YARNS Autumn Issue 02

EDITORIAL

Hello, I am Petra Jungmanova, the creator and editor of Yarns. I am a Czech artist, author and curator now living in the beautiful bush Capital of Australia, Canberra. In the Czech Republic I was immersed in the creative arts, culture, adventure, and nature. When I immigrated and establish my new life in Australia some 20 years ago, I was determined to discover and expand upon the things I love in this amazing and unique antipodean world that unfolded before me.

The inspiration for Yarns came from my love for adventure, travel, human stories, and a deep connection to the land. I believe in the beauty and goodness in people, and that as we are the ultimate creators of our lives, we have the power to uplift each other. Added to this is my conviction of our need to learn to connect with and understand the collective experiences of indigenous communities around the world, as their stories become increasingly relevant to our lives today and for the future.

In Yarns we share the stories of various dreamers, romantics, creatives, travellers, adventurers, and achievers, young and old, from Australia and other cultures around the world. People who have ‘walked the walk’ and are telling their unique ways of experiencing life on their own terms. Plus, we will be featuring places and things, that I feel complement these experiences.

This Second Autumn Edition contains a curated mix of stories from and about people, places, and things covering the tapestry of a ‘real’ life both in Australia as well as places from overseas.

Future editions will come out quarterly so there is a Yarn for every season. These stories deeply touched my heart and I hope they will touch yours too!

Yarns Magazine acknowledges the Aboriginal and Torres Strait Islander peoples as the First Australians and the Traditional Owners and Custodians of the Lands where we live, learn, work and play; and we pay our respects to them and their elders, past, present, and future.

Peace, love and happiness,

Petra

DISCLAIMER

All rights reserved. No part of this publication - YARNS Magazine (ISSN 2653-5343) may be reproduced, distributed, or transmitted in any forms or by any means, including photocopying, or other direct or electronic methods, without the prior written permission of the Editor, except in the case of brief quotation embodied in critical reviews and certain other non-commercial uses permitted

by Copyright Law.

Editor PETRA JUNGMANOVA Contact details: +61 413 644 284 petra@yarns.today

CONTENTS

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GOLDFIELD & BANKS

Day 1 I first fell in love with this beautiful luxury perfume brand many years ago when I saw advertisement for their beautiful Pacific Rock Moss celebrating scent of the ocean, still my personal favourite for everyday wear. Ever since I was hooked and today all the beautiful bottles of perfumes sit happily together on my shelf like little treasures. I love their unisex nature and how you can have real fun mixing them together! At home I absolutely love wearing the Silky Woods which comes in a fantastic golden bottle and White Sandalwood for the most relaxed and happy feeling. I’m so thrilled to share story of this exquisite brand that loves and celebrates the sunburned country just like me

Petra: When did you fall in love with perfumes?

I remember when I was very young – about five or six – I would select my mother’s perfumes, and before long my teachers started to ask me for fragrance advice. I’ve sort of always had a love of perfumes, and I always will.

Petra: What inspired you and influenced you growing up?

So many things! Perfume, fashion, art – they all were an important part of my childhood!

Petra: Are perfumes significant in your culture?

Of course – I’m Belgian-French! Most of the world’s greatest perfumes and perfumers were born in France. I’m Australian too, and I think perfumes play a role in the culture here, though not nearly as much as in Europe. If you walk around the streets of Sydney or Melbourne, there just aren’t as many people wearing fragrances as in the streets of Paris or Milan.

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Petra: When was your journey to Australia?

I moved here about eight years ago, after spending some time here on-and-off while working with Cartier. The first time I visited, I was disappointed to see that there were no Australian perfume houses, even though native Australian botanicals are renowned in France for their beauty in perfumes. These are ingredients like sandalwood, boronia, mimosa (which is called golden wattle here). I jumped on this opportunity and decided to found Australia’s first luxury perfume house. And now here we are.

Petra: What do you love about Australia and its unique environment most?

Australia is one of the most naturally diverse places in the world, and it also has one of the best lifestyles, I think. Places like Kakadu, Fraser Island and Sydney all appeal to me in their own unique ways.

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Petra: In your wide beautiful range, the perfumes are often unisex and can be used together. What inspired you to make your products so wildly different and unique?

Australia is a wild country full of diversity, so for the perfumes I wouldn’t have wanted it any other way.

Petra: How does perfume creation look like from beginning to the end?

Each perfume starts with an idea. Maybe it’s a new botanical I smelt, or something I notice while walking through nature, or a grower I met. Then I turn these ideas into a written brief, which I send to a perfumer, and then we work together to bring the idea to life in a unique and beautiful way.

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Petra: What brings you most joy?

Getting on a plane to fly north – maybe to Byron Bay, or to far north Queensland.

Petra: What is your favourite thing to do in Australia?

I really enjoy walking. It’s a great social thing to do with friends, and there are so many beautiful places near where I live in Sydney. Travelling to other parts of the country gives wonderful new experiences as well, whether it’s Queensland’s tropical Daintree Rainforest or the architecture of places like Adelaide. All these places have a certain beauty to them that is hard to put in words, and exploring these ancient landscapes is very inspiring.

Petra: When people send your perfumes to their families and loved ones overseas or wear them to feel connected to their homeland, what does it mean to you?

I love that my perfumes have become a way to emotionally connect to Australia, particularly because so many people haven’t been able to get home to Australia over the last couple of years. It’s so nice to see that so many people associate this collection with Australia and with their positive memories of the country.

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RANDALL SINNAMON

Day 2 Petra: I met Randall in Jervis Bay and got familiar with his work over time. With him you’ll always know that he’s working on something wildly creative and unique. My son still remembers one of his very provocative and funny sculptural pieces. Isn’t this the role of art after all? His works are very engaging and his love of the environment he lives in comes through. Randall is actively engaged in protecting Indigenous sacred sites and preserving the nature of Huskisson as a little coastal town. I can’t wait to see his next exhibition featuring his works created in the bush on his large property. He gets up, makes himself a coffee and heads to bush where he makes a fire and paints the colours of the sunrise on the trees around him.

Randall: Working in the fields of sculpture as well as 2-dimensional art, the mediums that I use are varied. For sculpture I have a large collection of what could be seen as useless junk from old keys to disused typewriters, to interesting pieces of wood. Also wax for making bronze sculptures and clay for ceramic work. For painting it is oils or watercolour and for drawing usually charcoal and ink. With assemblage I aim to use all of the above. I don’t aim to have a style as such, however looking back over my work there is probably something like that that has emerged.

My main influence growing up in terms of art would be nature. The nature table in primary school was always a favourite as were the birds out the window during math. My art training has led to me working in different situations with a mixture of different groups. Teaching in primary schools, 10 years of working with high school groups at Bundanoon, 3 years of doing art in the prison system through TAFE, and also running private workshops from my studio for retirees and students with a disability.

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My home and my creative space are really the same thing. I eat in the studio space and the bedroom is full of paintings. There is usually a paintbrush in the kitchen sink. This has always been the case and will hopefully never change. Of course, with outdoor painting, the environment becomes your creative space, and this becomes the focus for my work whether it is in the bush or on the beach.

Presently I have been working on drawings on marine plywood that I leave in a clearing in the bush, letting nature take its course on them as well as me. The plywood allows for some sanding back and engraving as an extension to the use of ink and charcoal.

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As much as I have tried, I find it difficult and somewhat boring to establish a routine.

Spontaneity seems to force itself upon me. I do 3 days of teaching art per week and for the rest it is a juggling act of social occasions, music events, rural life chores, building an extended studio space, and creating artwork (sometimes at dawn and sometimes after midnight, sometimes for half an hour and sometimes all day). In creating another studio space, I am aiming to have an area predominantly for printmaking that will work as a gallery space in which I can also hold small music events and life drawing.

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As far as COVID is concerned, not a lot changed for me except for less visitors and the inability to hold exhibitions. There were some online selling exhibitions but my dislike of sitting in front of a computer hampered any possibility of Facebook / Instagram / Tik Tok type fame and fortune.

Living on a rural bushy property has its pros and cons. I was able to be a goat-herder for a time, however the pleasure was finally overcome by the pain of constant escape, noise, and the increasing price of lucerne. This is now someone else’s problem and my fruit trees have started to grow back. There is also the rat that has been eating my paint. This can become very expensive when some tubes cost $130. When they are nibbled down both sides then the paint must be used before it becomes dry. Nature influencing my artwork! The outcome of this tragedy, however, is a fine collection of coloured excrement that has evolved into a sculptural piece that I will enter into the NSW Art Gallery Wynne prize for 2022.

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In saying all this, there is an obvious importance of art and creativity to my life. It has become a mindset or a platform from which I view my world. I have made numerous sacrifices to maintain the momentum and it has been full of disappointments and rewards. I have used it as a record of my own travels and thoughts and as a documentation of local political considerations, a reflection of beauty and a source of humour. If not only to myself but hopefully to the wider audience.

Finally, as far as upcoming projects go, I am working on a collection of new drawings, paintings, and sculptures to be displayed in an exhibition at the Jervis Bay Maritime Museum later this year.

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RAW SURFBOARDS

Day 3 I was born in Czechoslovakia so access to the sea was zilch. I think that’s why I’m so obsessed with everything to do with the ocean, especially the seafood! On my travels I’ve heard of place that still produces surf boards by hand and I wanted to do that story for a long time. I loved visiting Ben Shaw in his fantastic coastal workshop and be around fibreglass again, it reminded me of my mother.

Petra: When did your love affair with surfing start?

Ben: I was born in Sydney, but my family are from Tathra, on the Far South Coast of NSW. My grandparents lived in Terrigal, and I would visit them most weekends and when I was about 5 my nan bought me my first surfboard and wetsuit. At the age of 11 my family and I moved back to Tathra.

All my mates surfed so I have surfed most days since.

Petra: Did you grow up near the sea?

Ben: Born in Campbelltown in 1976, I travelled to Terrigal as often as the family could. Got out of Sydney when I was 11 and have not lived anywhere but by the ocean since.

Petra: What inspired you to start your own surf board business?

Ben: Being an enthusiastic surfer in my teenage years, I would muck around with boards, fixing my own repairs and such. and it grew from there. I started my apprenticeship at age 16 as a fiberglass manufacturer and started making my own boards for me and my mates. After I finished my apprenticeship, I went out on my own in Tathra for a while, then moved to Wollongong at age 21 where I started working for Paul Nichol.

After he retired, I took over his factory on Flinders street and started Raw Surf boards with a business partner for about 3 years.

My wife and I had 1 son and another one on the way so decided to relocate back to Tathra to be near family and set up the factory at my home on Evans Hill in 2004.

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Petra: Can you describe how did the use and types of surf boards change over the years in Australia?

Ben: From when I first making boards in the 90’s most people only had 1 board that they would ride in all conditions whether it was 1 foot or 10 feet.The boards were commonly longer, narrower, and thinner than they are now.

Today, most people have multiple boards specific for wave types and conditions. Smaller wave boards are generally shorter, thicker, and wider for stability and manoeuvrability.

These boards can be constructed from original methods, e.g. polyurethane foam and polyester resin or styrene foam with epoxy resin giving the board more floatation.

Modern methods of surf board manufacturing have changed.

When I started all boards were hand shaped from start to finish but with the invention of CNC machines specifically designed for surf boards it has allowed boards to become much more accurate in the shaping process allowing you to do subtle changes that can make a big difference in the boards performance and obviously increase productivity. With the added bonus of having fin systems in your board instead of the old way where fins were permanently glassed in, you can change your fins to suit the conditions giving you more performance in all wave sizes.

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Petra: How does the surf lifestyle in your part of world looks like?

Ben: Tathra is a small coastal town down the Far South Coast of NSW and still has a fairly small surfing community compared to other regions along the coast.

Years ago, it was mostly a male dominated sport but today the attraction of a healthy coastal lifestyle has led to a huge increase in all ages and genders joining the sport. Many older surfers who had stopped surfing have resurfaced with their kids and grandkids and it’s great to see so many people out in the water. There are some great local coffee shops along the beach in Tathra, surfing has become more social, meet up, have a surf then debrief with a coffee afterwards.

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Petra: Do you surf with your family?

Ben: Both my boys are very active. Surfing is one of many sports they do, and I am generally the taxi to and from the beach. Most family holidays are spent in Queensland chasing a good wave and warm water.

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Raw Surf boards

Petra: What makes Raw Surf boards so unique?

Ben: A lot of boards now are made overseas in countries that mass produce with cheap materials and cheap labour. I pride myself on hand making my boards with top quality materials and attention to detail. I originally started out employing staff to help me in this process but have downsized to a 1-man operation to allow for a more hands on approach where I see a board from start to finish myself. Having a showroom on site allows me face to face contact with my customers. This gives a more personalised experience when deciding on a type of board specific to the individual surfer.

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Petra: How long does it take to make a board?

Ben: It generally takes about 3 days depending on drying times, weather conditions and on the style of board, colours, tints and finishes.

Petra: There is new surfing popularity among young girls, can you describe the local scene?

Ben: In recent years I have noticed a huge increase in the number of young women taking up surfing in the local area.

There is definitely not as much male ego directed at women today and most guys encourage and give advice to them.

Petra: What brings you most joy about what you do?

Ben: The best part of my job is making a board from start to finish and people getting enjoyment from my creations.

Surf board manufacturing is an art, and each board is different.

No surf board manufacturer is the same and this is expressed in the finished product.

Petra: What is the best first board?

Ben: Depending on the individual. You need a stable board that has good floatation and width. A good start for kids is a soft board that allows them to surf between the flags and gain confidence and having the protection of the foam and soft fins. Most adult beginners start with a mini mal, 7-8ft made of fiberglass construction to give it more manoeuvrability and durability than the soft boards. The best first board is the one you feel most comfortable with.

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Cheyanne Girvan

CHEYANNE GIRVAN

Day 4 12 months of hard work and a solid 4 months of Axellerate periodisation has helped head trainer Chey pick up 5th place in the Ladies Underhand Championship at the Sydney Royal Easter Show!

I had the privilege to hang out with this very cool woman during the Bombala Show, and I loved every minute of it! Cheyanne has a great story of what it means to be a woman in a male dominated sport and how lovely the woodchopping community is. You will want to buy an axe and join the club at the end of the story, because these guys know how to have fun!

Petra: Where were you born?

Cheyanne: Cooma, Australia Petra: What was childhood in rural Australia like?

Cheyanne: Extraordinary and challenging. I was fortunate enough to be raised in a horse loving family and spent my childhood on horseback – camping, chasing brumbies, Pony Club and privileged to have seen so much of country NSW and Victoria on these adventures. I was taught how to find water, food and build shelter if I ever needed it from an early age but also remember the hardships and implications of drought.

Petra: What is your first memory of woodchopping and what makes it so quintessentially Australian?

Cheyanne: My very first memory would have been Sydney Royal Easter Show as a kid – Mum was competing with the horses and Dad just says, “I’m going to the woodchop, if you need me, I’ll be there all day”. But it wasn’t until years later that I saw how engrained the sport is in Australian culture but not in the way you see footy codes engrained. Its origins can be traced back to the early 1870’s in Tasmania and has continued to be a huge sustainable industry until recently. It truly is Australia’s heritage sport.

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Petra: What made you enter the male-dominated woodchopping sport?

Cheyanne: I didn’t set out to do it for the sake of promoting women; I did it as a means to end homesickness of all things! I had moved to Canberra in 2011 and the homesickness was so significant that I couldn’t sleep or eat until a family friend (who happened to be my brothers coach) asked me if I’d like to go away for a weekend with their family while they were competing in the woodchop. I distinctly remember asking “where are all the girls” at Goulburn Show and 6 months later I became the first female on the NSW U21 Representative Squad!

Petra: Can you share what your journey of a lady woodchopper looks like from the beginning?

Cheyanne: My journey has been anything but straightforward, traditional, or linear. I’ve had a number of stop/starts from injuries, financial restraints and clashes with work. That said, the WOW (Women of Woodchopping) Program we now run at the Hall & District Axemen’s Club in Canberra helps to streamline the process. We start out by having ladies come along to 3-4 sessions with just ladies so it’s a safe and inclusive environment. We run them through the basics, safety, what you need to know, end goals and how to get there. After a few months of training 1-2 times a week, we encourage them to integrate into the normal club training sessions and start chopping at any local demos we run, and then keep building until their comfortable to enter an official event.

Petra: You also run your own unique fitness business; can you share more?

Cheyanne: My background is sport. I have a Bachelor of Exercise Science & Sport Coaching and a Master of High-Performance Sport (Science & Analytics) and I’m very passionate about promoting healthy and active lifestyle choices.

Despite being quite active all my life, I’ve been overweight for the majority of it, and having lost 35kg following a serious knee injury in 2017, I understand how hard weight loss can be and the difficulties in changing mindsets. I’ve also enjoyed helping people in a range of areas and I love being active myself but hadn’t quite worked out how I could best do this.

Cue November 2021 and I meet the most incredible bunch of supportive women through the first intake of the WOW Program. I’d noticed across all our new members (both female and male) that they were lacking certain fitness aspects, so I took a leap of faith, and put most of my savings into a business: Axellerate. I designed a unique bootcamp called Axe Fit to help improve their training and performances and also offer online programming where anyone in the world can benefit from my coaching and unique perspective. I regularly have people in Wales and Canada complete workouts I’ve designed!

I’m also a pretty creative person and love to paint, take photos, draw and make crafty things like earrings which I also have under the Axellerate umbrella!

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Petra: Where do you travel and compete?

Cheyanne: I compete mostly in southern NSW but do travel to the larger shows (like the Sydney Royal Easter Show, Royal Melbourne Show and recently Adelaide for Stihl Timber sports qualifiers) but the furthest I’ve competed away from home has been Wales!

I was travelling through Scotland at the time and a friend of a woodchopping friend reached out and asked if I wanted to come woodchopping for a week… I changed my plans and they picked me up from the airport the next day! In doing so, I became the first woman to compete in chopping events at the Royal Welsh Show (biggest agricultural show in Europe) and now pleased to see a healthy number of women now competing throughout the UK following this.

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Petra: Are there many other women?

Cheyanne: Not as many as we would like, but definitely more than what you think!

We’re making progress though – when I started, I was 1 of 4 competitors in Canberra.

Now there’s approximately 50 with a third being women Petra: Your brother competes as well, what is it like to share something so unique?

Cheyanne: Ah, he’d probably tell you that I’m a thorn in his side and to bugger off, but there’s definitely some healthy competition between us! Don’t tell him this, but I like that it’s something we do that no-one else in the family does.

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Petra: What do you love about woodchopping most?

Cheyanne: The community of people and the empowerment you get within yourself Petra: What are the different types of competitive woodchopping? (variations) Cheyanne: Underhand (the one you stand on); Standing Block (the one that you cut vertically); Sawing (plenty of variations here – single handed sawing [one person], double handed sawing [two people]); Tree felling (everyone’s favourite where board holes are cut, and they climb the tree pole).

You’ve also got a few others like chainsawing, axe throwing and hot saw events, but they aren’t as common. And of course, you can’t leave out Stihl Timbersports – you have an underhand chop, standing block chop, single buck (single handed sawing), chainsaw, hotsaw (modified chainsaw) and springboard (variation of tree felling). Depending on your category (women’s, rookie & pro) will determine which events you compete in.

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Petra: The woodchopping community seems very tight knit, is that a camaraderie for life?

Cheyanne: Yes, 100%. Particularly with the Hall Axemen, it’s like an extended family that you actually like!

A heart-warming example of the camaraderie is in 2020 I nearly died from a freak bike accident. I ended up with a whole heap of bone bruising, Post-Concussion Syndrome (PCS) and PTSD with several doctors repeatedly telling me there was nothing to be done, just wait it out. I eventually started exposure therapy for the PTSD, but I was still struggling daily with PCS. Shaun, the president of the club, convinced to me get out of the shell one day and come to the first ever women’s session (which sparked the WOW program) and I happened to meet one of our new members, Pete. Not only had Pete never met me before, but he kindly offered me treatment through Enhance Healthcare for the PCS – he had someone on his staff who could help me. I worked with Jaimi for months and the PCS improved and had my last appointment with her a week before I won the Ladies Underhand at the Sydney Royal Easter Show having started at “your brain is so bad you shouldn’t be able to swing an axe right now”. They will be three people I hold in good stead for the rest of my life and amongst other things we’ve done, and they’ve supported me on, are people I will always be grateful I’ve met.

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Petra: What is the story of your axe?

Cheyanne: Meet Luna! Most of us name axes just so we can tell them apart – different axes have different grinds and are for different types of wood.

Luna is a half-banana grind, which reminds me of a moon hence the name Luna! Luna is also part of the Engineered for Axemen range of new Axewomen axes – the first brand new axe heads created specifically for women.

Special mention to Pete Flentje who’s provided me three of these beautiful axes and a shiny new axebox to put them in. Pete is a huge supporter of what we do at Hall Axemen and makes quality gear.

Petra: What is the dream?

Cheyanne: First and foremost, I would love to see a world in where women don’t have to fight, push and persuade people, committees, show societies and sponsors to hold women’s events and then in turn, equal prize money.

More events equal more awareness which in turn gets more women interested and you build momentum. We’ve got a long road ahead of us on that front, but we’re making progress!

I am a naturally competitive person and will keep working towards trying to make the Australian Women’s Team and win a world title. But I could happily retire from woodchopping not doing either of these things provided we make progress for women as a collective in the sport.

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BEES Day 5 Beekeeping has always fascinated me, I just love the technical part of it. It was not until I was invited to participate on one very hot day to go and check beehives and do the whole wonderfully scary experience as a part of the photo shoot. I never photographed in a full body suit with gloves on, but it’s possible! My camera still has beeswax on it and smells like honey each time I take a picture. David Croft started the Diplomatic Bees in Canberra and I’m grateful to the Czech Embassy for posting the information on their page. Apparently Czech bees need a new queen! Welcome to the amazing world of bees.

Petra: How did your affair with bees start?

David: About four years ago I had expressed a passing interest in beekeeping but had not pursued it due to work demands. One night my wife pointed out to me a course in beekeeping run by the local government. When asked at the course why I wanted to start beekeeping, I replied that I could see the advantages in increased bee pollination in the community, and I wanted to participate in this activity. Perhaps the idea was a little romantic, but as I went through the course, I became more and more interested in the whole cycle of beekeeping, the increased responsibility of looking after a group of living creatures (I am now considered a livestock owner), and of course, the reward of honey.

Throughout the course, I became increasingly interested in the skills required to observe the behaviour of the bees and deduce their ‘state of mind’, health, and vitality. This greatly interested me, so I decided to start keeping bees.

When I asked my wife, why she thinks I started my affair in beekeeping…she replied grinning, ”You only started it because you knew they were all female”

Petra: What is unique about beekeeping in Canberra?

David: I observed that Canberrans consider beekeeping as a critical task to maintain the balance and health of the local environment. From my experience, although the honey is a nice reward, foremost in their thoughts is the positive environmental impact of keeping and maintaining a healthy colony of bees in their local environment. What I note, is that whilst collecting swarms and colonies of bees reported to me for pickup, people are willing to call out a beekeeper to rescue a colony of bees, rather than call out a pest controller.

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I have also been called out by pest controllers, who would rather forego the job and payment and pass the job to a rescue beekeeper to collect the swarm. Without comparison, I observe that Canberrans are becoming increasingly aware of the environmental and ecological value of maintaining and encouraging a healthy bee population in Canberra.

Petra: How many beehives do you have and what does it take to look after them?

David: I have approximately 60 hives across four apiaries. In the warmer months, the hives need to be inspected about every 3-4 weeks for brood health, pollen and 93

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nectar supplies, bee and queen bee vitality, and of course, honey stocks. In addition to this, hives need to be built, hive frames need to be constructed, and honey extraction and the processing plant needs to be maintained and kept operational.

At the height of the season, it takes all of the weekend, and one or two nights a week to keep the apiaries running. I occasionally work late nights doing extractions. A single hive can deliver 20-25 kg of honey and take two or three hours to extract. All the while I am planning my next task to either conduct another harvest, move hives, or assist new beekeepers in their hive maintenance.

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I have been placed on the ACT swarm collector’s list, where I am called out to capture swarms in homes or public places. This activity is very time and resource consuming. Over a five-week period last year, I was called out to, and collected 53 swarms in the Tuggeranong region alone. The three principle drivers that that helped me maintain the swarm collecting activity were public safety, animal welfare, and my love of the activity. A colony of bees living outside a hive are considered a noxious pest, and inside a hive, livestock. The decision to keep on with this activity was easy.

Petra: How did your Embassies beehive project start, and which countries participated?

David: With so many swarms collected, and now rehoused into hives, I was contacted by one of my swarm collector peers and asked if I could supply a few colonies for the Austrian Ambassador who had set up a couple of hives in readiness at his residence. Over time I supplied bee colonies for both of his children, and assisted them to conduct hive inspections, as well as colony maintenance and general welfare checks. Word got out across the diplomatic grapevine, and I have subsequently supplied hives to the Czech and Portuguese residences and am assisting the French ambassador to set up three hives in the grounds of the French Embassy. The current Canberra diplomatic beekeeping corps include the French, Austrian, Czech, Slovenian, Slovakian, Swedish and Swiss Ambassadors. Overall, across the diplomatic community in Canberra, there in an intense awareness of the need to assist in the maintaining of a strong and viable positive environmental footprint and statement in Canberra.

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Petra: What is the hierarchy of bees and what their individual lives and roles look like?

David: Wow – big question…Let’s start with the females.

Queen’s lay by choice a Female or Male.

Females Their lifespan is 6 weeks in summer and 4 to 5 months in winter.

After spending 21 days in a cell transitioning from an egg to a larva to a fully grown bee, the sequence of events are usually as follows: 1. Emerge from cell. Clean the cell up for the next egg to be laid.

2. Build wax comb 3. Undertaker 4. Feeding and caring for the brood stages 5. Sometimes being a queen attendant and ensuring she is fed 6. Controlling temperature and humidity around the brood nest 7. Keeping the hive clean and free of debris and disease organisms 8. Stocking the collected pollen and nectar into the wax cells 9. Defending the hive 10. Foraging for nectar, water and propolis 11. Making decisions regarding the possible need to ‘re-queen’ the colony if the queen is not laying or is sick or old.

Males Drones get the short straw. As something of a simplification, they have one thing on their mind - sex. They live for the chance to mate with a queen by flying as a mating swarm and attracting them with a special pheromone. To preserve genetic diversity, they won’t mate with a queen from their own colony.

The very act of mating is their last act and they will die after pulling away from the queen. If they don't mate, they will generally live around 5-7 weeks.

However, drones born in late summer have a different future.

Aside from the important and essential benefit of genetic diversity, drones really add little value to the colony. Except that…it has been noted through observation that the presence of a large amount of drones in a hive indicates a healthy hive, and they are also a temperament leveller across the female population of the bees.

They don't forage or help with the production of honey in any way. But they do consume resources.

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Workers are accepting of this drone behaviour during the spring and summer, when such resources are abundant. But the idea of a drone being part of the winter cluster is offensive to workers - drones haven't contributed, so why allow them to stick around through the winter?

For this reason, towards the end of fall drones will be evicted by workers, to die outside the hive.

The Queen…

After mating with 10-20 males, she will fly back to her hive and start laying between 2000 – 3000 eggs per day, choosing the sex of the egg every time she lays. She will lay between 2-3 million eggs in her lifetime, being fed only with Royal Jelly by her 10-20 attendants throughout her lifetime. She will be so engorged by eggs semen and Royal Jelly, she will not be able to fly, except when the colony decides to swarm. When the colony decides to swarm, the workers will chase her around the hive and starve her so she builds up fitness and loses weight so she can fly. And just to drive the nail home, as they are the boss of the hive, the workers, in this time, will gorge themselves on nectar and honey in readiness to swarm.

If at any time the queen slows, or stops laying, or shows sign of sickness, the workers will start a queen replacement programme by starting a queen cell for a new queen, and at the same time, chase her out the hive and kill her.

The Worker.

The worker is the boss at the top of the hierarchy, making decisions for the good of the hive, and following through with the appropriate actions.

Petra: Can anyone learn beekeeping?

David: It’s a difficult question. Anyone can learn, but not all should become beekeepers.

Yes, after undertaking a course in bee husbandry, and with the assistance of a mentor, and they are serious about the craft they can qualify, however there are some reasons why people should not.…

1. Those who are allergic to bee stings should be strongly encouraged to refrain from beekeeping.

2. There is a serious amount of learning to be undertaken to start and maintain beekeeping. Bees can ‘do it themselves’ but it is neglectful, cruel, and irresponsible to start a hive and not attain the skills to maintain it. The beekeeper must also be fit, as there is a significant amount of lifting and moving heavy boxes. A beekeeper undertaking a hive inspection will usually need to lift boxes off the hive in excess of 20 – 25kg. If they can’t consistently do that it is negligent.

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3. A younger person should have an experienced adult beekeeper with them to ensure the younger person does not miss anything and employs the right skills in hive management. If a new beekeeper doesn’t have a mentor or trainer available to assist them this can be a problem. Google or YouTube is not a mentor or trainer.

4. If they have romantic ideas about beekeeping and how ‘nice’ it is – then NO. Sometimes, hard decisions need to be made about hive management. I recently had to euthanise a hive due to its aggressive and dangerous temperament that couldn’t be controlled. If a beekeeper cannot make, decisions like this, then it is not a suitable pastime to undertake.

Petra : What are the greatest joys of beekeeping?

David: Not in any order 1. Building up a very small or new colony into a robust and productive hive 2. Training and mentoring a person (child or adult) to confidently open and inspect and maintain a hive 3. Opening a hive and seeing a strong population of bees and the brood, the eggs and the honey.

4. Conducting a large honey harvest 5. Extracting and potting the honey and seeing the faces of my friends and customers when they first sample the honey 6. Knowing that I am making a positive impact (albeit small) on my local environment.

7. Walking past my hives and smelling the sweet smell of honey coming up from the hives

Petra: What is your experience with children around bees?

David: 1. Taking my 7y.o. grand-daughter out to do a hive inspection and getting her to pat the bees with her bare hands. – and then telling her mother after what I did.

2. I have trained more children than adults to become beekeepers. I find that they have less fears and preconceptions in beekeeping, and approach a hive inspection without trust and a curiosity that continually impresses me. They strongly show a genuine interest, care, and fascination in beekeeping and bee behaviour and bee husbandry.

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Petra: What are the social aspects of beekeeping?

David: An interesting question. It’s the perfect scenario for social distancing. Not too many people want to stand close to me while I am collecting a swarm.

At parties and get-togethers people want to find out, with increasing detail, all aspects of bees and beekeeping. They often come with ‘facts’ that they have learnt about bees which either need qualification or gentle redirection. More often than not, there is a general fascination for ‘bee facts’ and stories wherever I go. Especially when you turn up with a tasting sample.

Amongst the beekeeping community, there is a strong collegiate and support mentality supporting each other with advice and activity. Sadly, some people call you to come to their assistance for a bee problem, because they know you need to do it, or you do it for fun, or because you are tied to the principles of animal welfare. The only things that stops beekeepers walking away from these entitled people is animal welfare and public safety.

Petra: How does beekeeping look like in 2022, are more people interested in making it part of their home life?

David: 2022 is a great season for bees and honey production. Rains have slowed down nectar and pollen collection, but the abundance of flowers and nectar has far exceeded the impact of the rain. This year looks to be a bumper year. Across four of my hives. I recently did a partial harvest of 72kg of honey.

There is an increasing awareness and appreciation of beekeeping, and more and more people are taking up beekeeping as a hobby, mainly in recognition of the need to be environmentally and ecologically responsible in their local area.

Petra: How do you extract the honey?

David: There are a number of ways. Honey in the hive is contained in frames containing capped cells full of honey, and there are a number of ways to extract the honey. In large volume enterprises, a spin extractor is used. The honey cell caps are cut off and drained over a grate to capture the honey. The frames are then spun in the extractor, releasing the honey through a valve, into a sieve, and collected into buckets. Where it is not economical to buy an extractor, the honey comb is simply cut up finely and hand squeezed into a sieve and drained into a bucket.

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Petra: Can you share how you make your own mead and other products at home?

David: Mead relies on yeast (sometimes bread yeast) fermentation of sugar into alcohol, which is the basic formula in mead, where the sugar in mead is replaced with honey (approx. 85% sugar). Different flavours are added such as cinnamon, cloves, oranges, and nutmeg and raisins. Different flavours can be added by preference, such as apples, blackberries, blueberries, etc. After the ferment, which may take a couple of months, the mead liquid is syphoned into a secondary container, where the flavours are left to develop for up to six months, then the fully developed mead is bottled in readiness for consumption. Initial sugar readings are taken to calculate the alcohol by volume expectation. My current batch will reach 15.75% Alcohol By Volume (ABV). ABV can be controlled by the type of yeast used and the amount of sugar (honey) added to the ferment (most). An excellent failsafe recipe can be found by searching “Illawarra beekeeper mead recipe” In addition to the mead, I am producing apple cider, and ginger beer, and replacing the sugar with honey, which adds a characteristic depth of flavour to the brew. With the abundance of fruit in my back yard, I am brewing up liqueurs such as blackberry, cherry, peach and pear liqueurs. They all need frequent sampling for the purposes of quality control.

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TARESE KLEMENS

Day 6 Meet Tarese Klemens, the insanely talented fashion designer based in coastal town Newcastle just two hours from Sydney. I’ve been a fan of hers for many years and her dreamy creations never cease to amaze me. I love how playful and bold she is with her work.

Wouldn’t you just love wearing a TARESE KLEMENS original? Why not I say!

photoshoots with local photographers. I realised that I loved eveningwear and the couture pieces I saw on runways made my heart happy. And that's what began guiding the direction of my work. I have never done my own embroidery by hand, but I have embroiderers that I can work with if someone wants a unique custom lace!

Petra: How would you describe what you do?

Petra: How does your environment influence your work?

Tarese: I describe myself as a fashion designer of one-off and limited-edition couture gowns and pieces.

Petra: What inspired you to start? When did you start? When did you learn how to sew?

Do you do your own embroidery as well?

Tarese: I stumbled across design; honestly, I didn't even know I was creative. After going to a residential program called Destiny Haven to find freedom from self-harm, an eating disorder, depression and the effects of a traumatic past, I discovered sewing. As part of the program, we learnt to make bags for their social enterprise to raise funds for the program. After mastering the bags, I tried clothing, somewhat unsuccessfully, as I had no idea what I was doing. From there, I realised I needed to learn more, and studied for two years at TAFE. As I learned new skills, I would practice them, make outfits in my spare time, and do

Tarese: I am constantly finding inspiration around me, very often in nature. I started learning to be mindful and staying present as part of my therapeutic journey. I've realised that the flow-on effect is that I have begun to notice things that inspire me and give me joy.

I have a folder filled with photos of flowers and colours and textures that inspire me for one day when I can create custom printed fabrics. I may not currently have the resources to create to the extent I am inspired yet, but I know one day I will, and I will continue to be inspired for that day. That doesn't stop me from creating, however. I've had this motto of "do the best you can with what you have" from the very beginning. So, I create magical pieces with the resources and the fabrics I have!

Petra: Did you play lots of dress-ups as a kid?

Tarese: As a kid, not so much; I came from quite a conservative background; I was never

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allowed to read fairy tales or watch any Disney movies or whatnot. So, I had no idea what fashion was, and I'd never seen any gowns. I was obsessed with flowers, though; I used to pick them and put them in my hair and around my waist. And I still love flowers to this day, which is evident in my gowns.

Petra: Do you remember the first dress you made?

Tarese: Yes! My first dress was before I'd studied fashion or knew anything much about making clothing. I'd picked one of the most challenging fabrics to work with, and it had so many mistakes and was a bit of a mess! But I liked its idea, despite not quite knowing how to execute it at that time.

Petra: How would you describe your creative journey?

Tarese: A little messy and joyfully crazy. Often, I make outfits with lots of fabric, and when I'm in the midst of creating, somehow fabric and threads and pins find their way everywhere, often in the most random places.

Petra: At which moment do you decide to design and create gowns?

Tarese: In my spare moments!! Honestly, there's no particular time I can pinpoint where I design and create. I dream up many gowns at all hours of the day, and I make some of them when I can.

Petra: Is your family supportive in your creative ventures?

Tarese: They are indeed. And it makes my heart really happy knowing there are people who encourage me to dream big and dream crazy as if there were no limitations and then walk that journey with me.

Petra: Gowns, what is so special about them?

Tarese: Good question. Sure, a gown can be pretty, but it isn't as special as when someone puts 'that' gown on and feels so confident and fabulous. It's as if the wearer brings the piece to life; they complement the gown, and the gown compliments them. Sure, I love a couture gown with tonnes of tulle or embellishments. However, the real special moment is where it's slipped on and almost becomes an extension of the wearer.

Petra: Do you think people should wear gowns more often? Why? Tarese: Of course!! Maybe I'm biased because I want others to wear my gowns!! But why can't adults dress up?! Most of us have a part that likes to dress up and be fierce or beautiful and wear something that makes them feel special.

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Petra: What does the creation of gown from beginning to the end look like?

Tarese: Sometimes it starts with a sketch, especially for a client. Then together, we walk the creative journey through fittings, fabric choices, and the finished outfit. But if it's for myself, often it's more organic. Sometimes I might have an idea and start with it, but the piece evolves. Sometimes I start with a length of fabric and see how it will speak to me or ponder the best way to showcase it. Sometimes I just get out fabric and pins and see how it falls on the mannequin. It really varies.

Petra: Is every piece an original?

Tarese: Yes, every custom piece is original. I can replicate the samples I make. But often, people choose to have a custom piece created especially for them to fit them and incorporates both theirs and my style into the piece.

Petra: Can anyone have a gown made by you?

Tarese: Yes, of course!

Petra: Do you have a favourite style, or are you creatively fluid?

Tarese: Eveningwear and couture for sure! My style does evolve; I would probably say I have favourite fabrics more than a favourite style. And those fabrics are tulle and lace. All the beautiful things!

Petra: How do you see female beauty and the pressure from media on a body image?

Tarese: Unfortunately, there is such an unrealistic expectation from the media of what women should be. For the most part, it's that 0.01% of the population who are models that appear in the media. There's that expectation that we aren't worthy enough if we don't look like a photoshopped model. Things are changing in the media, but we do have a long way to go.

As someone who used to have an eating disorder and pinned those models to my walls as inspiration to lose weight, I intimately know the dark side.

Although my eating disorder was more a result of attempting to cope with trauma, I know that I aspired for thinness in an attempt to find worthiness.

However, over the years of my own personal healing journey, I've come to appreciate inner beauty so much more. When someone has fully embraced and is comfortable with themselves and knows their own worthiness, there is a genuine authenticity that is beautiful. Not only to see but to experience. External beauty may be remembered for a while, but it fades. On the other hand, internal beauty positively impacts those around them and is remembered much longer than a beautiful face or body.

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Petra: Where around the world are women wearing your pieces?

Tarese: Mostly around Australia, but I've worked with a couple of photographers overseas. And I can't wait to see more people worldwide choosing to let me dress them! That would be such a dream.

Petra: What is the reaction when people see your pieces?

Tarese: They usually have a sense of excitement and joy; it's almost as if it's something out of the ordinary that brightens their day. And I love that my creativity can brighten someone else's day, even if in a small way!

Petra: Are you currently working on other projects? What are they?

Tarese: I am always working on a project, be it client or personal. I have three client orders at the moment, two of which I have been working on and organising for the past several months and will be spectacular pieces. The other project is a custom wedding gown. And my personal projects? Too many to count!!

Petra: The last time I spoke to you, we have discussed the importance of slow fashion. What is your opinion on how people, in general, do fashion clothes shopping and its effects on the environment?

Tarese: I have become aware over the last 10 years of the negative impact fast fashion can have on people and the environment. And it's such a big topic that volumes could be written on it. Ultimately, no single individual can fix the entire problem. Still, everyone has a part to play and has individual responsibility and a say in the issue. I'm not here to shame those who cannot afford to buy ethically made clothing 100% of the time. I've been broke, I've been a student, I know what it's like to be unable to afford the price tag ethically made clothing often unfortunately brings. Personally, I think it's about making choices to minimise fast fashion when we can. For me personally, at least half my wardrobe is second-hand clothing; I love frequenting op shops, eBay, or other places where clothes are recycled and reused. I will be mindful of where I shop for new pieces, trying to stay with the more ethical businesses. Still, I will also not shame myself if I cannot afford to purchase an utterly hand-made piece of clothing at that moment. It's about doing the best we can with what we have. As a business, I have chosen to ensure the manufacturing of my pieces is ethical. For example, I have turned down a fantastic opportunity to collaborate on a bridal line for in-store because I couldn't be sure that the clothing would be ethically made. Those can be tough decisions, but the right opportunities will eventually open if I stand for my values. Sure, doing fast fashion gives fast opportunities, but it compromises the very values I stand for. And if I don't stand for something, I will fall for anything.Z

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Petra: What brings you the most joy at the moment?

Tarese: Honestly, the things that give me joy are the small moments, such as seeing beautiful flowers and how the colours and shapes work together, the sunset painted across the sky, or the smell of fresh-cut grass or summer rain. Of course, big moments can give me joy, but it's those small in-between moments where gratitude and joy intertwine.

Petra: What is your dream?

Tarese: My dream is to use my creativity and design in a way that will better the world around me. My first step is not contributing to the fast-fashion world as a brand, but the next steps are to contribute in a meaningful way. I have a few ideas of where that might lead me next, but right now, it's about seeing how those ideas evolve into something beautiful and meaningful.

Petra: What is the most important ingredient for any young person wanting to take a big step into the world of fashion?

Tarese: I don't know that there's just one answer, but there needs to be a passion for it! The second is tenacity - the choice to stick at it when things get difficult or challenging. And third the willingness to be constantly open to learning. And don't be afraid to make mistakes. Of course, not all the designs in my head have worked in real life; I have many a gown that doesn't see the light of day. But sometimes, mistakes have actually worked out well and taken me in a direction I never thought of!

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Sushi Bell

SUSHI BELL

Day 7 This little Sushi place is neatly tucked around the corner from my framing shop in Canberra. When I was preparing for my February exhibition “LOVE LETTERS TO BOHEMIA”, I would often pop in for a little snack. After my second visit I noticed how very friendly and sweet the staff always were and the sushi is simply out of this world. They would make my favourite scallop and my son’s salmon on demand and we would have in on our table in literally under a minute after we sat down. I adore this little hardworking place and the warm and friendly service with a smile. If you live in Canberra you will know how rare that is!

Petra: When did you start your business?

At end of 2020, we had idea of starting a sushi shop. After 1 year preparation Sushi Bell officially opened on November 12, 2021.

Petra: What is your Australian story?

I immigrated to Australia with my mother in 2017. In past 5 years in Australia, I found true love, my goals, and my passions in life. Everything is on track. Life is very happy.

Petra: What is your food journey?

Before I started Sushi Bell, I had four years of sushi experience. I made tons of sushi including maki, nigiri, sashimi, and inari. I enjoy every process of making sushi and exploring new flavours. So, I found Sushi Bell to serve delicious and fresh sushi to Canberrans.

Petra: Why is your sushi so delicious compared to other places?

Freshness! It is the most important thing. We only use quality, fresh ingredients that is sourced early every morning. And we guarantee every sushi in our show fridge is stored for no more than 3 hours.

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Petra: What is your philosophy?

Keep stretching and challenging yourself.

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Petra: Always when I come in it is just the two of you, do you do all the work yourselves?

Yes, only the two of us at this time. I take charge of food making, Lyn is responsible for customer service and does some assistance when I need help. We are glad our business is getting busier; it makes our hard work worth it. Soon we will be hiring more staff.

Petra: Do you have many regular customers coming every day for lunch?

Yes, most of our customers come back, some of them even buy sushi from us every day to eat at home or share with friends. We appreciate them choosing Sushi Bell as their lunch time eatery of choice.

Petra: What do you look forward to most every day?

I look forward to a great cup of espresso coffee and a big breakfast before heading to work. Because I am busy with preparation and lunch I don’t have a chance to eat until after 3 pm.

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Petra: What brings you joy?

Because Sushi Bell has an open kitchen, customers and I can see each other. I can see my customers finish their sushi with a smile and I feel satisfied I have done my job.

Some customers always wave their hands and say thank you to me as they leave. That brings me great joy knowing our small creations brought them such joy and satisfaction.

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Petra: What is your favourite thing about Canberra?

Peace and tranquillity. Five years ago, I moved from fast paced Sydney to Canberra. I felt an inner peace I had never felt before. Every part of Canberra has its spacious parks and beautiful gardens. I walk around Lake Burley Griffin or up to Ainslie Mountain on the weekends. The views of Canberra are breathtaking and as I sit and take it all in it calms me down.

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MAGDALENA PILLAI

Day 8 Meet Magdalena, one of my Czech Madonna’s here in Australia. Magdalena produces nature inspired pieces that are an absolute joy to wear. Whenever I’m wearing my “Soar” earrings I feel fabulous! I visited her one rainy day in her Kiama studio on top of a hill overlooking the beach. It was like a movie, so beautiful, simple and real. I’m very excited for Magdalena and her beautiful creations to be featured in the Milan show.

Petra: What is your background?

Magdalena: My cultural origins are from Czech, the beautiful land of the Bohemians. At the age of 4, I arrived in Australia as a refugee, which has been my lovely home now for over 40 years. I have also lived for several years in India, with my Indian husband. My early life experiences have left me quite enchanted with cultures and travelling.

The original meaning of Vspora was from one of the first artworks I bought in Czech when I was able to re-visit. It was a fabulous etching call Vzpoura which means rebellion, my business name is a little twist and nod to this word.

Petra? What inspired and influenced you growing up?

Magdalena: There are a few significant moments that influenced and inspired me. One moment of importance was visiting a unique jeweller in my youth and loving her pieces so much I was instantly mesmerized. They were like little gateways to all these amazing places. I also visited many art galleries and museums which featured a range of art and cultural jewellery, that would leave me tingling with inspiration. When I first touched the flame to metal, I was transfixed and hooked. The fluidity and softness of metal when hot, the dynamic colours that manifest led to so many creative surprises. So much can happen from the beginning to the end. Other inspiration has come from the great variety of nature and culture in Australia. I spent a lot of my childhood time in our local Japanese and Botanical Gardens, which left a great impression of tranquility and stillness.

Living in Australia with its vast and dynamic landscapes and an abundant range of culture and art has been truly influential.

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Petra: When did your love of Art start?

Magdalena: From as far back as I can remember, perhaps when I saw my first piece of art and my heart raced in an indescribable manner. I think also as soon as my fingers could create, we always had many creative options at home that I could immerse myself in at a young age.

I’m a highly visual person, with colors and textures having a huge impression on me. I learn best by watching and doing which leads me on a path of creative exploration.

Petra: How would you describe your Jewelry?

Magdalena: I would describe my jeweler as raw, unrefined, asymmetrical, symbolic and healing. Through my work I’m having a conversation with nature, culture and spirit. I like to work within a particular theme of the natural world, such as an element or a spiritual theme. I intentionally work with recycled silver and mixed metals, and I package everything in recycled and biodegradable materials, as the ecological impact instigated from my creative process is very important to me as an artist.

Petra: How did it start and is it an evolving journey?

Magdalena: The first silver jeweler class I attended was when I was 17.

I was simply transfixed by the crackling heat and shifting molten metals, it felt so organic, fluid and natural to me. The rhythm of making was pleasantly addictive. I learnt the simple basics and spent a long time experimenting and pushing what I could do with the limited materials, skills and tools I had at my disposal. Today I still have and use my favorite hand tools with which I still continue to push to new frontiers. My work has evolved immensely, and it’s a daily, exciting, new adventure. I think the journey will only end with my last breath.

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Petra: Where do you look for any ideas or dreams?

Magdalena: I would say most of my inspiration comes from my dreams and my inner world, which has been immensely impressed by my outer world. Nature and the magnificent wonders I discover within it are a constant source of joy filtering into my everyday life and work.

I wish to pay a tribute to our beautiful natural world. I am also greatly inspired by a range of visual arts, poetry and music. I am particularly influenced by the symbolist movement.

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Petra: How does your location influence your everyday creativity and flow?

Magdalena: My studio faces the sea, and it dramatically changed my work when we moved here 5 years ago. I was not as aware, as I am now, how much a location can affect how you work and feel. My workspace is light and filled with inspiring natural pieces. When I create, I make a complete mess, nearly spreading through half the house, but as my day finishes, I pack and reorder the studio to make room for the next day.

Do you share creativity with your family, and how?

Our house is always filled with many creative projects, and this naturally flows into everyone’s lives, either through inspiration or giving.

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Petra: How do you perceive female beauty?

Magdalena: Someone authentically themselves is the most beautiful to me, no matter which gender.

Petra: What does a creative way of life mean to you?

Magdalena: I think it filters into everything in your life from the way you cook, give, move, laugh, share and spend time with people and yourself. The creative energy just moves in the most delightful ways, especially if you don’t push it to the point of burn out. There must be a balance in life to rest and relax between the creative bursts of inspiration and work.

Petra: What is your most treasured piece of Jewelry?

Magdalena: Umm that’s a hard one… probably my first Sanskrit Book of Love. It is a six-sided pendant with six Sanskrit words for love on each panel. This was particularly special because the Sanskrit words hold so many different connotations for love while English only has one. Sanskrit has 96 words for love to explain all the different ranges and nuances.

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I'm so honoured to be selected to take part in Milano Jewelry Week 2022. I will be part of a collective exhibition in the Heart of Milan with over 500 international Exhibitors The selected creations become protagonists of an exhibition that recreates a different setting for each scenario and that recalls the philosophy that the creative team realizes in the images published in the catalogue.The jewel also becomes an artwork itself: each creation interprets a vision of the scenario in which it is inserted.Through an exhibition designed to enhance every single jewel, the visitors are surrounded by a unique exhibition that combines art, light and beauty. I will be meeting my beautiful god mother from New York in Rome and travelling around Italy for a few weeks then finishing our trip in Italy with the exhibition in Milan. I may finish the trip off with a visit to Morocco, Czech or Scotland? I'm a bit undecided as yet.

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LITTLE WINGS

Day 9 You may recall we mentioned Little Wings as part of the Christmas Tree farm story in the YARNS summer edition. I felt so touched by the tremendous good this volunteer based organisation does for sick children and their families in regional areas. Imagine your child just got diagnosed with a chronical illness requiring a regular treatment and the closest hospital was more than three hours drive away. This story celebrates the beautiful people pouring their hearts and souls into supporting our most precious treasures, our children. I did not know about Little Wings until recently. There is not much awareness about them doing their miracle work. With just a few little volunteer private planes and cars they are transporting sick little boys and girls and their families to and from hospital for their treatments, as well as delivering much needed doctors to the isolated communities. If you want to make a positive impact and change someone’s life then this is it!

Petra: What was the inspiration for Little Wings?

Little Wings was established because one pilot wanted to use his hobby for purpose. Hence in 2011, he reached out to the oncology unit at Westmead Children’s Hospital to see if such a service was required. In 2012, Little wings wasformally established and has continued to grow from there.

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Petra: Can you explain the volunteer nature of Little Wings?

Little Wings is a 90% volunteer led organisation, so we are truly an organisation run by the people for the people… Little wings is only possible because of the incredible people that volunteer their time and talent each and every day.

100% of the pilots and the drivers volunteer their time to ensure that every passenger can safely access life-saving medical treatment that is only available in major cities.

All Little wings pilots are commercial pilots.

Petra: How would you compare Little Wings to the Flying Doctors?

Little Wings and the flying Doctors are completely independent services, each of them serving an important role but by way of a different mission. Rather than competitors we are complimentary services.

The Royal Flying Doctors is more like an ambulance of the sky, they are fitted out like an ambulance and have medical assistance on board. They are providingessential services to people from the bush in times of great crisis.

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However, Little Wings is not a crisis driven service, instead we are there for the long-haul, providing consistent, free transport to and from hospital for seriously ill children and their families from regional NSW and the ACT. In doing so, we can help ensure that children have access to life-saving medical treatment regardless of postcode and for as long as it is takes to reach their full potential.

Little Wings is not equipped to respond to acute medical issues, instead we fly families to and from medical treatments over longer periods of time…. For example, children accessing burns treatment over many years, weekly chemotherapy or a wide range of conditions and injuries that require regular treatment.

Petra: How many people are involved?

Internally we have 5 paid staff and 48 volunteers. Externally, we work with 4 major medical stakeholders, those being, Westmead Children’s Hospital; Sydney Children’s Hospital; Royal Far West and John Hunter Children’s Hospital. Across these four major partners we are lucky enough to work with hundreds of incredible doctors, nurses, social workers, and medical specialists all pulling together to ease the journey for families and ensure every child has the access to health care that they need and deserve.

Petra: How many flights a week do you cover?

Prior to COVID, Little Wings would complete between 12-15 missions weekly. Today, we are doing as many as 35 missions per week: a 60% increase in service demand. We are proud to say that we have been able to meet this demand thanks to the people that volunteer and support us so generously.

Petra: What does it take to operate on a daily level?

Many people are involved in the daily operation of Little Wings. We are a grassroots service that is all hands-on deck!

• Our CEO is based at the hangar, working to greet families, provide additional support, rally for funding, communicating with hospitals and often responsible for deep cleaning the aircraft on a busy day.

• Our Flight Coordinator oversees the booking of flight requests and manages the flight schedule, communicating and support families, liaising with our hospital partners and supporting our volunteers.

• Our Head of Flight Operations coordinates all things aviation, safety, and pilot training.

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• Our Head of Maintenance oversees the maintenance and movements of the fleet, ensuring every aircraft is safe, well maintained, and available for scheduled missions.

• Our drivers are on the ground providing transport from the Little Wings hangar to the patients treating hospital or accommodation (usually Ronald McDonald House) … so it a small team that is ready to hustle and work in a united motion to ensure a safe, consistent, and quality experience for every passenger.

Petra: What is your background and how are you using it at Little Wings?

I originally trained as a clinical psychologist, I went on to specialise in child and adolesce welfare, and I think these skills come into play each day.

From the structure and strategies that I hold personally to cope with some of the hard stories that our families share, to supporting our team in processing and staying focused on our core work and the role we play in the lives of the families we assist.

Further my training has provided a sound platform to advocate and collaborate with external stakeholders in the interest of child healthcare and closing the gap for regional families.

On a personally level, I too grew up in regional NSW and I can relate to the unique challenges that present when we live in isolated areas, especially when it comes to 189

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healthcare and early intervention. So, I feel really connected to the journey of these families and the mission of Little Wings, which really fuels me to work harder and raise awareness.

Petra: Can you describe the variety of your clients?

The children and families we assist are diverse, they reflect the communities from across regional, rural, and remote NSW. We support children of all ethnicities, religions, gender, and ages from birth to 18 years, because unfortunately cancer or illness does not discriminate.

But want is common across all the families we support is the taxing nature of long-term care for a seriously ill child. It impacts financially with travel costs, accommodation, and food but also the difficulty placed on parental ability to work due to the taxing nature of caring; families are often separated for long periods of time which impacts family dynamics and function but also the health of sibling and their school attendance and engagements.

Hence the importance of the Little Wings service in keeping families connected and united at times of great challenge. Often the Little Wings services mean more time spent together, financial independence and quicker recover periods with children when at home with their loved ones and personal belongings.

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Petra: What is your view on a positive and meaningful engagement?

I think we have to be brave, sometimes this means challenging our own comfort when confronted with illness of those that we love and care for. We need to remember that people need to feel connected as they battle such isolating and silent struggles and heart ache.

There are not always the right words, but I think we need to reach out via some mode and ask the question, ‘can I help?” and ‘I am here if you need me’. Sometimes these simple touch points are the most powerful because we are reminded that people care.

Petra: Does anyone have access to your services and how does to engagement process look like, what are the criteria?

In order to access the Little Wings service, there are 3 criteria that must be met: • The patient must be under the age of 18 years of age.

• Have a serious illness or injury • Live a minimum of 3 hours driving distance from their treating hospital.

• The service is FREE for all those that meet the criteria and there is no restriction on the number of flights that can be requested.

• The patient can travel with up to 3 other people (parents/guardians and/or siblings).

• In order to make a referral, the patients treating doctor or social worker needs to make the submission to Little Wings.

Petra: What geographical area are you covering with Little Wings?

Little Wings service 55 regions of regional and rural NSW, we also service the ACT. Petra: Can you describe the experience, what happens for your clients and their families?

• The family will be notified that they need to travel into Sydney or Newcastle for their child to access the healthcare that they need. The family will then be referred to Little Wings by either their local Doctor/Hospital or the city-based hospital in which their treatment will be administered.

• Once the referral is received, our Flight Coordinator will communicate with the family to finalise their mission details.

• The family will then make their way to their local airport and a Little Wings plane will collect them from there and fly them to the Little Wings hangar in either Sydney or Newcastle. There, a Little Wings driver will meet them to take them to their treating hospital or accommodation.

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• We then do the same journey on return.

• The process is designed to remove all logistics and truly ease the journey for families.

Allowing them to focus on their child.

Petra: How did Covid affect the world of kids with compromised immunity?

COVID has many impacts on Little Wings… from losing our funding overnight to seeing our service demands increase by 60% and our volunteer team grow dramatically.

But one of the major silver linings for us was that we were able to pivot to ensure care continues for those too vulnerable to travel into cities in case of exposure to the virus.

This saw us develop a new program called MEDICAL WINGS whereby we now fly the doctors from John Hunter Children’s Hospital out to regional areas to deliver pop-up clinics. This has provided essential care to over 900 children in regional and remote areas during the pandemic.

Due to the success of this program, we have now made this a permanent fixture in our suite of services. This reminds us that where there is challenge there is also opportunity.

Petra: How do the children and their families benefit from being looked after by Little Wings?

In the first instance, they receive free transport which saves both time and money for the family. This often means that parents can maintain employment as they are absent for only short periods; it means they are more present at home and families can maintain their routines.

Further we know that participation in our program is linked with faster recovery times for seriously ill children as they rest at home; siblings have higher attendance rates at school and in extracurricular activities, and family functionality and resilience is higher and more stable.

Petra: Can you share how Little Wings makes the journey nurturing and supporting in all areas of medical engagement, the logistics and psychology?

We take care on every mission to ensure every passenger feels important, cared for and safe. We also want to make sure that the experience is consistent for passengers.

Our Flight Coordinator is tasked with the job of sorting all details from communicating with families and making them feel at ease, caring for and reassuring families that all transport details are taken care of. It is these small details, removing the logistic and the concerns of navigating the city and traffic, that eases the mind.

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We also provide small details that make our passengers feel nurtured, from the water and snack provided in flight, to ensuring we have children’s car seats fitted in the aircraft and vehicles and offering the use of a pram to travel through the hospital hallways. It’s all in the detail.

Moreover, during the NSW lockdown our team of volunteers took the time to call every single family that has ever flown to ask, “are you ok?” This helped us connect and reconnect with families. Further we worked to provide meaningful and tangible assistance which saw us distribute over $20,000 in food and clothing vouchers, trampolines for home therapy, iPads for home schooling, school packs and gifts to keep sick children stimulated and engaged.

Petra: Can you share how important it is to have support in the Indigenous communities and what happens with lack of communication and medical care?

Approximately 30% of the children we assist are indigenous. What is most important to us at Little Wings is that we support all children when in need regardless of geographical location.

When we provide consistent and specialised support, we have the ability to boost healthcare for the family and the generations to come, improving life expectancy and quality intergenerationally.

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Petra: What are the examples of medical treatments and their frequency? How long are you clients with you?

Families will travel with Little Wings anywhere between 3 weeks and many years, it all depends on the condition and treatment demands. Over 50% of the children we assist have cancer, but we support all conditions including those with burns, mental health, neurological disorders, serious injuries, really any aliment.

Because families travel over longer periods of time, we get to form really meaningful relationships with families, we truly become part of the journey as they share the highs and lows of their child’s progress. It is a real privilege to be a small piece of their journey.

Petra: What makes you get up every morning and what are you looking forward to in your day most?

I feel so lucky to work at Little Wings…. I love working with such wonderful people, volunteers driven by heart and purpose, determined to make a difference. It is a really inspiring organisation to be part of.

But the families are the highlight, having a front row seat to seeing them on their way to health, building relationships with the families and seeing the children’s eyes light up as their board ‘their plane’.

Petra: Can you share some happy stories that touched your heart?

So many wonderful stories but one that comes to mind is Heath (story sent via hightail).

Heath and his mother, Emily, travelled with us over many months. So, when we saw Heath board his last flight home, having a full recovery, our heart soared as we waved them off.

Today, we stay in touch and love seeing Heath go from strength to strength.

Petra: How can people make a difference, spread the word, and support Little Wings?

Follow us on social pages (Instagram and Facebook) and share our posts; donate directly via our website (100% tax deductible) and if they live in Sydney or Newcastle, consider volunteering.

Petra: Who can get involved and how?

We are always looking for volunteers, either long term or project based, and we would love to hear from people interested in sharing their time and talent.

Of course, pilots and drivers are needed at all times, and we encourage people to look at our website to better understand the requirements.

But if people have skills in marketing, IT, HR, graphic design, etc these are skills that we cannot afford and would have to have access too.

Petra: What is the big dream for Little Wings?

To be part of the solution to close the gap on healthcare. This will mean we need more funding support, aircrafts, and volunteers. We are dedicated to doing all we can to make a positive difference for seriously ill children and regional communities across NSW. 203

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GUY LEECH

Day 10 Guy former Australian Ironman lifesaving champion.

Now Guy Leech Leech isisa aformer Australian Ironman surf surf lifesaving champion.

Now retired retired fromcompetition, formal competition, he Uncle won seven Toby'sraces Super from formal he won seven Toby'sUncle Super Series andSeries twice races won and twice won The Coolangatta Gold.

Leech remained undefeated over surf's The Coolangatta Gold. Leech remained undefeated over surf's toughest event and in toughest and in 1989version won the Uncle version titledwhich the "Gold Coast 1989 wonevent the Uncle Toby's titled the Toby's "Gold Coast Gold" made it his Gold" which made it his third victory over that distance.

By 1989 the sport had third victory over that distance. By 1989 the sport had now gone professional, making now gone professional, for the 1989 race far more the field assembled for the making 1989 racethe far field more assembled elite than when he had won in 1984 and elite than when he had won in 1984 and 1985.

He also won the World Ironman 1985. He also won the World Ironman Championships in Vancouver, Canada, in Championships in Vancouver, Canada, in 1986 and World OceanLeech Paddling 1986 and the World Ocean Paddling Championship in the Hawaii in 1994. was Championship in Hawaii in 1994.

Leech was once dubbed Australia's Fittest once dubbed Australia's Fittest Athlete by the Australian Institute of Sport (1993). In Athlete by the Australian Sport (1993).

In 1994,toLeech retired from 1994, Leech retired from surfInstitute Iron Manofand turned his attention triathlon.

Years of surf Iron Man and turned his attention to triathlon.

Years of being involved being involved in a sport which was mostly upper-body made it difficult for him toin aadapt sporttowhich wasand mostly upper-body made it difficult for him to adapt triathlon, he retired from professional sport in 1995.

In 2006, Leechto triathlon, retired fromAustralian professional sport in 1995.

In 2006, Leech appeared onand the he Seven Network's Celebrity Survivor: Vanuatu, the second appeared the Seven Network's Celebrity Survivor: the edition of on Australian Survivor.

He andAustralian 11 other celebrities were vying forVanuatu, a cash prize second editiontoof Survivor.

He and 11 other of A$100,000 be Australian donated to their nominated charity.

Leechcelebrities was initiallywere votedvying out for a cash prize of A$100,000 to be donated to their nominated charity.

Leech sixth however, he returned to the game along with Justin Melvey due to a twist to the was out sixth he returned to won, the game along Justin showinitially which voted took Leech to thehowever, finals. Ultimately Leech taking homewith an extra Melvey to acharity. twist to showwas which Leech the finals.

Ultimately A$95000due for his Thethe money usedtook to build two to schools in North CamboLeech won, taking home an extra A$95000 for his charity.

The money was used dia. In 2020 he was inducted into the inaugural Australian Survivor Hall Of Fame. to buildstill two schools North Cambodia.

2020 he waspaddling inducted into the inauLeech trains daily,inand delivers trainingIn sessions with and cross-traingural Australian Survivor Hall Of Fame. Leech Leech still trains daily, and delivers ing strength exercises. en.wikipedia.org/Guy training sessions with paddling and cross-training strength exercises. en.wikipedia.org/Guy Leech Petra: What inspired you in your childhood?

Petra: What inspired you in your childhood?

Guy: I was inspired at the age of 9 when I won the national swimming titles.

Guy: was inspired at the of 9 when won year the national swimming titles.

I hadIbeen swimming andage training for theI past & the hard work paid off. I had been swimming training hard for the pastfeeling year &ofthe hard work paid off. I I was instantly drawnand to training & the winning. was instantly drawn to training hard & the feeling of winning.

Petra: How did you end up in the ironman competitions?

Petra: How did you end up in the ironman competitions?

Guy: I saw a TV commercial of Grant Kenny with Kellogg Nutri Grain & Guy: a TVclub commercial Grantaway.

Kenny with Kellogg Nutri Grain joinedI saw the surf at Manly of straight That began my journey in the& joined surf. I the wassurf 17. club at Manly straight away. That began my journey in the surf.

I was 17.

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Petra: How did the triathlons and ironman sport develop in Australia over the years?

Guy: The ironman sport was launched when I won the inaugural Coolangatta Gold in 1984. The next 15 years saw the sport explode with a televised national TV series on network TEN. Petra: What are you greatest sporting achievements?

Guy: • 1983 Australian Marathon Swimming Champion • 1984 Coolangatta Gold Ironman (43km) – 1st • 1985 Coolangatta Gold Ironman (43km) – 1st • 1986 Inaugural Winner of the Kellogg’s Nutri-Grain Ironman • 1988 World Ironman Champion – Vancouver Canada • 1989 Inaugural Uncle Toby’s Ironman Champion • 1989 Coolangatta Gold Ironman – 1st • 1991 World Ocean Surf Ski Champion – Molakai Hawaii • Seven Time Winner of the Uncle Toby’s Series • Represented Australia in Surf Lifesaving, Marathon Swimming & Stillwater swimming.

Petra: How does it feel to be a role model for generations of kids and adults?

Guy: I have always taken this part of being famous as what is expected when you become well known for what you do. I was happy to present a good attitude for others to see.

Petra: How important is the physical activity and exercising together in your family?

Guy: Exercise is great in a number of ways – but most importantly it helps to stave of the 4 major killers to humans. Exercise is also great for mental health & when you exercise as a family unit it creates a happy environment.

Petra: What is the importance of community to you and your role in it?

Guy: I have been very busy in getting defibs into the community after my good mate died from a sudden cardiac arrest in my fitness class 6 years ago. I have been very active in educating the community to get more of these life saving devices everywhere.

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Petra: What led you to your current activity with defibrillators?

Guy: See - heart180.com.au/guys story Petra: Can you share the experience on the Australian Survivor and about your charity achievements in North Cambodia?

Guy: Survivor is my favourite reality TV show out of them all. I always wanted to have a go at competing in it. It has definitely been a highlight for me. I used the $100,000 I received for winning to build 2 schools in Cambodia to help the local kids that having nothing. Over 30,000 kids have gone through the two schools now.

Petra: What is important to you?

Guy: Family & helping others – being healthy & making the most of every day!

Petra: What would you change if you could?

Guy: So many things but for the moment I want to have a defib within 180 seconds of any Australian that suffers a sudden cardiac arrest. If I can achieve this, we will save 70 Australians every day.

Petra: What inspires you?

Guy: People that do incredible things.

Petra: What do you love most about your life in Sydney’s Northern Beaches?

Guy: The northern beaches have always felt like home. I have lived at certain times of my life in Qld for training purposes, but I was always keen to come home. I love the feeling of the northern beaches – it’s different to anywhere else in Sydney. Cruisy but still close to the action.

Petra: Your catch phrase ‘done’.

Guy: I like getting shit done. I like achieving a lot. I feel like I always need to do more. I think it has come from this mindset.

Petra: What do you love most about Australia?

Guy: It’s the best country in the world. I love everything about it – warts & all!

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JENNY MCINTOSH

Day 11 Jenny is one of the artists on my wall, her work captured me many years ago on my regular visits in Jervis Bay in the lovely Huskisson Gallery. I purchased a vibrant small painting of Orion Beach which brightens my every morning and brings me still the same joy like the day I bought it! Jenny is a seasoned painter, photographer and also runs various classes, my favourite one are the old ladies who are driving long distances to get to class and have a tea with chocolate cookies. She is an artist in residence in Gerringong’s Fern Gallery, so you can check her beautiful work for yourself !

Petra: What was your first memory with art?

Jenny: It started, like most people, as soon as I could hold a pencil and it just never stopped. I had a huge fascination/love of making marks. I can remember drawing in the dirt when we were camping as a child if I didn’t have pencils, or even if I did! I have a memory from before I started school of pestering a family friend who was good at drawing to show me how. I loved to watch and later try it out.

I think I must have been becoming aware of art around then because another memory is of trying to reproduce Van Gogh’s sunflowers with the little kiddie set of watercolours I had and being terribly disappointed that it didn’t work out like his. I must have been about 5 or 6.

Most of my early memories revolve around my Grandparents. They were always interested in what I was doing and would buy me Walter T Foster ‘how to’ books and draw my attention to art and artists. Occasionally we even managed art exhibitions and the AGNSW. The very best thing they did was introduce me to and set me up with oil painting…what a game changer! At 11 my grandmother organised for a friend who had taken up oil painting to show me how it was done and then bought all the necessary materials. My Grandfather made me piles of primed boards in various sizes, so I always had a supply. How lucky was I?!

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Petra: What influenced and inspired you growing up?

Jenny: When I was growing up there was always creativity around me… whether it was music, photography, making or fixing things.

Apart from the influence my father, grandparents and their friends had in terms of photography, another important influence was Bob Cunningham, an artist and potter in Lithgow. Bob was one of Dad’s closest friends from his bushwalking and climbing days and we often went to visit him at the Lithgow Valley Colliery and Pottery site, where Bob ran Lithgow Pottery. He was the first in a long line of artists to use the site as a studio.

I didn’t have any artists in my world, so I absolutely adored going to Bob’s. He would let us have a go at the pottery wheel and to me, his exhibitions and all the colourful people and music were nothing short of amazing!! Bob made me my first studio easel… a six-foot beauty!

My Dad built a darkroom/studio so looking back I think these things all helped to inspire and influence me… and I felt pretty lucky!

It also depends on what you mean by ‘inspired’ because the bush has never ceased to bring that side of me out. In terms of more regular art influences as a young person I don’t know… I can’t really pinpoint any one artist or movement… I was curious about everything! Of course, I was in awe of people like Rembrandt and in love with the impressionists and as a teen, surrealism got a go… but then, any painting of the Aussie bush got my full attention as well!

Other than that, trips to the art galleries, books on art and studying any art I happened on. When I was 12 I joined the Blacktown Art Society, so being around adults who were artists was hugely inspiring. My family is very creative, but I’m the only one drawn to painting so it was my first experience of being around people like me (apart from Bob) and I loved it!

Petra: When did you get into photography?

Jenny: Dad encouraged us to take pictures virtually from the time we could hold a camera! I can remember developing B&W film in the kitchen before the darkroom was built. I used to use his Practica, and later his Praktina. So, I was always around it but I really got serious about it during the late 80’s /early 90’s when I went to TAFE to do art and photography and I also joined the Richmond Camera Club. Around 2006 I finally succumbed to digital and photoshop…and wasn’t I surprised when I took to it like a duck to water! Years before we had looked at digital as though it would never stack up with film… hmmm… we were wrong! lol!

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Petra: How did your photography world, equipment and destination trips before digital photography looked like?

Jenny: First camera was Dad’s Praktica and sometimes his Praktina, and we processed B&W film first in the kitchen and later in the darkroom. Dad did colour as well but at that age, B&W processing was the limit for me, and colour was either processed by Dad or dropped in to the local lab.

During the 80’s I brought a Canon FT and a few lenses. Eventually I set up a darkroom at home with some older equipment my Grandfather gave me.

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I’ve always loved B&W and a really well-made image in the traditional sense, but my friends and I also loved to experiment and the lines between art and photography often blurred… they were fun times! I also developed a fascination for slide film, nothing could come to life so well as an image projected onto a big screen!

In my early teens my parents took my brothers and I on two long holidays to Tasmania where we not only did the tourist thing but also lots of bushwalking, so naturally we took loads of photos and developed them when we got home. Dad processed colour prints for me, and I remember doing quite a few paintings from them later.

In fact, the memories and images made then were still influencing my art years later… it was such an experience!

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Then in the mid 90’s I did two trips out to western NSW and up into corner country with friends from the camera club. I almost didn’t go as my grandfather was in hospital with cancer and I was experiencing a bit of guilt about leaving the kids for a whole two weeks! But my grandparents insisted I go and loaded me up with their cameras and some extra film so I would be able to do both B&W print and colour slides.

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we’d get up early for sunrise then pack and move on. It was amazing being out there. I can’t tell you how grateful I am I had the chance to do it back then.

My grandfather passed away not long after I got back from the first trip and I was gifted his camera and gear. So now I had one outfit for B&W and the other for colour or sometimes infrared which was awesome! The only drawback was that grandpa’s gear was Nikon and I had Canon, still beggars couldn’t be choosers back then, so it was lucky I was young and fit enough to carry it all! It got trickier when I also wanted to pack in some art gear… lol!

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A lot of my photography was in the bush, usually the upper Blue Mountains… interspersed with trips in and around Sydney… Street photography was another passion which often still influences my painting. For years I always had a camera on hand…I have to admit that phones have made it much easier! Although, I still prefer to get my gear out when I’m being serious.

My friends and I also liked to set up days for photographing particular subjects or to get a nude model which was always fun. Blurring the lines between photography and painting, experimenting with assemblage or hand painting B&W images, collage etc… whatever we could come up with… was always on the agenda!

Petra: How did photography change your life?

Jenny: I think it opened my eyes to the world of image making. It very definitely influenced my art, teaching me about composition, contrast, depth of field (which leads to what needs to be in focus and what doesn’t), the way light works… in short, it taught me to ‘see’ and ‘think’ like an artist.

The ability to really ‘see’ the world around you is a gift I’m always grateful for.

I love photography in its own right, but it’s also allowed me to remain creative at times when life has been too hectic or not practical to paint. It’s also very useful for reference gathering and understanding its limitations when painting from them.

Petra: How did your creative life look like while raising children at the same time?

Jenny: There were times when not much art was done i.e. when the children were born, but for the most part I managed to always have an art practise in one form or another.

Sometimes I did more photography and other times more sketching. I also did a lot of sewing, making my own designs and selling them, and lots of other handicrafts…

I was always either painting or making or both! I just adjusted around the kids, or perhaps they adjusted around me lol…either way it worked!

Of course, some things changed, particularly when the kids were very young. For example, there was less en plein air painting, but more sketching and taking photos.

I started doing quick pen and watercolour wash drawings if we were out bushwalking with the intention of them being references for paintings, but people really liked them, so they became works in themselves.

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When the kids were a bit older, they often came with me on bush walks or riding mountain bikes out to a location, things freed up a lot more and that’s when I started to do exhibitions again.

Petra: Why do you think so many women choose to put their creative life on hold while raising their kids?

Jenny: I’m not sure women choose to put it on hold, but perhaps it just happens as a by-product of circumstances. Everyone’s situation is different, and I think a lot depends on how busy you are, if you’re working a day job, how much support you have and the temperament of your kids!

I think it is still hard for many women if they don’t have good support, for many it’s still a case of doing everything for everyone, making it difficult to find time for themselves.

The one time I found my painting suffered wasn’t because of kids, but rather, economics! My now husband and I had both been through divorce and found ourselves in a situation with five kids between us and very little money.

So, for a while we both worked long hours in other jobs to get ourselves back on our feet. I’m very lucky that my husband understood my need to be an artist and has always supported that. I’ve worked other jobs to keep regular money coming in (as a lot of us do) and at times that was challenging when I had an exhibition deadline, but the goal has always been to be a full-time artist…and thankfully, now I am!

Petra: What did life in the Blue Mountains in 90’s look like?

Jenny: Well, first up I actually grew up in Blacktown, but my family spent a lot of time bushwalking and often in the Blue Mountains. I developed a deep love for the bush and especially the Blue Mountains. So, following divorce I moved to Leura. My parents had relocated to Glenbrook in the early 80’s, but I really wanted to be at the top, up around Katoomba… that’s where I’m most at home.

Life in the mountains was a godsend. I loved everything about it…yes, even the cold!

Of course, life doesn’t always go along swimmingly, some days were hectic or whatever, but generally I spent a lot of time in the bush, walking, photographing and painting.

My art practise really got going and I felt like I had a reasonable work/life balance going on and I truly appreciated it!

I worked as an aerobics instructor at a local gym and also did a bit of cafe work, plus my children were all at school and a little bit older by now. Everything just worked well, and I had a couple of exhibitions around that time.

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Life was slower and a lot closer to how I wanted to live. I was able to walk or ride my bike as my means of transport a lot of the time… which had the benefit of being able to observe more closely my surroundings and to just feel closer to, or more in touch with where I was living.

I loved the history and ‘oldness’ of the villages and they became subjects for my streetscapes. Technology didn’t rule our world like it does now, so there were less distractions!

Petra: Was it hard to leave your mountain home and relocate to the South Coast?

Jenny: It was… and it wasn’t! We were excited to move to the coast and to start a new adventure! You have to admit the climate is easier for living, we were looking forward to beautiful beaches and new bushwalks to discover. But we have missed the mountains too.

These days we reflect on how lucky we are to have called these two absolutely drop-dead gorgeous places home. We still have family and friends in the mountains so in a sense, we still have a life up there… best of both worlds really!

Petra: When did you start drawing and painting?

Jenny: I started drawing as a child and painting when I was about 11 and just kept on going!

Petra: What are your favourite things to paint and draw?

Jenny: The easy and most obvious answer would be the Australian landscape. Mostly it’s the bush of the Upper Blue Mountains and the beaches and bush of the South Coast. Both regions have a special place in my heart but the mountains are like my soul home. I sit in the bush there and I’m as close to God as I think it’s possible to be… can’t explain it but it’s like magic! When I paint, I hope I can bring some of what I feel to the work as well as the obvious beauty of the landscape.

I love other subjects too… particularly the human form, nudes have often featured in both my art and photography, and streetscapes, again in both photography and art. I used to paint a lot of florals as well. Growing up in a world of Orchids I was surrounded by flowers, so it was natural to paint them!

I haven’t done many of these subjects for a while as I’ve been busy with landscape exhibitions and commissions, but I’m feeling they’ll be making an appearance again soon!

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Petra: Can you share how your art classes look like and who attends them?

Jenny: I love to teach! I’ve always loved sharing whatever I know plus I’m a perpetual student, always looking for new ideas and ways of doing things.

My classes are varied in subject, media and format in which they’re held, and are for beginners through to the more advanced. My aim is to give people an experience that is informative, fun and inspiring… so that they will come away with new skills and hopefully be inspired to keep making art!

I offer one and two day workshops, short courses, mentoring (one on one and small groups) and retreats (which were put on hold due to covid but I’m keen to get these started again). Venues also vary, often they’re held here in my studio and garden in Jervis Bay, at other times in places such as Gallery 11:11 in Sydney and This Old House in Berry or sometimes at a location for en plein air. My husband and I are intending to start doing more traveling around Oz, so my dream is to paint and teach as we go!

I’m probably best known for oil painting as well as pen and watercolour wash, but I’ve always used a wide range of media and love to experiment, and this influences everything I do. Plus, I truly believe it’s super important to have the basics under your belt and forming a good foundation to spring from, no matter what kind of art you do.

With this in mind I often run workshops in the basics, particularly for drawing.

I also have a weekly class for a lovely group of retired ladies who are just a delight to share my studio with each week. During lockdown in 2020 we turned to Zoom and now it’s become a permanent fixture, if someone can’t make it or we’re in yet another lockdown we’ve got that option now, which is just fabulous. The ladies come from as far afield as South Durras/Wagga, coming to the studio when she’s in South Durras and on Zoom when she’s in Wagga, also Berry and Back Forest as well as more locally.

I’m constantly amazed at their dedication and enthusiasm!

In addition to what I’ve already discussed, I’m also in the process of giving a little revamp to a class that’s always been close to my heart. It’s less ‘fine art’ and more have fun, destress and get in touch with your creative side art! It’s always been popular and attracts non artists as well as the creative types. It utilises movement, meditation and loads of arty fun… also perfect for shifting creative blocks!

So, after the upheaval of the past two years I can’t wait to get teaching back to some kind of normal!

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Petra: How does process with commissions look like?

Jenny: When someone contacts me with a commission in mind it’s important that we have a chat to see if we’re a good fit. There’s a lot invested in a commission for us both, so I don’t take on commissions unless I feel it’s something that resonates with me. Usually, the subject is something I would be inspired to paint anyway, I can potentially be spending a lot of time on it, so it’s important that I can feel it from the heart.

Generally, the next step is to agree on a composition, colours, size etc. Sometimes it’s working from a photo supplied by the client, other times (if it’s landscape that’s nearby) I might work from life, or it might be something I’ve come up with after being briefed by the client.

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If it’s something I’m putting together then I’ll usually do some sketches or a study to show the client my idea and if we agree, we get started once a deposit is taken.

Timeframes can vary, generally I like to give an estimate but is always realistic with other demands at the time and it’s important that the client understands that sometimes the work just takes a little longer… although, by the same token, it might be quicker!

Petra: Where can people find your art and classes?

Jenny: The best place would be my website jennymcintosh.com , Facebook and Instagram. I am also a resident artist at Fern Street Gallery in Gerringong and have some work in Katoomba at Gallery ONE88 Fine Arts.

I have to confess that my website is a bit behind atm… it’s on the agenda! I would suggest the best thing for people to do is to sign up for my newsletter and/or follow me on insta and FB. You’ll always know when new things are happening that way.

Petra: What are you working on next?

Jenny: Right now, I’m working on a special (and rather large) commission. I also have work on the go for Fern Street Gallery’s Easter show as well as a solo in July.

Then I’ll be working towards another solo show in December, the Xmas show with Fern Street Gallery and another solo in January! Oh, and finalising the workshops, updating the website, there’s always a lot to do. It’s going to be a really busy year!

Petra: What brings you most joy?

Jenny: Hmmm… my family! Sometimes work gets pretty hectic and I spend long hours in the studio, so spending time just enjoying the company of family and friends is priceless.

I guess that’s the obvious answer for most of us… so if I don’t include that, then next I’d say is being in the bush in the Upper Blue Mountains. Taking time to just sit and breathe in the fresh air and the scent of the bush. It’s an opportunity to observe and absorb, which is important for my paintings, but also does wonders for my overall wellbeing. Often times I may draw or paint… or I may just sit and enjoy simply being. It tops my soul up and that brings me immense joy.

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Day 12 This is a story of one hot day I spent with Matthew Simms in the beautiful town of Nowra whose name is from the Aboriginal word for “black cockatoo.” Matthew is a Wandi Wandian man who belongs to the Dhurga and Dharawal language groups from the South Coast of NSW. Djiriba Waagura was formed to connect people from all walks of life to our Ancient Aboriginal Culture. I love regularly visiting this beautiful part of the South Coast, so when the opportunity to explore it in more depth came available, I was excited to discover the cultural stories connected to this land.

Although I’ve been to Nowra many times, this particular part of the river close to the famous “Ben’s Walk” was really beautiful and unexpected. Matthew welcomed us led us to a special area where we met the rest of our group for an incredibly moving welcome to the country smoke ceremony.

A Smoking is an important part of any ceremony and can also be performed as its own ceremony. Usually at the beginning of a ceremony it accompanies a Welcome and assists in cleansing the area and the people of bad spirits and to promote the protection and well-being of visitors.

It is not just the smoke that is important in the ceremony but also how the fire is lit and what is used to make it. Some mobs might only use certain types of leaves or bark while others may interchange them depending on what the ceremony is for.

There are a few different ways for a Smoking to take place. An Elder or a younger person of the mob may carry a wooden dish containing coals and wet leaves around assembled guests or there may be a set smoking site that the guests can gather around so that they can walk through the smoke. deadlystory.com Experiencing this place through the heart and eyes of someone else is very moving and magical. I know that each time I’ll drive through Nowra, I will think of its stories about creation and how the local flora is used as a calendar to tell the movement of whales along the coast and what exact stage they are at in their breeding season.

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To discover secret life of the river and plants growing around it for medicinal and nutritious purposes was incredibly eye-opening. I would not be comfortable to nibble on a leaf which resembles one particular medicinal plant growing all around the riverbanks, but I think people in my world be safe with native asparagus. I loved this little plant with very bold almost salty flavour. The native Australian bushfoods are such a superfood!

What surprised me on the walk most was how dramatically the environment has changed to a completely different ecosystem. I was not prepared for caves of various sizes hidden in the majestic rocks, home to the Indigenous people in the past and sadly, refuge to some homeless people in the present. I loved learning about the various native plants and special spots on the river used for fishing and washing. The best part was when Matthew magically conjured up a soap from leaves growing on a tree next to the river. It was fantastic! I’ve never seen anything like this.

I cannot describe how incredibly moving and spiritual the whole experience was.

There are simply no words to describe mediating next to very special cave paintings and trying to find particular animals. To see human hands thousands of years old, and an exact aerial image of the river and its bends was mind-blowing. I always think of all the special people in my life I’d love to share moments like this with, sadly some are not here, but being able to share stories of special places and people through YARNS Magazine is a real privilege and joy.

Matthew provides mentorship and cultural education about the land and the sea. He performs regularly with his Indigenous dance group. They will feature in the upcoming short movie “The Wild One” so check it out!

For me there is still so much more to discover in the magnificent area of the South coast stretching from Sydney to Ulladulla filled with its beautiful stories and unforgettable landscapes.

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Day 13 My first memory of Brumbies is from watching “Man from the Snowy River” with my family when I was young. It was one of our favourite adventures movies based in nature along with the one and only Winnetou the Apache warrior, which has no connection to Snowy Mountains but has horses and heaps of cool action in it. Ever since then I was dreaming of coming to the place from the movie and seeing wild horses not knowing it was Australia and that one day this little dream of mine will come true. Last year on our hiking trip deep into the Snowy Mountains we saw brumbies on one of the meadows, a guy who pulled his car up next to us mentioned a lady who photographs Brumbies so I searched for my Brumby lady and got connected to Judy and her lovely partner Paul. I fell in love with both of them and their individual Brumby stories so this yarn contains two separate stories along with separate images to honour them and their work. I’m grateful for them taking us into the bush to have the most magical and spiritual experience of my life. I have a big love for these heritage horses who are direct the descendants of the great Australian war horses.

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Petra: What is so unique about the Snowy Mountains area you live in?

Judy: I was born and bred in Cooma (Snowy Mountains) back in 1959 and have lived my entire life here. My father came to Cooma in 1952 to work on the Snowy Scheme as an Electrical Engineer, bringing my mother along as well.

Hard times and difficult conditions in those early years, but the town and outlying regions grew and came alive with the enormous influx of people from all over the world to start a new life right here in Cooma. From those early times, both mum and dad fell in love with this amazing area and never left. My sister was born 3 years earlier than me and grew up and loved her life in Cooma, but marriage and their work took them further afield. But she still has a special and strong love for Cooma.

Cooma for me has offered security ………. I feel at peace.

There is definitely an aura of tranquillity and warmth amongst the local people who live in this area. We are blessed to have the mountains, seaside, and a major city all within 1.5 hrs drive from here. A truly unique and very special landscape surrounds the area around us. We have very harsh winters and quite hot summers, amazing autumn colours and vibrant springs when the soil warms up and growth on the landscape comes alive. We have had our fair share of droughts where the landscape is totally bare ………. good rains finally arrive (sometimes not for 3 or 4 years), and this countryside comes to life, it’s so resilient. The Monaro is well known for its ability to bounce back.

The colours of the Snowy Mountains area are very special, from the bluest of blue skies, to very dramatic black stormy skies, the vibrant greens of fresh pastures to the mesmerising golden summer grasses. All these colours in the landscape change from morning to late afternoon, offering an abundance of photographic heaven.

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Petra: When did you start loving horses?

Judy: I think I loved horses from when I was in the womb ……….

Seriously, from a very early age I pestered mum and dad about owning a pony. I started riding when I was 7 years of age. Many weekends spent learning to ride at a local riding school just out of Cooma. Neither mum nor dad had any experience or association with horses, so this was all very new to them. Dad would have preferred me on the other end of a fly rod up along the beautiful mountain rivers and creeks.

I was dragged along the riverbanks more than once, but he couldn’t stop my love of horses. I lived and breathed them, days would be filled with my fantasies of having my very own pony and when I closed my eyes at night, the horsey dreams were there often.

Finally at 9 years of age, my parents relented and my dreams and wishes came true, my first pony, Tara came into my life. And that was just the start. Over the years another 5 horses came into my life. I would go to the local Pony Club where many friends were made. We’d attend Pony Club Camps, gymkhanas and then I started competing in local shows around the Monaro. I also gained my instructors certificate so I could pass on my knowledge to beginners at Pony Club. Very rewarding seeing the full circle evolve once again. As the years passed, I married and had children, worked full time, so time constraints with my horses forced me to close that chapter. My love and interest in horses is still just as strong, so without my “own” horses around me this then led me to the mountains to explore the brumbies in their homeland. I still get goosebumps each and every time I am with them, and it is sheer pleasure, and a true privilege to be able to spend the time with them.

Petra: What is the horsemanship history in the Snowy Mountains?

Judy: Where to start …….. Horses have been used in the Snowy Mountains since the very early days of settlement. The history of Kosciuszko Brumbies began with the release of horses into the wild by early European settlers. Brumbies have been running wild up in the National Park for more than 150 years (before it was a National Park). Many horses escaped or were released into the bush where they lived as Wild Horses until they were captured and used as required. Ancestors of the modern-day Brumbies were used during the two World Wars as well as the Boer War in South Africa. Horses captured from the wild were bred for the remount trade. During World War I, a large number of remounts used by the Light Horse troops came from the Snowy Mountains. Horses that were bred in the wild proved to be calm and sure footed in domestic life. The Brumbies we see in the NSW Kosciuszko highlands today are thought to have originated from horses left behind when Sergeant James Brumby was transferred from Botany Bay to Van Diemen’s Land in 1806. The horses proved hard to catch from unfenced properties and became known as Brumby’s horses – eventually shortened to Brumbies.

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Around 1840, high-country stockmen, used the Snowy Mountains for grazing sheep and cattle during the summer. Horses were used to muster these vast areas. Some of these stockmen would run the brumbies to catch and train for their personal use, making wonderful tough and strong horses. This practise still happens occasionally today with amazing results. They make the most fantastic children’s ponies, quiet, trustworthy, and sure footed. Many have also been used as stock horses, pack horses, show horses competing at various disciplines and excelling.

Many horses were also used in the early days to open up the country in the Snowy Mountains. Often one couldn’t get mechanical vehicles in, so horses were used to cart supplies. Various horse events are held in and around the Snowy Mountains and Monaro each year. As an opportunity to demonstrate their horsemanship, many local horse people compete in, camp drafting, rodeos, agricultural shows, gymkhanas, pony club, dressage, trail/mountain riding, stockmen challenges and horse treks for tourists just to name a few. Many different breeds of horses, as well as the Snowy Mountain Brumby take part in these events.

Petra: Can you share the story of Brumbies?

Judy: As above ……….

Petra: How many Brumbies are there in the Snowy Mountains?

Judy: We believe there are between 2,000 to 3,000 remaining now after the 2019/2020 fires. Scientists say there are 14,000. But many locals and visitors who frequent the National Park and ride in on horseback, and actually see with their own eyes say these figures are completely flawed. But that’s another huge debate and story that we are fighting about on a daily basis.

Petra: How does your creative journey look like?

Judy: My journey is a personal adventure. It may not necessarily be creative to others, but over the years there have been many people who also have a strong emotional tie to the brumbies, unfortunately for whatever reason they will never get the chance to see them in the wild. With my images I can give them that vision. Many people have been in total awe of what they see in the photos, hoping that one day they too can see these majestic horses free roaming in their homeland. And hearing their feedback brings me enormous pleasure, it’s a gift I can give them.

The biggest gift is directly from the Brumbies themselves, without them my journey to the mountains would be deeply upsetting. Their presence on the landscape in the Snowy Mountains is unmeasurable. This is not a romantic anecdote, just a very strong connection and love for horses going back to my childhood.

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My journey ahead, well I just hope my health will allow me to continue doing what I love which is seeing and creating up there in the high country, and that the brumbies will continue to jump before of my lens.

Petra: When did you start to come for visits and take photos of brumbies on a regular basis?

Judy: Both myself and my partner Paul initially started driving up to the mountains to see the brumbies around 2014. I had often driven along the Kiandra Plains over the years and never seen any and we have been told that not many were around in the earlier years. They were there in small mobs apparently but not always visible from the car as you drove along. Prior to 2003 before horrendous bushfires engulfed the Kosciuszko National Parks it was a huge highlight for people to see them. Apparently post these fires many horses were pushed from the west over towards the Kiandra Plains and over towards Long Plain area and surrounds. We are unsure of how many perished in these fires but the ones that survived were forced over and joined other mobs. Families were broken up and the genetics mixed. And that’s why we see such an array of different colourings in the brumbies today.

Since we first started going up to see the brumbies along the main road, we found other places to see them. They accepted us as long as we kept our distance. We have photographed them over all 4 seasons, watching their family interactions, new arrivals, whether that was newborn foals or new mares and fillies that the lead stallion had brought into his mob. It’s a fascinating story to watch and get to know some of the individual mobs.

During the winter months the gates into various places in the National Park get locked, from the long weekend in June until the long weekend in October.

During this period, we just tend to photograph the brumbies that we see along the main road, often with a white carpet of snow surrounding them, sometimes blizzard conditions. When the gates re-open we spend pretty much a day or 2 every week to 2 weeks up there photographing them. We often camp out and this gives us the opportunity to photograph them early in the morning and in the late afternoon. The golden times of the day.

Every year since 2014 both Paul and I have produced a Brumby Calendar showing the viewer the brumbies in their natural environment over the 4 seasons.

People from all over Australia the USA, France and NZ have purchased our calendars, and we are thrilled to be able to share the Snowy Mountains Brumby into their households.

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Petra: Why do you think it is important to protect brumbies and acknowledge their important part in Australian history?

Judy: The Brumby is under constant threat of death. Accused of alleged environmental damage the horses are banned from their natural habitat and are being removed for rehoming and a number slaughtered in ever increasing numbers. Under Australian legislation the Heritage Brumby is classed as ‘feral’ and is treated as such.

I, like many others believe it is enormously important to retain a management herd within the Kosciuszko National Park in the Snowy Mountains. A wild horse is what it is because of where it is. To remove it away from its evolved environment is to take away the essence of what it is and what we need to protect. Brumbies, managed in the right way are an asset, never a liability to our economy in terms of income and tourism potential.

It is fact that they are part of our early history up here, like it or not. The Brumby has served and died for us in war, has worked our high-country land, mustered our stock, carried our kids to school, yet this ‘feral horse’ is today, just nuisance value to be destroyed without thought or care.

Petra: Why are Brumbies and sharing their story important to you?

Judy: I want their story to be shared with the future generation so that they too, can continue to see and enjoy these beautiful horses as we do today.

Petra: What would be the ideal scenario for Brumbies to stay safe in the future?

Judy: We believe that there is a huge potential for further research into the Snowy Brumby. This is a unique horse population, who whilst an introduced species, have adapted to extremes in climatic conditions and the landscape. We would like to be actively involved in the management of the brumby population. We would like to be able to assist the National Parks and Wildlife Services in the implementation of the Community Advisory body and continue to support Sydney University with our DNA collections. We encourage further research be undertaken so that the brumbies can be managed, whilst sustaining a viable population within the National Park.

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We need local community involvement in the management of the brumbies, and we have put forward this request in our submission to the 2021 Wild Horse Management Plan. Furthermore, a true and accurate count needs to be undertaken. Unless we know exactly how many brumbies are there, we cannot even start to manage them.

Petra: What is your favourite part about visiting Brumbies in their environment?

Judy: There is no favourite part. Each and every spot in the mountains is special. Every visit brings a totally new capture for the camera. No two days or minutes are the same. You never know what will be around the next bend, or over the hill. It’s a magical place as not only do we go for the brumbies but also other wildlife. We often see wild dogs (dingoes), lizards, roos, wallabies, pigs, and the odd deer. We are always blessed to see a Wedgetail Eagle or 2, their presence in the sky above is so powerful. We have also had the pleasure to photograph a female Lyrebird. After the 2020 fires desecrated much of the Park, we found this very animated and beautiful songstress building her nest in amongst the snow on burnt ground. Singing away and gathering a multitude of sticks, leaves and moss to build her mansion. We visited her as often as we could right up until she laid her one egg to this little fluff ball emerging and then finally one day it had fledged. Quite a special period in time. Once again nature at its best in a beautiful environment.

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Petra: Do you feel that the Brumby is still a romantic figure celebrated in movies and poems?

Judy: Yes, I do and there’s nothing at all wrong with that. So many people that you talk to speak of their early childhood reading Elyne Mitchell’s, “The Silver Brumby” books which have also been made into short, animated films. Then of course there was “The Man From Snowy River” films that are still viewed today.

And all these and others relate back to Banjo Patterson’s firsthand presence in the mountains up here, seeing what he did and writing his stories for all to relate to and enjoy. They are all part of our history up here in the Snowy Mountains, romantic or not, the brumbies had a presence then and still do today, they are part of the landscape.

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Petra: What is your background?

Paul: I was born in Victoria, went to school, university (film and TV) and commenced working there. I completed an internship with Movietone News and worked for them for about a year. I then joined Columbia Picture’s Melbourne office where I worked for a few years leaving as Publicity and advertising coordinator. I moved to South East Asia where I freelanced for a number of years covering remote tribes, small conflicts, advertising assignments and some documentary work. I returned to Australia and ran Charlotte’s Pass Photography in the NSW Snowy Mountains for 4 years. I then returned to the Australian Film industry working for Kennedy Miller on TV mini-series and Mad Max: Beyond Thunderdome as a set builder and art department photographer. I then commenced work in the USA on a Day in the Life project called “Tribute: A Day in the life of America’s finest“, a book on American police.

Upon publication I returned to Australia working as a photojournalist for publications like The Good Weekend, Horwitz publications and many others. In this period, I was sent to many parts of the world to document a wide variety of events.

After 10 or 12 years of life eternally on the road chasing images, it was time for a change. I returned to university to acquire teaching qualifications and a post graduate degree in Communication Management with Distinctions to prepare myself for teaching in the new media age which was almost upon us.

For the next 15 years I taught at TAFE Illawarra across most of its campus and faculties including the Aboriginal Education unit where I worked on language revival. I also worked on TAFE prison projects, TAFE woman’s refuge programs and in their disability unit. To maintain my “industry currency”, an employment requirement, I continued to file for international, metro and local news outlets throughout this time.

Petra: What do you love about your creative work most?

Paul: I think that the thing I love most about my creative work is the challenge to find a point of difference with my subject. It is an enormous challenge especially with reportage. Often, I will simply ask myself, “what if ?” What if I change the angle, exposure tools or the point of view? How close can I get?

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Petra: What is your connection to the Snowy Mountains area and the Coast?

Paul: As a kid we came to the coast via the mountains for our summer holidays so there were many childhood memories and experiences here.

As an adult I continued to return on visits to friends during work breaks.

In the mid 1980’s I purchased a 40-acre block of land at a place called Rocky Hall on the escarpment that divides the Monaro from the far South Coast. This gave me access to both the mountains and the sea and a “forever home”.

Petra: When did you discover Brumbies, was it love at first sight?

Paul: My discovery of Brumbies occurred long before I actually saw one.

I was at an “arty” party up the coast and was sitting by the fire outside.

There was a fellow who stood out because he was very different and wearing a cowboy hat. Intrigued, I struck up a conversation. He was a high-country horseman and he told me about a tale in hushed tones of how he had ridden into a clearing with his horse twitching only to come onto a full-scale brumby stallion fight going on. His description enthralled me, and I vowed one day to capture that. About ten years ago we decided to venture out and see what we could find in Brumby Country. After a day of searching, we managed to find our first ever Brumbies. And yes, it was love at first sight!

Petra: For someone covering various stories around the world, what makes photographing Brumbies special?

Paul: One of the things that makes photographing Brumbies so special is that you never know what you will get. Some days you may find very little and on others you may find a richness only a big Brumby Day can provide.

You need to make the time to ensure they are at ease with your presence.

If you do that, they will then allow you into their social dynamic which can be a picture rich environment.

Petra: Do you feel you can make a difference with the photography and creative work you and Judy are doing?

Paul: Yes, I think that we can! Our styles are different and informed by different sensibilities. Mine is reportage and Judy’s is far more artistic. Judy is far more thorough and far better informed in equine terms. This ensures that we often produce very different images from the same locations and events. If they are for metro media, they inform a wider audience about a world they may not be aware of. The images are widely appreciated on social media platforms where viewers may have empathy born of Films and literature but little or no firsthand experience. For those who have firsthand experience, the images refresh their memories and love of the mountains and the Brumbies.

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Petra: You mentioned that you do a lot of camping near the horses, the night sky, can you describe the experience?

Paul: Camping with Brumbies is just the best experience! It’s an opportunity to immerse yourself in their nighttime activities. Be that the rogue stallion on a mission to disrupt as much as possible overnight and go home in the morning to brag about it with his mates (sound familiar) or quiet grazing in the moonlight or under a huge sky of stars! On assignment once we were camped by a causeway across the lake. We thought it too high to cross. In the early dawn with a light fog a stallion crossed the lake in the mist for a memorable double page spread. Our other camping is often in horse camps where we can listen to tales of times and people gone by around a campfire. Sometimes these evenings can be punctuated with a Brumby stallion trying to steal the riders’ mares from the yards or just having a chat with them. Sometimes the soundtrack to these camps can be the howls of dingoes.

Petra: Why are people drawn to Brumbies?

Paul: There is something about Brumbies that can soften even the hardest of hearts. (Well almost) They are predominantly a gentle animal that is highly social and inquisitive. They can be playful, amusing, and yet, quite regal.

Petra: Many people think that Brumbies are bad for the environment, can you describe their habits and why people might have the belief?

Paul: There are people who feel that the Brumbies are bad for the environment and that is understandable. They are a large animal and an introduced species that do need to be managed. My belief is that there should be no Brumbies in the very high fragile alpine country and, in the by and large, there are very few in those regions. They co-habitat with many other species on the lower slopes which is former farming and mining country. Generally, they can be found in around 10% of the park area. The key issue is the numbers and their impact. The current official figure of 14,000 in the northern end of the park is strongly contested. It is based on an algorithm that presumes trained observers in a helicopter, flying at 70 meters elevation and flying strict transects, fail to see 85% of the horses below them. The observed number has consistently been in the vicinity of 1200. Naturally not all horses have been observed so the population is going to be larger than that physically observed. But if there were 14,000 the entire place would be cheek by jowl with horses. This density is impossible to observe in the majority of the park. Our estimate is somewhere in the vicinity of 3000 which is the number specified for preservation under the Wild Horse Heritage act.

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Petra: Can you describe Brumby mobs and their dynamic?

Paul: Brumby mobs come in many sizes and compositions. Mobs larger than twenty or so are uncommon but possible. There is always a lead stallion and a lead mare. Sometimes there may be a sub stallion which is tolerated as well as fillies, colts and foals. Like all families they will have their ups and downs in the group dynamic. Sometimes calm and serene other times there will be a bit of discord.

The colts will practice being grown-ups and play fight or just nip on others to get on their nerves. We all know that one kid. Sometimes they will join with other mobs to graze, socialize or go for a flat-out fun group gallop which is a sight to behold.

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Petra: How does the rehoming process look like, and can you share the history of shooting them from helicopters?

Paul: National Parks and Wildlife Service have been passive trapping Brumbies for a long time. Once trapped the Brumbies generally go to a rehomer. The rules for eligibility for rehoming are quite strict. They must take a minimum of 5 horses and their facilities need to be approved by Parks. The horses are trapped in the Park and transported to a holding depot and the rehomer is then contacted to collect the horses. The horses are then transported to the rehomers site. Some rehomers will then move the horses on to other recipients. Ariel culling by helicopter lost its social license after a cull in the Guy Faux National Park many years ago. There were wounded horses taking days to die and orphaned foals who starved. The matter went to court, National Parks lost. It is a practice that ceased in NSW as a result.

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Petra: Why is there such a divide in the community and Brumbies called feral horses?

Paul: The region was under indigenous stewardship for somewhere north of 6000 years and it had been adapted by the Traditional Owners to meet their requirements across many purposes. With the arrival of the colonial era came displacement of that stewardship and the introduction of a new purposeful management ideology of the colonialists. The new management regime was predicated by and facilitated by the horse and a new culture grew around it in the High Country. There were myths, legends, songs and stories that entrenched themselves amongst those who were a part of that culture. A parallel culture developed much later, largely in urban areas, which looked at the mountain terrain in strictly ecological terms. Objections were raised to the foundation culture of the colonial era. Changes were instigated in the High Country initiated by this new culture. Many of the descendants of the colonial culture along with many likeminded people want to retain a symbol of that culture. To many this is the Brumby. Those of the newer ecology culture reject the colonial culture’s view and reflect the damage that is supposedly being done in the high country by naming their designated culprit, the feral horse.

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The feral horse is singled out as the dominator of damage in the high country by the ecology culture. No reference is made by them to previous and current agricultural practices, mining practices, energy generation practices, alpine winter recreational practices, alpine summer recreational practices and the general development of the region as we move forward. Just as the compromises made in all these practices have removed the label “pristine” from the High Country, so too there must be a compromise in the Brumby/wild horse debate.

The answer lies within the legislation of the Brumby Heritage Bill and an effective implementation of the Plan of Management embedded in that bill. A key part of the Plan of Management is the establishment of a Community Advisory Panel. Effective interaction between this group and the National Parks and Wildlife Service can restore the social license of all parties including the Brumbies.

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CRYSTAL BROOK GARDENS & LAVENDER FARM

Day 14 I was looking for something wildly romantic to feature in the Autumn YARNS and came across this little farm tucked away among all the paddocks, just an hours drive from Canberra. When we arrived, I did not expect to enter a space which looked more like we had stepped into France or Italy. How wonderful to have something so beautiful available to visit and enjoy with friends and family and be part of the serenity.

Crystal Brook Gardens are owned and lovingly maintained by Michael and Judith Basile, I had the pleasure to sit with them on one warm, lazy afternoon.

Petra: When did you established your gardens?

Judith: About 27 years ago, to grow established trees for Oriental gardens.

After we planted the trees, we looked around for something else to do. We were both working full time, so it was a weekend adventure. We looked at different things we could consider like olives and after we had looked at all the other options available, we finished up with lavender. We were fortunate with the lavender. We went to a whole pile of different conferences about different things. We went to Lilydale to a conference, and we met a propagator of lavender there. He said, "Look, if you really want to know about lavender, you better go to France and have a good look at it". And he gave us the name of a place to visit. So off we went to France. And I always tell this story, I was at work back then in the travel industry and I rang my husband and said, "What are you doing next Wednesday", he said, "I going to work? And I said, "No, we're going to Paris". And that's what we did! We went down to Provence where we met this amazing lady, and she shared a lot of information with us and introduced us to a master distiller, so we had multiple good opportunities raise up there and then. We were very lucky. We came back and started planting. This is only a display garden here for people to see. Our commercial gardens are way down near the dam. And we've got some at the gate. And now we're extending the plantings up to this end. That means there's more lavender for people to see, but we only let visitors look at this area. That's mainly for safety reasons, because down by the dam there there are snakes.

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Petra: So, have you planned everything?

Judith: Yes. We've been on a lot of trips to France and we've been fortunate to be able to do all this. A lot of our ideas have come from France, like the miniature medieval garden. The garden rooms and things like that. That all came from our visits to France where we've taken garden tours and history tours and lavender tours to expand our knowledge. We’ve spent a lot of time in Japan and France. We also like Malaysia and Borneo too.

Petra: Do you make your own products?

Judith: I don't make any cosmetic products. I'm not a chemist, and I'm very strict about it. We have our popular lavender oil and floral water, which is a byproduct of the distillation process to dry our lavender potpourri. I have some other products in the shop, and I tried to make sure they're all Australian made. It's mainly if somebody wants to buy a little gift, I've got it here. I make jams and chutneys and vinegars with lavender. We also have cheesecakes and a range of salads and barbecue for lunch.

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Petra: How would you describe the medieval garden?

Judith: What happened with the medieval garden was every time we went to France, we had to visit the southwest. So, when I went there, they had this miniature medieval garden. I came back and I read up on medieval gardens and the whole concept of historical gardening. If you go into that garden there, there's all these tiny little plots.

There's a Lady's garden so when the ladies went in, there was something to smell.

And there's a flower garden and a fruit garden and a kitchen herbs, garden, a lavender garden and a medicinal garden. Now, sadly, the fence had worn out over the years because traditionally they were fenced, and a very few people had the keys to the gate. The lady of the house usually did. And the person that was in charge of medicines usually held the keys.

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Petra: So, was it like a sanctuary?

Judith: It was started by religious orders; the monks, they started up for medicinal purposes. They had to be self-sufficient. So, they were the early instigators of it.

Petra: Is there much interest in lavender?

Judith: A lot of people ask about the lavender and that sort of thing. And Michael, and I've been very particular, basically talking about it in proper terms. We don't talk about French lavender and English lavender, we talk about it by a proper name and try and educate people. We created a micro-environment here by growing trees.

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Petra: Can you describe your distillery?

Judith: That's designed as an artisanal, or a traditional still, the one that was used originally in the fields in France.

Petra: Gardening is special isn’t it?

Judith: You get the joy of seeing it grow and picking it and that sort of thing. People who love gardening and love animals are special. And they have qualities that a lot of other people don't have, and I see that in some of the people that come here. It's about being fully part of something.

Petra: So, do you shut down in autumn?

Judith: By the end of February pretty much there's no low end. But normally it can go longer this year. We have of course a beautiful autumn. And before COVID came, we used to have an autumn festival. We usually say we close it on the 31st of May and reopen on the 1st of October. But anybody can book and come any time. And we're quite happy to have visitors during winter. I used to have at least two, if not three coaches a month full of garden people and that they would come and take cuttings or whatever.

Petra: Do you do collect heritage roses as well?

Judith: No, the majority of roses i bought, I tried to buy it for perfume. We've got one old rose in there in the Lady's garden because that fits into that. And we've only just recently discovered someone who's involved in heritage plants. This year I planted a few things that I've managed to get. But if I planted another garden, I think Michael would kill me. I mean, if I was younger I'd have a perfume garden.

Petra: How did your dinner parties started?

Judith: Well, a funny thing happened many years ago. Michael was working at the time.

They were doing a survey on a house that had been taken over by the bank. And the people had sort of left in a hurry and left behind a whole pile of China. So, Adam, Michael’s boss said, take them home. It all shifted from Campbell town down to the bottom shed here with all the rats. One day ages later we went down there and I said "What is this?" He explained how it all got there, and I said, "Oh, Christ now bring it up to the house and wash it and see what it is". So, we bought it up here we washed it. it was a 12-piece setting, dinner plates, entree plates, bread and butter plates, soup terranes, soup bowls, dessert bowls, serving platters. A vegetable terrain and a soap terrain and serving platters, a tea pot, tea cups, coffee cups, milk and sugars jugs. The lot. Anyway, we managed to look it up on the internet and found out that wasn’t just cheap china. In fact the tea pot alone was worth $700. Then we bought big tables which we put in the room and we started having dinner parties. We used to have friends that lived here that would dress up in black tie and gowns, it was a huge fun! We'd have the men complain bitterly about putting their suit on for the soiree. We had a ball!

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Petra: Are you still doing it?

Judith: Well, we haven't during COVID. We do high teas here. I managed to get one in this year. We've had some musical nights. Most of the high teas have guest artists.

We have had some really big parties too with over 100 guests.

Petra: Can you tell me what the garden means to you, personally and what does it do to you every day?

Judith: I grew up with a mother who loved gardening. And she really loved every Saturday. I had to polish brass and everything else. And she picked flowers for the house. I grew up having a passion for flowers, and for a garden in general. In my childhood you went out and picked an orange, you picked an apricot. You pick your own strawberries. I think the garden has always been something that was important to me. It didn't matter what house I lived in, I created a garden, particularly herbs and vegetables and things. I just think it's in me, and when I went to France, and I started visiting other gardens, that's when I had these ideas of creating different things. I suppose these gardens created from bits and pieces of things that I've seen, ideas that I've seen the Japanese garden because of the time we spent in Japan. And Michael spent a lot of time in Japan, creating plants for an Australian Bird Park and things like that. And the time I spent in Indonesia, if I didn't live here, I'd have that tropical Indonesian type of garden.

I think more than anything, the garden is a love of travel. And, you know, if you look at my library, there's whole libraries on the different sort of gardens, whether they're medicinal gardens or edible. Whenever I go and visit a garden I’ll look to see if there's a new medicinal garden plant. I'll read about one, and then I'll source it, I'll try to find out where I can get it from that sort of thing. So more than anything, I think, it's been an educational thing. I've never lived in a climate like this, ever. So that was one thing I had to learn what would live here. So, if I see something I really like, first thing I’ll say is it frost sensitive? So, it's been an educational process, I think more than anything. And that's when I read the lavender, I had to learn about it. I couldn't just grow it and have people come and say, "What is it?" I had to find out how to grow it and what to do with it, what the benefits of it were. And I think it's been a learning experience really more than anything.

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KOALA PARK SANCTUARY

Day 15 21 years ago I went to this very same park in the beautiful bushland Northern Sydney to meet my first Koala. It was such an exciting encounter. Returning there for this special Koala story was bittersweet for me as these cute and cuddly little guys have now become endangered. Koala’s are one step further along the path to extinction due to land-clearing, drought, disease, car-strikes and dog attacks. We are at risk of losing our adored national icon. This is a story of two koalas and their place in a sanctuary full of Australian wildlife where you can experience close encounters.

Petra: Can you tell me about those two Koala’s, please?

Hannah: Okay, so one is 3 years old, it's called Como. And the other one named Fluff is two years old. They're both male Koalas and they're both from New South Wales. Koalas can look different in depending on which part of Australia they are from. In Queensland, koalas are smaller, and they have thinner fur. It's bristlier rather than soft and that's due to the hotter weather up in Queensland which is closer to the equator. And the opposite down south in Victoria, where the weather is colder, and the koalas are bigger. They've got more body mass, more body fat, and their fur is softer and thicker.

So yeah, there can be the really cuddly ones down in Victoria. And the not so cuddly ones in Queensland. Koalas only eat eucalyptus leaves. It's the only food they can digest. There are about 1000 species of eucalyptus trees in Australia, and koalas can only eat about 20 to 30 species. So, there's not a huge diet range and different eucalyptus species are found in different parts of Australia. A species that koalas can eat in Queensland might not be available in New South Wales or Victoria. So, they have even less variation in different parts of the country. And because they're only eating leaves all day, that's not got a lot of nutrition. They sleep for 18 to 22 hours a day so they are very lazy only waking up to eat, maybe climb a different branch to eat smoother leaves and then they'll fall right back to sleep again.

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Petra: So, these two, were they born here or were they rescued?

Hannah: They're not rescue. They're born at another zoo up on the Central Coast, The Australian Reptile Park? We brought them here. Zoos and animal parks like to trade animals of the same species so that the gene pool can mix and expand. If we kept them back with their family on the coast, then they couldn't breed with anyone there. So, we've brought them here and will breed them up with some of our females that we've got off. This ensures the genetic variation is really broad.

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Petra: So, do they have a special breeding season?

Hannah: The breeding season is from October to May. It's quite a few months for them to mate during the warmer periods. And I think with most species they breed in the warmer months. They're just a bit young to breed right now. We'll try breeding them next year.

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Petra: To when they're 4 or 5?

Hannah: es. Female koalas mature at 2 years old, but it takes a bit longer for the males. They mature at about 4 years old. So, they're not quite old enough yet.

Petra: What's the life expectancy of Koala?

Hannah: Koalas live for about 8 to 12 years in the wild. I don't think that's very long at all when you think of it. Especially if they mature at 4, that's already half their life gone. They can live longer in captivity, reaching up to 20 years maximum and that’s pushing it. So, if a Koala reaches 13 or14 up to 20 that's a good healthy long life.

Petra: Do they have family structure?

Hannah: Not really, they are quite a solitary species. The males will be by themselves in a tree. The only time they'll come together is for the breeding season. And then the males will often take off pretty quickly and just leave the mum with the Joe. And then when the Joe is about 2 years, it might go too so then they all split up. They don't stay as a family. They don't need a lot of care because the baby will go into the mom's pouch. So, when it's in there, they don't really need the father for anything.

Petra: How long does the baby stays with mum?

Hannah: The baby stays in the mums’ pouch for 6 months. And then come out and sits on the mother's back. Very cute. That lasts for another 6 months and then the young koala can pretty much climb by itself then. It may hang around its mother for another year until it's

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Petra: Can you describe the scent gland?

Hannah: You can just see the top of Como’s up there, the little brown spots just in the middle of the chest. It's a brown spot. That’s the scent gland. They produce their own scent, they can rub onto trees to mark their territory, and they can recognize their own scent. So, if they go to a tree and they smell their scent they know it's safe to climb up, if they smell something that's not their scent, they stay away otherwise they might get in a fight.

Petra: Do you do animal rescue?

Hannah: Yes, we do. We do take in. We don’t go out and find injured animals, but we get calls and rescue wallabies and other animals that we take care of in the hospital.

Petra: Did you do any of the bushfire koalas?

Hannah: They were a bit too intensive care for us. They went to either Taronga Zoo in the city where they've got much bigger facilities or Port Macquarie Koala Hospital.

Petra: Do koalas like cuddles?

Hannah: Some, yes! We transfer them into an overnight enclosed area. Como is pretty good with being handled but Fluff not so much. We carry a little pet pack beside us when we wake him up because we don't know if he'll bite or scratch or want to jump on us. We hold them in specific ways. We've got to be careful because some koalas like to be cuddled and some don't. It a very specific very specific thing.

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THE RIVERBOAT POSTMAN

Day 16 I had the pleasure in late Summer to board the unique and very sweet boat responsible for delivering mail, medical and other essentials like ‘bottle of rum’ according to the owners in the Hawkesbury area. Homes often accessible by boat only and some of the completely off the grid. This is story of majestic wide river among rolling hills and life on it.

My personal connection to the area goes back to year 2000 when I was travelling along the magnificent Hawkesbury River from Central station in Sydney to Gosford, to meet my partners parents at train station and continue to the gorgeous Avoca beach. Coming straight from the Czech Republic with very little English to a new life in Sydney everything was so new and foreign. Like living in Bondi. I loved my regular places of travel and I felt connected to the environment, especially witnessing them through various seasons. Soon it all started to feel familiar, and I grew happier.

When I searched for an interesting Autumn Yarn, I was surprised how a planned boat ride on the spectacular Hawkesbury River turned into a fascinating journey when I came across The Riverboat Postman. The community spirit, the human connection and collective care that emanated from this service touched my heart. When I talked with the friendliest crew I could ever hope to meet I got a deep insight into how their day unfolded and their relationship with all the people living in the quaint little houses dotted along the shoreline. How they depended on the post boat to come, and I could see how there was a genuine relationship between the people who really care for each other. Watching people approaching with their dogs, full of anticipations to collect their mail and those heartfelt interactions as they exchanged sentences. It was priceless.

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The Hawkesbury Mail Boat started running in 1910 to deliver mail to the settlements who only had access by river. Since then, there are many little boats, yachts and houseboats cruising the magnificent scenery and the whole area has become a popular destination for quiet weekend getaway just a stone throw from Sydney. A fabulous destination to explore local hiking tracks and waterfront cafes.

We had to run not to miss the boat literarily as we got slightly detoured a few times on the way there! Things are much easier to get to in our sleepy quiet Canberra, the bush Capital of Australia. The sky was grey, and the rain was pouring, so imagine our relief when we were seated at a table on board with Anzac biscuits and delicious hot cup of tea! In nicer weather there is plenty of space around the boat and on the top deck to make most of the spectacular scenery including Indigenous sites. But I love outdoors in any weather, especially the moody ones with mist on hills which makes me feel nostalgic about mystical Europe. There is equal magic to be found in the great Australian outdoor for anyone with open heart and open mind. I’ve been travelling, photographing and appreciating this land for long time, so my heart gets the same fuzzy feeling.

Being on the top platform of the boat and witnessing all the aspects of the river life, the luxurious and the quirky settlements on the riverbank was like being in a movie.

Sadly, my son refused to recreate the Titanic scene on the bow. I’ll try harder to convince him next time. What surprised me most was the close proximity of houses next to each other. In a place like this you can’t afford to make your neighbours enemies! Lots of the houses had gorgeously renovated boatsheds into a holiday accommodation. The gardener in me loved all the little gardens at the front of the houses, and I even saw people gardening! What a place to disappear and forget the world.

Despite the rain, I’ve spent most of the trip photographing outside and only popped in for a very delicious lunch with beer. I can imagine how a sunset cruise in beautiful weather would be an incredible treat. I have to definitely come back for that experience.

I loved the serenity of this whole experience and being part of the boat that delivers something so essential to the local community was special. And the seafood meal at the local pub on shore was perfect way to finish a great day.

The Riverboat Postman offers selection of places where to stay on their website, I know I’m coming back.

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ROCK CASTLE, CLOISTER AND HERMITAGE SLOUP

Day 17 I made myself promise to feature one destination in each issue that honours my beautiful birth country, the Czech Republic. I had endless wonderful adventures exploring nature and running free there. It was filled with fun and joy, because my mum was the queen of creating the most magical experiences for us and all the other lucky kids in our community. She organized a Summer Camp through her workplace each year with different theme. We had to make our costumes leading up to the big school summer holidays before heading out for two weeks. We were lucky with my sister because mum was the Capo and dad was helping with the logistics in the kitchen, so we did not have homesickness like the other kids. It certainly made my early love life interesting being constantly under the watchful eye of both parents, but those were the first innocent connections when we never kissed and just fancied each other.

For a few years in a row, we were regularly travelling to a little quaint village called Sloup for our annual holiday camp. Our mum was a huge history enthusiast so she researched the history of the place and made an entire holiday program on playing knights and robbers in the local castle carved into sandstone in a beautiful forest with an outdoor theatre and heaps of caves to explore. Our little apartment was full of bags of leather offcuts, textile offcuts, spray-painted river stones as treasures and it smelled in the hot weather. God knows how she outsourced all of that for so many kids to keep them busy for two weeks!

My dad is a musician and in our world as we know it he has been always playing somewhere. It’s big passion of his. So in our childhood we did not have the typical family weekend trips to the various castles that can be found all over Czech Republic like the other families. Mum tried to attempt a trip to Konopiste once, but we got lost on the way and with frustration just turned the car and went back home. She did not enjoy finding new travel routes as I found when I was older. I guess that’s where my huge love and romance with castles and adventure comes from, it’s so good to have something really spectacular to look forward to! Naturally, I’ve always been taking my son since he was one year old on all different adventures, exploring castles, nature and the rich cultural heritage of both Czech and Australia. Today, he loves castles and wildly beautiful romantic adventures as much as me and he has been photographing with me since he got his first camera at age 3 for his birthday. I treasure the images of world and people through his lens.

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There is so much of my family history linked with this beautiful castle which has been one of the most romantic travel destinations and backdrop for countless fairy tales. Every time I visit, I drop a few coins – Czech korunas and Australian dollar – to the castle well and make heaps of wishes. This place connects me to my past and to the wonderful imagery of the innocent childhood adventures like following long trails of candles in pitch black darkness in the “night walk of courage” where we had to sign at the end, which was a big thing for someone who was still afraid of darkness. This was still in the Communist regime, but totally unique and dreamy because of my mum’s focus on sport, nature and community. We were blessed with such amazing experiences and shared our mum with all the other kids,. We had to sneak to kiss her good night at the camp’s bedtime so the other kids would not get upset and start missing their mums. We also had to call her by her first name, Natasa.

Arriving at the tiny Village Sloup is very sweet and fun experience. Out of nowhere there is this castle with trees sitting on top on a massive rock like someone just popped it in there! Getting past the replicas of handmade artisan historical glassware in the carpark is always challenging, let’s say my home collection is looking good! The beauty of this rugged place is visible on every step. The way soft sandstone gave in over the centuries to the elements and traffic of human foot and hand is everywhere. It is literary entering the rock through a narrow worn out staircase, the first most noticeable thing is the temperature drop which is absolutely gorgeous on a hot summer day and if you are like us, always hungry, the beer and sausages consumed before the small climb in the heat of the carpark go down very well. That’s Czech tourism for you, beer, sausage and lemonade. Nothing prepares you for emerging on the top of the castle through the dak rooms hand carved into the rock. The little widows with floors so uneven from people who walked those spaces are simply amazing, there is something very primal about it. The castle offers wonderful 365 degrees view onto the romantic surrounding landscape and stand with four coloured glasses representing four seasons in the nature. Something so simple still brings much joy with each visit. The state of hermit is quite impressive given there are not many famous hermits on Czech and the fact that someone would willingly chose this kind of life still fascinates me, perhaps because I would not last long without people and experiencing life fully. For such a small area surprisingly there are many rooms spaces carved into to the rock, the example is the famous staircase which goes from two end and meets down in the middle, we always thought it was a stairway to hell. One of the buildings on top of the castle is vey moody and romantic chapel and if you are lucky, there is a free classical guitar concert during the tourist season. I always have to sit, close my eyes and take it all in!

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My family have moved our homebase sice I to migrated to Australia, so home in a true sense is in all the wonderful places I have a heart connection to. I’ll be always coming back to revisit my childhood as well as my son’s childhood and all the beautiful memories with people who are no longer here.

The castle was first mentioned in records dating from 1324 owned by Čeněk of Ojvína. It was established beside a salt trade route from Meissen to Česká Lípa by the Ronovec family. The edges of the outcrop, which was a level summit, were carved to resemble castle walls with loopholes, and some of the gullies in the outcrop were filled in with masonry. Thanks to an ingenious system of trenches it was possible to flood the area around the rocks. The combination of natural conditions and human ingenuity turned the castle into a fortress unassailable by medieval warriors.

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During the 15th century, Knight Mikeš Pancíř of Smojno was based here and launched a raid on Lužice, and as a consequence the castle was besieged in 1445–45.[2] When the starving troops capitulated after three months of isolation it was burned down by the end of 1447. The castle was repaired, but it gradually ceased to meet the desired standards of comfort, and during the 16th century it was deserted and became dilapidated.

In 1639 the Swedes burned it down, and the castle became a ruin.[2] From 1670 to 1785 hermits were based here, making use of the rock for their needs.[3] Among other things, they carved out new rooms and created recesses for the Stations of the Cross, built a chapel in the rock and formed a new entrance. Historical documents 403

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talk about several men: Konstantin was a bricklayer; Vaclav painted a solar clock on the wall; and an optician and gardener called Samuel grew corn on the plains around the castle, as well as wine on its southern terraces.

After the hermitage ceased to exist the state owners, the Kinsky family, turned the complex into a romantic tourist attraction. Little has been preserved of the original structure on the elevated plateau, although the spaces sunk into the rock can be clearly seen today like the dungeon, well, hermitage, passage and the terraced walkways.

In the former prison, dungeon carvings have been preserved, which were dug out of the walls by former prisoners. Sloup has now become a romantic place for outings and occasionally candlelit concerts and historical jousting matches are held. en.wikipedia.org/Sloup Castle

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VOLTAIRE

Day 18 From Love To Friendship If you would have me love once more, The blissful age of love restore; From wine's free joys, and lovers' cares, Relentless time, who no man spares, Urges me quickly to retire, And no more to such bliss aspire.

From such austerity exact, Let's, if we can, some good extract; Whose way of thinking with this age Suits not, can ne'er be deemed a sage.

Let sprightly youth its follies gay, Its follies amiable display; Life to two moments is confined, Let one to wisdom be consigned.

You sweet delusions of my mind, Still to my ruling passion kind, Which always brought a sure relief To life's accurst companion, grief.

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Will you forever from me fly, And must I joyless, friendless die?

No mortal e'er resigns his breath I see, without a double death; Who loves, and is beloved no more, His hapless fate may well deplore; Life's loss may easily be borne, Of love bereft man is forlorn.

'Twas thus those pleasures I lamented, Which I so oft in youth repented; My soul replete with soft desire, Vainly regretted youthful fire.

But friendship then, celestial maid, From heaven descended to my aid; Less lively than the amorous flame, Although her tenderness the same.

The charms of friendship I admired, My soul was with new beauty fired; I then made one in friendship's train, But destitute of love, complain.

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To The Queen Of Hungary Princess, descended from that noble race Which still in danger held the imperial throne, Who human nature and thy sex dost grace, Whose virtues even thy foes are forced to own.

The generous French, as fierce as they're polite, Who to true glory constantly aspire; Whilst obstinately they against thee fight, Thy virtue and great qualities admire.

The French and Germans leagued by wondrous ties, Make Christendom one dismal scene of woe; And from their friendship greater ills arise, Than e'er did from their longest quarrels flow.

Thus from the equator and the frozen pole, The impetuous winds drive on with headlong force Two clouds, which as they on each other roll, Forth from their sable skirts the thunder force.

Do virtuous kings such ruin then ordain?

A calm they promise, but excite a storm: Felicity we hope for from their reign, Whilst they with slaughter dire the earth deform.

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Oh! Fleury, wise and venerable sage, Whom good ne'er dazzles, danger ne'er alarms; Who dost exceed the ancient Nestor's age: Must Europe never cease to be in arms?

Would thou couldst hold with prudent, steady hand, Europa's balance, shut up Janus' shrine; Make feuds and discords cease at thy command, And bring from heaven Astrea, maid divine.

Would France's treasures were dispersed no more, But prudently within the realm applied; Opulence to our cities to restore, And make them flourishing on every side.

You arts from heaven, and from the muses sprung, Whom Louis brought triumphant into France; Too long your hands are idle, lyres unstrung, ' Tis time to start from so profound a trance.

Your labors are of lasting glory sure, Whilst warlike pomps, the triumphs of a day, Blaze for a moment, never long endure, But soon like fleeting shadows pass away.

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Thelema And Macareus Poem by Voltaire Thelema's lively, all admire Her charms, but she's too full of fire; Impatience ever racks her breast, Her heart a stranger is to rest.

A jocund youth of bulky size This nymph beheld with tender eyes, From hers his humor differed quite, Black does not differ more from white.

On his broad face and open mien There dwelt tranquility serene; His converse is from languor free And boisterous vivacity.

His sleep was sound and sweet at night, Active he was at morn like light; As day advanced he pleased still more, Macareus was the name he bore.

His mistress void of thought as fair Tormented him with too much care: She adoration thought her due, And into fierce reproaches flew; Her Macareus with laughter left, And of all hopes of bliss bereft.

From clime to clime like mad she ran To seek the dear, the faithless man:

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From him she could not live content, So first of all to court she went.

There she of every one inquired, 'Is Macareus with you retired?'

Hearing that name the witlings there To laugh and smile could scarce forbear.

'Madam,' said they, 'who is this squire Macareus, for whom you inquire?

Madam, his character display, Or else we shan't know what to say.'

'He is a man,' returned the fair, 'Possessed of each endowment rare, A man of virtue so refined, He hated none of human kind; To whom no man e'er owed a spite, Who always knew to reason right, Who void of care lived still at ease, And knew all human kind to please.'

The courtiers answered with a sneer, 'You are not like to find him here, Mortals with such endowments rare But seldom to the court repair.'

The fair then to the city bent Her way, and stopped a convent.

She thought that in that calm retreat She might her tranquil lover meet.

'Madam,' then said the under-prior,

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The man for whom you thus inquire We long have waited for in vain, To visit us he ne'er did deign.

But such a loss to compensate, We've idle time and vigils late; We have our stated days of fasting With discord and divisions lasting.'

A short monk then with crown shaved o'er, Said, 'Madam, seek this man no more; For I'm by false reports misled, Or else your lover's long since dead.'

What the monk insolently said Made Thelema with rage grow red: 'Brother,' said she, 'I'd have you know The man who has caused all my woe Was made for me, and me alone, He's in this world on which I'm thrown; With me he'll live and die content, I'm propery his element: Who aught else told you, on my word, Has said a thing that's most absurd.'

This said, away the fair one ran, Resolved to find the inconstant man.

'At Paris, where the wits abound, Perhaps,' said she, 'he may be found, The wits speak of him as a sage;' On of them said: 'You by our page,

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Madam, perhaps have been misled; When there of Macareus you read, We spoke of one we never knew.'

Then near she to the law-court drew, Shutting her eyes, quick passed the fair, 'My love,' she cried, 'can't sure be there; There's some attraction in the Court, But who'd to this vile place resort?

Themis' black followers needs must prove Eternal foes to him I love.'

Fair Thelema at Rameau's shrine, Where the muse utters strains divine, The man who her so much neglected There to meet, was what she expected.

At those feasts oft she was a guest, Where meet gay people richly dressed; Such people as we all agree To call the best of company.

People of an address polite, She looked upon at the first sight As perfect copies of her lover; But she soon after could discover, That striving most to appear the same, They still were widest of their aim.

At last the fair one in despair, Finding how vain was all her care, And grown of her inquiries tired,

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To her retreat would have retired: The object which she there first spied Was Macareus by her bedside; He waited there, hid from her eyes, That he the fair one might surprise: 'Henceforward,' said he, 'live with me, From all inquietude be free, Do not, like vain and haughty dames, Be too assuming in your claims; And if you would henceforth possess My person and my tenderness, Never more make demands more high Than suits me with them to comply.'

Who's understood by either name, Both of the lover and the dame, The folks who are profound in Greek Cannot be very far to seek.

Taught by this emblem they'll relate What's to be every mortal's fate, Thee, Macareus, though all men choose, Though much they love thee, oft they lose; And I'm persuaded that you dwell With me, though this I fear to tell.

Who boasts that with thee he is blessed, By envy oft is dispossessed; A man should know, to make thee sure, How to live happy while obscure.

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