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| Banksia by Eva Turek-Jewkes medium stained glass mosaic 40 W x 35 H x 4.5 cm D |
I met Eva some years ago while doing a Graduate Certificate in Creative Writing at the University of Queensland. Striking a rapport, we kept in touch through our writing or other artistic interests. In fact, Geoff and I got an invite to her 100th birthday party—which is Eva and her husband Charlie’s combined milestone.
Eva channelled her talent from her exceptional writing to glass box mosaics. She initially obtained her Bachelor of Photography before completing her Postgraduate Studies in Writing, Editing, and Publishing. I forgot to mention that she is also an accomplished painter. Eva converts her photographs into art, about which she then writes.
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| Callistemon by Eva Turek-Jewkes Glass Box Mosaics 17.5 cm W x 20.8 cm H x 2 cm D Opalescent, fusible glass and mirror on marine plyboard |
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| Waratah by Eva Turek-Jewkes |
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| We Are Old Women Hear Us Roar |
As part of Deborah’s topic of Meaningful Mischiefs, Feminist Activism, Craftivism and Performance the occasion involved Deborah standing in front of a group of women where she recited Helen Reddy’s iconic song ‘I am woman, hear me roar’ amended to ‘We are old women, hear us roar’.
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| fighting invisibility |
Deborah’s visual art-based research project focuses on the phenomenon of older women’s invisibility. A timely topic considering Leigh Sales' investigation 'Why Women Are Angry' and Q&A's 'Women's Safety: Less Talk, More Action' on the ABC this week, and Noni Hazlehurst's exploration 'What Australia Really Thinks About Old People' on sbs last week. The recent Federal Commission into Aged Care and several programs on TV exposed stories of horror and incredible neglect in aged care facilities. Various programs have highlighted the plight of once well to do women who are now aged and faced with homelessness.
As a feminist activist artist Deborah’s approach to her audience is to seek recognition of older women as being equally valuable members of society. Her message instils a reminder that: ‘We too were once young and revelled in our glory,’ and calls for unity ‘All our voices, our opinions valued, young and old, proud and loud.’ Deborah’s powerful performance demands action to end ageism and violence against women. Drawing attention to and confronting the audience with the disregard of general society towards ageism is a challenge that needs to be addressed.
Deborah’s granddaughter Lily skilfully did the acknowledgement of country and provided the introduction to the performance. It was a moving touch to see three generations of women involved in a project culminating the pinnacle of Deborah’s academic path as a mature age woman. Deborah’s daughter was part of the chorus, as was her daughter in law.
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| high-vis pink vests |
Clad in high-vis pink vests ensured that Deborah and her cohort of women were very clearly visible. The bright yellow megaphones depicting ‘ROAR’ in black lettering added to the dramatis personae allure. Even the statue of the suffragette Emma Miller was appropriately clad in a banner of protest. Deborah expertly rendered Reddy’s altered lyrics with the backup of the sprightly chorus to the audience which included her examiners.
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| joining forces with Emma Miller |
After the presentation Deborah invited all involved for a drink at the Pig ‘N’ Whistle, where I pondered about my involvement as having been part of performance art. Now that I have the experience, who knows where that will take me next? Deborah is negotiating with an Artspace to showcase the youtube and costumes of our performance. Watch this space, I’ll let you know where and when this will take place.
Travelling
to the outback without leaving Brisbane
Yes, you can do it and have fun. I never thought in my wildest dreams that I would get excited about motorcycles. Sailing in a sleek yacht across the Mediterranean with bubbles in hand, yes, please. Being a passenger in my friend Anooshka’s red Maserati, yahooing through the neighbourhood, yes, I didn’t think I would, but I did enjoy it. Even riding a bicycle along the Riverwalk, pleasant, with the wind nearly blowing my hat off, I like. But motorcycles? Sure, my son has a Harley Davidson that he raves about, but he lives in Darwin. Yet, as I found out, you are never too old to learn something new or get excited about an experience that is initially quite unfamiliar to you.
For example, did you know that the Perreaux Steam Velocipede, generally considered to be one of the first motorcycles ever built, was made in 1871 by Frenchman Louis-Guillaume Perreaux. It was powered by a steam engine, fuelled by alcohol (quel dommage), had wood and iron-banded wheels, delicate handlebars and a high seat that perched precariously above the brass-plated boiling steam engine. It could travel at a revolutionary 14 km/h. If you are interested in the technical data, the Engine is 30 cc steam @ 3.5 kg/cm² (50 psi), with Power: 1-2 hp. This Perreaux is the only known example and you can see it at GOMA.
Did you know that David Spencer of Torwood, a suburb now incorporated into Brisbane’s Auchenflower, built the Spencer in 1906. The Engine is 475 cc side-valve single, Power: 2 hp.
This Spencer motorcycle is
one of only two surviving models. Spencer made his own wooden patterns for the
iron castings of the engine and other parts. Thus this motorcycle was made
almost entirely in Australia. Spencer had a good reputation, indeed the
Queensland Police Force ordered 50 motorcycles. Sadly, as is so often the case
with Australian inventions, Spencer was not in a financial position to fulfil
an order of such great numbers. His production ceased in 1910.
Have you seen the movie The
World’s Fastest Indian? It was made in 2005 starring Anthony Hopkins as New
Zealand speed bike racer Burt Munro. With his highly modified 1920 Indian Scout,
Munro set numerous land speed records for motorcycles at Bonneville Salt Flats in
Utah in the late 1950s and early 1960s. Well, if you saw the movie, you will
want to see the Indian Scout. And you can, the Engine is 953 cc, OhV 42° V-twin, Power: 100 hp.
The exhibition models take us through the years from their inception to present times on different continents of origin. I was amazed that the first Vespa from 1946 has hardly changed in design or shape. This 1960 model has an Engine: 146 cc two-stroke single cylinder, Power: 8 hp. Inspired by desolate post-war Northern Italy Enrico Piaggio saw a need for affordable transportation.
When you look at the latest models in town, they are not too different. Which proves to show that what has quality lasts and does not age.
This one is for you Markus if you are reading this in Darwin. A Harley Davidson VRSCA V-Rod 2003, Engine: 1130 cc 60° V-twin, Power: 115 hp. How would you like to drive that through the outback?
It is an off-road machine with the power and capability of a conventional 250 cc motorcycle. Its design sets it apart from any motorcycle maker. Who knows, we might see a Kalk zero-emission being ridden in Brisbane in the not-too-distant future.
Because of the rarity of the displayed models and their
interesting history I might just have to visit again. There is still time as the
exhibition finishes on 26 April 2021.
After a year of not being able to leave the country and
relish visiting galleries of renown, it was great to view the 'bauhaus Now'
exhibition, 'a legacy of migration and modernism in Brisbane.' As the title
suggests Professor Andrew McNamarra curated an eclectic mix of art, design and
architecture originating from the avant-garde Bauhaus school that was
established in Weimar/Germany in 1919. Geoff and I have had the pleasure
of visiting this beautiful city with its Bauhaus Museum, of which Goethe was a
resident, a few years’ ago.
Bauhaus founder Walter Gropius sought to harmonise art and
technology. His concept was based on shifting the emphasis of traditional
teaching methods to an 'imaginative interpretation, self-development and
thinking for oneself.' Students were encouraged to explore, apart from paper
and canvas, materials like stone, wood, metal, leather, ceramics, glass,
carpentry, and weaving. The combination of hand-made and machine-made art
became an innovative concept of which we can admire some examples in this
exhibition.
I love the clean and simple construction of Marcel Breuer's
1925 chromed steel and black leather 'Wassily chair'.
Geoff and I visited the Queensland Art Gallery to view the new exhibition of works by Jon Molvig (1923-70).
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| Charles Blackman, 1966, oil on composition board |
After studying art at the East Sydney Technical College in 1947 Molvig chose to set up his studio in Brisbane. The motifs of his creative talent range from figures, landscapes, still lifes, animals, abstracts and portraits (including that of Charles Blackman which won Molvig the 1966 Archibald Prize).
Mediums include oils on board, hardboard and canvas, charcoal and pastel on paper, brush and oil wash on wove paper, ink and pastel on lithographic paper, pen and brown ink, brush and ink over watercolour, and gouache and pastel.
As a teacher, Molvig's inspirational tuition fostered the artistic career of many of his students.
In art critic James Gleeson's words, Molvig painted 'orgiastically'. When I look at most of Molvig's works I understand this assessment. It is evident in the 1955 Landscape, which exudes a boldness of colours and contours.
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| Landscape, 1955, oil on canvas |
I am equally drawn to his 1955 Still life.
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| Still life, 1955, oil on board |
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| Grey Street Bridge, 1956, oil on hardboard |
Similarly styled Brisbane's Grey Street Bridge, 1956, is immortalised in its eponymous painting.
During his travels through Europe Molvig was influenced by Norwegian and German expressionism. The bridesmaids, 1956, strongly resembles artists from Die Brücke movement and in particular Ernst Ludwig Kirchner (1880-1938). Molvig identified himself as an expressionistic painter, explaining that in his paintings he expresses the feeling of a situation instead of the actual experience. This approach would have allowed Molvig's creativity the freedom to break from conventional traditions.
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| The bridesmaids, 1956, oil on hardboard |
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| Paul Beadle, 1955, oil on composition board |
Apart from the powerfully applied colours, Molvig's oeuvre encompasses motifs in bold black and white compositions as the commanding 1955 portrait of Paul Beadle.
In former QAG director Laurie Thomas' words: '(Molvig's) painting ...conveys a mood which would be hard to find outside some forms of music.' I enjoy taking a rest on one of the gallery couches after meandering through the gallery space with Molvig's stunning artworks, and allow the mood emanating from his canvasses to penetrate my inner being. I ponder why I had not been more exposed to his artistry but appreciate that I can do so now. I also feel inspired to go home, play one of my Oscar Peterson records, and write about my day of absorbing Molvig's artistry.
Like the Olley and Quilty exhibition, the curatorial team showcase a fantastic presentation of Molvig's legacy to the Brisbane art scene. The viewer is able to not only enjoy the scope of works but to also get a glimpse into the life of Jon Molvig, his time, his mentors and those who benefitted from his tuition. I think we are very lucky to be able to view an exhibition of such high calibre free of charge in Brisbane.
The exhibition is open until 2 February 2020.
Saturday, 20 July 2019
Saturday, 20 July, Geoff and I attended the opening of my friend Deborah Eddy's exhibition at the POP Gallery, 381 Brunswick Street in Fortitude Valley entitled Domestica.
We had a wonderful time, thanks Deb!
You can visit the gallery till 27 July, Tuesday-Saturday, 10 am - 4 pm.
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