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

My photo
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.

Monday, 22 October 2012

2012 Classic and Wooden Boat Show at the Australian National Maritime Museum

Exhibition at the Australian National Maritime Museum by the Australian Society of Marine Artists

I chose these 3 paintings to display in the exhibition by the Australian Society of Marine Artists in the Tasman Light Room at the Australian National Maritime Museum.
The exhibition was part of the 2012 Classic and Wooden Boat Festival from Friday 12th October - Wednesday 17th October 2012.

oil painting of Walsh Bay Wharves by artist Jane Bennett
"Demolition of Wharf 6/7, Walsh Bay Wharves” 2001  
oil on canvas 61 x 102cm















Enquiries about this painting :

                         
I had painted the demolition of the almost derelict structures of Wharf 6/7, Walsh Bay Wharves from the interior of Wharf 8/9 in 2001. This wharf was later replaced by apartments designed to imitate the genuine wharves. 

oil painting of notorious cargo ship 'Tampa' at Barangaroo by artist Jane Bennett
"The last call of the ‘Tampa’ ”
2007 oil on canvas 31 x 103cm
Enquiries about this painting :

                              
I had been “Artist in Residence” at the Hungry Mile during its last days of port operations.The notorious “Tampa” was the last Ro-ro ( roll on roll off car ship) to berth at the Hungry Mile wharves, now known as “Barangaroo” in late October 2007, marking the effective end of Sydney as a working harbour.

oil painting of controversial ex-HMAS Adelaide' with Anzac Bridge at Glebe Island Wharves by artist Jane Bennett
”Ex-HMAS Adelaide at Glebe Island Wharf” 
2009 oil on canvas  46 x 92cm
Enquiries about this painting :

                         
I had painted the entire saga of ex HMAS Adelaide from her arrival at Glebe Island Wharf in September 2009 to her scuttling off  the Central Coast on Wednesday April 13th 2011. 
Her interior was stripped to prepare for her reinvention as a dive wreck but this was stopped at literally the last minute by a controversial court case. The ship had to undergo more stringent preparations for another year, until the dawn of April 11th 2011 when she made her last journey to her final resting spot off North Avoca.  

Artist in Residence at the Australian National Maritime Museum


plein air oil painting of Krait by artist Jane Bennett at 2012 Classic and Wooden Boat Festival at Australian National Maritime Museum
Painting the 'Krait' at the 2012
Classic and Wooden Boat Festival
Australian National Maritime Museum.
Oil on canvas 28 x 36cm




 
















I also spent Saturday 13th October and Sunday 14th October next to HMAS Vampire as Artist in Residence giving a demonstration of plein air painting.
In this photo I am starting a small canvas of the 1934 fishing trawler,  Krait, which led a heroic double life during World War II.
In 1941, Krait was used to evacuate people from Singapore to Sumatra during the Japanese advance. Perfectly disguised as a local fishing vessel, in the 1943 Operation Jaywick she was boldly sailed into Japanese-occupied waters with a team of Z Special Unit commandos whose mines blew up and severely damaged 7 enemy ships in Singapore harbour. After the war, Krait worked in the Borneo timber trade, until  two Australians on a business trip recognized her in 1962. Krait then returned to Australia to a hero's welcome, a testament to Australian sacrifice during war.

plein air oil painting of wooden boat by artist Jane Bennett at 2012 Classic and Wooden Boat Festival at Australian National Maritime Museum
Painting the 'Winnie Too' at the
2012 Classic and Wooden Boat Festival
Australian National Maritime Museum.
Oil on canvas 51 x 61cm
Enquiries about this painting :






















Later in the day, as a contrast to the stark black hull of Krait, I painted Winnie Too one of the dozens of charming smaller wooden boats on display.
exhibition of oil paintings of tall ships and Pyrmont  by artist Jane Bennett at 2012 Classic and Wooden Boat Festival at Australian National Maritime Museum
My outdoor exhibition at the
2012 Classic and Wooden Boat Festival
Australian National Maritime Museum.




















As there was a handy awning to protect them from the wind and sun I was able to present an outdoor display of some of my other canvases of vessels from the Sydney Heritage Fleet and the Australian National Maritime Museum. The canvases on the easel are of the tall ships James Craig and HMV Endeavour, and the light ship Carpentaria. The smaller works hung from the railings are some of my early Pyrmont paintings, which date from the era before the building of the Australian National Maritime Museum.

Monday, 8 October 2012

Tower of Power- Drawings of the White Bay Power Station

White Bay, an often overlooked part of Sydney's industrial and maritime heritage will soon be radically overhauled.
ink wash and gouache drawing on paper of White Bay Power Station, Rozelle by artist Jane Bennett
'White Bay Power Station' 2012
ink gouache on paper 30 x 21cm

FINALIST : 2012 KEDUMBA DRAWING PRIZE




















Enquiries

I have painted many of its current and former landmarks, including the Unilever site, the White Bay Power Station and the notorious White Bay Hotel, (which was 'mysteriously' burnt down) ever since they were all operational in the late 70s - early 80s.

ink wash and gouache drawing on paper of White Bay Power Station, Rozelle by artist Jane Bennett
'Chimneys of the White Bay Power Station 2' 2012
ink gouache on paper 30 x 21cm
FINALIST : 2012 KEDUMBA DRAWING PRIZE
Enquiries
This is a group of 4 small ink wash and gouache drawings on paper, which I have decided to enter in the 2012 Kedumba Invitational Drawing Prize.
ink wash and gouache drawing on paper of White Bay Power Station, Rozelle by artist Jane Bennett
'Coal Loader White Bay Power Station' 2012
ink gouache on paper 30 x 21cm

FINALIST : 2012 KEDUMBA DRAWING PRIZE





















It seems a strange distortion of scale to create such small works in response to such a slumbering beast as the gigantic Power Station. Usually I paint an enormous canvas to try to capture its heroic proportions.
However there are so many exquisite details which can get lost in a larger composition that I was glad of the opportunity to focus on them. Every inch of this rusting monster is worthy of a painting, so that it is difficult to choose.
ink wash and gouache drawing on paper of White Bay Power Station, Rozelle by artist Jane Bennett
'Coal Loader and Chimney White Bay Power Station'
 2012 ink gouache on paper 30 x 21cm
FINALIST : 2012 KEDUMBA DRAWING PRIZE


And I will have to choose quickly.
Now the White Bay Transit Shed has been partially demolished and the site re-developed as the controversial new Cruise ship terminal.
Glebe Island wharf, once used for offloading cars, has been eerily empty since the departure of ex-HMAS Adelaide to its watery grave off North Avoca in 2011.
A temporary exhibition venue will soon be built on this space to replace the Darling Harbour complex while it is being refurbished.
A road will soon be built on the empty site where the "Great Gatsby" had been filmed last year, to link all these new developments to civilization.
oil painting on canvas of White Bay Power Station, Rozelle by artist Jane Bennett
"White Bay Power Station after rain"
2012 oil on canvas 183 x 112cm
Sold 
PRIVATE COLLECTION : SYDNEY

So I feel that the days of the White Bay Power Station as a hulking urban ghost are numbered. 
One day the sleeping giant will wake.... 
To what sort of future? 
Update

Friday, 5 October 2012

Under the Bridge

Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
Starting my painting commission at dawn,
under the Anzac Bridge, looking at Sydney City Marina over to the western side.
'Under the Bridge 1- early morning' oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
The Anzac Bridge has always held a special place in my heart.
Even before I was given the amazing opportunity to paint it from the top, I had painted the progress of the construction of its pylons in the background of many of my Pyrmont paintings during the early-mid 1990s.

Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
'Under the Bridge 1- early morning' oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings

Many other people also love this bridge.
Recently I was given a very special commission to paint the Anzac Bridge.
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
'Under the Bridge 1- early morning' oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings

But not from the top this time.
From underneath.
The "Underbelly".
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
So now I'm painting on the other side of Blackwattle Bay.
Behind me are the dragon boat teams, and beside me are the construction sheds of the people doing maintenance work on the Bridge.
My canvas is 76 x 76cm and has been primed with black acrylic paint to help me gauge the colour values against the glare of the morning sun.
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney

I've started to paint in the pale blue morning sky.
The building in the background is "evolve", part of the Jackson's Landing development, which was built on the site formerly occupied by the 'Caneite' building of the CSR Refinery.
The mysterious 'great balls of Pyrmont' which now adorn the park in front of this building were digesters originally used in the Caneite factory to turn sugar cane waste into masonite and similar building products. They still bear the scars of marine worms and barnacles that they accumulated after rolling off the wharf and spending a few years underwater.
One of the men from Waterways Constructions took a fancy to them and fished them out.
Now they are "works of art".
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
6.30am 'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney

The morning sun lights up the Glebe Island silos and the old Glebe Island swing bridge.
At the moment Glebe Island is almost deserted, but soon this will change when they start construction of a new temporary exhibition space while the Darling Harbour space is undergoing refurbishment.
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
A promising start 'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings

After 2 hours, the silos and the bow legs of the pylons supporting the Anzac Bridge are starting to take shape. The Anzac Bridge is a beautiful, elegant and supremely functional piece of design, but from certain angles it can sometimes look a bit bandy-legged.
There are several bridges around the world of similar design. I remember walking across a huge version in Rotterdam, and being very surprised when they rang an alarm and people walking across started to scatter to either end. The bridge appeared to 'break' in the middle and a huge container ship moved through the gap in the centre.
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
At the end of the first session 'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney

However my first painting session was cut short unexpectedly.
At 8am I got a phone call from the hospital saying that after reviewing some of my mum's blood tests they wanted me to bring her in so that they could operate on her, so I stopped painting and rushed to get her.
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
Stage 2 Half finished -'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney

During the next painting session, I made sure to paint the green and yellow Devine tug berthed at Sydney City Marina, as I knew it would soon move away.
Next week it was on the other side of the old Glebe Island swing Bridge, so I was lucky to catch it.
To the far left is one of the chimneys of the White Bay Power Station, and on the right are some rotting stumps belonging to the old Glebe island swing Bridge.
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
Stage 3 Nearly finished -'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings

This painting is nearly finished, but the colour and shadows need a bit of adjusting before I'm happy with it.
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
Stage 4 Nearly finished -'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney

Almost finished.
I was a bit on edge as I had to make sure that I didn't get locked in with all the dragon boats.There are several clubs but nobody seems to know when the last club will leave. My painting site is hidden by the construction area, so I have to keep checking to see if there are any cars left.
There are lots of different clubs. Some of the rowers say that it will close about 2 - 3pm, and some say as early as 11am.
I don't want to be locked in!
I'm working fast!
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
'Under the Bridge 1- early morning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney

I needn't have panicked about being locked in.
The construction guys have promised that if I get locked in they will let me out, and there are constant security patrols.
Tuesday to Thursday mornings there is a boat repair course for unemployed people, so I have a bit more access than I thought I would.
I was worried about completing this commission as I thought that my access would be restricted to very early on Saturday mornings.
As my mum has been so ill, I can't predict when I'll get any free time.
A bit of glazing to add colour highlights and some rose pink early morning clouds will complete the painting.
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
Stage 2 Half finished -'Under the Bridge 2- storm warning'
oil on canvas 76 x 76cm 2012
Sold : Private Collection Sydney
Enquiries about similar paintings

But even though it was so close to being finished, there were a few twists before it was finally complete.
The weather has been variable - sometimes very windy and a couple of wild storms.
One morning I turned up and it was so cloudy that I almost decided to head back home again.
I'm glad I didn't, although I couldn't paint for long before it started raining.
I always take a couple of spare canvases just in case, and luckily I had one the same size as the one for the commission.
The sun crept out from behind the clouds every now and then - playing across the bridge pylons and the last vestiges of the working harbour beneath.
The colours changed the mood so much that I had to start another painting rather than add to the one that I was half way through.
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
Stage 3 Nearly finished -'Under the Bridge 2- storm warning'
oil on canvas 76 x 76cm 2012
Available for sale
Enquiries
Exactly the same time of day as the earlier painting , but the stormy conditions give such a different mood, and a complete change of palette.
One of my favourite paintings is "The Tempest" by Giorgione. I love the sense of foreboding he has created by such simple means - a few clouds, shadows and highlights, and the resulting painting has a mysterious poetry that defies analysis.
Plein air oil painting of the Anzac Bridge and Glebe Island painted by industrial heritage artist Jane Bennett
'Under the Bridge 2- storm warning'
oil on canvas 76 x 76cm 2012
Available for sale
Enquiries

At first I was worried that I wouldn't have enough time to complete my commission - and now I have 2 canvases!
I don't know which canvas my client will choose.
I've emailed both and she's said that I've made it difficult for her - she loves both of them! This is her birthday present to herself, and very important to her, so I wanted her to be very happy with the result.
The big decision is tomorrow.

Update

She finally decided on the early morning painting.

Monday, 24 September 2012

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!

plein air painting of the Sydney Heritage Fleet from Blackwattle Bay painted by industrial heritage artist Jane Bennett
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.

plein air painting of the Sydney Heritage Fleet from Blackwattle Bay painted by industrial heritage artist Jane Bennett
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!

plein air painting of the Sydney Heritage Fleet from Blackwattle Bay painted by industrial heritage artist Jane Bennett
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.

plein air painting of the Sydney Heritage Fleet from Blackwattle Bay painted by industrial heritage artist Jane Bennett
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'.

plein air painting of the Sydney Heritage Fleet from Blackwattle Bay painted by industrial heritage artist Jane Bennett
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.

plein air painting of the Sydney Heritage Fleet from Blackwattle Bay painted by industrial heritage artist Jane Bennett
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.
plein air painting of the White Bay Power Station from Blackwattle Bay painted by industrial heritage artist Jane Bennett
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)


Saturday, 22 September 2012

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.

Plein air  Painting 'The Sydney Heritage Fleet from Blackwattle Bay' painted by industrial heritage artist Jane Bennett
Painting 'The Sydney Heritage Fleet from Blackwattle Bay'
2012 oil on canvas 122 x 178cm
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.

Plein air  Painting 'The Sydney Heritage Fleet from Blackwattle Bay' painted by industrial heritage artist Jane Bennett
Painting 'The Sydney Heritage Fleet from Blackwattle Bay'
2012 oil on canvas 122 x 178cm

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.

Plein air  Painting 'The Sydney Heritage Fleet from Blackwattle Bay' painted by industrial heritage artist Jane Bennett
The other side of the canvas.
Painting 'The Sydney Heritage Fleet from Blackwattle Bay'
2012 oil on canvas 122 x 178cm
 
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
Slipping away
'From the Hungry Mile to Barangaroo'
"Lashed to the Mast" - Plein Air painting as extreme sport
Jane Bennett paints the 'Lady Hopetoun' (asma-artistinresidence.blogspot.com)
Exhibition SALT IN THE AIR 27 April - 3rd May 2013 (asma-artistinresidence.blogspot.com)