangaroo and the Harbour Tower from High st
MP9 'Millers Point, Barangaroo
and the Harbour Tower from High st'
 oil on canvas 61 x 183cm 2014

Enquiries
Now it is undergoing a painful and cataclysmic metamorphosis. Every vestige of its colourful past will be swept away. 
 Including the people.
Plein air oil painting by Industrial Heritage Artist Jane Bennett of Millers Point Barangaroo and the Harbour Tower from High st
The artist painting MP9 'Millers Point, Barangaroo
and the Harbour Tower from High st'
oil on canvas 61 x 183cm 2014

Enquiries

Social cleansing is not a new policy dating from our own era of economic rationalism. It’s been here before.
In January 1900, the bubonic plague first broke out in Sydney, carried by rats from the ships. Millers Point was popularly considered to be a festering slum, inhabited by social undesirables living in ignorance poverty and filth. This was all the excuse the government needed for a massive program of slum clearance that went well beyond simple health precautions. 

Plein air oil painting by Industrial Heritage Artist Jane Bennett of Millers Point Barangaroo and the Harbour Tower from High st
Painting MP9 'Millers Point. Barangaroo
and the Harbour Tower from High st'
oil on canvas 61 x 183cm 2014

Enquiries

This attitude permitted those with political or commercial interests at heart to promote resumption of property in the name of morality and hygiene. To “purge” the city of perceived social ills, whole city blocks were cordoned off, many houses and even whole streets were demolished.The entire waterfront was put in lockdown until it resembled a quarantined war-zone.
The idea of a “tabula rasa” – a clean sheet, a blank canvas, has always been very seductive to planners. Development through decay, dereliction then destruction is the familiar theme running through Sydney’s history.
Throughout the plague and clearances, yellow ribbons were tied to the doors of houses with infected people inside, or on the doors of houses due for demolition, to mark danger.
Plein air oil painting by Industrial Heritage Artist Jane Bennett of Millers Point Barangaroo and the Harbour Tower from High st
Painting MP9 'Millers Point, Barangaroo
and the Harbour Tower from High st'
oil on canvas 61 x 183cm 2014

Enquiries
















One hundred years later, the area was yet again in danger. It only escaped complete demolition due to the heated campaign by activists, residents and the Green Bans imposed by Jack Mundey and the NSW Builders' Labourers Federation.
As the maritime industry declined and was forced to the periphery of Sydney, the wharves were given a makeover to become upmarket apartments and an entertainment precinct. In 1985 ownership of public housing was removed from the Maritime Services Board and taken over by the Department of Housing. Yet a tiny enclave of the old working-class Sydney community still exists.
The phrase “spirit of place” is often overused, but how else can you describe it? People whose families had worked on the wharves, in some cases over 5 generations, are still clinging there precariously, in the houses they had lived in all their lives.
Plein air oil painting by Industrial Heritage Artist Jane Bennett of Millers Point Barangaroo and the Harbour Tower from High st
Sunset, Millers Point. 
 MP9 'Millers Point Barangaroo
 and the Harbour Tower from High st'

 oil on canvas 61 x 183cm 2014 
with another half finished panorama
of the same size of High Street
and Barangaroo on my easel.

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There has been extraordinary pressure exerted to gentrify the area. A six-star hotel and high-rollers casino are planned for Barangaroo, only a stone’s throw away.
The first auctions of 293 public housing properties at Millers Point and The Rocks have begun. Ironically this will even include the Sirius apartment complex, which had been specifically built to house residents displaced during the previous development push.
There is no guarantee the proceeds will be quarantined from general revenue to build new public housing in the area or even close to the CBD.
Millers Point residents will have to go within two years, coincidentally when Barangaroo will open.

Plein air oil painting by Industrial Heritage Artist Jane Bennett of Millers Point Barangaroo and the Harbour Tower from High st
Close up detail of gate with yellow ribbon
 on house in High Street 

MP9 'Millers Point Barangaroo
and the Harbour Tower from High st' 

oil on canvas 61 x 183cm 2014
Enquiries

The yellow ribbons are back, tied to the doors and gates, to warn of an old danger in a new form.
Plus ça change, plus ça meme chose.

Plein air oil painting by Industrial Heritage Artist Jane Bennett of Millers Point Barangaroo and the Harbour Tower from High st
Painting MP9 'Millers Point, Barangaroo
and the Harbour Tower from High st'
oil on canvas 61 x 183cm 2014

Enquiries

Remember, when you admire the Impressionists, that they painted during the forced clearances of inner city Paris by the despotic town planner Baron Haussmann.
If you look carefully, their paintings are full of clues. Those elegant Parisian boulevardes painted by Caillebotte, are wounds inflicted on the city when small laneways were bulldozed, and the residents evicted.
Montmarte, too steep for easy access, escaped this homogenization, and was still full of crooked narrow lanes and cheap housing. Many fled there, including some impoverished artists who later became the world famous icons of Impressionist art.
Their paintings don’t look so “chocolate box” now, do they?


Plein air oil painting by Industrial Heritage Artist Jane Bennett of Millers Point Barangaroo and the Harbour Tower from High st
Close up detail showing the
partly obscured "Barangaroo" sign 
MP9 'Millers Point Barangaroo and the
Harbour Tower from High st' 
oil on canvas 61 x 183cm 2014

To return to my painting, behind the trees is the sign of the Barangaroo development.
But the letters are partially obscured; all you can make out is “a n g ...r”.
Hidden anger? With a sugar coating.


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Monday, 4 March 2013

Macdonaldtown - A Station without a suburb

I was asked by the National Trust After Hours Committee if I could help with a heritage walk "Macdonaldtown Meander" on Sunday 3rd March.
This was quite a challenge.
I have painted Macdonaldtown's majestic neighbour,the Eveleigh Railway Workshops many times,but Macdonaldtown itself had never appeared as an obvious source of inspiration.
But I was intrigued and decided to explore. I'm glad that I did. Often I can concentrate on more obviously spectacular vistas, and miss the subtle charms of smaller details, such as the exquisite series of classical heads as vignettes between each terrace in a row close to the start of Wilson Street.
Macdonaldtown's streets were full of delightful surprises.
This charming decorative corbel is carved into the classically inspired head of a lady.  It separates a row of five 3 storey terraces at the western end of Wilson street. Some of them have been tastefully gentrified in harmonious neutral shades, while their neighbours sport shabby yet garish liquorice all-sorts colours. 
The hot pink terrace on the right reminds me of the time in 1986 when  a couple of local lads decided to beautify Macdonaldtown Station by painting it pink. All of it. Tables, chairs walls and even a pot plant were glued down and painted pink in an "overall effort to enhance the station". No conviction was recorded and the State Rail Authority's claim for damages was rejected by the Magistrate. I had hoped that the hot pink terrace had been occupied by these 2 intrepid painters, but they actually lived in Enfield at the time.
plein air oil painting of urban landscape by artist Jane Bennett
 'The Lady of the house' 
Row of terraces in Wilson street
2012 oil on canvas 18 x 13cm
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Macdonaldtown, despite its freshly renovated railway station, is not actually a bona fide suburb.
It's a "locality". More of a state of mind, really. The slightly shabbier sister, always being dominated by her more prominent Newtown, St Peters, Enmore, Erskineville and Redfern.The hinterland ; with most of the local landmarks residing slightly outside her nebulous borders -the exciting King Street shopping strip; the funky CarriageWorks; the chimneys of the St Peters Brickworks; the Eveleigh Railway Workshops.
Macdonaldtown remains the almost invisible space in-between.
While painting in Macdonaldtown, I found most of her inhabitants actually denied living there. They lived in "Newtown", "South Newtown", "near Eveleigh", "west of CarriageWorks", "Hollis Park", "North Erskineville", even the marvellously convoluted "south of Wilson Street West". This could be influenced by the vagaries of  real estate prices rather than dislike of the name Macdonaldtown.
Macdonaldtown mostly consisted of terrace houses of the cheapest possible construction,generally 4 metres (13 ft) wide "two-up two-down" with a rear kitchen.They usually had adjoining walls only one brick thick and a continuous shared roofspace. Hundreds of these  formerly humble dwellings still remain and are rapidly being gentrified. 19th century property developers would build a row terminating in a house of 1 1/2 width at the corner of the street, to be used as a commercial premises, or "Corner Store".

plein air oil painting of urban landscape by artist Jane Bennett
'Someone to watch over me' 
2012 oil on canvas 20 x 25cm

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So this lion watching over a shabby shop on Erskineville Road opposite the Erskineville Hotel came as quite a surprise. This is the sort of rooftop sculpture that I would expect on a castle or mansion, rather than in the middle of a tatty row of terraces. It hints at a sort of delusion of grandeur.
 Only 1 person in the pub opposite had ever noticed it peering down at them!


plein air oil painting of urban landscape by artist Jane Bennett
'Derelict 'Edward Brooks'
factory in Wilson street  2012
oil on board 22 x 28cm

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Another architectural surprise.
The terraces at the northern and eastern end (closer to the University and the city) are as a rule far more prestigious than the workers cottages to the west and south, especially the row in Georgina Street and Warren Ball Avenue next to Hollis Park.
However, next to the very upmarket Hollis Park area, is the very large and very derelict 'Edward Brooks' factory, crumbling into Wilson Street. The winch above the window hints at its industrial past.

plein air oil painting of urban landscape by artist Jane Bennett
 'Edward Brooks building, Wilson Street'
2013 oil on canvas  46 x 92cm
Available
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This larger painting shows the steps up to the lovely park next door, and how the old factory contrasts with the freshly renovated terrace next door.
 The former 'Edward Brooks building' was known locally, rightly or wrongly as the 'Hat Factory'. By the size of the winch hats (and presumably heads) were a lot bigger back in the good old days!
 None of the locals have so far been able to tell me very much about its history. One man from the Erskineville Hotel, whose dad used to live 3 doors down, said that it was a foundry, which seems possible, although records show the "IronWorks" as being a block further west down the road at no. 150 Wilson Street.
His dad, like so many of the former residents of Macdonaldtown's workers terraces, was an employee of the Eveleigh Railway Workshops.Built in 1878, the Eveleigh Railway yards housed the Government Railway Stores and Workshops, and the Locomotive Engineer’s Department from 1901. Production declined in the 1970s and ceased in 1988. The site lay mostly disused til 1996 when the northern (Darlington) end was developed for a communications and science research facility known as the Australian Technology Park.  In 2002 the central part of the north-eastern site became the too cool for school Carriageworks performance space. The forecourt hosts weekly farmers' markets and monthly craft markets. 

plein air oil painting of urban landscape by artist Jane Bennett
 'Pediment with wheat sheaf-
old Henninges bakery in Wilson street -
now 'Original Finish'
2012 oil on canvas 20 x 20cm
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The wheat sheaf on the pediment, reveals the original use of 'Original Finish' as a bakery.
The former Newtown Bread Factory, on the corner of Wilson and Watkin Streets, was run by Henry Henninges in the 19th century.The lane behind the factory still bears Henninges' name.
The building has been very sympathetically and respectfully restored, with small cracks and weathering bearing witness to its previous history,which is appropriate considering that its current occupier, 'Original Finish' specializes in antiques.
Henry Henninges Bakery in 1983

 The former 'Edward Brooks building had been occupied by squatters since about 2001.
The building had last changed hands (for a derisively small amount of money) in 1981. The owner apparently only lives a few blocks down the road, but allowed the property to rot, in a similar fashion to the Terminus Hotel and the Darling Island Bond and Free Store of Pyrmont. Landbanking played as an extreme sport.
Nature abhors a vacuum, so a variety of squatters and local community groups had apparently moved in.
They were forcibly evicted in a very heavy handed fashion by the riot squad on Thursday 31st July 2014.
The once-shunned building has now been bought for $1.7 million at a hotly contested auction and will now apparently be renovated rather than demolished.