gippsland art vol#1

gippsland art

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GIPPSLAND ART Check out our brand new section

RALPH McTELL Legendary English music icon

MARK KNIGHT The creative genius

BERNINNEIT The new Cowes Cultural Centre

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gippsland art Vol #1

Welcome to Gippsland art Vol 1

gippsland art index

Another first for Gippsland Life Magazine is to not only incorporate our very new ART SECTION in the Summer Edition 57 of Gippsland Life, but we are also releasing it digitally in full reproduction as a stand alone magazine for the world of art in Gippsland.

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Welcome to Gippsland Art

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Gippsland Art Details

56-57

Aurora at Kilcunda by Ginnie Alwood

58-60

Blues & Hues Pauline Bailey – Artist, Writer, Historian

14-15

Berninneit Annual Program

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Clay & Co. Studio – The Creative Hub at Phillip Island

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Cowes Cultural & Community Centre – Berninneit – Gathering Together

18-21

Fiona Kennedy – Art from the Heart

47-57

Gippsland Art Galleria Vol 1

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Gippsland Art Gallery – Art, Unlimited

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Gippsland Life Summer – Featuring Gippsland Art

26-28

Helen Timbury – A passion for printmaking, an eye for design

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Janis Morgan’s The Prom – A View from above

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Janis Morgan’s The Prom – A View from above Exhibition Details

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Laurie Collins Sculpture Garden & Red Tree Gallery – What’s on in Summer

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Leongatha Art & Craft Gallery – Win A Gift Hamper!

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Leongatha Art & Craft Gallery & Gift Shop – Many talented artists

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Mark Knight – The creative genius behind those cartoons

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Meeniyan Art Gallery – Upcoming Summer Exhibitions

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Mosaics by the Bay & Secret Penguin Garden B&B

This is an exciting project, that we hope in time will grow and perhaps one day in the not too distant future, Gippsland might have its very own printed magazine dedicated to ART. Enjoy both Gippsland Life Magazine and Gippsland Art Magazine via our digital service and make sure you buy a copy of the latest Gippsland Life Magazine in Summer, at your nearest outlet.

Doug Pell | Editor

our front cover Waterloo Bay Size 76cms x 101cms

By Janis Morgan

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Pinot & Picasso – The Traralgon studio that mixes paints with socialising

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Ralph McTell – Streets of Oz

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Simon White Artist – Check out his great murals in Loch Sport

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South Gippsland Shire – Art Cubes – Creativity that lies within the box

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South Gippsland Shire – Find more than history at Coal Creek

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South Gippsland Shire – Halls with Heart

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The Iconic Meeniyan Art Gallery – Community Connections

DETAILS

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WEB www.gippslandlifestyle.com FACEBOOK facebook.com/gippslandlifemagazine INSTAGRAM gippslandlifestyle WRITERS Chris West, Anita Butterworth, Megan Woolfe, Ken Roberts & Sarah Mott PHOTOGRAPHERS Doug Pell, Ken Roberts & Maxine Sando SPECIAL PHOTOGRAPHER Ginnie Alwood – Aurora at Kilcunda ADVERTISING Maxine Sando - Sales Manager Doug Pell - Sales Consultant

Through continual research, we seek and find new products and innovative manufacturing processes; implementing energy saving efficiencies, removing potential waste and harmful processes affecting the environment.

Southern Impact adheres to all current governing laws and regulations set down by the State and Federal Governments in relation to Environmental and Conservation Acts.

Southern Impact is active in ensuring all their disposable waste materials are disposed of in accordance to those laws. Regular audits are carried out on the companies they use to ensure they follow the strict guidelines set out by these laws.

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EDITOR Doug Pell SUB EDITOR Maree Bradshaw CREATIVE media101 | Alex Smirnakos + Tilka

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COWES CULTURAL & COMMUNITY CENTRE Berninneit - Gathering Together WORDS BY SARAH MOTT | PHOTOS SUPPLIED BY BASS COAST SHIRE, LISA BURGE AND DOUG PELL

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The long awaited and much anticipated Cowes Cultural Centre is finally open, and from all accounts, it has exceeded expectations. The facade is curved and resembles open and welcoming arms ready to embrace the community.

It has been constructed to Passivhaus standards and has involved multiple years of consultation and collaboration with the community to create an outstanding location that has already been hailed as a source of civic pride.

Encompassing purpose-built community spaces you will find a visitor information area, library, flexible exhibition spaces with moveable walls, a 260-seat auditorium, the historical museum, function and meeting rooms, café and box office, grand hall and community enterprise space.

The opening event took place on Wednesday 1st November.

The sun was low in the sky creating a dappled effect on the building from one of the mature trees on site that was kept out of respect to the people and the land. First impressions are quite overwhelming as the effect is at once majestic and calming. The afternoon sunlight highlighted the pink and cream hues of the bricks that dominate the facade. It is almost as though they were bespoke, so in touch are they, with the natural colours of the cliffs and sand that wrap around the island. As Architect Graham Burrows of Jackson Clements Burrows confirms, they were actually a new line from Nubrick just outside Melbourne.

Inside, it is the extraordinary soaring beams and columns of timber that predominate and were sourced from Heyfield in Gippsland. Graham confirms that using local was a priority for the construction. The maximum height of the Grand Hall is an astonishing ten metres. He adds that the cue and form of the concept was designed to reflect the Island itself.

The gentle sweep of the building harnesses the topography of the Island.

For him, it was important to create a design that wove its way over the existing landscape. A building that was open and accessible and inviting and a place for Council to facilitate some really great programs for the Community.

Malcolm Russell, coordinator Arts Culture and Heritage and Greg Box in his capacity for economy and culture, both emphasise that it has been a strong team that has put this together. In 2016 Council made a strong commitment to create a building that can service the whole community and be a source of civic pride.

Former Mayor Cr Michael Whelan of Bass Coast Shire mentions he is proud to be a part of this build, picking up on the good work of those before him including ex CEO Ali Wastie who found a way to make it happen. [ continued over next page ]

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Cowes Cultural & Community Centre | Berninneit - Gathering Together

He says, “We have now christened the building, so it can begin its life as a vibrant arts and culture centre. I love the building and am very proud and chuffed with the outcome. We worked closely with the community, saving the existing trees, was one of the things the locals wanted, and we did that.”

What a christening it was. The evening kicked off at 6pm with an introduction by Mark Brown, the senior cultural heritage officer from the Bunurong Land Council. He provided a beautiful welcome to country and thanked everyone for being there. He spoke with eloquence and created a blessing on the building paying respects to past, present and emerging First Nations People and acknowledged the importance of connection to country. In addressing the crowd, he emphasised Respect, Unity and Reconciliation. He talked about a celebration of diversity on a shared journey. People were visibly moved as they filed quietly into the building through the cleansing and healing smoking ceremony.

Inside the quietness was replaced by a buzzing atmosphere of excitement and enthusiasm to be part of the opening night. It was a ballot invitation and with a glass of champagne in hand from the local Purple Hen winery, the guests gazed up in awe at the scale of the project. The internal grand hall of glass and timber is like a spine as it meanders through the building with open spaces that draw you in.

Che McMahon Manager Balik Arts

I meet Laura A’Bell, the communications and media officer whose excitement is palpable and infectious as she announces, “We have got a big surprise happening this evening!” With her background in working with several aboriginal groups she sees that council made it a priority to put First Nations People first.

“The Shire have led by example.”

In chatting with Project Manager, Damian Prendergast, he mentions the 2015 Activity Centre plan which highlighted the need to connect the two ends of town. He came on board in 2020 in January and picked up the project that carried with it all the work that had been done before in consulting with all the user groups. Six weeks into the job and Covid hit. All consultation was done in a Covid environment which had its pros and cons. [ continued over next page ]

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Former Mayor Cr Michael Whelan

Inside Cowes Cultural & Community Centre

Smoking Ceremony

Mark Brown

Greg Box GM Partnerships Economy & Culture

Malcolm Russell Co Ordinator, Cultural Arts & Heritage Bass Coast Shire Council

Kutcha Edwards with Sarah Bond from Creative Victoria

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Cowes Cultural & Community Centre | Berninneit - Gathering Together

The Victorian State Opera

“Our mantra is that it is a building for the whole community to use and love.”

Then it was time for the ‘big surprise’ and it was actually huge.

The crowd flowed into the auditorium and were treated to a spectacular visual and audio feast. First nations musician and performer and proud local, Kutcha Edwards walked onto the darkened stage singing a powerful song about country accompanied

by Sean Kelly on electric guitar and Rosie Westbrook on double bass.

Kutcha later tells me, “I was in here last Monday and there is a resonance here even though it is a brand new building. I’m not a cultural guru but I do know when ancestry is here. The Old People will look after this place.”

The rest of the performance included a selection of up-and-coming acts. There were two principals from the Australian ballet who performed a pas de deux from Swan Lake. This was followed by Garry Starr a comedic genius who created an informal audition for the ballet, complete with a paper G-string. After everybody had picked their jaws up off the floor, the audience was raucous.

A video presentation complete with drone footage and talks by all those involved including the community groups was presented.

Pam Rothfield from the Historical Society says it has exceeded our expectations and is exactly what Cowes needed. Current president Doug Waugh and past President Graeme Clauscen are absolutely overjoyed as it is something they have been wanting for years.

Elli Poletti

Comedian Garry Starr

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Host Jane Clifton

Kutcha Edwards performing on stage

All three agree that it is an opportunity to showcase the curated artefacts in a new way and continue to share history in a relevant manner.

The entertainment continued, expertly introduced by MC Jane Clifton, who with her trademark wit and intelligence was the perfect choice. Without a program the audience never knew what to expect next. The night culminated in a stellar performance by Kate Ceberano. All the performers are booked to return, and the lineup is amazing. The locals are so fortunate to have a world class entertainment and arts precinct which includes all of the spaces dedicated to community groups.

In conversation with David Burrows, Cultural Program Coordinator, a couple of weeks after the event, we agreed that the importance of nourishing and embedding the arts in community is of vital importance to the health of a community.

David came on board in 2018 as an arts administrator and when the new build began to take shape, he was to work with a team that was to provide a service plan. This simply means a way of planning how the project would be run and managed in the long term. “Part of our role is to generate conversations in an environment where people can come together. It is important to amplify and nurture the creative capacity of our community.”

Kate Ceberano

The Victorian State Opera

He says that the community have embraced what the building has to offer and mentions that the library has been inundated with new memberships. The Phillip Island Movie Club who will have monthly screenings have similarly been overwhelmed with interest.

Kutcha recently commented to David, that this place is about ‘Gather together for Cultural Business’. It is the first time that David and brother Graham have been involved in the same project.

“It was with deep pleasure that there was a handover of his part of the project to my part of the project. In a way, we were kind of like bookends. I am just so pleased that the community have embraced the concept of Berninneit, which means Gather Together.”

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English music legend Ralph McTell has scheduled two performances in Gippsland on his upcoming tour of Australia early next year.

Words by Chris West | Photos kindly supplied by Jameson and Co

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Ralph McTell has to pause for a second or two to calculate how many times he has travelled to Australia during a celebrated career spanning more than fifty years.

“I think this will be my fourteenth visit and it’s been five years since the last time,” the influential singer-songwriter says.

Best known for his international hit Streets of London which rocketed him from the fringes of the folk scene into the musical mainstream in 1975, Ralph has maintained an enduring presence as a prolific writer and performer who continues to add to a vast catalogue of work that has been shaped by his own life experiences.

One of the great musical storytellers, Ralph is renowned for his virtuoso guitar style, a rich singing voice, and a natural gift for weaving a narrative that is both significant and poignant. He is a quiet, contemplative writer of songs with deep substance.

Fresh from a highly successful tour of Ireland which finished in November, Ralph can now ease his workload over the Christmas period as he prepares to bring his Streets of Oz Tour 2024 to several Australian states in February and March next year.

The 17-show tour begins in Tweed Heads in northern-most New South Wales on 7th February and the Australian dates culminate with consecutive performances at the Port Fairy Folk Festival on 9th and 10th March. In between, Gippsland audiences have two unmissable opportunities to see Ralph perform – firstly on 22nd February at The Wedge in Sale, and then on 23rd February at Berninneit, which is Phillip Island’s newly constructed cultural centre in Cowes.

“I always love coming to Australia and am really excited about this tour,” he emphasises.

Prior to heading Down Under, Ralph has a one-off performance scheduled in London on 2nd December, the day before his 79th birthday, and he is also looking forward to again providing a special show or charity at a local pub where he lives in Putney in south west London on 17th December.

“It’s something I do each year for the Streets of London charity to help raise money to assist homeless people,” he explains.

Ralph is still buzzing from the response to his recent shows around Ireland.

“I was mainly playing in smaller venues with around two hundred to five hundred seats and the reaction was absolutely staggering,” he states.

Ralph will be travelling light when he boards the plane for Australia, bringing with him just one guitar. His entourage will consist solely of son, Tom, who also performs the role of manager. Spending time together is a pleasurable experience for both father and son.

“It’s just the best thing,” Ralph suggests.

“I had another of my sons join us on the Ireland tour to look after the merchandising, but he’s now gone back to South Africa where he lives and won’t be coming to Australia,” he adds.

Ralph’s first visit to Australia back in the 1970s coincided with his chart success with Streets of London and saw him perform at the Sydney Opera House.

“I’ve joked that it’s been downhill ever since,” he quips.

“Every time I go to Australia, I think it may be the last time. It’s more than likely this will be my final visit, but I’ve said that before.”

Ralph has always felt comfortable and completely at ease in Australia.

“From day one I’ve just felt at home there,” he describes.

“With England and Australia, I know that we have great rivalry with cricket and other sports, but I think we have far more in common than divides us. I wrote a song for my great friend Billy Connolly’s World Tour of Australia called In The Dreamtime which is all about the paradox of being as far away as you can be yet feel such a spiritual connection and kinship.”

Ralph actually came very close to becoming an Aussie himself as a very young boy growing up in Croydon in outer south London.

“Our family was planning to emigrate to Australia as Ten Pound Poms just after the Second World War in 1946 or 1947. It very nearly happened but my father left the family home due to what nowadays would most likely be diagnosed as post-traumatic stress disorder from the war,” he explains.

Ralph has become familiar with some parts of Australia from his previous visits but is looking forward to discovering many new locations on this tour, which encompasses stops in Queensland, New South Wales, the ACT, South Australia, Tasmania and Victoria.

“It’s so personal. Everybody wants to shake hands or take a photograph.”

“The main cities are places that I have played before, but the itinerary this time around includes a number of little obscure places in the regional areas that I haven’t been to previously. I certainly know Port Fairy. I’ve done that four times and it is an amazing festival,” he observes.

Ralph’s Irish shows attracted a wide demographic amongst the audiences.

“I’m just delighted at the opportunity to have a look around and see some more of the country.”

“Most of the people that come to see me are adults in their forties to seventies, but there was also a sprinkling of very young ones. Often with the kids, they are ones who play guitar and, in many cases, will have probably learnt Streets of London as a beginner’s piece,” he says.

Audiences can expect to hear a broad range of Ralph’s work and musical influences. He will include songs covering from the 1960s through to a few numbers from his most recent album Hill of Beans which was released in 2019.

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“I try to provide a quite varied set. It will be pretty much the same as I’ve just been playing in Ireland,” he promises.

“I’m mindful that many people want to hear the old songs, so I’m not someone who forces his latest material on the audience. There are some songs that are well known than others, but the reaction overall has been fantastic.”

“I know now in my mature years how fortunate I am to have had a song that has meant so much to people, and every time it’s played it continues to gain interest,” he comments.

“I’m reverential towards it because it changed my life. People come up to me in tears over it. It still has that effect.”

Ralph says the song is written about alienation rather than homelessness.

Ralph will also use the piano on some numbers where venues have one available. He also likes to keep the audience interested with stories and explanations about his songs, which adds an extra element of personal significance to his performances.

“It’s about people that are in the city but don’t communicate with the city.

I used to talk to tramps as they were known then when I was a kid and would listen to their stories. This is voluntary homelessness not forced homelessness,” he clarifies.

“I’m a great believer in demystifying songs,” he remarks.

“Some songs sound a bit obscure when heard for the first time and need to be listened to more than once to catch the lyric properly. I do like to talk about where the songs come from, and people tend to find that quite interesting.”

Ralph’s iconic classic Streets of London has a remarkable story of its own.

“I started writing it while living rough in Paris through the cold winter of 1965,” he notes.

“The song was going to be about Paris until someone reminded me that there was already a tune called The Poor People of Paris, so I instead let the idea stew a bit and kept working on it before eventually deciding to change it to London. I had completed it by 1967 and first offered it to a semi-professional folk singer in Cornwall who rejected it on the basis that he thought it was a bit too sad and not suitable for him.”

Based on that initial negative feedback, Ralph didn’t perform the song anywhere and even chose not to include it on his first album Eight Frames a Second, which was released in 1968. Fortunately, he gave Streets of London to another friend Derek Brimstone who began performing it in clubs and first noticed the song’s effect on those who hear it.

“Derek said it had been going down unbelievably well with his audiences and encouraged me to play it myself. Against my initial wishes, my producer Gus Dudgeon also insisted it go on my second album, Spiral Staircase in 1969, and the rest is history really,” Ralph remembers.

But in fact, the Streets of London story had only just begun, as Ralph continues the tale.

“When the song was released in 1969 it travelled by the folk method. It was passed on to others who started singing it. I was told that it became so popular in the folk clubs that you had to book in advance if you wanted to sing it. I also did a radio broadcast on the BBC where I played it for the first time on air and the reaction was such that their switchboard was jammed,” he says.

"None of this was known to me at the time. There was no social media then, so I had no way of knowing what was happening with it and how the song was gathering such a following. After four or five years I had made at least five albums of new stuff and wasn’t getting a look in, and that’s when I made the decision to re-record Streets of London which ultimately changed everything for me.”

Ralph made some critical alterations for the song’s re-recording and release as a single in late 1974, including not singing with as high a pitch as he did on the original version from 1969. He also called upon the talents of Rod Clements on bass and backing vocals group Prelude.

“We did it in one take,” he recalls.

By the first week of 1975, Streets of London had reached No. 2 on the charts and was on its way to becoming a worldwide smash hit. Coinciding with the single flying up the charts, Ralph had been preparing to go on a big tour with a band for the first time ever, but when they went out on the road audiences only wanted him to play Streets of London.

“In the end you kind of give up. You can’t fight City Hall,” he muses.

Ralph says he has never tired of performing Streets of London.

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The lyrics remain just as impactful and relevant today more than fifty years after the song was written.

As much as Streets of London is Ralph’s signature tune, he has compiled an impressive catalogue of hundreds of songs and dozens of albums amongst a lifetime of performing. Amongst his many other acclaimed works are Michael in The Garden, From Clare To Here and the social injustice ballad Bentley & Craig, which was based on an infamous criminal case centred near where Ralph had grown up in Croydon.

Despite the professional success he has enjoyed, Ralph’s humble roots have always stayed with him.

“Our family lived in poverty during my upbringing, but I still managed to have a happy childhood,” he reflects.

Now nearing his eighties, Ralph does not have a specific end date in mind for his performing. He continues to try to extend his longevity by keeping fit, which includes some regular jogging in his exercise routine.

“I refuse to get tired of touring, but at my age the travelling has become a test of stamina. The performing aspect is fine. It’s really just all the travel in between from show to show that is the hardest part now,” he states.

“It’s hard for me to imagine a life without touring. I’d like to think this won’t be my last Australian tour but realistically it may be. For me, the key is being creative. I’ve got to be writing and working. If that involves touring, then provided I’m fit enough to do it, I will continue to do so for as long as I possibly can.”

Tickets to see Ralph McTell’s Streets of Oz Tour are on sale now and are already selling fast. Readers interested in seeing him perform are recommended to check ralphmctell.co.uk for details and updates.

Ralph McTell in concert

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Sold Out!

$25 SUN JAN 21 2024 / 2.00PM / $64.90

Sold Out!

91-97 Thompson Ave Cowes VIC 3922 14

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Phone 03 5671 2470 www.basscoastculturalvenues.com

Annual Program 2023 - 2024

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Ceramic Cat by Leigh-Ann Roden

Dragonfly by Jo Howell

THE LEONGATHA ART & CRAFT GALLERY NEW MEMBERS WELCOME! “THINK GIF T – THINK GALLERY!”

a To celebrate our 50th Anniversary, we are giving away Win a bumper gift hamper valued at over $500, filled with beautiful t hand-crafted items, all made by talented local Artists.

Gif The hamper will be drawn in early March 2024. perTo go in the draw, you must call into the Leongatha Art and Craft m a H WIN A GIFT HAMPER VALUED AT OVER $500!

Gallery and mention this ad. One entry per person.

Located in the Leongatha Memorial Hall, up the stairs opposite the Post Office.

Phone: 5662 5370 Hours: Tue – Fri 10.00am to 4.00pm Sat 10.00am to 1.00pm

(subject to availability of volunteers) Lighthouse painting by Nina Kane

Website: www.leongathagallery.com.au

@LEONGATHAARTANDCRAFTGALLERY

Jannis Morgan | Refuge Cove | Size 92cms x 122cms

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M O S A I C S B Y T H E B AY & SECRET PENGUIN GARDEN B&B PHOTOS BY MAXINE SANDO

Experience the joy of creating your own mosaic piece with award winning visual artist - Heather Fahnle - at her studio in Ventnor, on beautiful Phillip Island.

Come for the day, or a weekend, staying at her Secret Penguin Garden Bed and Breakfast overlooking a garden filled with vivid colours, birdlife, nature and art works.

Allow yourself to escape the digital world and everyday stresses and let your creative juices flow. Even if you have never tried mosaics, Heather will guide you and help create a unique piece made by you!

Heather’s studio is welcoming, cosy and filled with thousands of tiles of all shapes and colours, displays of works in progress, a kitchen corner offering tea, coffee, and cookies.

The Secret Penguin Garden B&B is like a home away from home, ideal for one person or a couple. Your room has its own private entry and bathroom, off street parking and close to the Penguin Parade, Grand Prix Race Track and safe beach. The Secret Penguin Garden B&B includes a continental style breakfast.

Do yourself a favour and book an inspiring and relaxing day or weekend now.

Contact Heather on 0417 562 625 for more details, or drop her a line via heather@fahnle.com.au visit www.heatherfahnle.com

“Mosaics is telling a story in little pieces. Along with the art form, it’s got a very therapeutic nature in that you can immerse yourself in what you’re doing and in those around you.”

“It’s a story, and it invites people to tell their story through their art.”

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Fiona Kennedy 18

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Fiona Kennedy Art from the heart

A SHIFT TO LARGER STUDIO PREMISES IN INVERLOCH FOUR YEARS AGO HAS PROVEN TO BE AN INSPIRED MOVE FOR THE POPULAR SOUTH GIPPSLAND ARTIST. WORDS: CHRIS WEST | PHOTOS: DOUG PELL In some ways, Fiona Kennedy has come a full circle in her journey as a professional artist. She could not be happier having found her way back to the Bass Coast township of Inverloch, where her career was launched from a blank canvas just over two decades ago.

“It’s like an old storage unit, built out of concrete and tin, but it had attributes that really appealed to me when I first saw it. A stream of light was coming in through the skylight and I loved how there is a historically significant tree outside. It just felt right,” she remembers.

Fiona has been creative since her childhood and studied clay sculpturing and drawing at university, but her passion and talent for painting only emerged after swapping city life in Melbourne for the coastal charm of Inverloch at the end of 2001.

Choosing an industrial feel for the new-look Fiona Kennedy Art Gallery & Studio has ultimately exceeded the artist’s expectations and continues to wow the many customers who casually drop in during opening hours or visit by appointment.

Prior to making her sea change, Fiona had worked as a chocolatier alongside her sister and brother-in-law in the family business Kennedy and Wilson Chocolate in the Yarra Valley before stepping away when she became pregnant with her third child.

“It’s an unusual space in an unusual spot, so there was undoubtedly an element of risk about it,” Fiona concedes.

“I felt a very strong instinct to move to the ocean and unlock the full potential of my artistic creativity,” she recalls.

Fiona was drawn to the idea of rediscovering Inverloch, having first developed an appreciation for the area while spending many weekends with friends at a property at Point Smythe near Venus Bay during her university days.

“I wasn’t sure if it would work or not at the start, but it has turned out to be a really good decision to move here. Everyone who has come to the studio over the past four and a half years absolutely loves it.”

Fiona was initially unsure whether the concrete walls in the premises would co-exist harmoniously with her artwork.

“My work is really organic and nature based, as well as being very colourful, but the moment I started putting paintings up on the walls I was amazed how well it worked,” she states.

“It was a beautiful time in my life,” she says.

One visit back was enough to rekindle the love affair and Fiona knew she had found the location in which to create her future. She established a small studio in Inverloch and found her true artistic calling after turning her hand to painting.

Adding an extra eye-catching touch of individuality to the studio, Fiona also hung a chandelier from the ceiling to further soften the space.

“In comparison to my previous studio at Kongwak, there’s a lot more wall space here to showcase my paintings,” she notes.

“It all started in Inverloch and now I find myself back here, but an incredible amount has happened in between,” she reflects.

“People can wander around this space and feel that there’s a lot of room around the work.”

In the two decades since relocating to South Gippsland, Fiona was busy establishing her career as a professional artist while also raising her three children into adulthood – daughters Tamara and Jacqueline and son Michael.

With son Michael having recently joined the navy, eldest daughter Tamara in Melbourne and other daughter Jacqueline now living in Sydney, Fiona finds herself with more available time to spend in the studio.

After nine years at Inverloch, Fiona relocated to a larger studio in a bushland setting on a property in Kongwak where she spent almost a decade before once again outgrowing her workspace.

“I had come to feel quite isolated in Kongwak and for a long time had really wanted to showcase my work in a warehouse space with a bigger area,” she explains.

The search for new premises in early 2019 led Fiona back to Inverloch, where she discovered a hidden gem right in the town centre at 12 Beaton Place, which is tucked away behind A’Beckett Street in a laneway type setting without any through traffic.

“Being in this space in Inverloch really opened it up to so many more people and really has brought in a huge influx, particularly in the first year, but the progression has continued every year since,” she says.

“I’m really happy that I’ve been able to manage everything and just keep doing my thing.”

Although she didn’t have any particular mentor, Fiona says her dad was an incredible inspiration with art from an early age. She was also a great admirer of prominent French-born visual artist Mirka Mora, who emigrated to Melbourne in the early 1950s. Although Mirka Mora was an influence on Fiona’s artistic progression, she has developed her own unique style which she describes as contemporary, vibrant and quite ethereal.

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Fiona Kennedy “I like to classify my work as symbolic and very emotional. All my paintings tell a story,” she says.

Whilst the style of Fiona’s work hasn’t altered since her return to Inverloch, there have been some subtle changes made to her range of offerings to clients.

“The book was a labour of love which was three years in the making. The kids all encouraged me to do it and my daughter Jac helped by editing my stories, so it really became a family project. My local book designer, Amelie Pritchard then did an amazing job in putting all the work the kids and I did together and producing such an incredible end result,” Fiona says.

“One thing in particular that I’ve done is introduced a lot more Limited Edition prints,” she reveals.

“My main reason for doing it was to share my story for future grandchildren and further generations of my family for when I’m not around anymore.”

“The main reason behind this is that each of my original works takes over two months to create, so I can only get six or seven originals done per year. People now are actually buying those straight off my easel or off a sketch. Any originals that happen to go up on the gallery wall invariably sell pretty quickly. The Limited Edition prints are an extension of the original paintings and I keep them to a really small number. Only ten of them are created in each size option, and once they go, they’re gone.”

Fiona finds it impossible to single out a favourite amongst the 90 paintings featured in the book.

All Limited Edition prints are individually numbered and signed by Fiona, and are supplied with a front mount and backing board.

Fiona often adorns her original pieces with special finishing touches including hand-gilded 24 carat gold, Swarovski crystals or sequins which are worked into the paint.

“If I’ve treated the original piece in this way, then I’ll replicate it in the same way on the prints. I call these the Gold Collection,” she explains.

Given the small number made available, Fiona’s Limited Edition prints and special collections should become an astute investment for their purchasers over time.

“Swarovski has stopped selling crystals to individuals like me and I am no longer able to source them,” she notes.

“Fortunately, I bought up a lot from around the world, but when my stock runs out I won’t be able to get any more which will make any of my works with the Swarovski crystals become even more exclusive. Going forward, I am looking at sourcing a beautiful Italian crystal as a replacement.”

Clients have the option of either commissioning works or purchasing Fiona’s work directly through the studio or online via her website. Her talent has gained local and international recognition, with her paintings being sought after all around the world.

Also still available for purchase is her wonderful first book, LIFE Through the Heart of Fiona Kennedy, which was published in 2020.The beautifully compiled publication highlights a selection of 90 of her paintings up to 2019 and documents the personal stories behind each one.

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“There are some that are really special to my heart, but they all do have an emotional impact on me,” she comments.

“I feel like my work has a lot of purpose in it, but there is a point when I paint that I have to start disconnecting from the painting towards the end because I know that there’s someone coming along and ultimately the painting is going to be theirs. As much as I want to keep them all, I know that they belong to someone, and that’s one of the reasons why I paint.”

With the book having been very well received upon its release and is now in its second print run, Fiona is already thinking about compiling a sequel within the next five years.

“I’ve done a lot of paintings since 2019, so there’s already so much more potential material to add for the next book,” she suggests.

One recent painting that is likely to feature in the next edition is Luna’s Garden, which is dedicated to Fiona’s much-loved first grandchild. Twoyear-old Luna, who lives in Melbourne, is her eldest daughter Tamara’s first born.

“Luna’s Garden is a significant piece and is only available in a printed version,” Fiona says.

“The story behind it is about four generations of family – great grandparents, grandparents, parents and child – and it really does represent what kind of influence you have on that child as she grows up. Whether it’s good or bad, I want to share that story because I want people to understand and be a bit more mindful when it comes to young children and the influences that adults do have on them,” she explains.

A willingness to share is what Fiona is all about as an artist.

“I’ve always wanted to share stories through nature and that’s where my work has grown even more into,” she comments.

“My work has always been symbolic and very emotional because I’m a very sensitive person. Those feelings, emotions and sensitivities that I feel when I see other people or what happens with their lives or mine, I share that symbolically with nature through the stories of my paintings.

That’s how this has all come about. As I get older, I just share more of those stories.”

“The consultancy service allows the client to consider different options and see how they look in their homes. I am happy to load my van with a selection of artwork which I take to people’s places to share with them what it’s like in their own space. I’m not an interior designer, but it’s about connecting the art piece to their space and themselves.”

There is no obligation to buy, but a small fee is charged if clients don’t proceed to help cover Fiona’s travelling costs. The in-home consultancy service has so far taken her as far as Brisbane, although she did combine that particular appointment with another delivery and a visit to family.

Having accumulated almost 9,000 followers on Facebook to date, Fiona looks upon social media as a great communication tool for artists.

Whilst adding the consultancy arm has proven to be a successful enterprise, Fiona is adamant that it will always remain a secondary part of her business.

“I share the paintings on social media from start to finish, while also sharing the story along the way,” she says.

“I won’t ever allow it to keep me from the studio too much,” she vows.

“I’m constantly creating, and that will always be my main purpose.”

“People will progressively see sketches from the very beginning all the way to the finished painting. They’ll share the story with me and connect with the painting as it comes to life. People really engage with my social media for that reason, and it also allows me to take my work to a bigger audience than just being here on my own in the studio.”

Fiona Kennedy Art Gallery & Studio

Another notable new facet to Fiona’s business is her local and interstate art consultancy service which began this year.

Ph: 0413 241 805 Email: fionakennedy@dcsi.net.au Web: www.fionakennedy.com Facebook: fionakennedygalleryandartstudio Instagram: fionakennedyart

“Some people are interested in my paintings but are not sure which one is going to work best in their home or have a particular work in mind but can’t visualise what it is going to look like on their wall,” she explains.

12 Beaton Place, Inverloch Entrance in the car park behind A'Beckett Street Open daily (except Tuesdays) 10am - 3pm | Or by appointment

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HALLS WITH HEART Amid the rolling hills and charming towns of South Gippsland, discover a vibrant and enthusiastic music scene. The many small halls dotted throughout our townships are contrasted with grand sounds that emanate from within.

Home to an abundance of musical and theatrical talent, it is no wonder why people come flocking from far and wide to experience this enigmatic blend of nature and music.

The small halls may appear unassuming from the outside; however, they are brimming with heritage and character from within. These halls are more than just ‘venues’, they foster a strong sense of community often celebrate the arts by playing host to local, national and international acts, adding to the cultural tapestry that is South Gippsland.

The small halls have witnessed some remarkable musical acts. From folk to blues, jazz to classical, the genres are endless. Many artists, seeking a more intimate and unique-setting, are choosing to perform in South Gippsland’s small halls, providing attendees with an up-close and personal performance.

As you embark on a musical journey through South Gippsland, you'll find that these small halls are more than just standalone buildings; they represent our region's strong sense of community and a celebration of the arts.

In South Gippsland, the juxtaposition of small halls and their larger than life sounds, create an extraordinary and authentic country experience that will resonate in your memory long after you visit. It's a testament to the region's commitment to preserving and promoting the arts and fostering a sense of community and connection through the power of music.

The many halls of the region are also a crucial element in supporting the local grassroots music ecology. These ‘grassroots venues’ are where many performers develop their skills, perfect their craft and flourish.

These stages provide opportunities for fresh and innovative sound to beckon over a warm and welcoming audience. They also shine light on the hard-working performers who talents without a stage would pass by without celebration.

Halls are the heart of the regions performing arts scene and they foster a vast treasure chest of memories and community connection. Our very own Meeniyan Town Hall recently won the Music Victoria 2023 Award for Best Regional Venue or Presenter (under 50 Gigs), further demonstrating just how celebrated these establishments are.

So, if you're a music lover or simply seeking a unique and immersive cultural experience, set your sights on South Gippsland. The small halls may be unassuming, but the sounds that fill them are anything but.

Discover the beauty, music, and community that South Gippsland has to offer, and let your journey be the soundtrack to your next unforgettable adventure.

Looking for an experience at one of our region’s halls? Head to visitsouthgippsland.com.au/events to check out the many upcoming performances and events. visitsouthgippsland.com.au Photo by Luke McNee – Seagrass Film

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The lowdown on the Traralgon studio that mixes paints with socialising.

Words by Megan Woolfe | Photos supplied by Pinot & Picasso Traralgon

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Paint ‘n’ Sip Why do people go along to Paint ‘n’ Sip events? Some may be enticed by the idea of a different and novel social night out. Others may feel drawn to dabble in some painting with a friend or two but want some guidance along the way. One thing’s for sure, having your favourite beverage in one hand, and a paint brush in the other, is certainly a wonderful way to unwind and unleash your creativity.

Tom and Katy chose Traralgon because they’d been working in the area and were drawn to the people and the tight-knit community atmosphere.

They wanted to bring a different experience to the area that all ages could enjoy.

The Scope

It’s thought that the first Paint ‘n’ Sip events came about in 2002, in Alabama. An art teacher named Wendy Lovo noticed that her students were often self-conscious and overly concerned about making their artworks look perfect. After handing out glasses of wine, she realised they started to loosen up, their stress slowly disappeared and amazingly, their paintings became more beautiful. Since then, the Paint ‘n’ Sip trend has steadily risen in popularity throughout the world.

As well as running big public sessions for up to 45 people, ‘Pinot and Picasso’ also get a lot of requests for private, tailored Paint ‘n’ Sip events.

These add more colour and fun to special occasions such as hen’s nights, baby showers, Christmas parties, gender reveals, kids’ parties and more.

They also do corporate events for team building. There are a variety of artwork options to choose from including glow in the dark or textured art, still life natives or even a release your inner drag queen session (with a drag queen host, of course!)

The ‘Pinot and Picasso’ Experience

The Whole Picture

Here in Gippsland, the ‘Pinot and Picasso’ art studio brings people of all ages together to drink, laugh and paint. A far cry from a serious art class, these are for all abilities and the host (or teacher) not only explains each step, but also demonstrates on the canvas up the front for everyone to follow along. It’s surprisingly soothing to focus on mirroring each line, shape and brush stroke style. Conversations, laughter and encouraging words flow through the room as everyone starts to add paint to their blank canvases.

Katy says “We pride ourselves on creating a welcoming and stress-free vibe. Our number one goal is for our customers to have a unique and exciting experience. We encourage people to relax and have fun, while hopefully learning along the way. Some people can be quite reserved when they arrive - sometimes they’ve been dragged along by a friend or they’re a bit nervous. However, by the end of the session, everyone is laughing, mingling and smiling from ear to ear. Plus they get to take home their own masterpieces.”

As time goes on, a few murmurs or whispers of dissatisfaction can be heard, but the host hovers around offering reassurance and tips to keep everyone on track. The saying ‘trust the process’ is particularly evident when certain parts just don’t seem to look how they should. However, there is a shared commitment within the studio. Everyone is there to see it through until the end. Layers of paint continue to be added to canvases and each artwork morphs bit by bit. The time sure does fly and after finishing touches are made, everyone huddles together, holding up their paintings for a group photo. Despite everyone following the exact same steps, it’s quite amazing how different each painting is.

They currently employ six talented local artists to run the sessions. Tom explains “Although our amazing hosts will walk the group through each step of the artwork, we don’t focus on the technical aspects of painting.

Instead, we encourage artistic freedom and individual creativity.”

The Owners The franchise owners, Tom and Katy opened up their ‘Pinot and Picasso’ studio in Traralgon at the beginning of 2023. The idea first sparked after they’d gone along to a ‘Paint Your Partner’ class in the city. Tom says “We loved the experience right from the beginning - it was something different and fun.” They’d been searching for more fulfillment and excitement in their professional lives and this seemed like the perfect opportunity.

Tom and Katy have hosted Paint ‘n’ Sip events in partnership with a number of local businesses. These have been very popular with some having in excess of 60 guests! Katy says “It’s given us a fantastic opportunity to connect with the other businesses and the community.” They have plans to expand further into the Gippsland area in the future so that more people can enjoy the ‘Pinot and Picasso’ experience.

When reflecting, Tom and Katy think their biggest achievements since starting the business have been working closely with customers to provide really special experiences for their once in a lifetime events, such as hens’ nights, proposals and milestone birthdays.

Instagram: Website:

pinotandpiccassotraralgon www.pinotandpicasso.com.au/traralgon

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Helen Timbury Inside a small, narrow studio next to Helen’s house in Drouin, the printmaking magic happens. The space is buzzing with creativity and the walls are covered with vibrant, joyful prints featuring a diverse variety of birds, plants, animals and people. Each print has a unique sense of movement and energy.

She’d spent a lot of time as a youngster camping and bushwalking. “Mum taught me the names of flowers and trees and grew my awareness of all the different species.” Helen’s first job was a perfect fit for her, illustrating for the National Parks. “I was lucky because I was living in East Gippsland and kind of fell into it. It was an organic path.”

A huge window looks out to a lush green garden – a source of inspiration and sometimes, an escape to overcome creative block. Taking centre stage in the studio, is a large and rather grand roller with a circular turn handle. Helen smiles “It’s the Mercedes of etching presses. I recently updated so now I can make larger prints.”

Now, 30 years later, she reflects “My career has been a lovely, wellrounded visual arts journey. My graphic design, art and illustration skills all flow together to inform my printmaking.”

People from far and wide buy Helen’s gorgeous greetings cards, calendars, bags and of course, her original prints, to decorate their homes. Helen has made a career out of creating, starting her own business when she was just 21 years old.

The themes and subjects in her prints have evolved and changed over time. “At first they were quite scientific looking, influenced by my National Parks interpretive signs. Then after having my three children, my prints started to feature people, families and home situations. Now I’m back to birds and animals but I reflect the bigger picture, using metaphors like the tree of life. I’ve gone from single subjects to prints that tell a story.”

The moment she first fell in love with linocut prints was at the age of 16, when her mother took her to a Margaret Preston exhibition. She looked at those square floral wood cuts and the bold and bright colours with wonder and awe.

After finishing school, Helen studied Graphic Design at RMIT - something that was seen as more financially stable than being an artist.

She says “Once we started using computers, I found that the digital design wasn’t much fun for me. I really wanted to do something tactile.

It became more and more important to me to be using my hands whether that was rolling ink, playing with paper, carving things or experimenting with layers.”

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With her printmaking, by the way, Helen is completely self-taught.

When working on a design, Helen first puts her ideas into a drawing, before making a photocopy. “Then I chop it up and play around with it, moving elements around until they look just right. The placement tells a narrative and it’s important for the flow and where the eye goes around the picture.”

Her sharp eye for design elements allows her to instil that sense of harmony and unity into all of her pieces.

Helen uses her electric frypan to warm the silk lino slightly, in order to soften it, and then she carefully carves out each line and shape.

stargazing

A passion for printmaking, an eye for design

Words by Megan Woolfe | Photos Doug Pell

She says “There’s something very special about that moment when you peel back the paper to reveal the first linocut print. You can never tell exactly how it will come out until that wonderful moment of surprise.”

With each linocut, Helen makes around 20 prints. She says “I love being able to make multiple variations with colours and different layers really quickly. It’s exciting having the flexibility to be able to be as explorative as I like, but I’ve always got that base to return to.”

With all the highs of printmaking, there are also some lows. Helen explains “Sometimes I feel it’s hard to get the design and colours right.

I can become plagued with indecision and doubt and there’s always this horrible time where I think it’s awful and it’s not going to work. I’ve learnt to keep going and usually, the next day, I look at it again and realise it’s actually fine.”

With her cheerful, happy and sometimes humorous prints, Helen hopes to raise a deeper awareness. “I want my prints to remind people that our biodiversity is so unique and precious. Instead of using a didactic tone, I want to build people’s appreciation and gratitude for our natural world. I want to make them curious and thoughtful about it.”

A print that has deep personal meaning for Helen is ‘Stargazing’. She created it in memory of her dear friend, Ian who passed away. The print is a recreation of the last moments she spent with him stargazing with a group of friends on a camping trip. Tragically, a couple of days later, Ian went scuba diving and didn’t return.

She explains “Being able to channel my emotions when creating that print and then sharing it and telling people about its significance was very cathartic. It resonated with a lot of people for many different reasons. I think when you make an artwork about something you have strong feelings for, it’s always a better piece. There’s something intangible and unable to be explained, but people can see it.”

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Helen Timbury

Helen is very active in the Gippsland Arts scene and loves collaborating with other artists (who she describes as her colleagues). She’s been part of a group running ‘Open Studios’ in the Baw Baw Shire for 15 years.

She loves networking at exhibitions and Arts Markets and joins group Art Camps.

“You have to make your own professional development days. Unlike other careers, you don’t get the opportunity unless you are proactive and organise them yourself.”

As for what keeps her motivated to keep creating, she says “I’m not just making for myself, it’s a form of communication. It’s such a lovely feeling when someone likes one of my prints and has that same appreciation for our biodiversity. Connecting with people through my art is very special to me.”

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WORKSHOPS Helen offers a personalised printmaking workshop experience from her beautiful studio and garden. Available for individuals or small groups.

She shares her knowledge and expertise to help you to design and carve your own lino block and then create a small edition of prints to take home at the end of the day.

Purchase Helen’s prints, calendars and cards and more via her webpage.

For more information visit Helen's website, helentimburydesign.com.au

Clay & Co is a creative hub being enjoyed by many, near and far.

Located on Phillip Island, it is an artist co-working space that houses painters, sculptors and ceramic artists. With studio spaces visible from the main gallery, visitors are welcome to observe artists at work, and if the door is open, pop in and have a chat.

These are then fired in the kiln to create lasting pieces to be cherished for years to come.

The main gallery space holds art exhibitions, and is the perfect space to bring family and friends to paint your own ceramics.

Follow their journey on Instagram @clay_and_co_phillip_island and visit the website for upcoming workshops.

Workshops are also available in all disciplines of art; life drawing, term classes, wheel throwing, painting, school holiday programs and there is also a firing service for those working with ceramics.

4 Shorland Way, Cowes Contact – Kaz Morton www.clayandco.au 29

gippsland life Summer ���3/��

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CREATIVITY THAT LIES WITHIN THE BOX The inventive concept making waves throughout South Gippsland is the emergence of ArtCubes. The portable gallery spaces prove that art, innovation and creativity know no boundaries. ArtCubes have transformed the way our region interacts with art and redefines the traditional notion of museum and gallery structures.

As the name suggest, ArtCubes are self-contained units designed to host art in all its boundless shapes and forms. The adapted shipping containers are lined with ply and feature two opening container doors, two windows, solar panels, as well as internal gallery lighting and a wash of external lights.

South Gippsland is home to a vibrant arts community who at times are unable to showcase their work as gallery space is limited or unavailable.

To support our region’s artists and creatives, South Gippsland Shire Council conceptualised and constructed the ArtCubes project.

Relocatable and able to pop-up in remote locations, the cubes provide exciting opportunities for artists to reach diverse audiences who may not typically visit a conventional art gallery.

Since the cubes have been made accessible to the public, they have toured the region and brought connectivity to communities through an abundance of creative activity. Hosting artistic techniques like wood carving, material manipulation, performance, photography and even the young talents of local primary school students, there are no limitations to what these cubes are capable of presenting.

In addition to being gallery spaces, the ArtCubes have supported a variety of artistic workshops and community events. Learning to weave, work with polymer clay, and even take part in wire bird cage sculpture, are just some of the skills and techniques one can learn from within the cube. The colourful containers have also payed a big part in the region’s Festival Series such as the Mirboo North Winter Fest, Fishy Stories Festival and Great Victorian Bike Ride. Proving that the possibilities from within the cube are endless.

WHERE ARE THEY HEADING TO NEXT?   

November 2023 to January 2024 Program  

ArtCubes are transforming the way our region experiences art and also challenges the conventional idea of where art belongs. They inspire a sense of adventure and spontaneity, beckoning viewers to explore and engage with art in unexpected places. These mobile gallery spaces are a testament to the contemporary nature of the art world, making it more inclusive and innovative than ever before.

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Great Victorian Bike Ride

ARTCUBES

The ArtCubes are a community-based arts initiative from South Gippsland Shire Council. Expressions of Interest are open to community groups and events for 2024 to 2025. If these structures are something you would like to see in your town or at your community event, visit www.southgippsland.vic.gov.au/artcubes for the terms and conditions and to apply.

visitsouthgippsland.com.au

Fish Creek from 27 October to 28 January Fishy Stories 13 to 19 November

Film and Sound Installation by Kate Russell 20 November to 3 December Artist Studio & Exhibition by Catherine Blamey 20 November to 3 December Artist Studio & Exhibition by Honey Tripper 20 November to 3 December Portraiture Painting Studio & Exhibition by Gonzalo Varela 4 to 31 December Installation & Exhibition by Helen Sammonds 4 to 31 December Installation & Exhibition by Sarah Parkes 4 to 31 December Artist Studio & workshop by Janie Frith 18 December to 28 January Installation & Exhibition by (it’s no) Drama 18 December to 28 January Interactive Site Specific Installation by Kerry Spokes 1 to 28 January Painting Exhibition by Helen Tiernan 8 to 28 January

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Fairy Cove | Size 76cm x 101cms

JANIS MORGAN’S THE PROM

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Refuge Cove | Size 92cms x 122cms

Waterloo Bay | Size 76cms x 101cms Anyone who has hiked to the summit of Mount Oberon, walked along the spectacular white sand of Squeaky Beach or dipped their toes in Tidal River knows the vast beauty of Wilsons Promontory or Yiruk. For artist Janis Morgan, it is a five-decade love affair that has culminated in the ultimate love letter to The Prom – an art exhibition dedicated to its magic.

Wilsons Promontory has been the muse for many artists - there is just something about the southernmost tip of mainland Australia that ignites creativity. The wild weather, the peaceful corners and the sheer expanse has also captivated Janis, who is thrilled to be exhibiting her unique artworks of The Prom at Foster’s Stockyard Gallery from 2nd – 30th January, 2024.

But the accomplished artist, community art teacher and art therapist admits she has some nerves heading into the solo exhibition.

“I find it very rewarding working with other people and encouraging them on their creative journeys,” Janis explained. “But to put one's own self out there for critique, even though I’ve done joint exhibitions before, it takes a lot. Am I ready to accept people’s feedback?”

Janis, who lives in Melbourne but has had a holiday home at Sandy Point for 14 years, says her strong connection to The Prom reflects that of many other visitors to the region.

“It has been part of my life for over 50 years, a magical place full of adventures, chance meetings, overnight hikes, new experiences and friendships. It’s a place of glorious sunsets, spectacular views around every corner, bountiful native animals, flora and fauna and wild weather.

A View From Above WORDS BY ANITA BUTTERWORTH PHOTOS KINDLY SUPPLIED BY JANIS MORGAN

“The Prom is also a place of connection, where people interact independently and in groups, weaving in and out of communal spaces, hiking, going to the beach, camping, just enjoying walking and passing through the natural environment. There is a collective sense of place, shared identity and belonging to a community which values the environment and the benefits of outdoor life.”

The artworks at the centre of the exhibition were sparked by a flight over the Kimberley region.

“We were over visiting my daughter in Broome last year and we were on a flight over the Kimberley and Buccaneer archipelago, on this small plane I was looking down on the coastline and seeing it from that perspective. It made me realise it could be a really interesting way of painting The Prom.”

“This exhibition tries to capture the essence of The Prom’s expansive space and magical beauty from above, not always a realistic depiction but one of wonder and colour. Each painting is a particular place in The Prom, a place many of us can identify with and feel connected too.

It may be a place we were heading to after a long day’s hike, meeting new friends, stories over delicious camp meals and drinks around a camp.

Places where memories are made.”

Janis also acknowledges the ongoing connection the Gunaikurnai, Bunurong and Boon Wurrung people have with this land, known traditionally as Yiruk. “There has been creativity and community on these lands for thousands of years that I want to acknowledge.”

The artworks were created by using satellite images that reveal the topography of the rugged coastline of The Prom.

“I drew an outline of the land on canvas then layered each section of the background with a palette of relevant colours, finishing with decorative details depicting the surrounding environment; artwork which crosses between the real and the imagined.

“The technique of applying the marks on canvas would be identified as semi-abstract, decorative with touches of pointillism. Pointillism being the application of small dots of colour that amplifies contrasts in texture and pattern, the colours never truly mix but maintain their distinct hues.”

The artwork does not use dots as symbolism for stories as seen in some traditional Aboriginal artwork.

The artworks took Janis a year to complete, and she says it was more of a ‘meditative’ process, much like hiking at The Prom. It was more about the journey than the destination.

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JANIS MORGAN’S | THE PROM

Waratah Bay: Shallow Inlet | Size 76cms x 92cms

“There is also a textural element to this exhibition that reflects our connection to the natural environment at The Prom. These textural artworks are bound together by natural elements, framed in bamboo shapes, supported by cotton fabric, woven with organic threads and embellished with hand and machine embroidery. There is a variety of techniques and materials, including weaving, embroidery and applique.”

Janis is now looking forward to locals and visitors connecting with her artwork through her January 2024 exhibition.

Janis has drawn on her many years as an artist and art therapist, to complete the exhibition. A community educator with a previous twodecade-long career in design and patternmaking, she’s always tapped into her creative side through art in various forms.

“Our whole family has got a history there; our girls did Scouts and have their own stories to tell about their adventures down at The Prom. My husband does lots of hikes with his mates down there, and myself as well. And I just feel that there are many people that have some sort of connection with The Prom and really love the place.”

“I’m really excited about it. I think that people will relate to aspects of the artwork because I feel The Prom is a magical place for people who go down there. Everyone who I know has been there for holidays or walks.

After relocating to the Middle East for some time, she navigated a journey of grief and loss. While developing educational art projects at a school in Dubai, Janis discovered how art could be used as a powerful tool, prompting her work in art therapy, through her business, Creative Wellness.

“While we were overseas, I witnessed this change in children’s demeanour when they were doing art in small groups. And I felt that there was more to it, which led me to investigate and do further studies into it when we got back to Melbourne.

“I was never going to do it one-to-one as a therapy. I felt that in the teaching I do and the art facilitation I do in community arts when people do art or are being creative, they get into this zone. A meditative zone.

“I wanted to make sure that when I was leading these art programs, I had the capacity to know how to help them if they were triggered by something, which I do believe can happen. So, the art therapy comes in as a resource and tool for me to support people, so I can pull them aside, make sure they’re OK and I recognise if I think they need to be referred to other support.”

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Cara, Ian, Janis and Eleri Morgan

JANIS MORGAN’S

THE PROM | A VIEW FROM ABOVE E X H I B I T I O N D E TA I L S Name of exhibition Artist When Where Opening times Contact

The Prom: A View from Above.

Janis Morgan December 28 - January 30 Stockyard Gallery 12 Mc Donald Street. Foster. Vic. Thursday - Monday 11am - 3 pm Closed Tuesday & Wednesday.

5682 1125

Stockyard gallery is a dynamic not-for-profit community gallery in Foster, Victoria which aims to provide a quality art space, showcasing the amazing variety of artistic talent in South Gippsland.

Creative Wellness Australia Phone: 0425 886 693 | Email: creativewellnessaustralia@hotmail.com creativewellnessaustralia.com.au creativewellnessaustralia janismorganart.square.site Looking across The Prom – My happy place

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COAL CREEK COMMUNITY PARK AND MUSEUM In the heart of South Gippsland, a remarkable transformation has taken place. Coal Creek Community Park, once a historical relic of the region's coal mining past, has evolved into a vibrant arts and event destination. The park, with its rich history and newfound artistic charm, is now a place where culture thrives and community gathers.

Coal Creek was once a living reminder of the region's industrial past. The park provided a window into the daily lives of those who worked in and around the mines. However, the park's transformation in recent years has added an exciting layer to its historical narrative.

Today, Coal Creek is not a static historical snapshot but a hub for art and culture. Hosting a diverse range of artistic events, exhibitions, and performances, the park revels in creative talent and storytelling from both local and visiting artists. Visitors can experience the exhibition spaces, enjoy the many events, while meandering through the beautiful grounds.

A key element of Coal Creek's transformation is its inclusivity. The park offers a wide range of experiences suitable for all ages. Whether you're celebrating children’s week in the sun, practising yoga by the lake, absorbing the latest exhibitions, or enjoying live music with the best food and produce of South Gippsland, the park is fostering diverse offerings that appeal to all walks of life.

Coal Creek is hosting an increasingly diverse program of events and exhibitions, building on the recent successes of the Southern Lights Festival, All Hallows Eve, Threads exhibition, and the upcoming Rona Green exhibition Millions of People but no-one like you. Come see the Texan superstar Charley Crockett, and keep an eye out for the line-up of events and exhibitions over the next year.

The juxtaposition of Coal Creek's historical heritage with its arts and event culture is a natural, if heady fit. Visitors can explore the old general store, meet the spinners or the blacksmith, while attending a live music concert in the same day. This unique blend of history and contemporary worlds is a testament to the park's ability to evolve and adapt to the changing needs and interests of the community.

As Coal Creek continues to evolve, it stands as a shining example of how a space steeped in history can transform into a dynamic artistic destination and be a catalyst for community engagement. Here, the past and the present harmoniously coexist, making it a place where art, history, and community come together where history meets the present, and the future.

So, whether you're an art enthusiast, a history buff, or simply seeking an enriching cultural experience, make sure to include Coal Creek on your South Gippsland itinerary. visitsouthgippsland.com.au

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LEONGATHA ART & CRAFT GALLERY & GIFT SHOP For half a century, the Leongatha Art and Craft Society has been showcasing the work of the many talented local artists within its membership base.

WORDS BY CHRIS WEST | PHOTOS BY DOUG PELL OTHER PHOTOS SUPPLIED BY GALLERY

The Leongatha Art and Craft Gallery is not merely a gift shop selling a treasure trove of original art and craft works, it also brings together a community of like-minded members and volunteers who share a passion for everything artistic.

Managed by the Leongatha Art and Craft Society Inc, which is celebrating its 50th anniversary this year, the Gallery’s primary focus continues to be the promotion of the work of its many talented members.

Visitors can browse through a large selection of high-quality art and craft items, produced in a variety of techniques. Everything on display in the gallery is available for sale – from paintings, prints, ceramics, jewellery, photographs, woodwork, glass, clothing and textiles, cards, books, and many other original works, all of which will enhance any home or make the perfect gift. Hand-made cards and Christmas gifts are sought after by local customers. Personalised gifts and special orders can also be made by some members.

“Brilliant Sunset” Alcohol ink print by Maree Blore

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The Gallery has recently undergone a refurbishment. New carpet was generously provided by the South Gippsland Shire Council and there is also a freshly painted feature wall. The Gallery now has a lovely ambiance and is a truly enjoyable place to visit.

Inside Leongatha Art and Craft Gallery

“Garden Girls” Ceramic Garden Stakes by Jenny Gray

“Wrens” photographed by Gary Beresford

Leadlight Flowers by Caz Gray

The displays in the Gallery are never static and are regularly updated by the Display Committee. Every two months there is a new theme, and the work of a different feature artist is promoted. New stock and display changes are regularly promoted on the Gallery’s Instagram page.

The Leongatha Art and Craft Gallery is a not-for-profit venue and is staffed solely by volunteers, most of whom are also contributing members. Most of the sales proceeds are returned directly to members, with the gallery retaining a commission fee to help cover operating expenses. Members who volunteer in the Gallery for just 3 hours once a month are rewarded with a greatly reduced sales commission.

The Leongatha Art and Craft Society has two sub-groups who also welcome new members – the Painters group and the Woodworkers group. The Painters group meet weekly and have regular workshops and excursions. They promote a friendly and supportive atmosphere and new members of all skill levels are always welcome. Their members paint in a wide variety of mediums and they have many years of experience to draw on.

“Garden Collection” by Jenene Evans

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Inside Leongatha Art and Craft Gallery

The Woodworkers group welcomes both men and women, young and old. Every year in September, during the Daffodil Festival, they have a very popular demonstration and display tent in the courtyard of the Leongatha Memorial Hall. The “Woodies” would love to have some new members, including those who are just starting out on their woodworking journey and who would like to learn from the current experienced members.

For those who would like to be involved with the Leongatha Gallery, but aren’t able to join as a creative member, then joining as a Friend of the Gallery would be the perfect solution. You would be greatly appreciated as a volunteer, and you would have the opportunity to meet a wide variety of local customers and tourists, as well as the artistic members of the Gallery. There is no cost involved and full training is provided. If you can volunteer for just 3 hours once a month, then the Leongatha Art and Craft Society would love to hear from you.

Further information is available on the Gallery’s website www.leongathagallery.com.au, where you will also find contact details and a downloadable membership application form. Or you can call the Leongatha Art and Craft Gallery on 03 5662 5370.

The Leongatha Art and Craft Gallery is presently open five days a week – Tuesday to Friday from 10.00am to 4.00pm, and Saturday from 10.00am to 1.00pm. Opening hours are subject to the availability of volunteers and can vary at times, so visitors may like to call to check.

Further information LEONGATHA ART AND CRAFT GALLERY Located in the Leongatha Memorial Hall Cnr McCartin Street and Michael Place.

Phone 03 5662 5370 Web www.leongathagallery.com.au Email leongathaartandcraft@gmail.com Instagram leongathaartandcraftgallery

a n i W t Gif er p m Ha

Special promotion Win a Gift Hamper valued at over $500!

In an exclusive collaboration with the Leongatha Art and Craft Gallery, to celebrate the 50th Anniversary of the Gallery and the new section of Gippsland Art in Gippsland Life magazine.

You can win a bumper gift hamper valued at over $500 Filled with beautiful hand-made art and craft items, all made by members of the Gallery, the hamper will be drawn in early March.

To go in the draw, you must call into the Gallery and mention that you’ve seen this story or advertisement in the magazine. One entry per person.

Refashioned reversable dress by Rebekah Clarke

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Simon White Artist Born in Melbourne, residing in Loch Sport, Simon is a contemporary artist known for his large scale murals, classic portraits, landscapes, and urban street scenes.

Simon White Art @simon_white_art www.simonwhiteart.net

Simon completes public and private murals, commissioned paintings and portraits, and has exhibited in solo shows all around Australia.

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Mark Knight WORDS BY MEGAN WOOLFE / PHOTOS SUPPLIED

THE CREATIVE GENIUS BEHIND THOSE CARTOONS

BY MARK KNIGHT & DOUG PELL

Mark Knight is one of the best-known cartoonists in Australia. Not only is he a highly skilled illustrator, but he also has the amazing ability to present topical political and news issues wrapped up in sarcasm, metaphor and wry wit.

Each morning, Mark listens to the news, often whilst walking around his farm. Coming up with fresh ideas every day with very tight deadlines is something he’s got used to. To get his creativity flowing, he runs, swims and rides his mountain bike.

Creatively and cleverly, Mark conveys the frustrations and opinions of the general public. His cartoons often reveal the contradictions and irony in situations, with a playful cheekiness that brings smiles to many faces.

“I get these moments of clarity when I’m exercising.” He chooses a news item that everyone’s talking about and then comes up with an idea. He explains “When I start drawing, I relax, which helps me to think better.

Sometimes a secondary idea will come to me as I’m drawing and then it changes and morphs into something new and more profound.”

Mark’s love for drawing started when he was a boy. He says “I used to draw my relatives at family gatherings. When I showed them, I was amazed by their reactions. They thought I was bold but I was just depicting things that I saw, like Uncle Bert’s big tummy - exactly how it was.”

At school, Mark’s talent was discovered and he was given the job of doing caricatures for the school magazine. He admits he got caned a few times when he’d been drawing cartoons in class instead of doing his work! He reflects “At a young age, I discovered the pleasure in actually depicting people by picking out their distinctive traits and exaggerating their less glamorous parts. I’ve always loved observing people’s unique features and how everyone is so different.”

The ability to get such an incredible likeness, Mark explains, is down to “training your eye to actually draw what you see and not a notion of what you think you see. The more you train your eye to do that, the fitter your eye becomes and you see what’s important in a face. You see what makes that face the face that it is.”

In his late teens, Mark got his first big break when his mother presented his drawings to the art director of the Sydney Morning Herald, ultimately leading to him securing a cadetship. Then at the age of 22, he started his career as a political cartoonist at The Australian Financial Review - a career that has so far spanned 38 years.

Nowadays, he draws a new cartoon every day for the Herald Sun from his house in rural Tonimbuk. He and his wife, Sophy, moved there 27 years ago after living only in cities. At first, the tree change was quite a shock. They had to learn how to fix fences to keep their horses in and fight bushfires, but they embraced country life and raised their three children there.

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Mark begins by sketching in pencil, then when he’s happy with it, he goes over it with a German Brause nib, dipped in Indian ink. He then scans it and uses Photoshop to fill in the colours. “A lot of cartoonists draw fully on a drawing tablet but I love the feel of pen on paper, plus it’s nice having the original.”

The role of political cartoons in our society, in Mark’s opinion, is to “give a voice to the punters out there - the people who are sometimes enraged or passionate about a particular issue. It’s like showing what they’re whispering and thinking.”

“One of the great tools of cartooning is exaggeration. I use it to give emphasis to a particular idea. I think cartoonists have a great role in taking serious things and making us laugh about them. After all, laughter is the best medicine. Humour also helps ideas to be absorbed.”

Mark’s cartoons have come under scrutiny a few times in the past when people have interpreted them differently from how he intended. He says “Over the years I’ve had to become more careful to consider the ramifications of each cartoon. I have to be conscious of how each may be perceived.”

With particularly contentious issues, he accepts “It doesn’t matter which side I show, I’ll get a lot of blowback. That’s the lot of being a political cartoonist though, I’m not drawing pretty pictures of rainbows.”

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The AFL Premiership posters have become a greatly loved icon. They represent our nation’s love for footy and capture the Grand Final excitement, with vibrant characters that ooze attitude and fighting spirit. Mark took over designing and illustrating these after WEG (William Ellis Green) passed away in 2008.

He says “I didn’t fully understand the weight of it at the time. I thought, once a year, I’ll draw a lion, a kangaroo or a magpie. When I received pressure from passionate supporters and clubs, I realised the huge expectations of what I would do. It’s lots of fun though.” He always waits until the preliminary final weekend before he starts.

“It helps me to get that energy into the drawings, in that moment.”

Mark has also been involved with the ‘Challenge Cancer Foundation’, which is a network for families of kids who have cancer. “They do a lot to support families, which makes a big difference because the stresses for these families are phenomenal.”

Many years ago, he came up with a mascot for the foundation ‘Leuk the Duck’ (derived from Leukemia). Since then, he has donated many of his paintings for charity auctions. Mark and the foundation are currently working on a series of books to educate children and families about blood cells, as well as the causes of cancers and treatments. He says “I created these science fiction characters to represent blood cells. When parents read the book to their kids, it will help demystify what’s happening to them.”

When he’s not working, Mark’s ultimate indulgence is sketching, just for fun. “That’s where I started - I just loved drawing and I don’t want to lose that.” When he goes on holidays, he takes along a travel sketch diary and a black fine-liner pen. He gets them out wherever he goes and draws what’s around him.

“Sometimes I’ll just sit sketching in a café with Sophy.”

The pages are filled with a variety of scenes, from resorts with people on deck chairs, tropical beaches, duomos in Italy and fig trees in Queensland, just to name a few. His eyes light up as he says “To me, that is the real pleasure of drawing and what I love the most.”

Instagram | knightcartoons

Website | knightcartoons.com.au

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the Iconic Meeniyan Art Gallery WORDS BY MEGAN WOOLFE | PHOTOS BY DOUG PELL

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“Ultimately, I think what the gallery achieves is fostering community connections around beautiful things.”

For over two decades, the community has poured its passion into this unique not-for-profit venture. It all started with a group of locals who invested in an idea that they hoped would boost the town’s profile. Today, Meeniyan Art Gallery is a creative hub, run by a group of dedicated volunteers.

When you step inside the charmingly rustic building, you find yourself in a gift shop filled with over 60 artists’ creations. Then further in, there are three separate gallery rooms with exhibitions that change every single month.

Gallery curator, Jasmin McNeill says “We showcase a diverse range of art that’s contemporary, experimental and thought-provoking. As well as paintings, prints and photography, we have also exhibited multimedia, video and found object installations. We have a number of themes and our exhibitions are really a reflection of what artists are interested in at this time. It’s very much artist-driven, rather than curator-driven.”

By the end of this year, the gallery will have had 31 group and solo exhibitions, featuring 87 artists’ work in 2023 alone. “We always have something new to show our regular customers, as well as the tourists who come through.”

So how exactly did Meeniyan Art Gallery become the successful, much-loved town asset that it is today? Lindsay Moore was one of the main instigators and explains “Back in 2000, a group of local business people and tradies got together. The idea of an art gallery popped up in conversation. There weren’t any in the town at the time and we thought it would be a great way to attract people to Meeniyan. It was a very quiet town back then - you couldn’t even get a coffee on a Sunday!”

Following that, a public meeting was held to raise funds. Lindsay says “We had about 20 - 30 investors who were all connected to the town. In fact, a lot of them weren’t even artists. No one expected to make much money, it was more about investment into the town, to lift it up.”

They established a committee, with Linsday as secretary. The original plan had been to build, although they hadn’t raised enough money to make that possible. When the oldest building in town came up for lease, the committee jumped on the opportunity. “It was in very poor condition but the position was fantastic - on the main street, right in the middle of town.”

It had originally been built before 1890, in another location in Meeniyan.

Then it became the town’s butcher and bakery, with changeovers in owners up until 1954. Amazingly, you can see the butcher’s marble slabs still in place in the front window today.

“When we first took it over, the floor was so uneven, you couldn’t even walk on it! We restumped the entire building in exchange for free rent for the first little while. It was initially run as a commercial business but after a short time, we realised it made more sense to operate it as a not-forprofit organisation.”

Lindsay then took on the role of chair of the committee for 10 years.

“From the start, the concept was to have a professional gallery, run by volunteers. We wanted it to be a contemporary art gallery with a curator or art director. That has stood us in good stead because it creates a high standard.”

“The whole vibe of the town has changed over the past 20 years, not entirely because of the gallery, but certainly it was a major contributor. It has been a stimulus for the whole district, so it’s had lots of benefits that have flowed through to the community.” Lindsay is no longer part of the committee.

He says “I’m too old for that now. Looking back though, I’m surprised and proud of what we achieved.”

These days, Jasmin says “Most of our artists live in Gippsland, but we get a fair few Melbourne artists as well, usually because they have grown up in Gippsland, have holiday houses here, or just love spending time in the area.”

She explains “We can support artists in many different ways. They have the opportunity to present a solo show or alternatively be part of a group exhibition so they can build up their experience. Artists who are interested in exhibiting have to complete an application process and if accepted, pay a fee. Then our staff and volunteers look after everything from the administration, installation, curation, marketing and invigilation of the gallery. Really all the artists have to do is bring us their beautiful works.”

The backbone of the gallery is the volunteer committee. “They guide the strategic direction of the gallery and have a say in operations. They also fill a lot of roles that are needed and have specific skills that help to elevate the professionalism of the gallery.”

Currently, there are 35 active volunteers with a range of roles.

The installation crew hang artworks, whilst other volunteers are the front face and sit at the desk providing information to customers about the artists and exhibitions.

Since Jasmin moved from the city, she says “I have been absolutely floored by how well this gallery runs and how successful it is… and that is very much down to the hard work and commitment of our volunteers.”

There are many benefits on both sides. “We often organise events where our volunteers can network and connect with others. They love being part of the arts community.”

“Ultimately, I think what the gallery achieves is fostering community connections around beautiful things.” www.meeniyanartgallery.com.au

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upcoming summer exhibitions

Ellen Taylor

Valmai Todd

december

january

february

Ellen Taylor using natural materials as a homage to her mother Christmas Creatives give the gift of art with 10 exhibiting artists

Linda Shaw blurring figuration and abstraction in painting Valmai Todd featuring lino prints and wood engravings Wendy Fletcher exploring the natural world through printmaking

Adam Cochrane embracing the wonders of Artificial Intelligence Bob Hickman paintings capturing the manmade world around us Florence Crighton watercolour paintings representing the natural world

meeni ya n a r t ga lle r y Open: 10.00am – 4.00pm | Closed Tuesdays | 84 Whitelaw St Meeniyan VIC 3956 | Ph: 03 5664 0101

w w w.meeni ya na r tga ller y.com.a u Set in Jindivick’s rolling green hills discover an acre of recycled metal sculptures and browse the gallery space hosting the work of contemporary artists and Laurie’s small stories sculptures.

Call in anytime, no cost and see the studio (amongst the metal chaos!)

RED TREE GALLERY EXHIBITIONS SUMMER EXHIBITIONS 2023/24 DECEMBER YVETTE STUBBS

Primary colours are secondary

Yvette Stubbs

JANUARY LISA GRANT

Symbolic art, meanings and abstract ideas

FEBRUARY ZOE CLARKE

Prints and Ceramics

Lisa Grant

For more info visit www.redtreegallery.com.au Thanks Laurie - Good on ya

420 Main Jindivick Road, Jindivick VIC 3818 P: 5628 5224 | E: info@lauriecollins.com.au

www.lauriecollins.com.au

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NED KELLY PORTRAIT - MARK KNIGHT

Mark Knight

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stargazing | Helen Timbury

Helen Timbury

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Cowes Cultural & Community Centre | Berninneit - Gathering Together | The Victorian State Opera

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Yvette Stubbs Yvette Stubbs | Primary colours are secondary

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Valmai Todd Valmai Todd

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Aurora at Kilcunda Photogaphy by Ginnie Allwood

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Simon White Simon White | Artist

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“Brilliant Sunset” Alcohol ink print by Maree Blore

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Aurora at Kilcunda Photogaphy by Ginnie Allwood

Blues & Hues Pauline Bailey A r ti s t , Wr iter , H i s tor ian WORDS & PHOTOS BY KEN ROBERTS

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It’s rare that the interests of childhood translate to what in adulthood become our passions.

Pauline Bailey, now living near Heyfield but from her early life in Melbourne, has been able to maintain these interests and turn them into her life’s work and constant joy.

From an early age growing up in a home with both parents sharing a love of music, Pauline too loved music. Combined with an interest in drawing, art and books she would never realise that later in life these would fill her days.

Growing up in Melbourne Pauline always loved the city lifestyle and the urban landscape that would have a lasting imprint upon her. She was in the perfect place to indulge her passion for music. She was fortunate to have seen her first musical gig at school with a visit by James Freud and band playing a concert. While most of her peers were watching Countdown at six on Sunday evening Pauline, through a school classmate, was able to get tickets to tapings and watch the magic happen live.

She remembers seeing many popular acts of the day and being a part of the crush of the audience and the heady thrill of being in the midst of what would later be seen as an iconic time in the country’s musical history, something the majority of teenagers could not even dream of happening! At 16 she went to her first real music gig to see Rose Tattoo, never suspecting that many years later she would become friends with members of the band.

Her interest in live music gigs continues until present day. She has travelled across the country and even the US, visiting Chicago in 2019 with her husband Dave to indulge in her lifelong passion for the Rolling Stones and going to their concert at Soldier Field Stadium. She was and still is a regular at Melbourne music venues and while once attending a taping of the SBS show ‘Rockwiz’ even became a contestant. Brian Nankervis the host became a friend and later opened two of Pauline’s art exhibitions in his own rock wiz style!

From her home in the bush on the outskirts of Heyfield with idyllic vistas, Pauline paints and writes, and lives with her supportive husband Dave who has a mutual love of music. Her now adult children Melissa and Shane also have a common interest in music albeit not as passionately as their mother! They have attended numerous gigs with their mum over the years and Shane has been playing guitar since he was very young. Now a grandmother to Melissa’s little boy, adorable Henry, Pauline surely hopes that this family fervour continues, it won’t be without trying!

Pauline has become an historian of sorts as she has a passion for recording images and stories before they disappear. Growing up in the city she loved the gritty reality of buildings and scenes, places and sights that most others wouldn’t look twice at. A much-loved series of her works were detailed paintings of tiles in Melbourne train stations such as Flinders Street and Richmond. These images were passed by on a daily basis by thousands and yet she could see the beauty that others had missed. Everywhere she goes now she photographs buildings, often decrepit, that may soon disappear. She will later paint these, and they include many locations in Gippsland as well as the city.

Pauline returned to study art formally in her forties and then never looked back. She has an impressive and constant list of individual and group exhibitions, with her works selling frequently. It was through a sale of one of her paintings to him that she met Kim Volkman, a Melbourne musician, who would become a good friend and have an amazing impact on her life. As a friend he would tell her many stories about his life and musical journey and at some point she suggested that they should be recorded somewhere. This became the impetus for Pauline to begin the process and the result was her first book, a writing collaboration with Kim, ‘The Devil Won’t Take Charity’ about Kim’s life story. It was to be a pivotal experience.

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Pauline Bailey | Artist, Writer, Historian During her early love of rock music she also slowly began a love for blues music. She discovered that many of her favourite artists also were inspired by the genre. After writing the biography of Kim Volkman she decided to learn more, but found that there was very little written about the blues music scene and the many artists in it. As with her paintings where she loved to preserve images of buildings before they were lost, she could see that it would be very valuable to record the stories of blues artists before it was too late. She began with one story after approaching an artist she liked and proposed an interview with the idea of creating a book telling blues artists’ stories.

Pauline wrote down a wish list of musicians she would like to interview. This list became longer and longer as her subjects would often suggest others. She began a constant round of sourcing and interviewing musicians around Australia over an 18-month period, which through her hard work and dedication resulted in ‘Blues Portrait: A Profile of the Australian Blues Scene’ released in 2019.

Through this self-published book Pauline unexpectedly created her own niche. She related the stories of these people and gave them voices that would otherwise have never been heard, something that hadn’t been done before.

Pauline’s literary venture was very well received and the book became successful, especially within the blues and music world. Her ‘problem’ was that she had barely scratched the surface of her long list of names and so she continued. During this time there was a worldwide pandemic, which while shutting down the live music scene, still gave Pauline the opportunity to research and talk to musicians on the phone and write their stories. The result was that she had enough interviews to create Volumes 2 and 3 together and launch them at the same time. Again, they were very well received and the story continued with more artists to interview. ‘Blues Portrait’ Volume 4 was the result of this further endeavour.

Nobody should underestimate the level of commitment and constant effort required to complete these works and the results show Pauline’s dedication and skill in achieving these goals. An acknowledgement of her success is the constant demand for her series of books which have gone around the country and overseas. Still, her list of subjects has not been exhausted and Pauline continues to work on future volumes. All this while painting and planning future exhibitions. She is an amazing woman!

She can be reached on social media at PaulineBaileyArt or bluesportrait19 on Facebook and Instagram.

Or visit her website - paulinebaileyart.com

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gippsland life summer

$9.95

ISSUE #57

GIPPSLAND ART

Check out our brand new section

RALPH McTELL

Legendary English music icon

MARK KNIGHT

The creative genius

BERNINNEIT

The new Cowes Cultural Centre

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