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Fabric Quarterly 13 Q1 2022

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Publisher’s Note

This issue—our thirteenth—marks the third birthday of Fabric Quarterly. Who would have guessed that in this day and age that we would be confronted with not one, not two, but three world shattering events. Certainly the ravages of climate change have been foreshadowed for many years and we are seeing the impact played on many stages in various forms, but a pandemic and a potential world war?! Whilst both are always a possibility few would have predicted them now. Readers who have been with us across the whole journey will definitely have watched the magazine mature into a sophisticated, highly-regarded, and respected publication. With the help of our valued team we have honed all aspects of the presentation to a point that FQ sits comfortably amongst its national and international peers. This credibility has given us access to the highest quality content. So to all the Fabric Quarterly family I say a sincere thank you. With travel restrictions eased, this issue moves its focus to the North West, showcasing some of the region’s exciting and diverse adventures and culture. For some it became Odyssey-like (Across Country) just getting home. Locals are chafing at the bit to get out and about and spend. Eating out? We feature some of Perth’s newest and exciting fooderies. Updating your castle? We scour the design showrooms to bring what’s new on the shelf. We trust that you enjoy this offering, look out for issue 14 in June 2022. Stay safe!

Marcus Rosenwax Publisher, Managing Director

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Contents

Whispering Smith's Drummond Street

Across Country

This renovated Ballarat residence is named Kinnoull after a Parish in Scotland that overlooks the eastern banks of the River Tay.

Words, thoughts, drawings, and photographs by Beth George as she travels alone over 7000km by car from Newcastle, NSW to Perth, WA.

Pualaar Miial

Design News

Photographer Louise Coghill documents her Pualaar Miial (Bluff Knoll) trek. The rocks that formed this unique range are 1.2 billion years old: they were formed when Australia broke away from Antarctica.

A rare twist on a classic jewellery piece, hand-coiled sculptural vessels and hand-knotted Ghazni wool sensations are just a few of our top picks for this edition of Design News.

Ebb and Flow

Eat Local

Beste Ogan's work is visually arresting and texturally alluring - the detail in each piece is exquisite. Once you hold one of these mesmerising porcelain forms you won't want to let go of it.

Hot new venues headlining Perth's suburbs, including Will St, Gage Roads Freo, Dandelion, and The Beaufort.

How Embracing Vulnerability Can Power Creativity

Darlington House

The Tracks We Share exhibition features over 200 artworks documenting the Pilbara’s artistic diversity, referencing ancient knowledge and modern events.

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Contents

Let the Light In

Australia's Coral Coast

From the darkest of times often comes the purest aptitude to recognise and accept joy. "The Joy Exhibition is to shine a light on the important work done by Starlight and The Lester Prize."

Stretching from the fishing town of Cervantes, across to wildflower country and all the way up to the World Heritage-listed Ningaloo Reef, Australia's Coral Coast offers visitors a smorgasbord of things to see and do.

100

120

Elementi Concept

Class of 2021

Elementi Concept has established a reputation for bringing sophisticated luxury to some of the most prestigious residences through bespoke interior design and premium Italian craftsmanship.

We sit down with North Metropolitan TAFE's winners of the Fabric Quarterly and Garbage TV Award, Giulia Muscio and Jaiden Tegjeu, to talk about their collections and futures in fashion.

106

130

The Sea of Possibility

Emilia Galatsis chats to Director of the Fremantle Biennale, Katherine Wilkinson, about navigating grand and contentious concepts of place, ownership, and authority to tell story. 108

Cover photographs

Contributing Writers

Benjamin Hosking (Drummond Street)

Georgina Barker, Louise Coghill, Emilia Galatis,

and Beth George (Across Country)

Beth George, Leigh-Ann Gemson, Andrew Lim, Claire Millett, Claire Sadler, Annabel Smith,

Publisher —— Marcus Rosenwax

Lily Yeang.

Managing Editor —— Kay Cohen Art Director —— Traianos Pakioufakis

Contributing Photographers

Printed by —— Advance Press

Louise Coghill, Leigh-Ann Gemson, Beth George, Benjamin Hosking, Jack Lovel, Yianni Pakioufakis, Duncan Wright.

ISSN 2208-9438

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Whispering Smith's Drummond Street Words by Beth George

Photographs by Benjamin Hosking

Loretta is probably reading this in her tractor, the journal open and balanced on her knee.

This

project

wonderfully

Whispering

Smith—quintessentially so. It tells a story both of the practice’s genesis and of its maturity. Kate FitzGerald, director of WS, was raised in country Victoria. The owner and client, Loretta, is Kate’s mum. She runs a broad-acre cropping farm in Derrinallum. And what a role model. A midwife for many years, she later began raising lambs. Driving tractors, managing the books, spraying crops, Sebastian the kelpie by her side. Kate’s friends would call her SuperFitz: was there anything she couldn’t do? From sewing a button to rounding a herd, she would zip around in a little Peugeot with a drum of sheep drench in the back. A hard woman with a soft heart, she did all the men’s work and ran the household too. Kate describes her mum as her “ultimate feminist hero.” Loretta is also the reason that Kate found her way to architecture. With a great aesthetic sensibility—and always a few mags in the tractor—her enthusiasm piqued Kate’s interest in the world of design. Kate thought about being a vet. Loretta had other ideas.

Whispering Smith's Drummond Street

Loretta and her husband, Gerard—a 300-plus game, triple-Premiership winning player, coach, and veritable institution of the Victorian Football League—bought this place at Drummond Street in Ballarat as a base for their family in town in 2002 when Kate was in high school. Named Kinnoull after a Parish in Scotland that overlooks the eastern banks of the River Tay, it was built post-gold rush in the 1880s by a Scottish draper, and it is grand: a mid-late Victorian residence with decorative brickwork,

stained

glass,

ornate

cast-iron

fretwork, high ceilings, and arches with f lourished mouldings. There is a fireplace for almost every room, their stoves and mantles are an eclectic mix from Victorian to Deco era. Around the building’s openings, there are borders of cream bricks toothed into red bricks and each is capped by an arch. One of the windows has three tall panes, each with vertical bricks fanning over its top, forming a triple-arch. She (Kate calls the house a she — a “grand old dame”) is replete with beautiful details that WS have responded to with a gentle hand. The renovation process was also a family affair as Kate’s partner, Matt, relocated to Victoria for the duration of the build to work on it himself, to oversee the restoration and ensure the design came to life the way it was envisioned. Much of the work is restorative, with care given to the original structure, fittings, and trimmings. This process, as anyone who has worked with heritage buildings knows, is painstaking, frustrating, and ultimately rewarding as each little detail sings with the attention. None of the architecture here is new build. A late 1980s extension has been re-worked, stripped of its odd, faux-heritage elements. Whispering Smith worked with the brick walls of the extension, adjusted openings (a new lintel affords a wider threshold – the little arched brick eyebrows from the two old doorways remain above it). They did some “mullet” correction – editing an underwhelming skillion roof over the 90’s rear extension into a

Whispering Smith's Drummond Street

deeper structure with a protective overhang. With

Whispering Smith have been around for ten

the house pressed up close against the northern

years now. Their work has refined to a consistent

setback, a new skylight was added that brings

agenda and design language. It is recognisable in its

ref lected light into the generous new kitchen.

shades of white, with heavy walls, fine, black steel

The house was once on a larger block that was

joinery, and often timber where the body meets the

subdivided over time, with a huge Japanese maple

architecture or concrete where the feet do. Breezy,

tree, silver birches, and a gingko remaining in the

bright, broken by courtyards, and always richly

back yard. Matt and Kate began the terraces as

planted. Kate’s work as New Resident in particular

a first design act years ago. A big box elder maple

operates under consistent and unshakable codes.

stands out the front.

Densify. Keep it small. Retain extant structures.

One thing I personally love about the project is the cabinetwork. Simple drawer units and robes

Save mature trees. Recycle where possible. Reduce carbon footprints. Get the sun and the breeze in.

stand on slender legs that prop them just above the

So much of that ethos is present here at

line of the high skirting boards. Long shelves span

Drummond Street, there is a coming together of

sections of wall with no visible supports. The kitchen

years of work, and a meeting of that refinement with

bench has a rounded face fronting the living space

the dignity of Kinnoull. Kate jokes that Loretta

and supports a marble top. All legs and planes are

waited patiently for her to study architecture,

as slight as possible. The rooms of Victorian houses

graduate, and eventually have the time for the

are notoriously difficult to furnish—fireplaces,

project to finally emerge—what, 15 years? Kate

windows and doors are often positioned in the

knows her mum and her tastes so well, there was

middle of walls. As such, Kate took the decision to

scarcely a brief. Their preferences are shared. It is

add only un-fixed furniture. These items stand in

a little project, but it holds much as both origin and

the house like a series of guests. No ostentation. All

apogee for Kate and Whispering Smith.

elegance. Neat and unfussy. whisperingsmith.com.au @whisperingsmitharchitecture

509 Murray St, Perth www.innerspacewa.com.au

Pualaar Miial

Words and photographs by Louise Coghill

Pualaar Miial

The impressive cliff face of Bluff Knoll is lit up by the golden afternoon sun. It’s Aboriginal name is Pualaar Miial: the hill of many eyes. It’s 4pm, Evan and I drove from Perth today. Best to get a little more distance under our belts before I start taking photographs and slow our pace significantly. By the time I reach the next open view of the mountain, the clouds have covered the peak. The Aboriginal name for the Stirling Ranges is Koi Kyenunu-ruff: mist rolling around the mountain. It's first name—as usual— provides far more intel for the place than the colonial name, "Stirling." Named after James Stirling, who was the Governor of the Swan River Colony—also just a man—and not a mountain description. “You’re leaving it a bit late, aren’t you?”

An older couple wander past, taking each step slowly. They’re the last ones on the mountain. I laugh and agree it is late, but we have our head torches. The day had begun hot and sunny, but this mountain range is well known for it’s mysterious and unruly weather patterns. Last time I was here on a hot November’s day, it snowed. I’m far more prepared this time around with a warm jacket and a raincoat. It took a long time to stop heeding the well wished warnings of other hikers. I had once assumed if anyone spoke with confidence they must know more than me. But years of hiking has taught me that’s not the case. I know myself and my abilities far more than strangers on mountainsides.

The change in weather is welcome as we begin climbing up. The stairs feel endless and as usual I ask myself why I like hiking. Each time I stop to catch my breath and rest my searing calf muscles I see why. There’s so much beauty just outside the comfort zone. The dew clings to my hair and cheeks and eye lashes. I wish I’d bought my gloves and my legs are tired, but it feels comfortable to be uncomfortable again. The clouds come and go in the valley below. Each time the cloud gives us a reprieve from it’s wet shroud, we pause for a break to appreciate the beauty below. I take photos of the sun rays lighting up the distant hills. It is a strange site to behold. Such immense flat landscape, with a momentary bump pushed up from the ancient floor. The rocks that formed this unique range are 1.2 billion years old, they were formed when Australia broke away from Antarctica. As the continents pivoted, the land rose up, creating this much loved range in an otherwise flat park. We eat muesli bars in the rain and keep walking. A spider web glistens on a shrub. Purple succulents line the path. The grass trees have their own personalities here, towering over us, sprouting flowers endemic to the South West. We are shivering as we finally reach the summit. The impressive view is hidden by clouds. This is my second time at this summit and I’ve still not seen the mountain range from this peak. This climb is tiring. Although as far as mountain climbs go, it’s a pretty easy one. The large carpark sits at the very base, the beginning of the hike is nicely paved, and the stairs that lead

Pualaar Miial

up the mountain are well made. It’s suitable for all ages. Bluff Knoll (Pualaar Miial) is well loved by the locals. Almost everyone I know has hiked this mountain. And yet somehow it remains unpredictable and wild. Unlike its name, a mountain can never truly be colonised. We take a selfie of our wet faces in front of the white out. It doesn’t matter that we have no view, we still grin with pride, enjoying the endorphins the climb has created. The whiteness is becoming grey as the sun sets behind it. We think of the hot shower and warm swag waiting in Mount Trio Campsite. We run down the mountain lighting up the stairs with our head torches. This is the second time I’ve run down this mountain in the rain. I feel like a wild woman. Leaping from step to step, making quick decisions on my footing to avoid a fall. My head torch lights up the eyes of critters in the trees. Maybe I’ll spot an echidna like last time. Running down is joyful, no laboured breathing. Each breath feels purifying with that cold, clean air. I’m almost sad when the path levels out and we see the car waiting. Almost. We put the heater on and warm our frigid fingers before driving away from the wild. I wonder what I’ll see next time I hike here. There’s no way to predict Pualaar Miial.

louisecoghill.com.au @louisetakesphotos

Beste Ogan's work is visually arresting and the texturally alluring - the detail in each piece is exquisite. Once you hold one of these mesmerising porcelain forms you won't want to let go of it.

Ebb

and Flow

Words and photographs by Leigh-Ann Gemson

Ebb and Flow

Just off the west coast of Turkey, surrounded by crystal clear turquoise waters, lies an island called Bozcaada. It is loved by many for its ancient atmosphere, stone houses, locally produced red wine and mouth-watering seafood and mezzes. Beste Ogan is among those, but she has another unique connection with the Aegean isle. Çayır is a beach on the northern face of Bozcaada, here Beste would spend hours searching for the perfect pebble and then end up finding enough to fill a bag. The pebbles that speckle the deserted white beaches in this region are white and pink quartz, well-worn by the ebb and flow of tides and exceptionally smooth to the touch. At the time, beachcombing at Çayır was a way of escaping the stresses of a demanding career in Istanbul. Today this rich sensory inventory subconsciously informs a captivating collection of porcelain pieces. Beste’s range consists of tableware, homewares and wearable accessories which are beautiful and functional in equal measure. Porcelain is the perfect medium for the granular detail she seeks - whether it's the mimicry of a leathered surface or the fine interaction of oxides creating unique marbled surfaces reminiscent of windswept beaches. “Each piece is designed to be a pleasure to use everyday, to enhance the enjoyment of cooking and enjoying good food. I sought to create a range of tableware that serves as a vehicle to present food and simultaneously enhances the experience of eating with tactility and sensuality,” says Beste. Within her collection Beste works in two styles - Ada and Tabak. Both styles appeal to the senses but in different ways. The surface of each Ada piece is burnished until it becomes as silky and smooth as a giant pebble. Tabak captures the imperfect beauty of distressed leather and presents an element of surprise by transforming what was once pliable into a robust and solid form. Unlike many designers and artists, Beste doesn’t rely on sketching in the product development phase. Instead she draws on a rich library of oceanic colours

Ebb and Flow

and visceral experiences collected throughout her life. New designs come to life through a haptic process of shaping three-dimensional materials rather than two-dimensional sketching. Once a high resolution positive prototype is created in clay a negative plaster mould is made from that. Multiple copies of the form can then be made from the mould — a process called slip casting. Slip is strained through a sieve to achieve a milky consistency. Distinctive muted colours and marbling effects are achieved by adding oxides to the slip. The slip is poured into moulds, the excess is poured off leaving behind just the right amount to develop into a sturdy form. The process is precise. Porcelain is unforgiving and a few seconds too long may mean a form is too thick or too thin, inevitably resulting in cracking. Adjustments to the process are made according to seasonal and environmental factors — on hot days drying time decreases and vice versa on rainy days. Once dry enough, the form is removed from the mould, smoothed over and left to harden, ready for the first kiln firing. Wet-sanding after both firings is an important part of the process which ensures the silky smooth surface including the rims. Clear glaze is applied to the interior of marbled pieces. All other pieces are left unglazed and coated with a durable water-based quartz sealer. Beste now calls South Fremantle home: where the iridescent colour of the Indian Ocean at midday sparks memories of her time in Aegean, and shells, urchins, and driftwood now provide studies in form, colour and texture. This is also where her studio is based. Anyone who is curious to know what her porcelain wares look and feel like in the flesh is welcome to visit the studio. On a quiet day you can hear the waves at South Beach echoing as each piece is poured, fired, and finished.

besteogan.com @besteogan

How Embracing Vulnerability Can Power Creativity Words by Claire Sadler

Please note that the following article contains images, names, and stories of Aboriginal persons that have passed away.

Aileen Sandy at Yinjaa-Barni Art, 2020. Photograph by Claire Martin.

How Embracing Vulnerability Can Power Creativity

Time and again people connect with work that reveals something about an artist’s soul. Yindjibarndi artist, Katie West is no exception, stepping out of her comfort zone for her most recent work in the Tracks We Share: Contemporary Art of the Pilbara exhibition. The show is a collaboration between WA nonprofit arts and cultural organisation FORM; The Art Gallery of Western Australia; Aboriginal art centres Cheeditha Art Group, Juluwarlu Art Group, Martumili Artists, Spinifex Hill Studio, and YinjaaBarni Art; and independent artists Katie West, Curtis Taylor, and Jill Churnside. In previous work, Katie said she created art that had a politically broader meaning rather than delving deeper. This exhibition began with a similar way of thinking. She was going to explore mining and climate change in the Pilbara region. However, Katie eventually decided to go down a different path when she embarked on creating the piece. She came to a tipping point, realising she was skirting around a deeply personal and “traumatic past.” Katie said she began to dig into topics she had been keeping on the periphery for most of her life. This is how her installation, I love you my baby, you are my first born, came to fruition. The work tells the story of how Katie’s mother was adopted into a white family and subsequently she was also adopted. “One thing I did not realise was how much emphasis I had put on my mum's adoption, rather than

really

acknowledging

own

adoption

experience,” she said. “That really came through with getting the opportunity to write a piece as well as make the work.” This all came to the surface through walking while on two residencies in Cossack near Roebourne.

Independent Yindjibarndi artist Katie West with her artwork, 2021. Photograph by Sundae Studio.

Nyaparu (William) Gardiner (dec.), Cattlemen in the Pilbara, 2018. Acrylic on canvas, 1520 x 1520mm. Image courtesy of Nyaparu (William) Gardiner (dec.) (Spinifex Hill Studio)

How Embracing Vulnerability Can Power Creativity

Cossack was the first European settlement in the Pilbara region but is now mostly abandoned. Katie mentioned her mum’s side of the family lived in Roebourne for generations. “By staying in Cossack the big thing that came out of that was doing a lot of walking,” Katie said. “It was a rhythm of noticing the patterns that change from day to night - I observed the tides and the movements of animals.” Walking soon became a major part of her piece. The installation involves a video of Katie wearing a colourful sixties style dress while walking, and collecting and carrying a bundle of driftwood. “I found that dress in the Karratha op shop and it stood out to me because it reminded me of a dress that my Nana is wearing in a photo of us when I was a baby,” she said. “When walking for this piece I was imagining the three generations, my Nana, mum and myself all together, perhaps in another time and place. “I found a therapeutic benefit in walking, which came through in the video.” Now hanging in The Art Gallery of WA, the installation is surrounded by more than 70 other Pilbara artists’ works. Her work comprises of two projections onto fabric screens made out of calico and tent poles. This hovers over a collection of driftwood from mangroves. Katie said it felt “very special” to be a part of the exhibition. “In terms of the Stolen Generation experience of my family it does feel like an invitation back into the fold of being part of that broader kinship network,” she said. “The reactions that have been really great for me is people in my own family going to visit the work. “My aunt really felt the content of the work, which is difficult but it gave her tears of joy as well that meant a lot.”

How Embracing Vulnerability Can Power Creativity

The Tracks We Share exhibition features over 200 artworks documenting the Pilbara’s artistic diversity while referencing ancient knowledge and modern events. The core of the exhibition is a selection of acrylic paintings for which the region’s art movement is primarily known, accompanied by works on paper, installations, film, animation, photographs, sculptures, and carvings. FORM

chief

executive

Tabitha

McMullan

said the exhibition was developed over more than three years. “Tracks We Share will take audiences on a journey from the coast to the desert while paying homage to some of the iconic artists, past and present, who have driven the Pilbara's art movement,” she said. “It presents a long-overdue showcase of the extraordinary artistic diversity of the Pilbara region, and we are beyond excited to share it with new audiences.” Tracks We Share: Contemporary Art of the Pilbara is on display at The Art Gallery of WA until August 28, 2022.

Katie West, I love you my baby, you are my first born, 2020-21 (detail). Installation of found driftwood and metal with two-channel video projection. Photograph by Sundae Studio.

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Across Country

Words, thoughts, drawings, and photographs by Beth George across 7000km from Newcastle to Perth.

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hu n d

red

fe e t

t he

w or

ld cha

nge

e id

at m so e

ac es ar

Roberto Bolaño, 2666

e as

ot he

is a l

i e.

Th e

Across Country

w o r ld i s a k i nd

t r em or.

Interview with Beth George

by Annabel Smith

How did you feel about travelling—especially camping—alone as a woman?

Most of the fear came before travelling. I think when we picture being alone in remote parts of the country, we picture Wolf Creek; Ivan Milat behind every shrub, behind the wheel of every car. But the reality is that you meet people—very often friendly people— and when you’re alone it’s just you and the

You’ve just returned to WA after a long journey.

sky, and that is magical.

What happened? A lot of people have told me that I am brave. B

Late last year I decided to come home, after

And I guess I feel brave. I didn’t set out to

living in Newcastle for three years, to be

cross the country alone, but I was left with

with my family and care for my mum. But

little choice. Still, I loved travelling in my

the border was closed and my application

trusty ute, Whistler, who hums when the air

for a G2G (Good2Go) pass was rejected

gets through her window seal at high speed.

four times. When the lease for my house

I had a rope for a washing line, a beach

was terminated on Christmas Eve, I decided

umbrella, a tarpaulin, a foldout bench, and

to leave NSW, where the Covid-19 risk was

an esky. I slept in a double swag which I’d

rated Extreme by the WA government, and

erect in Whistler’s tray.

travel to Queensland, where it was Medium. What began as a plan to kill time with a road

A friend set me a brief for my journey: to

trip and enter WA from a lower risk state

draw, and bathe in live water whenever

became an odyssey of wrong turns and

possible. And she taught me some rules:

constant changes of strategy. I lived out of

when you feel worried, stay close to grey

my car for 48 days and travelled 7000km

nomads! Above all, trust your gut; if a place

in a bid to evade COVID and get home to

doesn’t feel right, move on.

my family. My last night, near Kalgoorlie, was the only It was impossible to have a fixed plan

time I was genuinely afraid. I was exhausted

because risk levels were in flux. On Boxing

after a 900km drive from the border, and

Day, the rating for Queensland changed

stinking but there was no running water.

to High. My last option was the Northern

Usually I had a 30L tank, but it ran out and

Territory, and I would head to Alice Springs

for my last leg I had just bought a couple

after driving a stretch of the Queensland

of big bottles. Desperate, I tried to wade

coast. I got as far north as Gympie on this

into a still, midsummer-low lake and ended

plan when Queensland went to Extreme risk.

up wearing mud-boots. I showered myself

I felt like I was taking the risk category with

stingily with one of the bottles, standing

me, and that the Northern Territory would

on my tarpaulin. The campground was

follow suit (it did). I gave up on getting a

deserted, and as it was getting dark, I

G2G pass, and decided to wait for the border

noticed a line of utes facing me in a clearing

to open, to head south and visit friends in

beyond the trees. Why were they there and

Melbourne, explore the Great Ocean Road,

not in the campground?

and take the Nullarbor home.

I didn’t feel comfortable but I was too

I slept lightly, woken frequently by road

exhausted to follow my rule and move on.

trains, packed up before dawn and to my

I ate and got in my swag. My lantern died

astonishment pulled in only seven cars back

and wouldn’t charge. Someone drove one

from the checkpoint. It was seamless, the

of the utes unnecessarily close to me with

police were lovely, and I felt elated. I’d had

its spotlights on. A friend’s voice was in my

the most incredible trip: it wasn’t based on

head: “please don’t die on your last night!”

destinations or sights, and yet I had seen

I put my knife beside me. When I was calm

so much country, so much beauty it was

and had convinced myself that I could stab

overwhelming. I cranked up the music,

someone if I had to, the sounds that were

descended from the Hampton Tableland to

creepy just became night birds, the awnings

the plains with the sun behind me, setting

of my swag were open, there was a gentle

the scene aglow, and I sang and I smiled a

breeze, and I watched the stars slowly

massive and goofy smile to no one.

wheeling past me until I slept. A

How did you eventually catch COVID-19? (Or how did it catch you!)

When cases spiked in Victoria, I abandoned my plan to visit Melbourne and instead plotted a trip through Dubbo and Broken Hill into South Australia. I had just reached Broken Hill when a friend I’d visited two nights before called me to say he had COVID. It was over 40 degrees and I was staying at a campground with communal cooking and bathrooms. I went straight to get a PCR, crying while the nurse administered the test. "Where

you

isolate

when

you’re

homeless?" I asked her. Bracing for fevers, I booked a motel room with air conditioning, put on two masks to get supplies and went to ground. A B

How did you feel when you finally arrived home? On my last night in SA, I camped 13 kilometres from the WA border, at a windswept spot at the end of the Bight. All night I heard cars and trailers passing. I knew there must be hundreds of people like me, waiting to go home, who would all reach the border together. They would be queuing from midnight. I expected it to take hours to cross.

Across Country

Road Thoughts

Coffs Harbour NSW, 28.12.2021

East of Broken Hill NSW, 09.01.2022

Gumbaynggirr Country

Wongaibon Country

Dawn at the highway exit for the testing

You drive through changing ecologies and

centre. Cars of sleeping people are lined up on

you drive through moods and feelings, and it

the embankment for two kilometres. Hundreds

begins to feel like they, too, are stationary and

and hundreds of people waiting to be swabbed

you are passing through them.

for a virus that is now rarely fatal. Peeing in the bushes beside a leisure centre.

Memories are faster than your car. They love space. They love time. They come up behind you, overtake you, hurtle toward you, or lie in

Leaving NSW coast, 09.01.2022

wait on the roadside.

Wonnarua Country What are you doing here? I passed incredible ridges with the earth peeled back from their faces here and there revealing the rock underneath and that rock

Leaving Broken Hill NSW, 16.01.2022

was weathered in long horizontal pockets.

Wiljali Country

There was a huge boulder sitting in an open plain broken in half with the two sides fallen

I drove into the desert, the mulga, and the sky

open. And in between them, a small tree.

and the earth opened out completely. I’d never felt so free or so happy to be alive in the world. I felt like the desert was singing to me and I

East of Dubbo, 09.01.2022

laughed and I began to cry and I cried for the

Wiradjuri Country

years and for where I am now.

When the whole sky is open and the sun is on you, sometimes you drive underneath a cloud and it’s like walking under the shade of a tree for a little way. Usually you think about clouds as passing over you, but this is the other way around. You are the moving object.

Across Country

Road Thoughts

Silverton NSW, 16.01.2022

There is no place in this country birds don’t

Wiljali Country

live. The magpies seem impossible, so brightly black-and-white. You imagine that they might

I lay on my back in the shade of a eucalyptus

be tawny, like everything around them. And

and watched the pink-and-grey galahs above

their calls, so melodic. Peter Carey said they

me, nibbling slowly. They hide their brightest

sing "like angels gargling in a crystal vase."

parts beneath their wings—under there it is crimson. Near Balladonia WA, 12.02.2022 Looking at the limbs of the silvery gum tree

Ngadjumaya Country

in the afternoon light I understand their luminosity now. Their skin is the moon. Dusty.

There’s been a fire through the woodland. If

Opalescent. That is the glow. Their smooth

the skin of a tree is like the moon for the way

boughs reflect the sun just as the moon does.

it receives and gently reflects sunlight, then that of a eucalyptus tree that has been burnt—

To Fleurieu Peninsula SA, 08.02.2022

scorched bark still clinging to its feet—is more

Kaurna Country

luminous again. Their raw, fresh beauty in the afternoon light is exquisite, sinuous silver

Sometimes the quicksilver highway puddle

against black.

blends with the road. When there’s nothing in front of you, no trees on the horizon, it reflects sky and merges it with the asphalt. A

Near Boorabbin WA, 12.02.2022

car coming toward you appears to be floating,

Kalaamaya Country

driving on sky. I went past a makeshift memorial. There were three crosses. Next to them, a pair of camp Hampton Tableland/Roe Plains WA,

chairs, side by side, slightly turned toward

12.02.2022, Mirning Country

each other.

The highway descends in a sweeping arc onto a plain. At dawn, sideways, golden light illuminates the low foliage. Ahead of me, a front of clouds like a landform, deep blue in contrast with the yellow. You drive for a time in parallel with the ridge of the plateau. Not all that long ago, this would have been under the sea. There are shrubs that are pale, fleshy, dense, and perfectly rounded, like coral.

Across Country

beth-george.com

Design News

Compiled by Claire Millett

A rare twist on a classic jewellery piece, hand-coiled sculptural vessels and hand-knotted Ghazni wool sensations are just a few of our top picks for this edition of Design News.

INNERSPACE

Joko Chair by Bartoli Design for Kristalia

Joko is the culmination of years of working towards producing a poetically minimalist chair without making it too basic or rigid. Soft and organic, the distinguishing feature of the Joko lies in its single fused shape. Meanwhile, its continuous surface can be upholstered in a variety of materials that offers versatility for a range of spaces. Think leather or fabric, as well as different colours and versions. Although it expresses the utmost formal minimalism, its soft aesthetic and user-friendly performance ensures functionality is not compromised. Over time, the Joko been further developed to encompass armrests and stools in two different heights, a continuously developing evolution. Made with tailored craftsmanship, Joko is available to order now. Alabaster Collection by Tigermoth Lighting

Is there a hole or not? At first inspection of the Holo Pillar Table, everything would make you think not. And yet, just like an object, a hole has a shape and occupies a space. Look again. When Kensaku Oshiro was asked to design a round version of the iconic Holo table, he went back to the start of the process and worked with its distinctive feature of the hole and the oval shape, then created a base support for the top. Solid and sculptural, the base support is painted in the new “Exclusive Colours” finishes, the result of research at the Kristalia powder-coating centre. With its round organic shape and tapered edge, the top is available in European oak, walnut and black stained oak, or in black or white Fenix-NTM®. It is also available with the optional lazy susan that matches the colour of the base. More than a table, Holo Pillar is proof of the materiality of holes and is available to order now in various sizes and finishes.

Visit innerspacewa.com.au

Design News

HENRI LIVING

Design News

Made in Italy: Desalto arrives in WA

Originality. Clean design. Elegance and harmony. These signal the arrival of celebrated Italian furniture brand, Desalto, in Western Australia. Over three decades, Desalto has grown worldwide for its aesthetically sophisticated furniture crafted with functionality in mind. Desalto’s history is steeped in metalworking and fresh design. Versatile like the materials, Desalto designers are constantly changing. Collaboration with established and emerging designers results in stylish furniture that transcends time and holds value. “We’re always looking to bring something new to the local design market and indeed our residential customers,” says Lyle Henri, founder of Henri Living. “We believe that the Desalto collection with its use of colour, materials and strong artisanship brings something different to the Perth furniture buyer.” The Desalto line-up has a certain playfulness to the collection. For example, the paper chair may look winsome at first glance because of its light-hued colours. But, in a leather finish, it is sleek and right at home in a sophisticated environment. “We think designers will delight in the uniqueness and versatility in design. I’ve seen some finishing materials, like on the Clay table, that I haven’t seen anywhere else. It’s really quite exceptional,” he said. Henri’s Desalto selection features a mix of indoor and outdoor tables and chairs, suitable for commercial and residential settings.

Visit henriliving.com.au

LOAM

Collar Armchair and Root Coffee Table by Wendelbo

Wendelbo’s

product

palette

expressive

and

comprehensive and can, because of that, be incorporated into any interior setting. Offering characteristic furniture with a clear identity and effortless comfort, Wendelbo is driven by a strong passion for design and is of the conviction that a longlasting aesthetic is the best path to sustainability. Two of Loam’s current Wendelbo favourites available now are the Collar Armchair and the Root coffee table. The Collar Armchair emulates the shape of a collar to create a body-hugging chair that does not compromise on comfort. Meanwhile, the Root coffee table exudes complete elegance. It’s long linear form of a black stained oak top combines with the soft curves of its powder coated metal legs to give a modern design that is sure to lift any space. Vessels by Emma Lindegaard

Based in the port city of Fremantle, Western Australia, Emma Lindegaard Vessels is a boutique design studio the combines a keen eye for style and an authentic, sophisticated design sensibility. Emma’s hand-coiled ceramic objects have been a mainstay at Loam since its inception, and continue to prove hugely popular. These vessels are intended to live gracefully in a space, standing alone as sculptural objects or to be used for minimal floral arrangement.

Visit loam.com.au

Design News

ROHAN JEWELLERS

Argyle Champagne Diamond Tennis Necklace

Comprising 68 Argyle champagne diamonds (that’s over 50ct), the 18ct rose gold graduating tennis necklace from Rohan Jewellers is both rare and breathtaking. Featuring many of the last champagne diamonds to come from the Argyle mine, each diamond is accompanied with an individual certificate and has been individually cut for this piece. Inspired by the ancient landscape and light of the East Kimberley, Argyle champagne diamonds are ethically mined and crafted with an unbroken chain of custody. “In the past, Argyle champagne diamonds have often been overlooked for the vibrancy of pink, blue and red diamonds, however these stones have been given the love and attention they deserve,” says Rohan Jewellers founder, Rohan Milne. “Each diamond has been curated from the last of the Argyle champagne rough. It took months just to cut enough stones to put a collection together in this size and matching colour. There has been time and consideration invested in how to cut each stone to maximise the light and scintillation from each facet, as well as colour match and graduate them. I am delighted with the result – rich, golden, honey hues beautifully reflecting the palette of their ancient birthplace.” This necklace is one of a number of growing collections of pieces featuring Argyle champagne diamonds at Rohan Jewellers, which is an Argyle Select Atelier appointed by Argyle as experts in these rare and beautiful diamonds. Visit rohanjewellers.com.au

TEMPLE FINE RUGS

Design News

Battilossi Caleido Concept No.1

Bespoke rugs just became easier to design. Interior designers become rug designers in a new concept by Battilossi. Caleido Concept No.1 gives the design industry a fully customisable rug collection in which three designs, three weaving techniques and 27 shades combine to create infinite rug combinations. The possibilities really are endless and give the designer two advantages: the ability to create individual rugs for a project that is different, yet visually speak to one another; and the ability to create bespoke rugs for different styles of homes, such as classic, country, contemporary, layered or minimal. The breadth of this collection is limited only by imagination. Caleido comes in flatweave and pile combinations with three key elements: weaving technique, tone and pattern. Like playing with a kaleidoscope, after which the collection is named, these different elements can be assembled, disassembled, and reassembled with ease to design the perfect rug for your project. Weave

Working with these rugs is harnessing the beauty of highly innovative and complex weaving techniques created by the most skilled weavers. Embroidery, weft-wrapping, and Swedish and Spanish knotting are just some of the weaving styles. The collection is hand knotted in 100 per cent Ghazni wool in Lahore, Punjab. Tone

Colours fall into three tones: light, medium and dark. Shades within these tonal groups can be easily combined with harmonious results, while the tones are designed to work seamlessly with the patterns and weaves. Pattern

Fracto, Frost and Furosa are the three patterns. Within these designs are clean, light and delicate motifs (Fracto); elaborate combinations on richly decorated surfaces (Frost); and dense designs that create interlocking networks (Furosa). “Caleido Collection No.1 is an exciting new chapter for the design industry,” say Chris and Sandy of Temple Fine Rugs. “It offers professionals highly complex weaving techniques and sophisticated designs to create infinite rug options for any project. Of course, the beauty of this collection also lies in the incredible colour palette devised by Battilossi. It really is a new era for bespoke rugs.”

Visit templefinerugs.com.au

MONTAUK LIGHTING CO

Stem Collection by Tigermoth Lighting

Surface Table Lamp by Tigermoth Lighting

Combining lightness and strength, exquisitely realised

With a desire to create elegant modern lighting,

in hand-wrought metalwork, delicate metal chains and fine silks, the Stem collection of lights by Tigermoth Lighting are meticulously crafted in their dedicated workshop in the picturesque UK Thameside village of Pangbourne. Available in Chandelier, Single and Double Wall Light and Table Lamp form, the elegant metal frame with hexagonal detail, supports the stunning slender silk douppion shades available in a variety of beautiful hues. With metal finishes available in hand-grained bronze, flat nickel or gold, the Stem collection offers a sophisticated lighting solution that is pure in form and beautifully refined.

immaculate in every detail, the Surface table lamp by UK design

studio Tigermoth Lighting continues to showcase the dedication to their craft.

Its stunning geometric form gives rise to a number of

different surfaces, each of which catch the light and shade, creating

subtle variations in tone. The simplicity of the design showcases

the materiality, creating a luxurious finish that is designed, crafted and hand-gilded in the UK in finishes such as gold, blush marble,

pewter, rose gold, and champagne. The Surface table lamp is completed with a double-lined oval Silk Shade.

Tigermoth Lighting available exclusively in Australia at

The Montauk Lighting Co.

Visit montauklightingco.com

Design News

Eat

Hot new venues headlining Perth's suburbs

Local

Words by Georgina Barker

Eat Local

WILL ST

Will St is the latest venture of internationally-renowned

Dishes on the menu act as a document of that journey.

restaurateur Will Meyrick, the celebrity chef responsible for

Like putting pen to plate, Will St aims to celebrate and tell the

some of Bali’s best restaurants including Mama San, Sarong,

story of culture and place through the history, migration and

and Hujan Locale. “I have returned to Australia with my

evolution of food.

Indonesian family. My business partners are Indonesian.

Diners journey from small plates including akoya oyster,

We wanted to open our restaurant here in a subtle way that

smoked eel betel leaf, kelp aged kingfish, or grilled venison and

embraces the coming together of the Australian and Indonesian

pork fat Chiang Mai sausage, to larger dishes such as Muslim-

communities.”

style goat nihari and woku wood roasted marron curry. And

of course, there’s Will’s signature main, char siew pork hock

timeless and elegant restaurant with warm natural and earthy

served with braised miso cabbage, Sichuan picked cucumber,

tones enhanced by lighting from local specialists The Montauk

Davidson plum, hoisin and a side of Mandarin pancakes.

Lighting Co. Suspended arrangements of branches and dried

Along with a selection of Australian, New Zealand

wildflowers from Western Australia’s Mid-West float above

and European wines and boutique bottled beer, Will St has

rustic tan upholstery seating, blackbutt flooring, and walls

introduced its own range of gin and rice lager.

designed and crafted by Painted Earth. It’s a reflection of the Australian landscape.

Will says designing and producing a range of beverages to go with food is a first for his restaurants but something he’s

With the food, however, diners are certainly getting their

always wanted to do. “Teaming up with Running With Thieves

taste of Asia, reconnecting with Bali during a time when they

in South Fremantle to produce our own gin and lager allows

haven’t been able to travel there. Packed with the flavours of

greater control and means we’re also providing a more holistic

Bali and other Asian countries, while also embracing local and

offering for our guests.”

indigenous ingredients, the food offering is a culmination of Will’s culinary journey so far. “Will St is the combination of the expertise and knowledge I’ve gained through running restaurants in Asia

Poured on tap and suited to the menu’s spicier dishes, Will St Rice Lager is a silky-clean lager that offers a crisp, bitter finish, while the Will St gins work well with a tonic or as a base for the restaurant’s signature cocktails.

over the last 20 years, plus a tribute to the people I’ve met and places I’ve travelled while exploring food culture throughout Asia and now here in Western Australia,” says Will.

willstreetperth.com @willstreetperth

Eat Local

G AGE ROADS FREO

There could unlikely be a more fitting tenant to make its

and Donnybrook stone for two feature bars, one of them 17-

home in the iconic A Shed at Fremantle’s Victoria Quay on the

metres long. Eight original cargo doors remounted, and the

Walyalup waterfront.

heritage-listed supervisor’s ticketing office repurposed as a

With views through the heads to the strip of ocean that inspired its name more than 17 years ago, Gage Roads has settled straight into its new spiritual home.

tasting room. The art is also local. Chris Nixon’s Cheers To Freo mural —with colours and patterns echoing Freo’s port of stacked

And a ‘home’ it is, with the 100m-long warehouse

containers, docking ships and nautical signal flags—was

transformed into a microbrewery with rooms to create

inspired by his regular bike rides to his Freo studio. Walls

different seating options and experiences. A verge/front yard,

designed and lovingly crafted by Kristin Garland and her team

living room, bar, dining room, games room, backyard and

from Painted Earth echo a bird’s-eye view of the location in its

verandah offer a fun, vibrant, beach house-like setting in line

original state – the ocean meeting the sand and limestone. Art

with the brand’s coastal lifestyle mantra.

on the giant outdoor silo and the mural at the main entry is

Built in 1926, the A-Shed makes up one of the world’s last remaining complete sets of early 20th-century port cargo

by illustrator and long-time collaborator Andy Murphy, who's behind the Gage Roads labels.

sheds. Focused on preserving and protecting the building’s

There’s a piece by Whadjuk Noongar man and Aboriginal

unique heritage, the revitalisation project celebrates the

elder Shaun Nannup, who workshopped the indigenous

location and brings new life to the port.

significance of the site with Gage Roads staff and conducted

“Most people don’t realise that the heritage cargo shed

a smoking ceremony for the opening. Environmental artist

is actually positioned half over the harbour waters – it really

Vee Casey is also featured, with her piece ‘Time for Change’

elevates the concept of a waterfront bar,” says Craig Peterson,

created with marine debris including plastic and rope that

founder of building contractor ICS Australia, who worked

she’s found on local Perth beaches.

closely with Fremantle Ports, Finespun Architecture and Mata Design on the restoration.

Needless to say, it’s worth visiting Gage Roads Freo just for the unique location, art, design and preserved heritage.

The 3600sqm venue now spans a working brewery,

Add in the beer poured direct from tank to tap to glass and

which includes a 25-hectolitre brew kit that has 16 tanks

a menu that champions WA produce and you’ve got a pretty

and can brew up to one million litres of beer per year, in

special experience that is sure to top the Freo bucket list.

addition to a restaurant, bar and an alfresco area with a children’s playground.

Gage Roads chief strategy officer Aaron Heary proudly sums it up. “We’ve created a fun, unpretentious venue with

Not just any playground. This playground oozes

fresh beer and epic food that’s all about good times,” says

adventure with a retired cray boat and hollowed-out 1960s

Aaron, who has been with Gage Roads since day one, back

Land Cruiser reworked into play equipment, plus a climbing

when two brothers and a few mates had an idea and passion to

wall for kids who want to get a higher view.

start a truly West Australian brewery.

References to history and place can be found throughout

“We built this place on a bit of dream, to get people back

the venue, not to mention the box-seat views of ships entering

down to the port, and to see people here, having a great time

and leaving the working port. One hundred-year-old jarrah

it truly amazing. I’m super proud of the team and just happy

from a previous shed and berth repairs. Rammed earth

people are enjoying Gage Roads Freo.”

@gageroadsfreo

Eat Local

DANDELION

Sophisticated dining and drinking at a shopping centre?

Dandelion spirits are handcrafted using a mix of

Maybe not normally but Dandelion brings an exciting new

traditional and experimental modern Australian flavours,

standard to the concept.

each one with the addition of dandelion – usually the dandelion

Conceived by the award-winning team behind The

root, which is loaded with vitamins and minerals. The story

Standard, The Royal, Fleur and Willi’s, Dandelion is a

goes that dandelions have been used for generations for their

sprawling bar, kitchen and micro-distillery that sits proudly

medicinal benefits, including blood sugar management and to

at the heart of Karrinyup Shopping Centre’s new West Deck

boost skin, liver and heart health.

dining precinct.

Dandelion spirits are distilled eight times from grain

Wanting to be part of the high level of detail and quality

to glass. The house gin is a London dry style with 10 added

on offer at the new West Deck, but not wanting to “just open yet

botanicals, citrus heavy with some delicate floral notes. More

another bar with dining”, hospitality operator John Parker has

experimental flavours will be coming out later this year.

taken things to the next level.

As for food flavours, the open-plan kitchen is decked

“This was a project where we felt like we could contribute

out with a rotisserie grill and wood-fired oven, adding deeply

to something new, a new lifestyle that’s emerging in the

charred soul to fresh dishes like Vietnamese grilled chicken

suburbs,” says John.

with shallot sambal, cucumber and green mango. Local

It’s a lifestyle that embraces comfy, yet stylish,

produce is joyously spread across the menu, celebrated in

communal dining and drinking. Wrapped by an expansive

dishes such as split Pemberton marron with tangerine vinegar

verandah overlooking the square, the classy two-storey venue

butter and sea herbs.

houses two bars and a lounge you can settle into, nestled beside a toasty fireplace. The hot new venue also boasts artisanal spirits made in small batches in the copper still that takes pride of place on the bar floor, overseen by Monique Bossie, one of only a handful of female distillers in WA.

Group executive chef Chase Weber has created wildly different concepts for all the venues – from the loud, Asianinspired fare at The Standard to upmarket pub classics at The Royal and incredible fine-dining technique at fleur. At Dandelion it’s all about big flavours powered by coal and wood fire – raw and primal.

dandelionperth.com.au @dandelionperth

Eat Local

THE BE AUFORT

Opening its doors as we go to print, this exciting multi-

Spread across the three levels is modern south-east

venue hospitality offering is the second for Nokturnl, the

Asian restaurant Lotus, where Nokturnl’s executive chef Leigh

award-winning team behind The Old Synagogue on South

Power—from Melbourne’s Ginger Boy and more recently The

Terrace in Fremantle.

Old Synagogue—has teamed up with acclaimed Melbourne

But in contrast to working within and around a heritage

chef Sundoo Kim to create a fantastic share-style menu.

building, this new project on Beaufort Street in Highgate

And yes, just like The Old Synagogue, there is a door

started with a blank canvas and a lot of space – on the site

hidden within the depths of the building – this one leading to a

of the old Empire warehouse. The result is the ultimate

speakeasy called Cypher. Navigate past the Cyrillic projector

adult playground, looking to be quite unlike anything else

and find this quirky cocktail bar that has one of the largest

in Perth.

spirit collections in Perth, a spectacular cocktail list, and

Inspired by the works of MC Ecsher, The Beaufort invites

live music each night covering a range of genres.

guests to lose themselves in its three floors of innovation, charm and intrigue. The building flows from a large playful roof-top terrace known as the Candy Bar, down to a dance floor that surrounds a central tiered jungle, and further down to an outdoor beer and wine garden on the Beaufort Street strip.

thebeaufort.com.au @thebeaufortperth @cypherbar @lotusonbeaufort

Darlington House Words by Georgina Barker

Photographs by Jack Lovel

Darlington House

With its columns, arched windows, high ceilings, and

When Bronte Taton-Boulet and her husband

grand central living hall, this villa and its sprawling

Josh Casey looked at the Darlington property in

gardens in the Perth Hills ooze romance.

mid-2021, it felt like an instant escape – the perfect place for the new parents to establish a home out of the city. For Bronte, who grew up in Paris, it also warmed her part-European heart. “Having

French

heritage

and

culture

entrenched in my family means my heart always lies in two places and I suppose this home made it feel as though I was able to have a slice of Europe in Australia – the best of both worlds,” says Bronte. “I was also drawn to the idea of having a central living hall, where the whole family can still feel very connected. Whether you're eating breakfast at the dining table, reading a book on the sofa or enjoying the outdoor portico, everything is seamlessly connected. Another factor was the garden as I wanted my daughter to grow up surrounded by nature.” With a background in heritage architecture and landscape architecture, Josh was equally drawn

Darlington House

to the European architecture and the gardens that sprawled across 3000sqm. Needless to say, they quickly made an offer. Once they moved in and serendipitously learnt more about the property’s history, they found plenty more to fall in love with. Neighbours had shared snippets of history with them, but it wasn’t until Bronte established her antique business Cleo Collects, that they started learning more about the property. “I had several of the previous owners get in touch through Instagram and they ended up visiting us and telling us the stories of the home,” says Bronte. “Being lovers of heritage and architecture, it certainly made us even more connected to the home.” It turns out the grounds were established from the mid-1800s as part of a larger residential property. In the late 1940s the property was subdivided and Hungarian furniture designers built the home on what was originally the tennis courts for the existing homestead. The home remained as it was until the late 1990s, when a family built the front portico as an extension, and the back breakfast area with an adjoining bedroom and laundry. The additions were done so well, with windows and arches perfectly replicating the originals, that Bronte and Josh weren’t even aware of them until a few months after they moved in. Another discovery was that renowned pianist David Helfgott lived in there for a number of years. The home belonged to his doctor and David lived there while recovering from illness. With its great acoustics, the hall was a perfect venue for him to hold concerts. Not only were Bronte and Josh gifted historical information, they were also gifted a series of 19th-century photographs of the original homestead and site.

Darlington House

“We've framed them and mounted them in

“There really is a bit of everything, with each

the entrance of the home for everyone to see,” says

of these pieces holding history and telling a story in

Bronte. “I love sharing the story of the home when

some way. I also love indigenous artworks and prints,

we have visitors.”

and think that these all come together really nicely.”

Adding personal touches like this is pretty much

While Bronte focused on the interior, Josh gave

all they have done to the home since they moved in as

his love, and landscape architecture experience,

it was in such good condition. They’ve changed a few

to the garden, working with a local gardener who

light fixtures and painted a few areas but otherwise,

specialises in heritage roses.

they like to live in a home for a while before making

The garden is now f lourishing with rose bushes,

any changes. A kitchen and bathroom will likely be

hardy Mediterranean plants, box hedges, fruit trees

on the cards eventually.

and a veggie patch. The hedging design was based on

Measuring twenty metres in length and with ceilings seven metres high, and sides framed by

an estate in France, adding to the mix of European and Australian.

pillared arches, the central living hall is quite the

Meandering pathways help section the garden,

statement. Along one side of the hall lies the kitchen,

while also providing a fun way for Bronte and Josh to

bedroom with ensuite, music room and laundry,

explore with their daughter. They’ve built a chicken

while the opposite side houses two bedrooms that

coop at one end of the property and are in the process

share an ensuite.

of establishing fish ponds for coy. Meanwhile, a few

The decorating naturally ref lects much of the product selection for Cleo Collects, which has been inf luenced by Bronte’s upbringing. “I studied art history and art while living in

quenda (a type of bandicoot) have moved in. It has been a huge lifestyle change for the young family but one they have embraced with all their hearts.

Paris and this really inf luenced my love for antiques

“Having my daughter changed our priorities

and European aesthetics,” says Bronte. “My dad

and perhaps the onset of Covid also impacted our

is also very much into interior design and unique

decision,” says Bronte. “We now enjoy more time in

pieces, so I think my passion has been instilled from

the garden, hikes through the hills, farmers markets

a young age.

on the weekends and coffee down at our local cafe.

“Naturally, perusing the streets of Paris and

“We still very much enjoy what the city has to

visiting the chateaus and galleries is always inspiring.”

offer and continue to attend the Fringe and PIAF

Perusing her home is also inspiring. It’s a mix of

shows, but feel very grounded when we return home.

Italian, Spanish, and French vintage and antiques,

With our escape to the country, life has slowed down

interspersed with new pieces as well as indigenous

and that suits us fine.”

artworks. “I'm particularly drawn to Spanish brutalist pieces, Murano glassware and lighting, and luxurious Hollywood regency pieces mixed with contemporary artworks,” explains Bronte.

cleocollects.com @cleo.collects

Let

Light

the

Joy is a shifting of gravity in our chests. An effervescence that emanates from our bellies and hums like crystal in our minds. It is pure and honest. It’s a childhood moment stumbled across inside an adult’s body. Joy is precious and elusive. Seek it out and treasure it. — Nico Nicoson, contributing Joy artist.

100

Words by Claire Millett

101

Let the Light In

From the darkest of times often comes the purest

Room at Perth Children’s Hospital (PCH). In

aptitude to recognise and accept joy.

previous years, artworks created through these programs were part of the Hospital Youth Prize within the Youth sub-category of the main prize. Through the pressures of COVID, the Hospital Youth Prize was discontinued.

Marie

Botsis-Premici

and

Gino

Premici

have

Wanting

ensure

the

workshops

and

generated a successful business from giving light

prize could continue and thrive, Marie and Gino

to others. Having established The Montauk Light-

conceptualised

ing Co. with twin aims, not only do they help their

featuring 30 artists and curated by Jo Meredith.

clients find the perfect lighting to enhance how

The idea was to generate enough funds for The

they live, work, and play, they’re also fiercely

Lester Prize and Starlight Children’s Foundation to

loyal in their commitment to give back to the

sit down and make a plan to facilitate art workshops

community and brighten the lives of those in need.

and art prizes for children and young people at PCH

Especially children.

for the next few years.

Joy;

charity

art

exhibition

It is a cause that sits so close to home for the

“Joy is to shine a light on the important work

pair, who’s charitable endeavours are in honour of

done by Starlight and The Lester Prize. To shine

their daughter, Cleo. Born with a congenital heart

a light on how our financial support can brighten

defect, Cleo never left the hospital from birth,

the lives of seriously ill and hospitalised children

and she tragically passed away at six months of age.

and young people at Perth Children’s Hospital

“We could see how harrowing the experience of

through life-affirming art therapy. To shine a light

staying in hospital could be for the other children

on the incredibly talented and generous artists

while we were there with Cleo,” says Marie. “We’re

from around Australia who contributed works to

doing this to help make that experience a little bit

the exhibition.”

brighter for those children.” Recently moving their business into its new

Andy Quilty describes the experience of teaching

premises, The Townhouse, in West Leederville,

workshops to children in hospital as a two-way

the idea of throwing a lavish launch party amidst

exchange.

the burdens of the pandemic, natural disasters,

“Here I can provide something to them in

and devastating global conf lict was never going to

terms of drawing skills and giving them a sense of

make the cut.

confidence that they can transfer to other areas of

“Hosting a big party isn’t enough right now.

their lives, and I leave the workshop feeling so full.

It’s been such a hard few years for everyone, so we

It gives you a wonderful sense of perspective and

wanted to do something lovely and with purpose,”

gratitude. Going to the hospital and seeing kids who

Marie said.

are sick and what their families go through, it makes

The couple has been a long-time sponsor of The

you realises that the past and the future are out of

Lester Prize—one of the most prestigious prizes on

our control, and all we can do is try to be present

Australia’s visual arts calendar—and in particular

and focus on the moment. For that one hour in the

its Youth sub-category that supports portraiture

workshop, we can switch off and focus our energy on

art workshops for children in the Starlight Express

something else.”

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Andy Quilty, Camping with Alby and Dad #2, 42cm x 59cm. Gouache, pastel and graphite on arches paper. Float-mounted under glass with white frame.

Simon Hemsley, Boabs and the Dark Emu, 125cm x 205cm. Mixed media, natural wood frame.

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Let the Light In

A doctor of forty years who currently works in the Emergency Department, Simon Hemsley’s art and connection to the purpose and motivation behind Joy is truly unique. “The stresses of the job as a medical professional can certainly generate the need for a creative outlet. Working with ochres that I source from Aboriginal artists in the Kimberley means I need to smash up the rock to begin forming the paint, and this allows me to slow down and really become immersed in the process. When I teach medical students, I get them to paint the anatomy and copy works from the likes of Michelangelo and Rafael who were fantastic anatomists. I also love painting with kids . . . they’re so enthusiastic and they don’t have any of that blank canvas fear that we as adults can have.” Having the first-hand experience that no parent wants, artists Kate and Anthony Debbo spent a month in PCH in 2020 when their son, Tom, had a heart operation. “During our time there we received the most amazing care and support from the staff, and especially from Starlight Foundation. They were literally a shining light in Tom’s life, providing entertainment in the form of art activities and competitions, games, books, and chats at a time that was otherwise pretty dark. We were wondering how we could give something back, so when we were asked to take part in Joy we thought it was fortuitous and obviously we were delighted to be able to contribute.”

104

LEFT

Anthony Debbo, Bobby, 30cm x 70cm. Pine and red gum.

ABOVE

Kate Debbo, A Poem For Tom, 60cm x 60cm.

105

Elementi Concept has established a reputation

Prior to establishing Elementi Concept in 2013,

for bringing sophisticated luxury to some of the most

Giovanni Giannace directed their family business

prestigious residences through bespoke interior design

which gained him a reputation as a sought-after

and premium Italian craftsmanship. The studio prides

designer and successful entrepreneur. Giovanni has

itself in working closely with clients to transform

a firm grounding in Italian artisanal craftsmanship.

their homes into luxurious sanctuaries which delight

He grew up learning the art of cabinet making in his

the senses, are intuitively functional and built to

grandfather’s bottega in Matera. Summer holidays

last. Elementi is perhaps most well-known for their

were spent helping out with furniture and cabinetry

award-winning kitchens, but their repertoire includes

installations. Under the guidance of his grandfather,

sumptuous bathroom designs, elevated living spaces

Giovanni learnt each aspect of cabinetry. Giovanni

and clever cabinetry.

took over the reigns in 1998.

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Elementi Concept

“A project starts with a meaningful conversation,”

An exact and detailed approach is evident in

says Giovanni. “It’s fundamental to gain insight

their new Claremont showroom. Looking closely,

into the client’s needs, how they enjoy living, and to

you’ll notice that the front signage is hand-finished

understand how the space will be used.” Giovanni is

to convey the crafted feel that Elementi is known for.

invested in each stage of the design and every facet

The space presents a range of the finishes available,

of the installation, an approach which imbues an

examples of in-situ kitchen and bathroom designs as

Elementi project with exceptional attention to detail,

well as a curation of designer Italian furniture. Visit

and to date has resulted in numerous successful client

the showroom to experience how Elementi brings

outcomes and awards.

a slice of Italy’s craft tradition and an innovative design approach to Western Australia.

Elementi cabinetry combines premium quality finishes and timbers such as Ash and European

Elementi Concept

Oak. All components are sourced and manufactured

1/38 Graylands Road

in Italy through long-standing collaborations with

Claremont WA 6010

highly regarded Italian furniture, kitchen and

elementiconcept.com

bathroom brands.

107

The Sea of Possibility

Words by Emilia Galatis

Photographs by Duncan Wright

Ilona McGuire, Moombaki (2021). Courtesy of the artist and Fremantle Biennale. Commissioned for CROSSING 21.

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The Sea of Possibility

At least we are off the island, no longer marooned on a mountain of our own stale thoughts. Floating in the turbulent waters of tomorrow, excited and terrified, the sea of possibility is the void space of future manifestations. I can feel it, like pitching a tent on shifting sand, the questioning of all linearity. These concepts don’t fit any more, when you talk to the trees, they convince you something more will happen, is happening. Country calls us to listen, beckons. The systems are still trying to work, destruction and violence happening all around us. They must know the jig is up, the end is near for them. These old systems are well beyond reciprocal redemption, when the time comes, they will be left behind.

110

I think about what Tyson quoting Poelina (Bilya

It is impossible, but the Fremantle Biennale opened

Bidi, Crossings, Fremantle Biennale Publication)

a conversation for us all to have with place. Who are

says; “the collaborate act of conceiving information

we? Who are you in this place? Katherine explains

with Country, with water, to be conduit for Country

that the Biennale looks less specifically at de-

to speak”.

colonising frameworks and more at collectivity and

A lot of us have been moved around which means

cross-cultural collaboration; to making space for

we need to listen. The history we have been fed is not

multiple voices; its more of a re-framing, re-scribing

correct, unless you are Indigenous to Australia, you

more and more layers to this ever complex colonial

are a foreign body, your heritage is elsewhere, and

landscape, unearthing the absurdity of existence

that’s ok, you just need to listen extra hard. My own

in the process, and remarking on the accepted

grandparents arrived here from Ithaca, Kastellorizo

‘truths’ that couldn’t possibly be true. The denial

and Valtellina; my own identity is a complex mix of

of history is at play; however these shifts away from

European cultures kept upon Whadjuk Boodja. For

the dominant narrative are happening globally,

example, my mother use to tell us that when we go to

and I am so happy that Perth is finally a part of

our school friends’ houses, the ‘skippies’ as she would

this conversation.

say, we wouldn’t get fed very well because they don’t

CROSSING 21 was the title of the Fremantle

like food as much as us. My grandparents were proud

Biennale, born from the physical sites that were

of their heritage and maintained their language and

selected. Biennales are seen as world events that

identity throughout that diaspora. But essentially,

bring together diverse views and reframe the

I am told that I am Australian. But what does that

work of artists through various lenses.

concept even mean? Its only 200-odd-years old and

intellectual shifts are happening in our global arts

made up of thousands of mixed identities who have

events, challenging Western classifications of art.

travelled here by boat or plane, long or soon ago. I

For example, The Sámi artists Máret Ánne Sara,

don’t feel Australian because I am ashamed of what

Anders Sunna, and Pauliina Feodoroff will represent

Australians have done to this place, I am hurt that

Sápmi at the 2022 Venice Biennale, where they will

the whole country perpetuates a denial of history

transform the Nordic pavilion into a Sámi pavilion.

over and over again. I am angry that our country

The Sami peoples are the Indigenous people of that

has despicable leaders with minority views. Seems

area; this alone is a massive intellectual statement

that the system allows you to be let off for murder or

for an International Biennale with a European locus

promoted for sexual assault!

of control. The effects of Black Lives Matter (BLM),

It is from the waters of the sea of possibility that

climate change, and global unrest due to the growing

the Fremantle Biennale was born. How does one

class divide that Capitalism has created are having

create from a non-colonised view of the landscape?

f low-on effects in the international art world.

Huge

Rachael Dease & Tim Collins, Vespers (2021). Courtesy of the artists and Fremantle Biennale. Commissioned for CROSSING 21.

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The Sea of Possibility

Before we chat, Wilkinson sends me a collection

institutions whose lineage is that!). How can we

of ideas;

create spaces for shifting patterns, decentring or bringing our audiences in, to notice and

I do think this program responded to a feeling of

attention?

our previous programs being partially untethered to place. Perhaps differently to some of the other

I don’t see each of the projects in isolation, but

co-creators I think of our festival program as a

as an interlinked conversation between artists,

practice in frameworks of generosity, hospitality,

audience, and place. A network of works and

attention, access and careful practice.

shared spaces of ritual, arrival, and imaginable futures. A festival held by place.

Artists are often placed or choose to be at the edge of disrupting dominant narratives and

Katherine and I did our honours together at

authority; to occupy spaces of contention, to give

UWA gradating over a decade ago. We have both

voice to the invisible, overlooked, or hidden. So

worked in socially minded arts sectors since that time

I’m particularly interested in the roles the arts

and in more recent years our work is intercepting

institutions and festivals can play in holding and

more and more. We swim laps in the ocean every

supporting artists to do this work.

morning, rain hail or shine, so these collections of ideas or crossing moments we have between water

So there is something in how a festival holds artists.

and land have shaped wonderful worlds for us to become a little bit better at reciprocating with our

There is more in how a festival holds audiences.

natural environment. Questioning history and the dominant narrative is urgent in our creative

And more again in how a site-responsive festival

practices, mimicked by most artists and producers

holds a place. Or more, how a place holds a

in the world right now. Perth has a history of often

festival.

working in silo to itself, the Fremantle Biennale opens us up connect and be active participants in

And here the thinking around care, access and

the landscape we all walk on.

place, for me, are inextricably bound. I’m often asked about what it means to think about arts practice and access or care; and I always quote Claire Cunningham’s simple yet sharp thought that making work accessible is "paying attention to others." With that phrase always in mind, I ask how we

Bruno Booth, Tightness Times Toughness (2021).

as a festival can we better host, acknowledge

Courtesy of the artist and Fremantle Biennale.

and meet our audiences. This is a practice of acknowledging barriers of distance, difference and power. (Because we are still in these

112

Commissioned for CROSSING 21.

The Sea of Possibility

We talk about the layers upon layers upon

Within the Biennale landscape there are a

layers upon layers of the colonial landscape, the

variety of factors to consider; there is the artist,

ways that artists challenge this landscape and the

the physical place/site, the place’s ancient story, the

ways that festivals can hold and support artists

colonial story, the reality of government ownership

to do this, whilst navigating the world of red tape

of public space and then the role of producer to create

and the dying system. More like an onion than a

amongst this complicated landscape. Conversely,

Fabergé egg.

these conditions are a microcosm for the Country

As we know, the very foundational ideas of museums and institutions and why they exist are

we all live in. I ask Katherine, what comes first? The chicken or the egg?

being challenged and redefined. Both the author and writer feel that we are not a position to speak about

It changes for us each time, we have a process

de-colonising space. However, we simultaneously

where we select a series of places that we want

acknowledge that we need open conversation

to explore, within a thematic dialogue. We

outwardly, rather than with ourselves, or with our

create an invitation that artists can enter from

allies, that real change comes from changing the

many different angles. I think this is an organic

publics world’s view. The Biennale set to embark

process but practically, there is a mix of artists

upon a process of developing best practice for

that approach us, or that we approach, but

collaborations between Traditional owners, artists,

we look beyond the artists we know, it’s about

public arts festivals, and place.

mobilising new voices to participate. We also have an advisory panel with representatives

This is a very lengthy process, and we are only at

from all over Australia so that we look at

the beginning of understanding how to develop

artists who maybe not on our radar- it’s always

ways to f low through these narratives. The

important that Perth doesn’t just talk to itself.

Biennale is not an Indigenous-run organisation

Who don’t we know about and why? We often

and therefore seeks to listen to others, who can

look to work with artists through the process of

lead this discussion. We are a part of an ongoing

making a work, at an ambitious scale, for the

dialogue with place and holding space.

first time.

Katherines journey as a producer has been invested

The Biennale is invested in not just the

in social practice, she says that leading the biennale

development of new work, it is also invested in the

is about bringing in acts of generosity, holistic

professional development of artists. Moombaki is

development, frameworks of hospitality and rightful

a great example of this, Katherine explains that

relationships with places, zooming out to zoom in.

through Karen Jacobs, a group of Whadjuk elders

Supporting artists over a long period of time to

assembled to discuss the opportunity and the sites

develop these concepts, sometimes over 12 months,

presented. The sites had been selected between

f loating in a reciprocal dance, the Directors massage

the bridges and they and basically had been told

and support ideas to come to fruition.

‘no’ in a variety of ways, so the only site they could use was the sky. Our cultural advisors selected/

Bruno Booth, Tightness Times Toughness (2021). Courtesy of the artist and Fremantle Biennale. Commissioned for CROSSING 21.

suggested Ilona McGuire, who was then endorsed or supported by the elder group to be the artist to work

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The Sea of Possibility

on Moombaki, bore out the challenge of not really

The art world has historically been terrible at

being able to do anything with the sites that they

doing this! Galleries are not inviting places to

had selected, Moombaki was conceived as a work in

go for many people; the Biennale also tackles

the sky, untethered to land yet deeply linked.

this elitism by hoping to offer safe spaces, to

This kind of collaborative process is what the

explore alternative world views. We ask of our

Fremantle Biennale has been refining over its short

audiences and communities, what backgrounds,

life- throwing the question out there into a circle and

ideas and sensibilities are they bringing to these

seeing what is born from discussion and community.

spaces, how can we best communicate with them. We must think about all these things,

When you are making in any kind of outdoor

we are inviting people into public spaces that

festival in Perth, you get a lot of no’s before

they feel a connection or ownership of, they

you get anywhere. For example, the land along

bring their own set ideas, values, memories and

the river is controlled by the Department of

emotions of a certain place and we need them

Conservation,

Attractions,

to feel comfortable to shift their ways of seeing.

the Department of Transport and the City of

Particuarly with any water-based places in

Fremantle – they all have to be in a dialogue

Perth, people here have a deep connection with

for anyone to use those spaces. Which is almost

these places, so you must be open to a reciprocal

impossible! Which is sort of why it was so

conversation when making a festival here.

Biodiversity

fascinating- that whole site (along the river between the bridges) is seemingly made for

Moombaki was the Biennale f lagship work

people, but no one uses it because it is just so

that brings a lot of people to a place or site with the

uncomfortable to be there. Like you can’t touch

hope that they engage and see some of the other

the water or the sand, you have to walk all the

programming. The stories that the Traditional

way up to East Fremantle to touch the water.

owners shared through Illona were deep and multi-

There are no trees, they have all been removed,

layered. Through its development the Traditional

there is just a giant car park there made for

Owners discussed bringing in elements of cultural

people to drive down. So, a lot of our thinking

safety; the smoking ceremonies every night were not

was around how do we even make this a space

a formality, they were integral to the narrative and

people want to gather in, how do we invite them

keeping people spiritually safe. I think of something

here, make them stay and engage?

Robin Kimmerer says in her podcast Soul Force Politics 008, 07 December 2017: ". . . it’s not about

The under the bridge car park world is a great

restoring a place, its about re-storying."

example of how a festival can bring artists forward to

The stories that we were telling through

interrogate the dominant narrative. The frameworks

Moombaki were complex, multilayered and deeply

created to support artists to do this also considers

rooted in a silenced history of that area. So, to

how we bring diverse audiences into this space and

hold this story and to share this story required

hold their attention. To engage in a constructive

a careful holding, supporting, gentle if you will,

way, they need to feel hosted and invited. Nathan Thompson and Matt Gingold, Transitions (2021). Courtesy of the artist and Fremantle Biennale. Commissioned for CROSSING 21.

116

Ilona McGuire, Moombaki (2021). Courtesy of the artist and Fremantle Biennale. Commissioned for CROSSING 21.

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The Sea of Possibility

whilst dazzling and alluring people all at the same

incredible architectural structure, the artist had no

time, there is a fragility in its ephemeralness.

control of people’s expectations and experiences,

Coogee was a good example, its junction to other

their own journey then began. Kat explains that the

suburbs and communities was integral to its success,

audience really wanted to chat and connect, they

people love going to Coogee beach. In its own way

had never really thought about how peoples with a

the work challenges the dominant understanding of

disability move throughout the world. These kinds

gathering at Coogee beach. We really are only just

of important human experiences are the heart of the

at the beginning of recoding our understanding

Fremantle Biennale; uncanny and elevated views

of the dominant views of place, since the system

that challenge audiences in the cleverest of ways.

won’t do it for us, the people and the youth are questioning what has been taught by the system and

This was really interesting for me as it looks

I think this contributes to the great success of the

at the way artists can take up landscape at an

Fremantle Biennale.

already contentious site, and add another layer

Kat and I talk about another artwork in the

of questioning to that experience.

Biennale, the work by Bruno Booth. Bruno created a structure to engage physically with; in comparison

Lastly, I wrap up with a personal favourite of

most of the other works had more of a gentle touch

mine, the work of Jesse Lee Johns. Jesse’s Common-

to place, Bruno’s work commanded attention and

wealth of New Bayswater (devised in collaboration

interaction. Kat explains that through their early

with Rohin Kickett and Jacob Diamond) also creates

conversations and site tours both of them had

a physical structure upon other physical and

understood that these spaces under the bridge are

intellectual structures, hinting at the absurdity of

quiet inaccessible and void of human interaction.

the city polis, a state within a state within a state,

This work strives to actually re-colonise a colonised

the irony constantly talking inwards. He built

landscape, adding more layers upon layers. What

something that shouldn’t exist, he built a mini city

else can you build upon these layers that forces people

on a jetty that is used for heavy industrial vehicles on

to question what it is they’re walking on?

the river’s edge. Kat explains the permit world, the

Bruno’s work comprised of two corridors that

paperwork for this work was equivalent to opening

tapered down, you had to wheel yourself in a wheel

a hotel. The fact that it shouldn’t exist provides

chair though the art work and navigate these two

a fantastic assemblage that is in fact a portal to a

corridors, which was relatively uncomfortable. The

mythical place and/or mythical place of mind. If we

response to this artwork was overwhelming; some

can imagine another world, why can’t we all build

people came out crying; they had never thought

one together? The Biennale navigates the most banal

about the challenges of navigating spaces in a wheel

of government systems to bring us all such joy and

chair. Some people were angry, they had actually

alteration. The duality in Jesse’s work between myth

physically hurt themselves on the wall or scraped

and reality, between myth making and rewriting

their hand, provokingly, the Biennale created an art

of history, positions us all f loating in the sea of

work that people could potentially injure themselves

possibility; the Biennale positions itself as muse

within. Some people were really frustrated that

rather than author. Let us all re-write the stories of

they couldn’t navigate it with success. The genius

our place and engage with First Nations peoples to

of Bruno’s art work is through the creation of an

lead that conversation.

fremantlebiennale.com.au

119

120

Australia's

Words by Lily Yeang

Photograph: Tim Campbell

Stretching from the fishing town of Cervantes, across to wildflower country, and all the way up to the World Heritage-listed Ningaloo Reef, Australia's Coral Coast offers visitors a wide-range of things to see and do.

Coral Coast

121

Experience Quobba Station and the mighty Red Bluff through the eyes and lens of Western Australian photographer Tim Campbell.

QUOBBA STATION and RED BLUFF

Imagine a world where Mad Max meets Point

There's a brief period each morning where folks

Break. Welcome to Quobba Station and Red Bluff —

are hypnotised by the sun illuminating Quobba’s

aka "The Bluff." You’ll stop dead in your tracks the

iconic headland, followed by camp kettles whistling

first time you drive over the hill that leads to Quobba

and frothing grommets running out to The Point to

and see the peninsula powering out to sea. For a

be first in the lineup.

photographer, a palette of deep reds, crystalline

The days are bright and the hot temperatures

blues, and bone white provides a chance to fill your

mean most activities are based around the soothing

cards with striking contrasts simply not attainable

ocean, whether it be surfing, fishing, or just plain

outside of the region.

baking away on The Bluff’s glorious beach. If you're

The roll of a desert sun across the sky morphs this landscape into many moods. Those hungry for

here for the waves, then paddle straight out to The Point and proceed to get shacked off your melon.

a dawn surf check will be greeted with a stillness in

If you're here for nature and the yesteryear

the air and the distant rumble of swell lines bowling

lifestyle, then take a beer and a camera out to The

down The Point.

Point and shoot away through the golden afternoon

122

Australia's Coral Coast

light. It is an incredibly beautiful place to watch the

may even be tempted to wander over the back of The

backlit waves light up the seascape.

Bluff to catch the wild views along the coastline and

As twilight disappears, the landscape becomes

whales breaching down below.

punctuated by campfires, and the air thick with

A stint at The Bluff is the epitome of West

camp-cooked aromas. Finally, as you sit back in

Australian desert rat culture. It's a place to come and

a camp chair to roast a few marshmallows, your

be free, disappear into the waves and live life like we

jaw will undoubtedly drop as you look up at the

were meant to; connected to nature and most of all,

illuminated sky. Being so far from any cities or

our true selves.

towns means light pollution is simply not a factor here. "The Camp of the Moon" could not be a more fitting nickname. Every person who visits The Bluff must climb to the top of it – that is law. Choose your day wisely

quobba.com.au

and pack plenty of supplies, it’s a solid hike. You

timcampbellphoto.com

123

Australia's Coral Coast

The Kalbarri Skywalk provides the perfect vantage point for gazing at stars.

KALBARRI SKYWALK

Hanging over the edge of a rocky cliff, the two cantilevered structures that comprise the Kalbarri Skywalk provide sweeping views of the Murchison River and its gorges, located 100 metres below. D’Guy Charters’ Christina Desinta, who runs

eye. There is no light pollution in the area, so people can easily view billions of stars in the sky.” Guests on D’Guy’s tours are treated to this dazzling live display, enhanced with the help of a telescope and Christina and Guy’s guidance.

stargazing tours with co-owner Guy at the Kalbarri

“People can explore the moon, planets, and

National Park, says the skywalk was designed to be

stars from the telescope,” Christina says. “People

fully accessible.

can also learn how to take night photos using their

“It’s wheelchair-friendly, which means everyone can enjoy the view above the mighty Murchison River as it winds down through the gorges,” Christina says. “It’s a combination between otherworldly nature and a magnificent manmade attraction.” It’s a stunning sight that dramatically changes come night.

mobile phone.” It’s an interactive experience that Christina says is equal parts informative and fun. “We understand that not everyone is keen on astronomy, however everyone loves staring at the stars, and talking and sharing stories about stars and our galaxy,” she says. “We offer an informative,

“It’s so magical to watch the full moon rising

casual, fun, and relaxing activity that allows our

above the gorges,” Christina says. “In season, you

guests to appreciate what nature provides us. It’s the

can see the Milky Way and planets with the naked

perfect moment to relax and reconnect with nature.”

124

dguycharters.com.au

125

126

Australia's Coral Coast

Strawberry milk, cotton candy, bubble gum – you’ll find all shades of pink at the Coral Coast’s Hutt Lagoon

HUTT LAGOON

The Coral Coast isn’t short of vibrant hues. Find

Getting to Hutt Lagoon is pretty straight

turquoise waters all along the coast, rusty red sand

forward. Just travel north from Sandy Gully, via Port

in Cape Peron, technicoloured carpets of f lowers

Gregory Road, which eventually leads to a purpose-

in the Coalseam Conservation Park and, in Port

built lookout where you can park and then walk to

Gregory, a stunning pink lake.

the water’s edge. If you want to truly experience the

Located just over an hour north of Geraldton and 45 minutes south of Kalbarri, Hutt Lagoon is a

pink lake, though, we recommend jumping on board a plane for an aerial view.

70km2 pink lake by the sea. Its pink appearance is attributed to the caroteinoid-producing algae called dunaliella salina, which are found in hypersaline environments like the lagoon’s salt lake. The vibrancy of the lake is dependent on the amount of algae blooming at the time, the position of the sun in the sky and how many clouds are around. You’ll want to visit when the sun’s high up in the sky and there isn’t a lot of cloud coverage (so, anywhere between 10am to 2pm).

australiascoralcoast.com/destination/hutt-lagoon

127

Nhanda and Malgana man Darren “Capes” Capewell imparts his culture and deep connection to country with guests on his tours through Shark Bay.

GUTHARRAGUDA with WULA GURA NYINDA

Watching waves lap at the shore, smelling fish

bays, and cooking bush tucker by the campfire,

cooking on hot coals, and listening to the rustling of

Capes hopes people will forge a strong connection to

leaves – this is the best way to connect to country,

Gutharraguda and gain a deep respect for the land.

according to Wula Gura Nyinda Eco Adventures’

“Our business is looking after this place we call Gutharraguda – a place of two waters,” he says.

Darren “Capes” Capewell. “We don't necessarily see nature, we feel it,”

“We want people to understand what our cultural

Capes explains. “We want people to use their senses:

responsibility is about; respecting nature and the

to smell, to feel, to touch, to taste, to breathe. We

environment.”

believe a healing energy comes from this place, and

Capes explores these stunning environments— think deep red sand and jagged cliffs, to beautiful

certainly Mother Nature provides that.” This place is Gutharraguda (Shark Bay), 800 kilometres north of Perth, home to the Nhanda and Malgana people, of whom Capes is a descendant.

white beaches and turquoise waters—with his guests, who are encouraged to get hands on, on country. “We want people to grow with us – spiritually,

“You never ever travel as a stranger through

culturally, emotionally, and physically,” Capes says.

nature,” Capes says. “It doesn't matter where you

“We want people to be able to fill their bellies and

are, you always acknowledge nature and always

take home the spirit of Gutharraguda.”

acknowledge our ancestors. That's what we're taught.” Through

Wula

Gura

Nyinda

eco-friendly

adventure tours, which include four-wheel driving through the desert, kayaking through sheltered

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wulagura.com.au

Australia's Coral Coast

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Class of 2021

Words by Andrew Lim

North Metropolitan TAFE's class of 2021 produced an amazing body of work at their Graduate Collection showcase. We sat down with the two winners of the Fabric Quarterly and Garbage TV Award, Giulia Muscio and Jaiden Tegjeu, to talk about their collections and futures in fashion.

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North Metropolitan TAFE: Class of 2021

Abiti GIULIA MUSCIO

What looked like oversized or undersized garments were actually pieces of perfectly executed finished garments with a nod to tradition. The prints were a hint of the story behind the collection. A top with a "Muscio" print with the fabric mimicking the texture of wrapping paper you get when you are at your local deli. The whole lookbook was shot in her aunt’s house

of thinking which played a big part in my

Giulia, what inspired the prints in your collection?

design development. I think I had the best of G

I looked at Italy’s relationship with fashion

both worlds having first generation Italians as

and the style that is distinctly Italian, and also

parents and being brought up in Australia.

the Italian-Australian migrant experience. Deco in the 1960s and 70s, photographs of my

Who’s your favourite artist?

parents in Rome in the 80s. G A

Favourite artist is a hard question! I love the Ukiyo-e art movement and the works of

The wrapping paper print?

Katsushika Hokusai. I would one day love to G

I created my own Muscio logo, a take on the

go to Japan once COVID has settled. I also love

Italian deli wrapping paper that you get when

classic Monet and his impressionist paintings

you go to the Re Store. The logo is then printed

of water lilies.

on a cotton organza, similar in feel to paper. A A

What else besides fashion interests you?

Was tradition a big part in your collection? Is your family from Italy?

Besides fashion I am very interested in photography, it is something I would like to

Yes, my parents are from Italy, I am second

pursue more down the track. I have always

generation. My collection was a play on

loved capturing moments in time. My dad is a

tradition. I designed a soft tailored suit and

collector of vintage cameras so that has also

flipped it backwards, made garments out of

played a big part in my love for it. I love the

transparent silk organza so your whole body

beach and am there as much as I can be, I also

is on show and paired it with a rosary bead ...

rock climb in my spare time. My mum has a

having a grandma who was quite traditional

beautiful singing voice so I think that’s where

versus my upbringing here in Australia which

I get my love for music.

was more relaxed and open to different way

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North Metropolitan TAFE: Class of 2021

On a hill last spring JAIDEN TEGJEU

Inspired by a daydream and combined with passion for rock climbing. Jaiden Tegjeu presented his graduate collection in full black draped and tailored ensembles, his models hands drip in chalk ready for the climb. We sat down with Jaiden to talk about his dreams and future in fashion.

Your collection was inspired by a daydream.

Can you tell us a bit more? J

Would you explore more on the commercial side on those hand-made pieces?

When I first started my concept, I wanted

Yes, ideally sell them in Perth before heading

rock climbing to be a part of it as I have been

overseas. I want to expand the collection into

involved in that sports for a year and half.

rings or pendants.

The ‘dream’ part came to me one day at my studio, I was looking out at this giant cliff face,

What plans do you have for your fashion journey?

standing on a grassy hill in the middle of a windy spring day. I saw these tiny people with

Move overseas to work in London or Japan

black voluminous silhouette. They seem to be

and gain some experience before starting my

on an important mission trying to scale this

own label.

huge cliff. I wanted to convey this mysterious feel to my collection. A

There were some accessories that resembles

A J

What inspires you?

Music, architecture, and past travel trips as I want to look outside fashion.

rocking climbing aids in your collection, am I right? J

Yes, they were inspired by climbing aids which

What got you interested in fashion?

I started with a hand drawing, then scanned into the computer, utilizing Rhino7 to create a

I started out studying photography but it

3D version of the shape. Once I was happy with

didn’t allow me to pursue the fashion side of

the shape I then 3D printed the drawing. The

things as it was more wedding-based. I got

3D printed pendant was then put into a cast

unmotivated and lost interest in the course.

using sterling silver that I melted down. I hand

In 2018, I travelled to Japan and that’s what

polished some of the pendants and machine

sparked my passion for fashion; the way

polished some of them using the tumbler. A lot

people dressed and all the amazing stores. It

of hand work on those pieces.

was during my second trip whilst I was over there in Japan that I applied for my TAFE course online.

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Photograph (opposite) by Yianni Pakioufakis in North Perth, WA.

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