YARNS Spring Issue 04 by YARNS Magazine

Cover Image:

Dreamstime

THE STORY OF YARNS I’ve been carrying the dream of publishing a magazine since 2017 after I published my book “Life Rocks” and was looking for the perfect medium to keep writing, discovering and challenging myself with photography. A few years passed and unfortunately it took prematurely losing my beautiful mother while hiking in her beloved Austrian Alps for me to follow my dreams like there was no tomorrow. When I heard of the passing of my dear friend from art school, Anna - a talented artist and musician, I felt deep sadness and was moved to use my creativity well and stop waiting for the perfect time and conditions in my life. We were in lockdown in late 2021, with my son going slightly stir crazy in our little house in Canberra; unable to leave town; and with our regular trips to the beach and mountains starting to feel like distant memories. Also, previously I had run out of magazines that I liked reading, and I had thought: ‘why not create my own - a magazine I’d love reading with less writing, no advertising, more beautiful photos and intellectually stimulating content.’ So being able to put my creative juices into such an endeavour, YARNS evolved! It was a daunting prospect, as never before had I done anything like it. However, luckily, I know many wonderful, talented people - some with whom I’d worked in the past when I did podcasts with artists and creatives, or people I just met on my travels. So, it was just a matter of reaching out to see if they’d be interested in working together again. In addition, Canberra being situated close to both the coast and mountains - places of natural beauty, I thought that when travel was allowed again, I could visit my favourite places and get yarns from communities and individuals to create ‘YARNS’, thereby spreading them to local and international audiences anywhere around the globe. So, the First Issue was born! From there it has grown to me collaborating with cultural heritage and conservation organisations (another passion of mine - doing restoration work on churches and castles in the Czech Republic) like The Natural Trust of Australia, National Archives, Regional Councils and Museums, Foreign Embassies and Indigenous people. Nature is very important to me and I’m passionate about showcasing the beauty and culture of Australia with a regular feature on my native Czech Republic, the hidden gem. I approach each yarn with great care, respect and consideration and feel terribly nervous before each photoshoot (somehow this never goes away), because I want to capture people the way they’d love to see themselves - not an easy task and we all know how much most of us hate being photographed! I get so inspired by these amazing people and places, it keeps me curious about life and exploring this beautiful world. I love sharing YARNS adventures with my family, thereby making priceless memories. I think that’s where the magic is for me - bringing the stories to life visually and with soul and deepening my connection with my Australian home.

EDITORIAL

Hi, I am Petra Jungmanová creator of YARNS Magazine. With this the fourth Issue I thought it timely to celebrate a little with a larger issue (with some signiﬁcant ﬁrsts), as well as to tell a little bit more about me and what led to my passion – YARNS. This magazine in its short life has exceeded my expectations, becoming truly international – not just in the contributors, but alsoits readership. I am an Australian / Czech artist, author, potter, photographer and curator 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 came to 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 new world that unfolded before me. The inspiration for the Magazine came from my love for adventure, travel, human stories, and connection to the land, particularly now in Australia. 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, but particularly here in Australia where we are blest to shareA our land with the world’s longest living continuous culture. Their stories become increasingly relevant to our lives today and for the future. In YARNS we will continue to share stories of various dreamers, romantics, creatives, travellers, adventurers, achievers and places from Australia and other cultures around the world. People who have ‘walked the walk’ in their unique ways and how they experience their lives. Plus, we will be featuring places and things, that I feel complement these experiences or have some magic in themselves. This Spring Issue (Volume 4, 2022) contains a curated mix of stories about: people, places, and things, thereby covering the tapestry of a ‘real’ life in Australia and places overseas. These are stories that touched my heart deeply; I hope they will touch yours too! I am proud particularly of: •

The Brumby Lady, Claire and her unique devotion to, and understanding with, our remarkable Brumbies, now genuinely ﬁghting for their survival, particularly in the Snowy Mountains in NSW – hardly a reward for their ancestors brave and valiant support to our Diggers in WW1 & 2 and Korea!!

•

The story of the Everglades, the best-preserved Art Deco house and gardens in Australia, has been told using original material relating to the project made available through my collaboration with, and the generosity of the Archives of the National Trust of NSW, and the actual words of the mastermind and creator of the gardens, landscape architect Paul Sorenson. It is a privilege to reveal hitherto unpublished photos, sketches, etc. regarding this remarkable place in the Blue Mountains; and

•

The Cape St. George Lighthouse and stories behind it, told again, using historical material, thanks to my co-operation with the Jervis Bay Maritime Museum and the Shoalhaven Council.

I am excited also about our international content featuring several wonderful artists from Prague and Venice. We at YARNS Magazine acknowledge 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, happiness and adventure, 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

9 DAY 1

Paulina Skavová

Ambrosia Olive Farm

Andrea Vytlačilová

Blank Walls

Boutique Weddings Prague

123

Jackson Millan

161

Buckley’s Crossing Hotel

183

Claire Rogerson

207

JJ'S at the Marina

239

Livonne Larkins

261

7 15

4 11

Marilyn Vaccaro

277

Some Café

295

Salma Tahri

317

Micheluzzi Glass

337

Vanessa Barbay

373

Cape St George Lighthouse

405

Everglades

461

Prague

507

Poetry

581

PAULINA SKAVOVÁ DAY 1 I’m very excited to bring you a yarn from this very talented artist and one of the very impressive creative females in the art scene in the Czech Republic. Sculptor Paulina Skavová is impossible to miss with her enticing art which invites you to contemplate human and animal nature and the basic instincts that govern our psyche, as well as everyday objects playfully reimagined. Her art makes you think and feel the story of a woman who is visible not only in Czech, but around the world as people will know her creations through diﬀerent movies and TV series. I personally get kick out of it when I watch them here ‘Down Under’. I love this beautiful yarn and its focus on a story of creativity and the essence of it – please enjoy. Petra: Where were you born? Paulina: I was born in Trutnov, in the East of the Czech Republic. Petra: What inspired you to follow a creative path? Paulina: My childhood, upbringing, and school as I have been a creative child since a young age when I could keep entertained and busy with various activities. Drawing and painting were my favourites. Petra: How did your art education in Czech Republic and other European places inﬂuence your work? Paulina: I think art schools in the Czech Republic still are on a very high level. They are rooted in our history and approach to craft. We don’t have the saying ‘Czech golden hands’ for nothing. Thanks to that young people and artists can learn from the best (in art world). I’m worried about the future because those fabulous professors and artists are slowly leaving and it’s going to be very hard to replace them. The Academy of Fine Arts in Prague had a major impact on me thanks to Professor Karel Nepraš and Professor Milan Knižák. Internships in other countries have helped form me as a person. I had a ‘big school of life’, from being in Czech, Finland, and Switzerland, as well as a sculpture studio in Acapulco, in Mexico.

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Petra: What does the life of a successful female artist look like in the Czech Republic, and why do you think there are no other visible female artists there? Paulina: They are very complex questions and I’m not sure I’m the right person to answer them. I don’t consider / see myself as a successful artist. If you measure success by how many people know you, then I’m probably little successful. However, it’s definitely not my main ambition - what motivates me is the need to create. My work is everything to me and I feel very blessed to get the offers that allow me to put my ‘beautiful realisations’ (artworks) in public spaces, on films (movies), and in private collections. 3

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Petra: How would you describe your scenography work and what projects have you been working on? Paulina: Scenography, when I work for theatre and ﬁlm, is an essential part of my creative practice. In the last few years, I have had the opportunity to work for fantastic productions like the Amazon Prime Video Series ‘Wheel of Time’ for which I produced more than 20 sculptures. It was amazing work. My sculptures also appeared in the HBO Series ‘Knightfall’ and in the Series ‘Krypton’. ‘Underworld’ and ‘Snowpiercer’ are among other movies where my work has featured.

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Petra: Your artwork is simply magical, where do you ﬁnd your inspiration? Paulina: I get inspired by the life itself - I love nature and animals. I live with my husband in the middle of nowhere, remote and alone, near the forest. So, it’s not far for me to reach inspiration and recharge my batteries. Petra: How would describe your ‘Par Force’ and ‘The Last Gnaw’ Exhibitions? Paulina: For an artist, an exhibition is something like an exam, or a defence of the work. It’s the fruition of the creative process, which can take up to a few years, into the presentation and confrontation with the audience. As the creator, you need the occasional response or reaction back from the audience or critics, which then moves you forward. Petra: I love your playful artworks with feathers, and the innocence in every subject. So how important is staying playful and open in your work? Paulina: Feathered objects are for me a form of art therapy. You are right in seeing big doses of playfulness in my work, and I love creating new concepts for objects we are used to in everyday life. Although a sculptor’s work is long and diﬀicult, this kind of work relaxes me at the same time.

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Petra: Of what are you most proud? Paulina: Simply that: I was able to follow my own path; I knew what I wanted; and the opportunities I’m getting, I’m using to maximum. Petra: What are your favourite materials with which to work? Paulina: I love clay for modelling - it’s my top material. For larger objects I like to use polyester - I call it: ‘the marble for girls. Petra: You are working also at the beautiful AJG, Alšova Jihočeská Galerie, in Southern Bohemia, what do you love about it the most? Paulina: Working for the AJG is providing like an overview of what’s happening in the art world - working with information and people. So, it’s the complete opposite to the solitary creative work I do in my studio.

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Petra: How important is connection to the land to you? Paulina: I have mentioned already how much I love nature, so regular contact is a necessity for me. At the same time, my great joys are our three dogs and horses. Thanks to them, I remain in optimal mental and physical condition! Petra: In your country life how do you ﬁnd the balance between work and family, including your horses and dogs? Paulina: I maintain the balance thanks to my husband, who is my big support in life, and my creative work. Our animals are our joint happiness, and we enjoy time working around them and with them.

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Petra: What are you working on now? Paulina: I just finished two sculptures; a horse’s head and a dog. Coming up next is an oversized sculpture of a bull. Petra: What brings you most joy? Paulina: Life; work; making my life environment happy; enjoying every day; being a good person; and striving for all those things. Petra: Where do your beautiful creations live in the Czech Republic and around the world? Paulina: My sculptures are to be found in various places and collections. For example, there are eight sculptures in National Gallery in Prague. In the Czech Centre in New York, there was exhibition of my collection ‘Underwear’. A mask from the play ‘Antiwords’ literally flew around the world. In the Barrandov Studios in Czech hangs a glass sculpture of Milos Havel, founder of the Barrandov Studios. In Manchester, UK you can find a sculpture of Frank Sidebottom, the much-loved cartoon character, and there is a life size bronze sculpture of a horse in Moscow.

Visit: https://www.paulinaskavova.cz/ Images: © Vojtěch Vlk YARNS - Spring 2022 21

Ambrosia Olive Farm DAY 2 I had the opportunity to venture into the rolling hills of the Southern Highlands in NSW, just a ‘stone’s throw’ from Sydney, to meet Steve Skarmoutsos at his organic olive farm, Ambrosia at Silverdale. Ambrosia’s organic olive oil is claimed to be superior to most other olive oils due to Steve’s unique methods. To my delight and surprise, I found also several beehives lining the edges of ponds, a citrus orchard, a herd of sheep, cows, and goats living happily together under the olive trees, and a large pond full of fish. I did not expect such a beautiful and complete experience. Also, the farm is home to Steve’s famous seafood restaurant which offers long green views of the landscape. It’s a place fit for the gods! My favourite farm story is of the Mother’s Day harvest when locals come for their fresh batch every year - how very special! Petra: Where were you born? Steve: I was born in Greece. Petra: Where are you located? Steve: Ambrosia is located at 100 Eltons Rd., Silverdale. NSW

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Petra: What is your story – I understand you started in Sydney as a young chef in Kings Cross? Steve: When I came to Sydney, I was 18 years old. I started working in Greek restaurants in Newtown for few months and then moved to Rodos Restaurant in Surry Hills. After a year I joined Pinocchio’s Restaurant in Kings Cross where I remained until I got married. Petra: What makes Greek cuisine so attractive? Steve: Greek cuisine is so popular because we use extra virgin olive oil, with lots of fresh vegetables and legumes.

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Petra: What is the story of Ambrosia Farm? Steve: In 1987, my wife and I bought a restaurant at Lansvale, NSW, and we named it ‘Ambrosia Seafood Restaurant’. We remained there until 2009. In 1998 we decided to buy a farm and we purchased 100 Eltons Rd. - 40 acres of Eucalyptus with a little old house. We cleared the land and built our new house. Then we started planting olive, ﬁg, macadamia and lots of other trees. We ended with 4000 olive trees and bought an olive press to press the olives. That’s when we called the farm Ambrosia Olive Farm.

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Petra: I loved seeing cows, goats and sheep among the trees. Do the trees and animals happily coexist? Steve: We have cows, sheep, emus, chickens, and beehives at the farm. All happily coexist with the trees, and I feel all benefit from this togetherness. Petra: What can people experience in your fine dining restaurant. I’ve heard everyone loves it when you are cooking. Steven: We opened the Ambrosia Restaurant on the farm in 2014. So now, people can not only enjoy the farm and purchase some of its outputs, but also a fine dining experience overlooking the unique scenery the farm provides.

Visit: https://www.ambrosiarestaurant.com.au/ Images: © Petra Jungmanova

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DAY 3 I’m excited to share this fairy tale story of one talented Bohemian fashion & textile designer. Her pieces are being collected and adored by people around the world and the best part is you can book a visit to her studio which is under the Prague Castle! I love folklore stories in any shape or form, so Andrea’s magical style is right up my alley. Andrea has lived and worked in some incredible places during her career, so I’m glad she’s found time in her busy schedule for a yarn with me.

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Petra: Where do you live? Andrea: After seven years in London and all over the world, I recently moved back to the Czech Republic, to a beautiful old studio in the very heart of Prague in the neighbourhood surrounding the Prague Castle. It has been my dream for the longest time to live and work in this magical area and since my work intersects with my life (and my life intersects with my work), I am now able to breathe in all of the history and inspiration every minute of the day. Petra: What is it like living under the Prague Castle and being surrounded by the wonderful history and magic? Andrea: Simply magical, Malá Strana is a very special neighbourhood - overflowing with history, each house hides its unique story. As artists and writers have lived here always, you are constantly embraced by its mysteries and beauty. Back in the Habsburg era, alchemists resided in the area also (including the famous Master Kelley) which only adds to the quirky charm Malá Strana has to offer. Our house’s name is “Golden Apple” finding that out for the first time sparked so many ideas!

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Petra: How would you describe your work? Andrea: My work is about stories: listening to them; interpreting them; creating new ones; & sharing them with the world. I am fascinated by legends, tales, folklore or fables and this transcends my work too. My work is colourful, full of joy, and usually tactile as I tend to work with all sorts of textiles such as silk, cotton or linen, and also handmade paper. Were I to frame my work within the creative world, I would say I am a fashion and textile designer; sometimes an illustrator; sometimes a jeweller; but always a creator.

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Petra: When did you start to be interested in creativity and fashion? Andrea: From as long as I can remember. I recall being in kindergarten and already sketching dresses for my friends, and later attempting my first actual garments in fabric. One of my first ones was a dress for my mum which I hand painted and embroidered. It took forever as I did not have a sewing machine back then and made everything by hand. Petra: What inspired you growing up? Andrea: I grew up in a tiny village in Eastern Bohemia, close to the mountains. My mother worked as an eco-toxicologist, so nature became a big source of inspiration for me organically. Later I discovered real treasure in our house’s attic - lace made by my great-grandmother and tablecloths embroidered by my great-aunt. Each gem I found, opened a new perspective and it was perhaps here that my obsession with folklore and traditional techniques blossomed. I read also lots of books; visited a lot of museums and galleries; as well as botanical gardens, parks - always with a sketchbook in my pocket. Through this I honed my style and began to understand what I like and what I don’t like. Petra: What was it like studying in London and having a family in the Czech Republic? Andrea: I don’t think I fully grasped it back then. My studies in London were really intense, so I hardly ever had time to think about my life back home. I did however travel back to the Czech Republic quite often – for all major holidays. Thanks to technology, I was able to be in touch with my close ones daily while creating a new life for myself abroad. For example, when I lived and worked in New York City, I would always call my grandma on my daily walk to work, and we would chat about anything and everything. The journey took 40 minutes so we had plenty of time to discuss everything important and some unimportant bits too. Petra: What are your most important and interesting creative experiences? Andrea: I am very blessed to have had so many. Each year in London, or more specifically each term, was rich in creative encounters. Meeting my wonderful teachers for the first time was definitely important as they would form me in the coming years. If I had to pinpoint a few, I would say: meeting Grayson Perry and making a dress for him; starting in my first bigger fashion design job in Stockholm; moving to New York and working for a fashion house there; moving to Paris and working for a fashion house there; starting off with my personal work whilst working in Stockholm; expanding my work during the pandemic; meeting my husband and being constantly inspired by one another (he is also a designer/artist); opening my studio in Prague; … and I could go on and on . I cherish all past experiences, even the ones that might not seem creative at a first glance. There is always something to take away from it, to learn from or to discover.

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Petra: Can you share your collaborations with fashion houses? Andrea: Certainly – I have been very lucky to have worked for 3 big fashion houses so far. I worked for Acne Studios in Stockholm (in a house which once served as the Czechoslovak Embassy); for Marc Jacobs in New York; and for Kenzo in Paris. Each of these periods was incredibly demanding yet rewarding, and it is rather difficult to select the most influential one. Perhaps Acne Studios was the one where I had the steepest learning curve as it was my entry ticket into the “big world of fashion”. Luckily, I had done a lot of personal fashion and illustration work prior to moving to Sweden, so I was equipped with the necessary skills and knowledge to jump-start in such company, but still over the course of the first few months I was constantly being fed new information, new processes, or the company’s workflow, and I loved every minute of it. Apart from that I also did a number of projects through my university with various fashion houses such as Kenzo, Versace, Balenciaga, and Alexander McQueen. Petra: Where are your studios and showrooms and what would a visit look like? Andrea: I currently have two studios - one in Prague where my showroom is based, and the other in the countryside where I have my lovely seamstress and where most of the bigger production takes place. Anyone is more than welcome to visit me in my Prague studio – to see how I work; to try on my pieces; to buy them; or simply to have a chat. The studio itself has some charm to, plus a beautiful view of the Petřín Tower. So should my work not be of enough interest, the view might. I sometimes accept visits in my countryside studio too, but that one is more of a workplace. Since I spend most of my time in Prague, it is much easier to catch me there. Petra: Who are your clients and what kind work are they usually after? Andrea: My clients form a very diverse group of people. My scarf is even owned by the queen of Malaysia! But generally my client is someone who loves originals and supports local and sustainable fashion; someone who cares what materials they wear. Usually, my relationship with a client starts through a scarf they either bought or were gifted. If they like my work they get in touch, meet in the studio and the relationship progresses through more items for their wardrobe or their home.

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Petra: What is the story of your Tapestry ‘My Bohemian Faith’? Andrea: The Tapestry accompanied the dress I made for Grayson Perry which won me the “Golden Claire” Award. The dress was made as if it stepped out of the tapestry. “My Bohemian Faith” is about investigating people’s relationships with faith, but not a particular religion or anything, more with faith in the wider sense. The story is told through tokens of Czech cultural and natural heritage. I have hidden a great number of Easter eggs in the piece which I believe only a Czech (or someone who has lived and engaged with the country for a while) could understand. The work was acquired recently by really good friends and clients of mine who actually live nearby in Malá Strana, so the piece will be living in the most amazing home and also in the area that inspired it.

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Petra: People can custom order beautiful pieces from you. What does this creative process look like? Andrea: Everything starts with a meeting, if possible. If I am working on something long-distance, I resort to a good old zoom call or a simple voice call. We talk about the client’s preferences; what music they listen to; what books they read, etc. Really, it depends on whether they have come to me to work on something personal, for example a dress or a handbag, or something for their company. I have collaborated with hotels, music bands, a zoo, … the list is very diverse. The most important thing to me is that what we create beneﬁts both sides. It is a collaborative process most of all and both the client and I should be in tune with the outcome. So far I have had wonderful experiences. The fact that someone comes in from a completely diﬀerent background is incredibly enriching as they have a unique point of view, a new perspective to look at ideas and how to interpret them. These are what makes the work super exciting.

Petra: What do you love most about your work? Andrea: I have said it probably already a number of times, but I love the diversity of it! Usually everything starts with a drawing, but then it can take so many different routes. There is never one right way to do it. Collaborating with people from different fields and areas pushes me out of my comfort bubble and allows me to widen my horizons. I also love that my work makes people happy. What can be better than seeing a client with a big smile on their face when they open my pink box with a purple swallow on it (my signature packaging)?

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Petra: What brings you joy? Andrea: My work and the people around me. Also, seeing someone wear a piece of mine, or being asked to create something very personal for a client’s loved one. Creating something meaningful makes be eternally happy. Sharing joy with other people only multiplies it. Petra: Your husband is an artist, do you create in one space? Andrea: Yes! We share a studio and showroom, and we would not have it any other way. Our work is very diﬀerent, but as the main medium (drawing) is mutual, we are constantly engaged in discussions about art, design and our respective approaches to it. Recently Josef has been working with concrete which is a nice counterpart to my soft silks. He also keeps a special workshop for that nearby. 67

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Petra: What are you working on at the moment? Andrea: I am working on a number of projects to be released in the second half of the year – more speciﬁcally for the colder Christmas and Autumn (in the Northern Hemisphere of course) Seasons. I am delving a bit deeper into other branches of design as well as some familiar routes. Apart from that I am also preparing pieces for clients – both one-oﬀs and collaborative works. Right now, I am working with a hotel, a winery and a women’s initiative, so my workload is very diverse which keeps it the more entertaining.

Vistit: https://andreavytlacilova.com/ Images: ©Andrea Vytlačilová

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BLANK WALLS DAY 4 Increasingly, ‘Street Art’ has made it to everyday urban landscapes and high visibility places to the point where it has become a feature of that particular area. Now, there are so many cool ones in Canberra that I adore every time I walk past them. So naturally, I loved catching up with Jerome Davenport, Alex Harvey and Will Clark from their successful ‘Blank Walls’ business now based in both the Northern and Southern Hemispheres to discuss their take on the role and impact of street art in the current world and advertising.

Petra: Where are you based? BW: We’re based in Perth in Australia and London in the UK. Petra: How would you describe your business? BW: We’re a street art company which aims to redefine boring urban spaces. We specialise in murals, street art, hand-painted adverts and content, and collaborating with artists across the world on commissioned projects. Petra: What is the story of Blank Walls? BW: Blank Walls was founded by Jerome Davenport, who grew up in rural Western Australia, after completing his studies in live theatre which gave him the skills and confidence to turn to whatever medium he fancied. Fast forward, and also despite being partially colour blind, he developed his artistic talents to become a successful artist in Australia, painting his interpretations of life on blank walls, not just here, but around the world! Then, on a trip to the UK in 2017, he met one, Alex Harvey in East London. Alex was a producer who also enjoyed assisting talented people. Alex effectively became Jerome’s manager, and they started having an impact on East London, painting murals on pubs and places like The Tiger in Homerton and the Lord Morpeth in Bow. They participated also in street art festivals in Europe and America. Next, on a return home, Jerome ran into an old friend, Will Clark, who having grown up all over the world, was by then a Project Manager. Will had developed a great passion for street art and its history which had a big influence on a clothing label he had started. …. So Blank Walls was started with Jerome, Alex and Will launching the brand from Perth and London with the motto: ‘To Defy Boring’.

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Petra: What is your opinion of ‘graffiti’ and turning it into an art form that carries a message? BW: Firstly, there’s a difference between ‘graffiti’ and ‘street art’. However, both are art forms in their own right, capable of carrying a message, and we have a big appreciation for both. If any art can carry a message, whether it’s obvious or subtle, positive or negative, it sparks conversation. It makes you stop and think and sometimes take action. That’s when the power of street art can be super interesting. Check out ‘SeaWalls’, a worldwide public art programme that uses art as a vehicle to address the pressing environmental issues our oceans are facing – we love it. Petra: Are people open to view street art as an integral part of city landscapes? When did it change from visual features of walkways and bridges to a very refined beautiful art form that is not just accepted, but also appreciated? BW: From our experience, we’re finding councils, developers and communities are becoming much more open to street art, and to not only appreciate it, but also to recognise the economic, social and cultural benefits it brings - when done well!

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Petra: Did artists like Banksy change the nature of street art into something truly beautiful that carries a message? BW: For sure, Banksy pioneered a movement which inspired a lot of street artists.

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Petra: With how many artists do you ‘collaborate’? BW: We work with over 150 artists across the world, but we’re open to collaborating with any artists that suit a particular project, whether it’s a commission, brand collaboration, or being part of our ‘street art festival’ line-up. Petra: Is there demand for large scale street art? BW: It keeps us busy! YARNS - Spring 2022

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Petra: How effective is advertising on a large scale when people engage with the artwork just by walking past it, and are companies and organisations looking at different ways to reach people these days? BW: With traditional outdoor advertising methods such as billboards - sure people might see it but do they actually engage with it? Compare that with a hand-painted advert which makes people stop and even take pictures because they appreciate the skill involved in creating such a technical piece of art (often replicating photorealistic portraits or objects) – which is mind-blowing! Brands and agencies always are looking for unique ways to engage with their audience. This is why we like doing things a bit differently. We’re not confined to the perfect rectangular walls traditionally used for mural advertising. Last year we had the chance to work with Warner Bros when we painted their Street Art Trail of ‘Looney Tunes’ characters around Manchester (UK). They were painted on unusual spaces like a tram stop, so it was a hugely successful campaign for engagement and awareness - everyone was talking about it!

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Petra: What are other examples and locations of your work? BW: Our work varies from interior / exterior mural commissions, to hand-painted adverts, public art, brand collaborations, and live art. Also, earlier this year we organised our debut Street Art Festival: ‘No More Blank Walls’ in Mt Lawley, Perth, earlier this year. Although we work predominantly in the UK and Australia, we’ve got the capabilities to work internationally across Europe, North America, South America and Asia - so watch this space!

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Petra: I’ve noticed lately large artworks featuring very sweet portraits of people doing simple everyday things, patterns, and of course, nature. Is there a trend at the moment to connect people with relatable images? BW: I don’t know about a trend, but those probably are the most popular styles we come across, for the reason you suggest - they are relatable. Petra: What are you working on now? BW: The latest project we have just ﬁnished is for the National Basketball Association in Melbourne -an artist-led project designed by Kris Andrew Small and painted by us.

Visit: https://www.blankwalls.com/murals Images: © Blank Walls

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BOUTIQUE WEDDINGS PRAGUE DAY 5 There couldn’t be a more romantic, dreamy location for a fairy tale wedding than the Czech Republic in the heart of Europe. Dotted with numerous castles, chateaus, palaces, and amazing churches there is literally something for everyone looking for an exquisite timeless experience. Světlana Uldrichová leads her luxury boutique wedding agency with charm and grace on a world class level and now shares a little insight into her world of beauty and love. Petra: Where are you located? Světlana: In Prague, the Capital of the Czech Republic. Petra: What inspired you to start your wedding business? Světlana: I wanted to organize entertainment for others and was searching for the right vehicle; then I thought of weddings. Petra: You are one of the top 10 wedding agencies in Czech Republic, how did you get there? Světlana: There is 15 years of hard work behind me - ongoing innovation; self-study; contacts with colleagues from other countries; workshops; and congress investments; etc. It did not happen overnight, but through years of commitment and dedication. Petra: Who are your clients? Světlana: Either international couples who don’t have any connection to the Czech Republic – mostly couples from the USA; or mixed couples who live in other countries where one of them is from Czech, or wealthy clients form Czech who are demanding luxury and quality. Petra: What is unique about you, and do you work elsewhere around the world? Světlana: I regularly visit international congresses and workshops attended only by the best in the industry. Also, I have developed my own wedding concept - the ‘Five Senses Wedding’, which connects all the ﬁve senses of perceiving reality, and so provides an extraordinary experience for all guests.

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Petra: Beauty, joy and togetherness - what do they mean to you? Světlana: Weddings! Petra: Can you share your ‘5 Senses Wedding’ approach? Světlana: A wedding is not just a visual experience, simply that would not be enough. It’s important to connect all ﬁve senses through serving fantastic food in a selected location of extraordinary beauty, for which I create the design concept. Also, similar attention is given to selecting compatible music and entertainment. Lastly everything must be held together by precise organisation, and most importantly a warm atmosphere during planning and the wedding day itself. These are my ingredients for the perfect wedding cocktail; but only I know the method! This ismy ‘Five Senses’ concept.

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Petra: What does planning a wedding look like in your world from the beginning to the end? Do you have a team of various professionals available to create a tailored experience for each couple? Světlana: I am oﬀering the complete wedding service. The wedding is planned from assembling the creative team; the location selection and design plans; food and beverage selection; and the entertainment concept. I deal with all ﬁnancial aspects like the budget and administrative details including the whole schedule, list of guests and seating arrangements; and creating the wedding website. Also, I organize the tastings, selection of dresses for bride and groom; and then, of course, I organize and coordinate the entire wedding day when all responsibility is on me to make sure the newlyweds and their guests just enjoy the big day.

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Petra: What locations do you offer your clients? Světlana: I am able to offer many locations, but my favourites are: Chateau Bon Repos, Chateau Mcely, Chateau Niměřice, The Lobkowicz Palace, Chateau Trója, Žofín Palace, and Villa Richter. Petra: What sized weddings can people organize with you? Světlana: I’m not limited by the number of guests. However, locations in Czech can cater for weddings of up 500 guests only. Petra: How many weddings have you done? Světlana: In 15 years, there would have been 3000 weddings. Petra: What is the favourite part of your work? Světlana: I love every single aspect of my work, but most of all, putting the individual pieces during the planning process together into one beautiful final creation which sees the light of day on the wedding day. It’s like putting together a puzzle - you have some idea but won’t get the final picture of your work until you add the final piece.

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Petra: As the Czech Republic is blessed with natural and cultural beauty, is planning a fairy tale wedding in magical places a dream job? Světlana: Yes, it is! Here we have a diverse landscape, rich cultural heritage, well conserved chateaus and palaces - guests feel like they’re in a fairy tale! What more could you wish for? Petra: Do you have a personal morning ritual when preparing a wedding and overseeing every single detail? Světlana: Yes I do, it’s to check everything a thousand times! We are expected to deliver perfection and there is no space for mistakes, everything must work from the start; there are no second chances and that is why precision is extremely important. Petra: On the wedding day, what does your personal experience look like? Světlana: In majority of cases, it’s not just one day, but on average three days. The ﬁrst and last parts are devoted to installations and cleaning, with the wedding day itself in the middle. On average I spend 18 hours: I’m at the preparations and the wedding day itself until the very end; I direct the complete logistics, suppliers, my wedding team; I moderate (MC) the wedding and look after the newlyweds. Also, we organize various pre-wadding parties, so sometimes it turns from just a wedding into a week of various events. Petra: What brings you the greatest satisfaction of a job well done - is there a particular moment you are waiting for in each wedding? Světlana: Happy clients - knowing that I’ve made their big day unforgettable. Also, to see the process of my work from beginning to end gives me real purpose. Petra: What makes the Czech Republic the perfect destination for dreamy romantic weddings? Světlana: We have incredibly beautiful nature here, gorgeous chateaus and palaces, rich cultural heritage, and fantastic services. Also, we facilitate weddings at the top global level with dramatically lesser budgets than at similar locations elsewhere.

Visit: https://www.boutiqueweddings.cz/en/ Images: © Boutique Weddings Prague

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JACKSON MILLAN DAY 6 Imagine creating the life of your dreams with your partner at your side - a new way of life, and that life thriving. How many people like this do you know? Now I am happy to bring you a YARN with one such person - Jackson Millan about life, wealth, nature, animals and the freedom to choose your own adventure. I enjoy watching Jackson ‘having a go’ at being a hands-on farmer, planting an edible garden and collecting animals of all sorts. He’s like the Aussie Noah in his tropical paradise. Petra: Where were you born? Jackson: I was born in Wollongong, around an hour south of Sydney. Petra: Where are you based now? Jackson: I currently live on a 70 acre (28.3 ha) farm an hour south of Cairns in Northern Queensland that we found 12 months ago while we were travelling around Australia. We’ve since started turning it into an animal sanctuary and have 60+ animals already.

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Petra: How would you describe your farm? Jackson: Our property, Aureus Acres, is a rainforest retreat located in the centre of the World Heritage Wet Tropics. We’re surrounded by 5,000 acres (2023.4 ha) of lush greenery, filled with wildlife which includes cassowaries, native marsupials and a healthy population of tree snakes and pythons. Our vision was to create a self-sufficient permaculture food forest which provides enough sustenance for us and our animals in less than an hour a day. We’re working towards creating facilities to host business owners and their families who can come to learn and experience holistic living and sustainable farming practices that can be implemented by busy people. As busy business owners ourselves, we wanted to set an example of how to live a healthy and fulfilled live on the land without sacrifice or compromise.

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Petra: Do you have previous farming experience and what inspired you to look for a farm? Jackson: I’ve never had any farming or trade experience. It was my father’s lifelong dream to have a small farm and we dreamed about it for my entire childhood. Unfortunately, he wasn’t able to achieve his dream before he died, and I felt it was my duty to carry out his legacy. Through my research, the common feedback I received from others who had purchased a farm was that it was an incredible amount of work. Many felt the need to sacriﬁce in their businesses, careers and social life in order to meet the ongoing needs of their farm. This wasn’t something we wanted to do, and we set out to design a system that would allow us to have freedom, ﬂexibility and create a sustainable environment for us to thrive without being a prisoner to our farm chores. What we quickly discovered was that most modern farming principles work against nature and result in a constant battle between people and the environment. Through studying permaculture and syntropic principles, we designed what we call ‘Perma-Wealth’ - a method of no dig, self-care systems that allow us to plant primarily perennial crops, care for our animals and work towards having produce in excess of our needs within 18 months. The entire maintenance of the system currently takes us around an hour a day and extra time is invested on a weekend to further the infrastructure development.

Petra: Do you make everything from scratch yourselves and what are some examples? Jackson: Right now, we have three core farming projects: 1. A market garden containing our daily vegetables which primarily are perennial greens such as Timor lettuce, aibika, tropical spinach varieties, sweet potato, luﬀa, bean varieties and seasonal vegetables like tomato, capsicum, cucumbers and zucchini. 2. A food forest orchard which utilises multiple layers to create microclimates and allow for year-round production of fruit such as banana, papaya, passion fruit, citrus, and other tropical fruits such as mango, jaboticaba, sapote and peanut butter fruit. As this matures, we will continue to add further layers for water retention, nitrogen production and additional nutrients. 3. Our animals for whom we maintain a ‘no slaughter’ system. We utilise our cows and goats for clearing pasture and producing biomass to feed our plant systems, and our chickens and ducks for eggs. Our next project is to add a beehive in the Spring which will assist in pollination and maximising fruit and vegetable yield.

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Petra: What is the dream? Jackson: The dream for us is all about a balance of work and life on the property. Our ﬁrst goal is to get to a position of being 100% self-suﬀicient within the next 6 months. This requires us to double our food production and set up our solar and hydro power. Next, we want to submit our plans for expanding our animal sanctuary to allow us to rescue more animals in need and have facilities for having on site help. Lastly, we want to create a series of tiny homes and retreat facilities to allow us to have up to 30 guests at a time - primarily our private clients who are successful business owners and their families, and allow us to run immersive experiences on the property.

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Petra: You managed to travel and even adopt another dog in a lockdown, plus buy your farm while working online. Can you describe the experience? Jackson: I’ve always been a non-conformist and chased my dreams, even in the face of adversity. If I want something, there is very little that will get in the way of my goals. I see so many entrepreneurs focus on vanity metrics and build a business or a life that becomes a prison of responsibilities and constraints for themselves. My mission has been always to find ways to work through these constraints and find more sustainable solutions that allow people to have their cake and eat it too. Having scaled a multi-million dollar business with over 800 clients and 25 staff, I wanted to show people what is possible with the right plan, the right strategies and the right action. So, I spent a year planning and getting my business ready. I fitted out a Toyota Troop Carrier and we packed up our home in Sydney and hit the road with my partner and two dogs (which turned into three along the way). Many people thought we couldn’t do it; others thought we would destroy the business and burn everything to the ground that we’d worked so hard to build. We proved those people wrong: the business doubled; our clients were happy and inspired; we had an experience of a lifetime; and we found our dream home in the process. It just goes to show you can ‘have your cake and eat it too’, and life isn’t all about sacrifice and compromise. Petra: What is important to you? Jackson: I focus on three core metrics in everything I do in life and business. This framework has allowed me to build a portfolio of 10 businesses and create my dream life by 33. The core metrics are: 1. Profit - is my activity and actions resulting in more profit; 2. Time - am I working to disconnect my effort from my income to spend more time doing what I love; and 3. Wealth - am I creating leverage through passive income and accumulating assets that work for me effortlessly If it doesn’t improve the above, then typically I don’t do it.

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Petra: Do you grow your own food? Jackson: Yes, we do. We’re at about 40% self-sufficiency and we’re hoping to be completely self-sufficient by the end of the year. Petra: How important are your animals to you and what are your thoughts on compassion and kindness? Jackson: I love animals and since a child I have always wanted to be a veterinarian. I didn’t get the grades to pursue that as a career, however, I feel what we’ve created is the closest possible thing and comes with a lot more fulfillment and flexibility. For my entire life I have always had a connection with animals and wanted to create a sanctuary for animals in need. What still amazes me is the sheer resilience and kindness that our animals have, even despite their hardship and previous trauma. Every single one of our animals has their own unique personality and it brings me endless pleasure to watch them live their best life on our property where they can roam freely in peace. Petra: In your work you help to create better lives for your clients and their families, how important is holistic balance to you? Jackson: It is of utmost importance, and it is something that often is overlooked. So many people have become stuck in the pursuit of superficial belongings and sacrificed the quality of their experience to chase vanity metrics and then unfortunately go on to regret their sacrifice. I believe that the entrepreneurial world is coming full circle and with the advancements in technology, business owners finally have the ability to create a truly profitable lifestyle business. My mantra is built around helping business owners create what we call the ‘F4’ - a business that produces $400,000 a year in profit; allows you to work 4 days a week, 44 weeks a year; and fast track to $4 million in net wealth. We’re proud to have helped many of our clients achieve this goal and amass over $1.5 billion in combined wealth.

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Petra: How many animals do you have at the moment and what are your future plans? Jackson: At current count we have 68 which will likely be closer to 80 by the end of the month as we have chickens, guinea fowls and turkeys laying on eggs right now. We’d love to expand our sanctuary to over 200 animals and our plans are to expand our herd of bulls to 10 which we rescue from local dairies; plus, camels who are often used in tourism or for their milk, pea fowl and bees. The list goes on as I want ALL of the animals – haha!

Visit: bit.ly/YLBGroup Images: ©Jackson Millan

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BUCKLEY’S CROSSING HOTEL DAY 7 You will think time stopped in this place the moment you walk in. I’ve been a happy visitor for many years and my family always looks forward to the next visit if we are staying or not, it has the spirit of Snowy Mountains! The meals are always great and generous especially in the warm evening atmosphere, and the cowboy hat and boot wearing locals are priceless. While many historical places have not survived the unfortunate events of the last two years, it’s a treat to come across something so historical and perfectly functional that serves as a true community hub, as well as a meeting place for family and friends travelling from afar. Once I queued for dinner with a Canberra man who was here to meet his brother who was here travelling from Victoria. This place is loved by travellers of all sorts - motor bike riders, cyclists, outdoor enthusiasts, etc. In this yarn, owner Sharon Jones shares what’s special about her place. Petra: Where are you located? Sharon: In the small historic town of Dalgety on the Monaro Plains in NSW.

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Petra: Where is the closest petrol station? Sharon: In another small-town, Berridale some 15 mins. Away.

Petra: What can visitors expect? Sharon: Well from the area, many activities can be undertaken on motorbikes, pushbikes, mountain bikes, and horses; plus, there’s good fishing and snow sports. From the hotel you can expect excellent meals, clean comfortable accommodation, friendly staff and an old-world atmosphere. Petra: Buckley’s Crossing Hotel is an important meeting destination for families and friends that are living in different States, can you share examples of those special reunions? Sharon: There are long time families in the area, and they do have reunions where they get together at the hotel. Many local weddings are hosted in the town with visitors coming from afar. There are also many different events held in the area from horse sales, to international push bikes races, and charity motorbike rides, plus the Dalgety Show.

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Petra: What role does the local community play in the hotel and who are your customers? Sharon: Local community is big here, with agricultural meetings, etc. The locals come in and discuss issues raging from weather and stock prices, to the status on a current emergencies like bushﬁre. We host many local birthday parties, school formals, and Christmas parties. Our local customers are shearers, farmers, landowners and many that have moved here for winter sport.

Visit: https://buckleyscrossinghotel.com.au/ Images: ©Petra Jungmanova and ©Buckley’s Crossing Hotel

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CLAIRE ROGERSON DAY 8 You may remember the Brumby yarn from the Autumn issue. I have a love affair with these beautiful creatures and believe their story deserves to be explored and celebrated. So, I ventured into my beloved Snowy Mountains in NSW and, in the best way to meet someone, found Claire Rogerson in the local pub! Claire is from Snowy Brumby Horsemanship and created a Brumby haven on her property perched near the glorious Snowy River, where many lucky rescued Brumbies now find a refuge - a safe place where to trust humans while on their way to finding their forever homes. Whatever it takes, Claire and her team are helping to preserve these living Australian icons and train the Brumbies in a gentle, loving way. Anyone can book a visit to witness this magic! This Yarn tells Claire’s story and gives an insight into the Brumbies from a different point of view – ‘horsemanship’..

Petra: Where are you located, and have you lived always in the Snowy Mountains? Claire: We're located on the Snowy River in New South Wales, in a little place called the Beloka. We are about 15km downstream of Jindabyne, where they dam the Snowy and we're about 106k or so upstream from a little town called Dalgety. I bought this land around about 25 years ago and paid literally next to nothing for it. Long story short, I was doing what you might call ‘boot camp adventure-based therapy’ work with youth at risk in Sydney for six years, not paid correctly. Then, when I had an incident at work, my employer tried to put it onto me when it wasn’t my fault! Fortunately for me, I was walking down to Central Railway Station in tears about what had happened, when I met a great lady who asked how I was. She turned out to be the Head of the Services Union. I didn't even know I was in a union, and after she heard my story, for the next ﬁve months fought my case. The compensation I was awarded was exactly the price of the property. A real estate agent in Jindabyne rang the owner and said: ‘You're going to take this amount for that land, and I'm not going to sell it anymore unless you take it!’ Then, he contacted me and said: ‘It's sold to you.’ I just went: ‘Oh my God, as I didn't even know what I had bought.’ This land is pretty special and there have been a fair few people come and help and live here for periods of time to build what we've got today, but the Brumbies started arriving 12 years ago with ‘Sunny’.

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Petra: The Brumbies have really touched both of us - I was in tears when I first met them close-up with you. Claire: To me they are like ‘surreal’ and honestly, I have moments of tears with them nearly every day. People ask me why I and others do so much for them, but that’s hard to explain. However, it seems to become clear to people when they are moved by their experiences – it’s like the Brumbies touch their hearts. I know in a way dogs and animals can do it. There's a difference with these guys though as they have no reason to do it they're wild animals. I feel like it’s partly because the Brumbies are so pure. I appreciate you sharing your experience because I can’t fully explain it, and sometimes I think I'm going nuts. So, it's always nice to know others feel the same way. Truly, Brumbies are very special and need help, including with people. They need to be able to trust people to have a life ahead, and to do that requires training - which is now my purpose in life. Training in my opinion: in the way Brumbies learn; preferably in their environment; and certainly not using traditional horse-training methods. I can give several examples of how the latter usually doesn’t work! While I may come across as a little intense or too interested to some people / groups, there are many who hate (and I mean hate) the Brumbies with a vengeance and sadly, mostly from a distance. All I say to them is come and spend an hour with me around yard and I am confident you’ll be moved, at least to the point where your hate will disappear, or at least mellow. So far, and sadly, I haven’t had any of the haters come, and I don't understand why. Also, it would be nice to have visits from at least some of the politicians and bureaucrats before they decide the latest in the list of management plans for the Brumbies. Petra: I think it's got something to do with your address! Unless you’re in a multiple drive vehicle, the driveway can be intimidating, like disappearing into the bush and never re-emerging again. Claire: Yes, it is. However, when the sun comes in and the birds sing, every morning I wake up and I'm so grateful to be on this world in this place, and to be given this role for which I'm forever humbled and grateful. I feel like I'm not worthy of it, but I try my hardest. So, Yes! Petra: It’s beautiful, and it seems it's always the gorgeous people who are just so, so humble and that's beautiful. Claire: I'm not making that up. I feel that I’m neither qualified, nor experienced enough, and I don't know enough. However, all I want is for the Brumbies to get the formal recognition and support they deserve and if I’ve helped in some way then I am happy – it’s all about the Brumbies.

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Petra: I think you really have magic with Brumbies and if you didn't have the skills with people, they wouldn't be part of your Brumby journey. So, to me they go together, as they have already! Claire: Thank you because the people side is the one with which I feel like I struggle the most. It's good to have people come, and I'm very fortunate now we opened our doors a year ago seeking general volunteers, just anyone, and we’ve had a great response. Two, Belinda and Sarah, were the only two who had the right long-term intentions and now they've been permanent volunteers (once a week) with me for nearly a year. The rest of the crew consists of my family (my Godson, and my son being the backbone of what I do), and then there's a whole bunch of supporters like: John who does our salaries; our mentor, Banksie; Pat who came down from Lithgow and brought this great Brumby for us to work with him; Pat a farrier and trainer; and now, young Sarah who has joined us from Tumut. While I really want every person to have a positive experience from Snowy Brumby Horsemanship, while I can facilitate that to a certain extent, I've got to let everyone have their journey. So far, the ones who are here are deﬁnitely involved and we're making a diﬀerence with our Brumbies as a team. I'm just the person who has the property and coordinates a few things

Petra: How would you describe what you do? Claire: Oh, I would describe it like us being the guardians of the Brumbies that have come straight from the National Park and our role is to transition them in the most positive way we can so that when they reach their forever owners, they can live out their lives there in bliss and happiness and without stress and major veterinary problems. When they transition, they always go in pairs, and we check the property and work with the people who are going to have them. We make sure the new owners understand their minds and fears, and how they live in a fenced environment. So, it's diﬀerent to training a domestic horse where most people are just training it to be ridden and they've already been bred to live in captivity. Whereas we’re re-training a wild horse to be happy in domestic living, as well as having a real purpose in a new role. So, most of our Brumbies are trained right the way through to riding. The reason why we train them to riding, and we're probably the only ‘rehomer’ that does, is because we know that they really enjoy this activity and thrive on it.

Petra: When did you have your first Brumby encounter and what is the story behind getting your first Brumby? Claire: I was not a horse person, and I never grew up with horses. There was a period when I had to move away from here with my son, Charlie who was only three, and his father who was doing mining at Gulgong, a town in the Central West of NSW. I was lonely and bored and used to take Charlie to the local pool to teach him how to swim - something to keep me busy. To do this, I used to walk into town and on the way, past the prettiest little pony you could imagine, whom I found out later was a Palomino (not a Brumby) called ‘Ziggy’. On the way back just before we left town, we gave her carrots. Then one day, a picture of Ziggy came up on the notice board at the little IGA supermarket that said: ‘Wanted home for pony’. I rang the number to say: “Hey, I go past every day, and so can I please see if I can help you get her a home, and we pat her?” The lady replied: “Well, no one can get near that horse.” I replied: “Oh no, she comes to the fence with us every day.” Then she said: “Sure and would you like to come into the property and play with her and see what you can do?” That’s where my first encounter with a horse began! I called my mum and said: “Mum, I'm going to be friends with this little horse so now I’ve got a job here!” She replied: “You know nothing about horses. What are you doing? You’re not going to own it?” I said: “No, no, no, not own it!” Then I met Ziggy and another horse called ‘Rally’ and we would play, and Ziggy would be a good little lawn mower. So, then I said to the lady: “Maybe I could take her back to the Snowies and she could be my lawnmower!” The lady said: “You get her on the float and she's yours.” Well, the day that I was going to leave town, the last job I did was to borrow a float. I remember driving in, and I know the sun must have been shining on Ziggy, because about three or four guys came out of nowhere and literally manhandled her into the float, picking her up and putting her in. I brought her down here and she got lonely. She wanted a friend. She would just take off and at one stage she was at a neighbor's standing on their veranda. So, I thought I'll get her a friend and by that stage, I'd met some riding people in the little town of Dalgety, some really good horse people - like they know horses. These guys are generation horseman and they said get a little pony friend. So, we tried that, but she didn't like the little pony called ‘Rocky’ that we got for her and that's when I went on Gumtree, and I saw this man standing on this horse’s back and I thought: ‘well that looks like a quite horse’. I messaged the guy that I really liked that picture, and he replied that the horse is a Brumby. I didn’t know what a Brumby was, except that we have signs that say ‘Brumby’s’ you know what! So, I went back to my riding friends and told them that I’d seen this this horse that’s a Brumby and they said: “Don't waste your money with it,” adding: “You'll never get your money back when you go to sell it.” In my head, I was thinking: ‘well, why would you sell it if you like it?’ However, that's what people do. They use horses for a period of time and then sell them and sell them again. I contacted the guy and said that I had to sell this little pony called ‘Rocky’, and he said that actually they we were after a little pony and asked if I’d like to swap? So that's what we did and so began my first connection with Brumbies when I drove over to Tumut, another Snowy town, to collect him. It was in the afternoon sun as I drove in and there was a whole load of different horses at this place. However, there was one horse standing with the sun behind it, glowing like the sun. When I looked at it, I hoped that it’s a Brumby. Then when I met with the owner, I found out that this was the horse, a Brumby - named ‘Sunny’.

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I’ve had two magical moments with Brumbies: one with Sunny; the other with Sammy – but more of that later - when as soon as I was in their presence it was like I was seeing heaven. I can't explain it. I just was connected. Back to the exchange for Sunny - I got my little pony out and Sunny’s owner had three little girls with him who immediately fell in love with Rocky when they saw him, and so I knew I'd brought him to a good home, so I was happy. Then it was my turn with Sunny, and I said: “Look, I don't know much about horses.” He replied amongst other things that Sunny’s super quiet, but the last thing he said was: “Don't worry, she will teach you and you will teach her.” This stayed in my head, because I brought Sunny back, and of course I didn't know what I was doing! However, I remember thinking: ‘It's Ok Claire, you don't need to know because this horse will teach me what I need to know’ and that’s also probably why I began the Snowy Brumby Horsemanship, because these Brumbies teach you! They tell you. In a way it's like a language - once you know it / them, you understand it / them! They'll tell you everything you need to know and that is Sunny. Now she’s getting quite a well-known reputation in the Brumby movement because she really is an incredible soul who genuinely has changed people, like she changed me. Now, if there's any day that I don't have confidence in what I'm doing, she will walk up to remind me I'm OK. She gives me the confidence. Well, when I got her back, I began to realize the total distaste that exists for Brumbies in the horse world. It’s like they're just the mongrel group of the horse world - they're not good breeding; they're not this; they're not that! So, they’re not really respected. This is a question come show time that although changing now, to begin with they weren't even given any class or anything. That’s when I realized that really wasn't the world I wanted to be in anyway. So, I began to find out more about public interest in them in the local National Park and went to my first meeting 10 years ago for the first ‘Wild Horse World National Plan’. It was then that I began to understand the history of the Brumby and its background to this area as the Snowy Brumby and why they are so important.

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Petra: How did your interest in horsemanship develop owning Brumbies? Claire: So that answer is easy it’s the other Brumby, Sammy. After Sunny lived with me for about a year or so I started riding. However, the saddle that I got with Sunny kept slipping and I didn't know how to correct it. I thought maybe it was because it was so heavy, I couldn’t pick it up. So, I saw another ad. on Gumtree a year later for a saddle after I had started doing some riding and training Ziggy a little bit with Pony Club. I went up to see it as the ad. said suitable for a Brumby and I went: ‘terrific!’ This was the next sort of ‘lightning bolt’ experience when I met the young lady and her mum at their property. I walked up and when she showed me the saddle, and as I didn't know much about saddles, I said: “That looks Ok.” Then the mum said: “So do you want to buy the Brumby with it?” I didn't even know there was a Brumby for sale, and they said: “Yes, it's just in the round yard.” I looked up and saw a Brumby that was a totally different colour to Sunny. So, I thought: ‘Wow, that's interesting’ and walked over putting my eyes through the round yard to see this Brumby that to me was one of the most beautiful things I've ever seen. Then I tried to be ‘horsey’ and said to them: “Yes, tell me a bit about her - what does she do; have you trained her?” They replied that she was used as a riding pony for kids, and they’d had her broken professionally. So, then I asked: “What's wrong with her, why don't you want her?” I’d wondered why you’d want to give away such a beautiful animal. The mother said: “Oh, she's not the right discipline for what my daughter wants. She wants to go into camp drafting and this horse isn’t right for it – she wanted a stock horse.” They said that she wanted a stock horse, and I didn't question that. I just thought: ‘Oh, well, that must be true as Brumbies aren't good for much’! So, I asked the young girl if she would like to ride her for me? When she declined, that should have given me a ‘heads up’, but I just said: “Ah, I'll jump on because I want to put the saddle on her.” So, I saddled up and hopped on and as soon as I was next to Sammy, I could just feel her, and I felt such a huge connection I didn't even need to ride her. I just knew that I wanted to give her a home. Long story short, while she got into the float to this day we don't know how she did because it's the last time she did without panicking. Then we drove her home. I opened the float and I in my mind thought she's going to hop out; meet Sunny; be the best of friends; and everything will be sweet. However, she got out; reared up; took off; and I thought: ‘What have I done?’ She's gone and there was no connection – nothing. I drove around but I didn't see her again that night.

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The next day, I managed to get a glimpse of her, but she was in the background. Sammy probably is the most damaged, frightened and misunderstood Brumby I think I’ve ever met. We went through a period of about three years where from not wanting to be next to a person, finally we gained her trust. While I could catch and saddle her, I couldn't ride her and so I had people come and ride her, but she knocked every one of them out! She bucked them straight off doing a ‘Superman move’ that flew them head-first into the ground! Now, I had this Brumby that was way out of my league and way out of control. So, my last resort was a very good horse lady for whom I had a lot of respect. However, she said: “You can't sell her, you have to ‘abattoir’ her as she's going to kill someone.” You have to end a life! I was in tears because I was thinking: ‘This isn't fair; this can't be; how does this happen to an animal!’ Then at the same time, I was given this ‘round yard’ as a gift from Charlie's dad because he saw me struggling to even contain her. So, I started feeding them in the round yard and Sammy kept choosing to stay after the food had gone. So, as I was having my own personal struggles with life and things, I’d go down there and meet up with her every afternoon. I'd have a glass of wine and the radio going and just sit down and make myself watch the sunset, taking five minutes out of being a mum and the craziness of the house by spending five minutes with her. Every time I went there it made me feel good and she felt connected and so we began our journey back from the edge of the cliff. The words of that fellow rang in my ears: ‘let her teach you.’ She taught me: the Brumby language; how to read what she was thinking; when I did something wrong, she would turn her bum to kick me; how to understand her better; to know how to manage her; and then how to do join up! When we rejoined together, she transformed me into a brumby trainer. Yes, and then I realized she needed people exposure therapy as she would freak out when someone came near her, if I wasn’t there. So, I began to ask people to come and meet her so we could help her get over fear of people and that was the beginning of our tours - how ‘People Exposure Therapy for Brumbies’ started - where we use people to help Brumbies overcome their fear. Now Sammy has learned to forgive everything that was done to her by humans. However, she doesn't forget, and she reminds me of that. Occasionally, I take it for granted but she taught me forgiveness as well, and so if she can do it, I can too. Yes, she's very special!

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Petra: Can I ask you to add to this? When we met you were talking specifically about what her journey was; how she was broken-in; and then broken. As I feel most people don't know, or appreciate what the journey of a Brumby is like, can you share more of her story – particularly to show what it looks like when it goes wrong? Claire: Yes, the practice of what they call ‘breaking-in’ a horse goes back a long way. Essentially, it was to break the spirit of the horse so that then it must be domesticated to work with you. Now, when I talk about ‘breaking-in’, it's more like ‘breaking-from’ - from being an untrained horse to a trained one. What is happening in the not just in Brumby world, but also in a lot of the horse world, is forcing the animal to do something. It will do it, but it will retain an element inside that chooses still to be a bit rebellious, I suppose. It’s like a forced thing. However, if the animal chooses, and wants to do that thing, it will be faithful and perform that role, far better than we could ever train it to perform. So with Sammy, it’s likely she was forced to be ridden and forced to be broken. While I'm not saying this happened to her, I've seen lots of signs of it as a possibility. For example, you see it when horses are put in a crush – like a metal box, giving them no ability for flight. It's like in a rodeo where you see people hop on the back of a horse to get a saddle on in that way, or to sit on it. The other thing that happens is to make the horse stop doing the wrong thing by doing things like twisting their ears with your hand to cause pain and the pain is meant to make them stop doing that thing, like rejecting the rider. Another thing that is forced upon a horse is tying them up so they cannot get away from the person. When we work with Brumbies, our training method is: everything is by choice, and flight is never taken away. So the Brumby can always move - it can move away from anything we've asked it to do. We do this because through this process, we're building up a connection or a relationship with the Brumby, not forcing it to be domesticated. For Sammy to survive, she needed to go back through this process of choosing / wanting to be with me and have me as her rider as well. So far, she has chosen to keep me on her back for years now without throwing me off because it's a choice, because if she wanted to get rid of me or any rider she would. I don’t care how good of a rider you are or what saddle you’ve got she could get you off. Also, put her in the mountains, and you're off! When she wants, she's just about impossible and good riders will tell you that she has this ability. However, she chooses to keep me safe on her back and in the last couple of years, she's choosing to keep people I put on her back safe - from little children, all the way through to adults - now even in the bush! Some of our trainers also are riding Sammy in the bush, and if we went back to her beginning that was just about impossible.

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Not long ago, the people who sold me Sammy contacted me wanting to buy her back, saying I could name my price. I said to them: “I’m so glad you've seen her progression and I'm really glad you've seen, and are happy with where she's gone - but you can't sell your soulmate!” Then I said: “Look, I can train Brumbies for you, but I can't sell her for any amount of money!” I’m serious, people could oﬀer me $1m., 2m., 10m., and I'm serious. If some stranger came and said: “I'll pay 10 million for that horse.” It'd be a no, absolutely no, not even a hint, a fact that maybe my son might jump up and down about, but for me it would be like hocking your family, you can't and she's my family. Yes, she is - her and Sunny. Yes, it's hard to explain to people; I mean, everyone has their pet dog they love, but our connection, the three of us, goes beyond just that. It is what it’s taught me in the in the end. Since Sunny there have been many Brumbies who have come here for training and each one of them has taught us something special. Even one we have now who is even harder in his way than Sammy in that he's been very, very badly treated and we still are on the brink. We're still connecting with him, he’s changing, but not quite yet, and I just go: ‘they come to you for a reason and it's Ok to say you don't know what you're doing! If you just look, they will show you; the way will come forward.’ As usual, it does. I haven't met a Brumby yet that behaviorally, we would have to put down. I know of instances where people have raised a Brumby from a foal and it's now out of control, and it's biting, and it's attacking people. There are some random ones that I know for some reason would be just about impossible to train. However, I'm not saying to give up on those either, because you learn so much through the process and possibly, what we call ‘a change’ will occur even where we don't even know it. We can be working with a Brumby - working and working and working, and we feel like we're going to give up and as we don’t seem to be getting anywhere when suddenly, it's like the sun rising after weeks of rain. It's like suddenly you’ve just about got used to that rain and living in it, then the sun rises and you go: ‘hang on a minute, there's a change.’ That's what I've learned, probably most with Sammy and also others, is to have faith in the change. Yes, and when it comes, it just blows your away. Now, in one of our new ones, Buddy - our little one, the changes started happening on the weekend. We had had all these training clinics and that change didn’t happen, but you don't have to be at the centre of that change, if you know what I mean? However, I had been working with Buddy for eight months and I thought she would never trust humans, and then on the weekend she gave a touch twice, so you knew that the change is happening. I was in tears. I was emotional because it was like: ‘Yes, Yes!’ However, it’s not ‘Yes’ about us as trainers, it’s ‘Yes’ now that horse will have a life - a future that's going to be good for it.

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Petra: This is exactly why I wanted to do a story on what you do. I believe that unless people know your story from your perspective, and understand that big love and patience, and so much faith, they're not going to ﬁnd compassion just with information that’s out there! It's absolutely priceless what you are sharing. It's just a heartfelt story, nothing glamorous; just a real story about something that’s not instant and it's just wonderful. Claire: It is and there is a meaning for the whole Brumby world and Brumby debate; there's a lot going on, and when people are involved, egos get involved! Then, what we do sometimes can be misunderstood. We're not there to show it’s the only way, if someone's doing something in a positive way for the Brumbies, what we're trying to explain is that sometimes we think we’re doing something which is good for that horse, and yet it's so cruel. So, we're just wanting to open that up, and of course nobody ‘knows’; we're all on the journey of learning and discovering, particularly if we can share the knowledge. Sharing is what I’m about, as I was given the gift of Sammy and Sunny and I want to share that with people who also are working with Brumbies. Because with that gift of understanding them, if we get 10 people doing it, then that's how many Brumbies they can help. However, if we get hundreds of people working with that gift, just think of the number of Brumbies we can help. That's why I’m training people. It's like teaching - you can teach a classroom. However, if you want to teach a community, you’ve got to train and you have to share that gift with all the people to help and build that gift. Yes, that's what it's all about.

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Petra: But it's such a new thing, isn't it? The Brumbies haven't been studied; the information about them hasn't really been shared as factual. Claire: Even on the weekend, I had a person who has a veterinary background come and first off, she stumped me because she said: “A Brumby is just a domestic horse like any other horse.” I understood from where she was coming: “Yes, of course, and a cow is a cow. I get ya.” By the end of the weekend, she began to understand that when wild, the Brumby became more than just the domestic horse, it became a wild horse and, then I said very cheekily to her: ‘It's quite probably a bit like me. I'm a little bit wild, so if you took me to the centre of Sydney, I'm looking a bit feral right now, and probably I would be right out of place.” I'm a human being like they are, but I live a very different life and I would feel threatened in that domestic city setting. I know I couldn't cope. Well, that's not me. So, I suppose I'm trying to explain that you don't have to. Yes, she was strongly from a veterinary point of view - looking more at the blood and the bones than the actual mind. Horsemanship is about training the mind of the horse and a Brumby’s mind is very different to the mind to a domestic horse and so for the training to work, we must develop that training for the Brumby in a very different way. Petra: So, what makes them unique? What is the current situation with rehoming Brumbies and them being in such a demand? Claire: So, ‘Brumby’ is the Australian name for a wild horse. When I talk Brumby, probably I have in my head, the Snowy Brumby because that's the area in which we work. However, what makes the Snowy Brumby unique is when they're born into the wild, they're born into an environment with very little pressure from men, and they don't see people. They’re up there in in the mountains where it's ‘Heaven on Earth.’ If you can imagine, it’s rolling hills and valleys that go on for miles and miles with crystal clear creeks; and at night, moonlight and stars like you wouldn’t believe. That's their life. That’s the norm for these horses. There's not a street light, or car light, or town noise. In fact, a plane probably is the only thing they ever heard. Now they were born into that generation upon generation. So, what that meant was their mob, or their family unit was and is ‘gold’ to them and the senses to keep them alive, which are, their sight, hearing, touch, and their connection to each other is like super concentrated. For the alternative, you have a horse that's born into a paddock usually only with its mum; it doesn't run as a group; and usually has one other horse in that paddock. It doesn't move much because it's contained; it gets fed by a human; it has human connection; and it sees cars and people. When you talk about the difference of uniqueness, you have to imagine the generations of ‘wild’ under which a Brumby has developed compared with the domestication of the common horse. So, the problem is of course, the mountains or the Snowy Mountains. Humans and population have forced those Brumbies into isolated pockets through fencing and then ski resorts and all these other pressures going into their areas. This is then pushing them up into high alpine areas in the snow and it’s not their preference to live up there above the tree line. They want to come back down into the valleys, but they can't. Or they try to and then they concentrate in places like Long Plain, Kiandra. Now through Snowy 2 those areas are getting more and more trucks, people movement and machinery. So now there is friction between people and their wants from the land or their interest in the land and these Brumbies. Also, many years ago, it was the people from the city who would come to the Snowy Mountains who then created it into a National Park. They did so in good faith as it's a beautiful area. They wanted to keep up its restoration, but they just put a big line around the park. Part of that line was farming country and horse country where these Brumbies lived. So now, so some of these Brumbies are in the designated areas. They don't know the difference between standing on land that’s National Park and standing on land that’s Crown land! They don’t understand that where they are living is alpine or contains endangered things - they're just living. Then when it became a National Park, a hatred began between the locals who have a connection to these lands and were forced out by the environmentalists and the ‘city’ people.

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Petra: Just to jump-in, those locals would be the farmers - right? Claire: So, the ‘high-country’ people are the people who like the old timers could have been on the land down to say near Tumut. However, they used to go up to the high country and run the cattle and sheep in Summer, and then come back down to the low country for the wintertime. So there have been generations of this happening. So suddenly, now the major friction is the Brumby. It has become like the symbol of the environmentalists’ hatred and symbol used to represent the high-country people. So now the hatred for them has grown past what is just horse management - it's become like a ‘war.’ It's a war between (some of) the people and the Brumby and then it's also a war of politics, and the politicians right now are giving permission for the Brumbies, especially in the areas of Kiandra, Long Plane and Peppercorn, to be annihilated. They weren't just trapping a few, they want to take every single one of them out. Right now they have a window of opportunity to do it and they haven't rested. Hundreds are coming out per week. The majority of them. I'm guessing between 60 to 80%, have gone to an abattoir as there are less than 20 oﬀicial rehomers is in Australia who take Brumbies and they're all getting ﬁlled up. So there was no other option. When they get caught and trapped they go straight down to the yards at Blowering and they have less than 48 hours to get rehomed or they are taken to the abattoir. So, you're talking about a mass genocide of the Brumby populations in that area and there seems to be no management to it - like they could allow one stallion to stay out with some mares to keep the genetics of each mob going. It is just whoever was in that trap.

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That said and I get why the environmentalists are feeling they need to do it more, but what's happening is every single Brumby when I think of into the horriﬁc conditions they're going through, I think of Sammy and Sunny. Sometimes it seems that it would have been better for them just to be shot out there under the stars and then they wouldn't even know. Instead, we are putting them into a month of absolute terror and pain before death in the abattoirs, or we're forcing them into prison camps, with horse traders selling them into like a lifetime of imprisonment, or just being kept in conditions which are just horriﬁc for them.

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Petra: So, why are they in such demand? Claire: They didn't used to be. If you go back 12 years ago when I got Sunny, remember all the Brumbies were meant to be like mongrels and you'll never get your money back! As something is being reduced to nothing, suddenly that nothing becomes worth something! Back then when I got Sunny, there would have been no question or there would be hundreds of Brumbies in the park and ‘there always will be blah, blah.’ Now as the Snowy Brumby is becoming like a little bit of a collector's item as they have a bit of a reputation and of course, they're about to be wiped out! So why not grab the last one or two of them to have in your little collection of horses in your paddock to rave about. Also, I think over time, it began to be realized how incredible they are as a general riding horse and a bush horse riding, and now people also have started to show them and put them in equestrian events. Maybe also people are beginning to realize that actually there’s something about them that's quite special in a horse. So people are getting some value but I mean, I was talking to Banksie who's brought this horse down to us and he said five or six years ago, he would go pick up seven Brumbies from somewhere just near Blowering and they were given to him! Now these Brumbies are getting trucked as far as Queensland, Western Australia and South Australia. By the way, sending a horse that far costs a lot of money. Why are they getting trucked that far? Well, for example up in Queensland, they're getting sold straight from that truck for up to $2,000 each without handling or training. So, if you're talking about 10 Brumbies going to Queensland at $2000 each, you have $20 grand in that truck. However now there’s another reason dog meat, which is what Brumbies have become as meat prices are going through the roof. As the manufacturers need to fill those dog food cans and biscuits, a heavy Brumby is reaching $600 to $700 direct from the abattoir. 10 Brumbies is six grand and they're only having to go into Victoria! However, I understand now that some the New South Wales abattoirs are refusing to take horses because they're after ‘weighted’ horses. When a horse is most ‘weighted’ is when a mare’s in foal. So, they're ‘abattoiring’ horses that only have a month left to foal and that's pretty horrific. So that's the sickening part. Our obsession with having our pet dog is resulting in a massive trade in horse slaughter and they're filling it up now not just with Snowy Brumbies. The is word that people are mustering large numbers of Desert Brumbies up in the Northern Territory; putting them on a cattle truck; and sending them down to Victoria. Just for slaughter and some have foals at foot who are dying on the way or just get shot in the truck and chucked out. Yes, human beings really are why these Brumbies are treated so shamelessly inhumanely, cruelly, and atrociously. Their loyalty to our Diggers in World Wars seems long forgotten!

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Petra: What are the typical mistakes people make when transitioning Brumbies to farm animals or domestic life? Claire: The biggest one is they treat them like a domestic horse, or they treat them like a pet. They are neither, they are a wild horse with huge diﬀerences. So, when you treat them and train them like a domestic horse, you create what is called: ‘shutdown’. This is when way too much pressure is put on those sensors I was talking about earlier. The horse just says: ‘No.’ It's like if you take a bunch of guys and put them in a cell measuring 5 x 5 metres. Suddenly they all shut down, stand there, and just stare and don't talk! That's what you've done to the wild horse that you've shut down. The only way they can survive is by shutting down. What happens then is once you put them out in some space, that shutdown turns into a breakdown - like literally, they have to get rid of all that stress and pressure and usually they explode by pretending, like people pretend, that they're a great little kids pony and suddenly when they get out in the bush, they buck the breakfasts out of those kids. That's what shut-down is about. Also, they're not a pet; they're not there for you to groom, pat, or put pink rugs on. They need the respect for their heritage as a wild horse. This means they need an environment to live in that has space in which to move and run. Also, the little foals should not be paraded around like a pet dog in somebody's kitchen or fed by humans without any connection to their mob. Brumbies need to be with other Brumbies in a mob type arrangement, because really, they can't live happily on their own. So there are lots of things that are being done wrong in the transition of the Brumbies into domestic life.

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Petra: Can you describe the process of how you train the Brumby when it comes to the timeline. What are the stages of working with a wild Brumby to train it into a balanced animal and how long does it take? Claire: Ok, it's also relative to age. So, if you can imagine, when a Brumby is under the age of, say, two, the training has to be like Kindergarten. You can't go straight into training; you have to sort of familiarize the Brumby to get it used to wanting to train; but you can't put too much on a young brain. When it reaches the age of between two and four, it's like in Primary School and you can begin your first steps, if you get the building blocks right. By the time it's five, its body is fully developed, and then it's like at High School, and it's ready to learn and you're ready to set it up to graduate into the roll of a riding horse. However, you can't sell it as a riding horse until after five. So in our training with the Brumbies we take the wild ones in here as fillies which means they are only young female horses. We can't take colts at the moment because we can't risk our other mares falling pregnant, as colts may be able to sire, by the time they're two, particularly when you take them out of the park, you can't age them very well. So you don’t know! So when we take-in our fillies, we need to give them the ability to grow; to adapt to living in domesticity; and to get used to us. Our training method is for them to join-up with our lead mares - Sammy and Sunny and to come up to the house with them and learn how to be fed and handled and being in yards. Also we start the groundwork of join-up. I was in the round yard with little Nifty yesterday. She came in, so I took a feed bucket down there as she walked into the round yard. They love the round yard, these Brumbies, they just love it. They line up to go in there and I have to keep them out by saying: ‘one at a time!’ Nifty and I would play together and we danced together and through that dancing, she allowed me to pat her and go to her when she sniffed me. I rubbed her on the forehead and then patted her all over. Then we introduce the halter and the lead rope and work all around their feet and we get them so familiar with being handled that by the time they reach two we can put a bareback saddle-pad on them; we can float them; and we can do anything with them as they've got total trust in us. So people might tell me that they can go to a Brumby training clinic and within four days, they can get an unhandled wild Brumby and be riding it and I'll tell them: ‘Yep, I agree. It's a piece of cake!’ The older ones, they'll just shut down and let you do whatever you want, but that's not training and that's not join-up and as soon as that Brumby has a choice, it will get rid of you. We do the opposite. We want that Brumby to swim across the river and walk up every morning for training. I don't go get them; they come in now and that's what we want for all our Brumbies. Sammy and Sunny choose to come in off 300 acres – now that's choice.

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Petra: How important is it that you own the land and what’s the Snowy River to you? Claire: Firstly, I acknowledge the Ngarigo People, Indigenous First Peoples of this land. I believe that my role with this land is to create. It used to be a goat farm so I'm bringing it back into a wild place again and I don't know why but every time I see a new Brumby come in, or even groups of wild Brumbies the first time they go down to the river, paw at it, play in it, and then swim across it and run out the other side up the mountain, I just go: ‘how much like Heaven is this?’ Because it gives these Brumbies that mountain stream; that ability to play in fresh water; and to drink out of a stream, not a bucket, not a trough; and that to them is natural. So people, and my friend Banksie with his new Brumby, have said that within two days, any Brumby that comes here has changed and it's not a training, it has to be the lead mares, the environment, that river and its sounds, the pace. It's like they found home again for they are Snowy Mountains Brumbies and they’re home. It just opens up their trust in us and I'm very grateful for that. Petra: What brings the most joy? Claire: Joy. Shallow joy, or just shallow happiness - having that nice cake, or that nice coffee in town with friends. I'm just saying that's your day-to-day happiness and joy. However, the thing is, we're all here on this earth for a very short period of time and there's something more magical about being here than just what you're wearing that day; or what you're buying online; or what you're eating at that restaurant for lunch. What brings me joy, are those connections I have with these wild horses that transitions me from the day to day into what life really means. Like yesterday with Nifty, when she finally let me hug her when she came up and put her head to my head and we just stood there with our foreheads touching. It's the ‘wild horse’ in me. I had my hand on her and we just stood. For me, it was like our brains connected. I know it sounds bizarre, but it was like we were ‘in transition’ to each other. It was like just a moment and then we stepped back, and I just went: ‘thank you’. I suppose not many people get that understanding and I hear of people doing it when they’re scuba diving and a whale or big orca comes in and connects with them - when an animal chooses to know you. It's like two aliens have finally got a common language and so pretty incredible! That gives me joy.

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Petra: I understand that through Covid, you decided to write a book. What’s it about? Claire: Oh, thank you. Someone once said to me that loneliness is the best creativity and I was given loneliness not from the Brumbies, but from human beings through COVID. Also, I had a fair few things happen which then isolated me further from nearly every human being and touch. So during that, I felt like my life here was nearing an end and so I wrote my story, as well as: the Brumby story; the story of how this began with the Brumbies; and the stories of Sammy, Sunny and Bindi. Also, I wrote the stories of the fires; the story of how we began our horsemanship training; the stories of COVID, and of coming through injury and back to where we are and where I am today! The book is called: ‘A Wild Horse Way’. Also, it goes into a wild sort of way of training, which is different, and it sort of questions and hopefully will open people's minds to the differences in training, and also through training, open up our minds as human beings to what's important. I’m at the final stage of editing and hope that somehow in the future, it will be published, and the story of the Brumby will be shared with mine. I'm hoping also, if people can't come and actually feel and see, they could read this story, and it could open their minds to what's going on with these Brumbies. Now I need to go sit down and do that final editing. It's got lots of beautiful photos. I think anyone could read it, whether you're a horse person, and definitely if you're not. It contains lots of funny moments and learning and growth. I think in a way, it was a blessing – it is a blessing. It's a transition and we have the opportunity now, right with the Brumbies for a different voice and a different perspective for our society and my God, let us hope we don't just get bamboozled back into choosing the next outdoor setting for the next lunch barbeque. Instead, let's look at something deeper than that.

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Petra: Yes, it's like that, isn't it? It's very much like: ‘lets escape with a barbeque and alcohol and have fun somewhere beautiful’ - that kind of thing. Claire: Yes, I'm tired of it. Having every TV show reality thing about the next resort and what the next vacation should be, whatever action they're going to make up with next jargon word. I want people to be more real, more in depth. So the book was about reaching deep in and I wrote some pretty funny stuﬀ, but there's some hard truths in there too. So, ‘Yes’ I wrote it initially for my grandchildren and then I thought if anyone else reads it that would always be a bonus. However, I've had a few people read it now from very diﬀerent backgrounds, and everyone is being touched by it and I'm very grateful as I'm not a very good writer. I'm not a very good linguistic person, but I'm hoping that it's okay enough for people to love it. Petra: It's the message and I'm not a good writer in English. To me it's like the most frightening thing to do something in another language, but I did it a few years ago in my book: ‘Life Rocks’. I wanted to show my son that and anything is possible. Claire: Anything is possible and it’s true? So even on our Facebook page, people sort of ask: why do I write our Facebook page? It's not Brumby the way it is but it's always from the horse's perspective and it's always about each Brumby we have here because, again, when you just see them like a sheep in a herd, you don't see them as individual souls. So each chapter of the book is about a Brumby and their soul; what they saw what they opened up to us here at a certain times; and how we changed training from what they taught us.

Facebook: Snowy Brumby Horsmanship Images: © Massimo Montebello and Petra Jungmanova

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JJ’S AT THE MARINA DAY 9 JJ’s at The Marina is one of the great local businesses that has an arrangement with local fisherman and serves the fresh catch on its menu. After having a fabulous meal – the best fresh mussels I’ve had - in this perfectly located seaside restaurant, I decided to find out more about it and its owner. I arranged to meet the owner, Jacob Crook and have a yarn about life over another bowl of muscles in blue cheese sauce (for which I paid). So, if you love seafood, sun, blue skies and endless horizons, this place is the ultimate comfort food destination on your travels. Now for a little self-indulgent yarn from me! For everyone living in the Canberra region and proximity to Sydney, Bateman’s Bay is a well-known playground for people of all ages and backgrounds. This small, laidback seaside town is perfectly located on the Clyde River and the Pacific Ocean to provide endless recreational outlets like fishing, water skiing, boating, diving, surfing, bushwalking and wonderful natural beauty. It is filled with tourist parks, hotels and B&Bs. Throughout the year and especially when it warms up, its streets fill with tourists on the weekends and holidays - mostly Canberran’s searching for the perfect seaside fix and escape.

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JJ’s fits perfectly and distinctively into this milieu. I found it on my way to another yarn one sunny afternoon and keep coming back for a giant bowl of muscles with beer in the ultimate waterfront spot overlooking the entrance to the sea with beautiful bush and island surroundings. Despite the bushfires, floods and Covid, there are still plenty of opportunities for a spontaneous, old-fashioned road trip to have lunch somewhere; explore beaches you’ve never been before; collect shells; buy a book in the local bookshop; or find a special place with a wonderful view; and then head back in twilight. As I travel a lot, for me location, functionality, good variety of local seasonal food, and friendly people are always the things I seek first and appreciate immensely. While it seems clear Australia is slowly turning into ‘another America’ with carbohydrate loaded and deep-fried oversized meals seemingly becoming the norm, I absolutely love coming across places with trained and friendly staff, and fresh local food on the menu. You wouldn’t think it too much to expect from a hospitality industry in a serious crisis! So, every time I get professional service with a smile, it’s a joyous and rare occasion. So, seeing the relaxed atmosphere at JJ’s at The Marina while sipping on my Corona waiting for the giant bowl of mussels to arrive and looking out onto the glistening water, birds flying by with the occasional little boat passing, I can’t help but feel how my whole body relaxes. What a treat to know this is waiting there for me each time I drive through Bateman’s Bay.

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The South Coast of NSW to me seems a unique part of the world, full of natural beauty and without manufacturing industries. So, the livelihoods of many locals depend on the tourists. Dotted with cafes and restaurants, locals are proudly serving scones, long breakfasts and lunches, and lazy dinners, smiling to fellow travellers while making a living for themselves and their families. I have had my fair share of hospitality work since coming to Australia from small cafes to high-end dining and I have a big love and appreciation for all hard-working hospitality people serving those of us who are going out on first dates, special personal occasions, holidays, or just relaxing, for they must watch from the other side, while their loved ones are home. I have a strong belief that every single person should have the experience of serving people. It’s such a rich life-changing experience and you will never not say thank you and not be nice to people who ‘serve you’ in various food outlets ever again. Afterall, everyone really just wants the same things to: live well, love and be loved, and see people in their worlds happy. Everyone got affected by Covid and unfortunately for the South Coast, the devastating bushfires made their brutal mark first. Many people along the Coast lost their homes and rentals and so are living in caravans and cars. Covid was the last straw for this battered Region. Tourism is an essential life blood for these small communities and so hospitality can become a valid career job like any other and not just a casual fill-in. So, we weekend travellers are very lucky to be able to go to these lovingly managed places for our coffee and meals. Seeing how many places didn’t make it through these challenges makes me sad. Please, next time you are planning your beach adventure, consider supporting local businesses more - you are helping to pay for a roof over someone’s head, or a meal, or school shoes for some kids. Surely not too much to ask?

Visit: https://jjsatthemarina.com.au/ Images: © Petra Jungmanova and Dreamstime

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LIVONNE LARKINS DAY 10 Livonne is a photographer based in the Blue Mountains (a magniﬁcent range of Mountains in NSW) who tells truly relatable stories through her images - including dark, scary ones covering things people don’t like to think about. I feel honoured when people let me visit their places and share their stories. This yarn had me in tears and I respect Livonne for sharing her personal and creative journey with me. I believe that it is important to have conversations about Mental Health because life is a beautiful precious thing! Petra: Where are you based? Livonne: Born and raised in Victoria, I am now based in Katoomba which is in the beautiful Blue Mountains Range in NSW.

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Petra: Why are people drawn to the Blue Mountains Range? Livonne: Are we drawn to the Blue Mountains or does the Blue Mountains draw us into its bosom? The Blue Mountains has a healing energy and I think that’s what attracts people, even if they don’t know it. I almost think the Blue Mountains attracts people it wants and draws them to its beauty. I was told when I first shifted here that if the Mountains wants you, she will open her arms to you and that definitely has been my experience. Petra: How does your environment affect your art? Livonne: Shifting here from the place I had called home for 46 years, I was not in a good state of mind. I had a lifetime of trauma surrounding me and I left Victoria to try to get some peace in my life. The traumas I had endured had left me with mental health issues and no real interest in life. At that time, I didn’t think I had anything to offer the world and had never considered myself particularly creative. When the Blue Mountains wrapped her healing arms around me and I started to find myself again, I was able to start to explore a more creative lifestyle. At the age of 51, I went back to Nepean TAFE and decided to study photography. I then found that I could tell my story in a gentle way that didn’t scare me. I think it’s fair to say that without living here, I would never have become the artist I am, something I will never take that for granted.

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Petra: How would you describe what you do and your style? Livonne: While I work primarily with fine art / conceptual photography, I think of myself as a Visual Storyteller first and foremost. I read a quote by Jonathan Gottschall a few years ago that I love. It says, “We are, as a species, addicted to story. Even when the body goes to sleep, the mind stays up all night, telling itself stories.” Story is the one ingredient in everything I create. Whether it’s an image, a headdress, a costume or a sculpture, there is always a story behind it, even if the viewer doesn’t see it straight away. None of my work is made just for the sake of making art. It has to mean something, and it must carry a part of MY story in it. I generally use a painterly, fairy tale style which I find is a gentle way of telling a dark story. It’s not as confronting as laying it all out on the table. However, the more you delve into my work, the more you will see. At first glance, it just looks like a quirky little image but what lays beyond the quirk? Petra: What does your creative process look like? Livonne: My creative process is a bit all over the place. I have ADHD which, in my case, means I have 150 thoughts running through my mind at any one time. I might be watching a movie (quite often a kid’s movie) and I will be inspired by the smallest thing in it and my mind starts planning a whole story from that. It may be that the movie has triggered a memory and I realise there is something in the back of my mind that needs to be released. Also, I wake up often having created a piece of art in a dream and I write it down and work on it when it calls me back to it. My work is all very organic. I don’t plan as such. I don’t go in with preconceived notions of what it should look like. I merely have an idea then I let it take its course. Once I have the idea, I start to think about costume and again, I let the recycled materials take me where they want the story to go. I love being surprised by the process and outcome.

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Petra: What role does fairy tale play in your work? Livonne: Fairy tale, like story, is at the base of all my work. Sorry to get dark, but it is part of my history, and so to answer this question, I need to give you some background. As a very young child, I was routinely sexually abused by a family member. I never told my parents or anyone else as I was too scared of the repercussions. However, I developed a skill that helped me survive. I was able to separate myself from the situation and my soul would wander off to a place of comfort. I would be off in the Magic Faraway Tree with Dame Washalot and Moonface, or I was having a tea party on the ceiling with Michael and Jane Banks from Mary Poppins. I was often in the Seven Dwarf’s cottage with Snow White or in Cinderella’s attic. I was anywhere but in reality! When years later, I found myself in a horrendous domestic violence situation, I found myself turning to fairy tales again. I longed for the safety of them and allowed myself to drift away again. My daughter Aimee was killed on an access visit, and I couldn’t find comfort anywhere but, having young sons, we all numbed our mind with fantasy movies. I knew that was where my comfort (and theirs) lay. So, when they grew up and the time came that I knew I could no longer live with my story on my own, I knew I had to find a safe way to tell it. The medium of fairy tale felt like the place I could be most comfortable, even as an adult. So, in 2019 I had my first solo exhibition called ‘From Fractured to Fairytale’. It was without doubt, the most cathartic thing I have ever done. Facing my demons, all in the safety of a fairy tale felt like the most natural thing I could ever do. Petra: ‘Hope’, why is it important for it to be present in your work? Livonne: My beautiful Mum always told me that every cloud has a silver lining and I believed her as she was my hero. As a result, I’ve always lived in the hope that things will get better. There will be a pot of gold at the end of the rainbow. I mean, Cinderella’s life got better. So did Snow White’s. Mine could too. It took me a long time to recognise this childlike part of myself and even longer to accept it as a strength not a weakness, but when I did, I knew I wanted to add hope to every single piece of work I did. I want to leave people with that same childish naivety that has always made me keep trying for something better. I want to inspire people to rise above what the world throws at them. Petra: What role does art play in your mental health selfcare? Livonne: Art is the greatest therapy I’ve ever had. Even my mental health care professionals would agree with that statement. Art has helped me face the sides of myself that I haven’t always liked. It’s helped me tell a story that I had avoided telling, even to myself. It has helped me understand who I am and why I do what I do. It has restored memories I thought were gone forever. It has helped me like myself. I don’t know where I’d be without it.

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Petra: Can you share why having ‘voice through art’ is important? Livonne: This keeps getting deep, doesn’t it? I don’t mean it to, but my art is so inﬂuenced by my past that I can’t separate them, and I’ve learned that talking about those things helps me and also might help someone else experiencing similar things. I am, by nature, a very loud, gregarious, fun-loving person, but I’ve used that to hide my secrets, scared of rejection. I couldn’t speak out as a child for fear of retribution. I was silenced by violence then grief as an adult. So, I created a loud persona to hide behind. To start being able to speak my TRUTH, while hard, has brought me unbelievable joy. I know my story sounds sad and dark, and while parts of it are, my life now is full of joy. I don’t want my children and grandchildren to remember just the dark parts. I want them to know that speaking about your demons is okay. I want them to remember that I spoke out, told my story and then proceeded to live with happiness. Art has given me a way to use my voice that I can live with, and it is a fantastic feeling. YARNS - Spring 2022

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Petra: Your approach to art is so fresh and playful, are you creating works purely from your imagination? Livonne: Most of my works come from either memories or experiences and occasionally from dreams. The ideas may have been inspired by something I’ve watched or a song that I love. I’ve always visualised songs when I sing them, so I have a whole volume of images that I want to create, just based on the soundtrack of my life. I recently worked collaboratively with a local poet who wrote about climate change. I took her poem and created a story based on her words combined with my beliefs. So, there is a plethora of sources to inspire me. I hope when people look at my work it brings them joy ﬁrst, and then they look deeper and see more than what ﬁrst met the eye.

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Petra: What brings you joy? Livonne: Family, ﬁrst and foremost. My kids are my best friends now and that in itself is joyous. I have ﬁve gorgeous grandchildren whom I absolutely adore. It also feels so good to look back at the work I’ve created over the last 9 years and know that I’ve left a legacy behind me. With that joy comes peace which is what I came here looking for. Petra: What does creativity mean to you? Livonne: Hmmm… I guess to me, it means making something out of an idea that you didn’t even know you had. It’s a surprise - a ground swell that begins with one tiny grain of imagination. Then, with that planted, a smell, a colour, a memory, a song, whatever it is that is present, helps to rapidly build that tiny grain into a tangible story, and in turn into an image. In my world, Imagery and Imagination go hand in hand. Nothing has to be perfect. Perfection is the natural enemy of creativity.

Visit: https://livonneimagery.com.au/ Images: © Livonne Larkins and Petra Jungmanova

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MARILYN VACCARO DAY 11 Everyone has heard about Tarot - some have tried and are using it in their lives for guidance. I was hesitant for years, but it eventually got me, and now I love getting readings about various areas of my life, as well as, doing my own spreads at home. Have you ever met a Tarot reader and had your fortune read? Marylin is talented in many areas and reading cards over the phone is just one of them, and we are exploring her other gifts in this interview. Petra: Where were you born? Marilyn: I was born in Sydney, Australia and recently have moved happily back home to Sydney from Byron Bay. Petra: Your family has a very special Italian heritage, if I remember well. Has Tarot been in your family for long time? Marilyn: Yes, I know of (at least) 5 generations of psychic Tarot readers, and the use of Tarot cards and other divination tools, such as psychometry, dream analysis and Italian energy clearing rituals, were commonplace for us. Petra: How would you describe Tarot to people who have never experienced it, and what are its origins? Marilyn: The Tarot is said to originate in Italy! The Tarot consists of 78 illustrated cards. 21 of those cards are the “Major Arcana”, which deals with life lessons, the big stuﬀ. This is indicated through the cards by their archetypal images, such as: The Magician, The Empress, Death, and so on. The remaining cards consist of the ‘Minor Arcana’, which has 4 suits based on the elements: Earth, Fire, Water, and Air that speak of the more everyday circumstances of life and living, and the Court cards, which represent relevant people in the querant’s life.

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Petra: What do you like about Tarot most; do you have a special personal way? Marilyn: As a qualified Counsellor, I really love to help people, and I bring counselling into the longer Tarot sessions, as well as, Runes, Gypsy cards, Oracle cards and I-Ching. I also offer Counselling on its own. The way I read depends on the individual for whom I’m reading - what they need. The reading is not about me, it’s about them and I serve as a channel to convey the messages I receive from the cards and from above. I speak in down to earth relevant terms, about earthly matters, sometimes with some sassiness, always with reverence. I’m not ‘airy fairy’ or ‘woo woo’ at all. Petra: How would you describe your (psychic medium) work? Marilyn: I specialise in providing detailed and accurate Psychic Tarot readings. I bring clarity to the present and the future, and also direction to one’s love-life, and advice for career and spiritual growth. My focus is on the client leaving the reading empowered, with their strength fortified. My intention is that they feel capable and optimistic in bringing their dreams and wishes to reality; able to divert potential trouble by making decisions that feel good to them; and that they feel a sense of peace, understanding and acceptance in difficult life circumstances. I assist them in finding their way back to themselves. Usually, people tell me I’ve confirmed what they were feeling all along. Petra: What are people usually most interested in when they approach you for a Tarot session? Marilyn: Usually the reading begins with what we readers call a “general reading”, where I tell the client what I see in detail with little to no information at all from them. This helps me to be objective and them to establish that I’m tuned-in. Then I ask what questions they have. The questions often turn to love, career and for perspective on how to deal with difficult situations. Petra: Love - do people ask a lot about love and relationships? Marilyn: Yes, love is widely popular! I speak daily on these questions. It’s what we really need, deep down.

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Petra: I remember you used to appear on TV with your Tarot readings, are you still doing it? Marilyn: My time on Psychic TV Australia on Channel 7 Two was really amazing for me. It was really interesting to be in that unique situation reading for people on live to air TV; being so present was exciting. I’m not working on the show currently though, as I was living in Byron Bay at the time, and flying down to Sydney for the late-night show became tiring. TV show has stopped airing on Channel 7 Two since, but now airs on Facebook Live. Petra: Have you been practicing Tarot most of your life? Marilyn: I come from a Catholic family, who became increasingly open minded as time went by. My mum and I would go to Psychic Fairs, and I felt ridiculously at home there with the other readers. When I was 14 years old, I was gifted my first Tarot deck, The Mythic Tarot. I learned all about Tarot, I-Ching, Runes, Psychometry, and so on, and went on seeing many spirits - transitioning them into the light. Coming from a spiritual family helped prepare me for many spiritual experiences. Then I began reading Tarot professionally at age 25. Some things are meant to be! Petra: How do you apply Tarot in your daily life? Marilyn: I don’t anymore. For a long time, I did work personally with the Tarot, applying its principles to my life and tuning into its images - developing my intuition daily, which is something I now teach. I was in the right place at the right time to receive really amazing reading material and mentoring at a young age. Nowadays I focus more so on prayer and meditation. Presence trumps pure intellectualism and enhances intuition! Petra: You’ve lived in Melbourne, Byron Bay and now Sydney - what’s special about each place? Marilyn: Melbourne was truly epic and a major turning point for me. Once you find your niche, there is literally something to do every night of the week: from dancing at Goth clubs to playing in bands; to retreating to the mountains to meditate; and reading Tarot for clients from wineries, the Victoria markets, healing centres, live electronic music festivals, and corporate events. I met so many incredible people who helped form who I am today, with many still amongst my dearest friends. It’s often very cold though!

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So, I moved to sunny Byron Bay, where every day feels like basking in paradise. It’s a truly relaxing place. There I developed further my musical side through studying at SAE, and I began recording and playing live electronic drums for several amazing projects, and also DJing at local parties and also up the Gold Coast and into Brisbane. I worked at some amazing, picturesque venues and festivals with Tarot, such as ‘Island Vibes’ and ‘Splendour in the Grass’. I joined also some dear friends in a business collective in Mullumbimby in NSW, where I read cards while they made gorgeous slow fashion from natural fabrics - designing and sewing in the studio. Eventually, it felt like time to follow a different heart calling, ‘a call home’, to spend time with family post pandemic, and now after a short break, I’m ready for what Sydney has for me and what I can bring to the table. Petra: Can you share your creative work in music? Marilyn: Absolutely! I’ve played bass, guitar, keys and sang backing vocals onstage with my first band, but my main instrument is drums, both acoustic and electronic. I love playing live gigs, festivals, and touring. Lately I’ve been working on producing my own music and DJing. So, ‘Yes’, there is some music in the wings. Petra: Where do you perform? Marilyn: I’ve been taking a needed break since moving to Sydney this year. However, I plan to branch out around here very soon! Petra: What brings you joy? Marilyn: Absolutely - family and friends; creativity; travel and freedom; quality time; roaming this earth; flying through the sky, city and nature; connection… and love. True love never dies!

Visit: https://www.marilynvaccaro.com/ Images: © Petra Jungmanova and Dreamstime

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SOME CAFE DAY 12 Every time I have the opportunity to travel in the Sydney direction during Some Cafe’s opening hours, I’m excited! This unsuspected little cafe in the tiny Collector village just a stone’s throw from Canberra provides heavenly delights of all sorts and I love to stop for my favourites on my YARNS adventures. Oliver Chiswell and his partner Lucy Stevens kindly share story of their beautiful heritage café. Petra: Where are you located? Lucy: We’re located in Collector, NSW. It’s an old town half an hour out of Canberra and 20 mins. from Goulburn. Petra: What inspired you to open Some Café? Lucy: There wasn’t anything in the town at the time and I guess the opportunity inspired us, as well as our love of hospitality and all the local support we received through our pop up (the Cafe actually started as a pop-up in the local Town Hall!). Then, this amazing old inn from the 1820’s came on the market, and we just thought how cool it would be to have our own space and not have to pack down every Sunday! We’re still in the same old building and there’s a lot of upkeep, but the space is unique, and we love it. Petra: Can you share the story of your beautiful building? Lucy: Absolutely, we are located in a wonderful old building built in 1829. It’s had a full life. It has been an inn, post office, petrol station, local shop and a couple of different cafes. We’ve been here 7 years now! Out the back of the Cafe there is an old blacksmith’s cottage which we are currently renovating / living in. We’ve done a lot of work to the building and always try to reuse the materials. For example, our cafe tables are made from some of the salvaged wooden floorboards. Petra: What do you love most about country life? Lucy: The community for sure - Collector is such a lovely town, we feel like we know everyone. We especially love having an exchange relationship with some locals - we trade their skills / produce / time for lunch and coffee at the Cafe. One particular local has helped us so much over the years he has a lifetime supply!

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Petra: Are your products from paddock to plate and do you get eggs from your chickens? Lucy: Yes, we do! Mostly we use them for our poached eggs because they poach so beautifully. We buy free-range eggs still from local suppliers because we go through so many with all of our baking. We source locally wherever possible. We have some fantastic local suppliers in Collector, but also stretch out to the Canberra and Sydney regions too. Our meat is all free-range which is something that is very important to us. Petra: ‘Some Honey’ - who is the beekeeper? Ollie! Lucy: Currently, we have six hives which keep him busy. The bee community is so great, and Ollie has met many beekeepers from the Region who are always keen to lend their advice. It’s so exciting to have Collector honey on our shelves - it’s the taste of our backyard. Petra: Do you use local growers and what produce do you get in the kitchen throughout the year? Lucy: We use some lovely local growers including one particular local grower who makes preserves from her produce for our store. Her products are such high quality, she even dehydrates her grapes to make raisins for chutney! Lots of people come especially for the preserves. Collector is also known for its pumpkins, so we often get a great selection of those, and citrus season is a particular favourite of mine - the cakes are delicious!

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Petra: You make your owns preserves, so what is your range, and does it change with each season? Lucy: Yes, absolutely we go with the seasons - we just call around and see what is good that week. At the moment we are making spiced plum jam and zucchini pickles. Petra: What is the culture of your place; what are people experiencing when they visit? Lucy: We hope that everyone experiences a warm, welcoming visit when they come to the cafe - in a place where they can sit by the ﬁre, or underneath the crab-apple trees in the garden, for as long or little as they like. Petra: Do you use local growers and what produce do you get in the kitchen throughout the year? Lucy: We use some lovely local growers including one particular local grower who makes preserves from her produce for our store. Her products are such high quality, she even dehydrates her grapes to make raisins for chutney! Lots of people come especially for the preserves. Collector is also known for its pumpkins, so we often get a great selection of those, and citrus season is a particular favourite of mine - the cakes are delicious!

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Petra: I had a fabulous cheesecake and ham & cheese toastie when I visited last time, and your selection of cakes is amazing. They are always fresh and have that ‘made with love’ quality. There is a lot of thought and care in each dish - even the yummy vegetarian options. Who puts the menu together? Lucy: Thank you, so glad you enjoyed it! The cheesecake has been a welcome addition and is a weekend special at the moment. Lucy and our head chef, Sharon, put the menu together but it really is a team eﬀort. We are also really proud that we have three staﬀ studying Commercial Cookery and Baking at Canberra CIT - so we have a lot of talented foodies working under one roof.

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Petra: Who are your customers? Lucy: Total mix, we have our local crowd and then the highway / Sydney / Canberra / Goulburn traﬀic. The ski season is our busiest time with people visiting the Snowy Mountains. Petra: What brings you most joy? Lucy: It’s such a satisfying feeling seeing the place grow and improve as we work on the building and the business. We get such joy from the little things - a door latch getting ﬁxed that never worked quiet right; or the big things - like installing solar panels!

Visit: https://www.somecafecollector.com/ Images: © Lean Timms and © Petra Jungmanova

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SALMA TAHRI DAY 13 Wild and free - this is the story of one amazing woman living life to the full and being an incredible horse rider on top of that. I feel honoured to share the life of an amazing and unique woman from Saudi Arabia, Salma Tahri - check her fabulous online videos! Petra: Where do you live? Salma: Saudi Arabia Petra: Where were you born? Salma: France Petra: What inﬂuenced you growing up? Salma: I don’t have sisters, so I grew up with my three brothers who are all very sportive and love adventure. Also, my father has been a runner since he was very young, so I got into sport when I was young. Petra: When did you fall in love with horses? Salma: When I was in primary school, I took some horse-riding classes. I learnt how to trot, and then I stopped. Back in 2014 is when I decided to ride again and then I completely fell in love with horses.

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Petra: Is horse riding traditional in your family? Salma: No Petra: Are there many female horse riders in your culture? Salma: In the Arab world, there are not so many, and that’s the reason I want to encourage other women around the world to ride regardless of what they are wearing. Petra: What is the history of women and men riding horses in Saudi Arabia. Salma: Horses play a signiﬁcant role in Saudi history, particularly since the Kingdom’s founder King Abdulaziz uniﬁed the country. The king took care of purebred horses and was keen to train his children in horse riding. Successive rulers of the Kingdom have all shared the same passion for horses. Teachings of the Prophet (‘Peace be upon Him’) also mentioned the virtue of riding horses. Because horses were a means of warfare before and after Islam, many Arab and foreign writers and poets have written about these majestic animals.

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Petra: What brings you most joy riding horses? Salma: I love the connection between the horse and me. I love the fact that we become one. His eyes and ears become mine. I do not see horses as animals; I see horses as human. They all have diﬀerent tempers and personalities. The bonding between the rider and the horse is the most beautiful interaction I have experienced. Petra: You’re not afraid of speed - riding motorbikes as well, so what does speed mean to you? Salma: I love adrenaline and that’s the reason I love motorbikes and horse riding. As long as I am the rider, I am controlling the speed and I am not afraid. I noticed that I get scared if someone drives super-fast; I need to be in control in order not to be scared. Speed gives me some form of enjoyment and excitement.

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Petra: In today’s world where most seem glued to computers and phone screens, there seems to be little space for real adventure. How important is it to you to have an active, fun, playtime and to experience life fully? Salma: Nowadays life is very stressful. I believe that we all have experienced deception, depression, trauma, etc., at least once in our life. It is very important to ﬁnd your own activities to be able to release your stress and forget your problems. In my case, motorbike and especially horse riding are the only times when my brain is completely oﬀ; it gives my brain a break to stop thinking about my own stress and problems. I believe that it could be very harmful if we keep building all the stress and depression inside us.

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Petra: What does freedom and a life well lived look like to you? Salma: Freedom to me means being able to think, wear, do, believe whatever we want, and not being judge or influenced by family or society. Everyone has their own definition of freedom which is fine, and people need to respect everyone’s freedom. My freedom is to be able to dress the way I want; to do what I want; and to believe in my own religion. Also, to think the way I want - basically be the master of my own soul and body…

Visit: https://www.instagram.com/lacavalierelegante/ Images: © Salma Tahri

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MICHELUZZI GLASS DAY 14 I’m excited to bring you a yarn all the way from beautiful Italy. It’s the story of two sisters Elena and Margherita Micheluzzi (E & M), their glass designs and creatitions, and a wonderful family tradition. The Micheluzzi Glass handmade glass collection is a breath of fresh air as it delightes and surprises at the same time. What is it about Italians doing things exceptionally well and with ﬂair? You might feel like packing your bags and heading to glorious Italy after reading this. Petra: Where are you based? E & M: We are based in Venice, our native city. We both lived abroad for years but Venice has always been home. So both of us have returned to Venice and our bond with this very special place is now stronger than ever. We had to go away to want to come back, or was it just fate!

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Petra: I love the fact that you are sisters, so when did you found Micheluzzi Glass? E & M: We always got along as sisters and did many things together, but we didn’t expect to be working together! We founded Micheluzzi Glass in 2019. It all started with our father, Venetian glass artist Massimo Micheluzzi. We discovered the magic of glass following his footsteps. We got to know his work since we were little. At home we were surrounded by many glass objects that were made, collected, or picked out by him. To this day, his workshop on the ground ﬂoor of the building where we live, is a hang-out spot for the entire family. In Italian we say, “casa e bottega” (literally: entirely dedicated to both home and work). So, perhaps it was only natural that, over time, a certain appreciation for this incredible material bloomed within us, and we grew curious to learn more about the techniques and processes. We started joining our father when he worked in the furnace, observing his work up close, and, little by little, we became eager to experiment and to create something of our own. It was then that we had the ﬁrst ideas, which eventually led to the creation of the Micheluzzi Glass Collection. Immediately we were hooked and, without hesitation, began embarking on many projects. As it all started in a very natural and organic way, maybe it was meant to be!

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Actually, it was actually December 2018, when we were both living in London, when our parents came to visit us for the Christmas holidays. For the first time we had a ‘serious’ conversation with our father about glass. We had some ideas for him for a line of glassware, so he he invited us to the furnace the next time we were in Venice to design and produce the glassware ourselves. We liked the idea and that was the precise moment in which Micheluzzi Glass was born. It was at the end of January 2019 when we visited the furnace in Murano for our own glassware collection. After the very first months of experimenting with glass and our ideas, we had already completely fallen in love with this unique craft. For a while, we tried managing the production intermittently by flying in and out of London on any occasion. However, soon enough we realized that we had to work on this project full time if we wanted to make progress. It was decision time, so we resigned from our jobs in London and moved back to Venice, where we officially started Micheluzzi Glass. Petra: What is your family history? E & M: As we mentioned above, our father is a glass artist and we have admired his work always. Although growing up, we were fascinated by his craft and talent, however we didn’t think we could follow in his footsteps. We viewed his work as unique and associated it exclusively with him. Therefore, first we followed our own paths. In fact, before the birth of Micheluzzi Glass, again as mentioned above, we were both living in London, Elena working in an art gallery, and Margherita in the online fashion and homeware industry. While London, art and fashion were key experiences for us, it’s along this very pathway that we felt a sense of belonging and the urge to go back to Venice and to our roots. It is precisely this sense of belonging that gave us the push to start Micheluzzi Glass. Petra: What inspired you to create your own brand? E & M: When we approached the idea of working in glass we had the chance and the luck of working under the wing and with guidance of our father. But we wanted to have something of our own, to reflect our identity. Our work is definitely an extension of his in a way, like we are an extension of him. Petra: What is your relationship with Venice and how important is it in your work? E & M: We couldn’t do what we do somewhere else. Not only do we have the luck of living in this special corner of the world, we are able to work in Murano, the unmatched homeland and excellence of glass, and to get in contact with this out-of-time reality, that has been passing on the secrets and the skills of glass-making for centuries. It is truly an extraordinary experience. Venice also offers us the possibility to give our work an unmatched platform thanks to its international public. It is in fact the rooting of traditions in the territory and, at the same time, its ability to put us out to the world that makes Venice a unique place.

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Petra: Are creative traditions still important in Italy? E & M: Italy is the country of craftmanship, skills and creative traditions that have been preserved and transmitted until now for centuries. We have an immense heritage and we have to try to keep preserving it, while including innovation and keeping up with the times. This is the challenge that we need to face so as not to lose these incredible traditions. Petra: Can you share the story of Murano Glass and how you are bringing the contemporary twist? E & M: The craft of glassmaking in Murano has very ancient roots and our work is closely tied to the tradition in terms of process and techniques which have substantially remained unchanged for centuries until today. However, over time, glassmakers have developed and refined many types of glass techniques and styles, and still nowadays, even if relying on these ancient techniques, it’s still possible to produce new and innovative designs. In our production we use these traditional Murano techniques and translate them into our personal taste and vision, reflecting an aesthetic, as well as, a style in presentation and communication that are very contemporary. This distinguishes our glass work from the past and the more traditional Muranese taste, although the production remains closely linked to history and the Venetian heritage. We believe we can carry on this tradition with a fresh and different approach. Despite our modern twist, our approach to the work and our creative process remain faithful to the traditional techniques and the secular heritage of Murano. Each piece of our collection is produced thanks to the ancient craftsmanship and the techniques preserved by the Maestri Vetrai of Murano. The millenary tradition of glassmaking and the experience and skills of Murano glass masters are precious treasures that must be preserved and passed down to younger generations. This is why we think it is important that this craft be communicated in a language to which young people can relate; one that is capable of energising and engaging them. The biggest challenge for us is to carry on this tradition and pass on the heritage – keeping it alive and injecting it with energy and new ideas without ever losing sight of its origins and core values. We hope that more and more young people will rediscover the value of craftsmanship, whether by undertaking this craft, exploring new ways of collaborating, or opening up to new channels and tools to communicate and promote it. Petra: Where do you find inspiration? E & M: Undoubtedly, we are inspired by the beauty and the atmosphere of the places in which we lived and were raised. For us, Venice is not just the unmatchable, unique place that it is for anyone, it’s home and when a place is as special as Venice, the bond is particularly strong. Then, besides the beauty of the city, there are many natural aspects as well, such as the colours of the lagoon, the watery surroundings, the slow water flow of the canals, and the reflections of light on the water. These are the sensorial experiences that create a magical atmosphere that is hard to leave behind. This environment, which is so familiar to us, spontaneously emerged in our imagination and since then, keeps inspiring our work. Also, this is why we set all photos in the context of Venice. Looking at our vases again and the canal across the fondamenta where our shop is located, we wanted also to convey this atmosphere through our images to show the connections between our work and the ambience from where they come.

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Petra: What are the styles of your glass and how important is everyday functionality to you? E & M: We spent our lives surrounded by Murano glass in our family home, so it is this very familiarity with glass that shaped the way in which we see it, use it and live it. In fact, all Micheluzzi Glass can be usable objects. Even if precious and decorative just on their own, they are conceived to be vessels, or holders of some type, if one wants. For instance, small vases can be used as lanterns with candles inside, or pen holders, or a pocket emptier, or to serve nibbles, or as centre pieces on the table. Obviously, the larger ones would be suitable for ﬂowers. So, we shall say that our pieces can be seen as both sculptural and functional furnishing elements.

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Petra: Are your workshops located in Venice? E & M: The area where our shop and studio are located is Dorsoduro, precisely at Ponte delle Maravegie. The shop has been a family business through generations - once our grandfather’s antique shop; then our father’s studio and gallery; now also the home to our new glass collection. Our family home is just above the shop, so everyone in the Micheluzzi family gravitates around the shop, it’s really a family business. Dorsoduro is quite a busy area but still very authentic. It’s one of the districts (sestieri) where there are still quite a lot of residents, schools and local businesses. Also, there are museums and nice hotels and restaurants in this area, so there is also a good quality tourism. Our production on the other hand is in Murano at the furnace.

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Petra: What does the creative process look like from beginning to the end, and what are the various techniques? E & M: The main part of the production happens in Murano in the furnace where the glass is shaped and blown at the ‘incandescent’ state as the Maestro shapes the glass piece by mouth blowing it in the furnace. What is essential to know is that it’s typical of the Murano tradition that the Maestro, not the artist, who is the leading figure in the glassblowing process. The Maestro is the one who physically executes the work, together with his team, usually two people, who assist him in all the different phases of the process. The work is very physical and complex and the heat has very precise timings. The artist, on the other hand, is the designer who brings the project to the Maestro to evaluate its feasibility and give his technical advice. The final result is a collaboration between the two. In the blowing phase, the temperature is very high and it’s important to know how to move in order not to get burned. Also, many of our objects are cold carved, meaning engraved. This is another fundamental phase of our work that requires precision, a steady hand and a lot of patience. The glass creation process has various phases that require time and even waiting time, for example, we need to wait at least a day after blowing to let the glass slowly cool. Additionally, however small, our objects require the collaboration of at least 3 people in the blowing phase. The assistant prepares the pipe with glass; the Maestro blows and shapes the glass into the pipe; while another assistant manoeuvres the wooden moulds into which the glass is blown to take its shape. Other times the shaping is made free-hand (without the use of moulds) and still the presence of at least two people is required. This is the hot phase.

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In the following phase another specialized craftsman takes care of the grinding, the cold work, which in our case is another essential part of the production. This part too has various phases, first the engraving that digs into the surface of the glass, creating carvings with different motifs. Then there are various polishing steps. The carving and the polishing are done with different types of wheels that turning at a high-speed, dig into and smooth the glass without breaking it. It is important to know that this phase requires the presence of water, hence called cold work, as the glass needs to be watered constantly in order to cool it down from the heat produced by the rubbing of the wheels on the surface. All these phases are essential to the process. We supervise the phases by giving indications to our collaborators, but we follow their advice and observations as they are the ones with great technical experience. The final object is the result of this collaboration, between our vision and the great knowledge and technical skills of those who know how to ‘make it happen’. By watching them, we are slowly discovering the ‘secrets’ of this craft and how to apply them to our design. For us this creation process gives life to continuous innovation which allows us to carry on our project. For us, the creative process always starts from a defined project, the idea of a shape or a particular effect that one wants to reproduce. These can sometimes be adjusted throughout the crafting process, leaving room for improvisations, tests, and experiments, which can result also from a constant exchange between the Maestro and his artisans in the furnace. The final result always has an element of surprise, which makes every single piece unique. This is part of the magic of glass.

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Petra: How would you describe the famous Venetian Lagoon atmosphere? E & M: Just magical - the sunsets, the lights, the reﬂections you can see - it’s just magical. Even for us, every time, although you can get tired of it. Sometimes we look at it and it’s just a postcard. Petra: What’s the best thing living in Venice? E & M: Living an ordinary life in an extraordinary place, and being able to see and do extraordinary things. Also, there is the slow pace and walking everywhere. The fact that it is a small town provides the advantages of scale, but it’s also an international destination, and an artistic and cultural hub. However, you wake up everyday to it’s beauty. Petra: What is the wildly romantic thing to do in Venice? E & M: The most romantic and authentic experience in Venice is to experience the city from the water, so by boat. It not only gives a diﬀerent perspective of the city, but also a sort of privacy. Therefore the gondola ride around the canals, even if one could consider it the most typical touristic thing, to us is always something special. Then there is a boat trip around the lagoon up to the more remote islands of Torcello, Burano and Mazzorbo.

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Petra: Which are your favourite coffee, gelato and pasta places? E & M: Our daily destination is Campo Santa Margherita, arguably one of the most famous squares in town which is characterized by being a marketplace and meeting spot for residents of Venice. On Saturday mornings there you can find small fish, flowers and fruits, and vegetable stands. Our favourite place for a quick coffee and the best pastry and just around the corner from our shop, is Pasticceria Toletta. The best local gelato is Gelateria Nico, located at the shore of the Giudecca Canal. It is arguably the best spot to enjoy your gelato facing a breath-taking panoramic view. Also, just across our beloved Ponte delle Maravegie and a bit further down on the Fondamenta San Trovaso, there stands Schiavi. Formally known as Cantine del Vino già Schiavi, it is without a doubt our favorite ‘bacaro’ (Venetian word for wine bar). Its also the best place for ‘cicchetti’ (typical Venetian tapas). Our favourite place for lunch is the family-run Antica Locanda Montin. It’s a local hidden gem of a place serving traditional Venetian food and they have a beautiful courtyard garden.

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Petra: What do you hope for people to experience with your glass? E & M: For us the sensory experience is very important. Our glass has peculiar textures and the sensory experience of the surface of the glass throughout all our production is one of the most significant aspects that define our style and is like the signifier of our whole collection. Since the birth of Micheluzzi Glass we have been experimenting with different techniques to achieve this effect, both visually and to the touch, as well with different colours. These give an incredible spectrum of effects when exposed to light and reflections.

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Petra: What are you working on now? E & M: We are always experimenting with new designs and techniques. It’s quite a long way from the ideas and first tests to the final product that we decide to actually sell and promote. So in addition to our current production, there are always a few projects that we are developing. However, we never know when they will actually come to life. We are not in a rush for new projects, as we are quite busy as it is. However, we like to keep the creative flow going. Not all our ‘ideas’ and our ‘tests’ work at first, but maybe they might work later with some changes - they just need to sit there for a while to find their way. Petra: Do you sell all over the world? E & M: We sell internationally and we appreciate that we have an international public access, not only our shop, but also our online store (website and Instagram). We like to do the same thing - travel to new places and discover beautiful things. Although now with websites and Instagram you can find things easily remotely and you can enjoy also a satisfactory shopping experience from afar. We think this is very much the focus of many businesses today and it’s actually an interesting channel to create and communicate interesting content which is accessible from anywhere. Petra: What brings you most joy? E & M: The core of our work, which also is the essence of Venice itself - always in a floating balance between past, present, and future - is to bring together tradition and innovation, continuity and change. What we love most about our job is to be able to be part of this balance; of this ‘story’; and to channel and project the treasures of Murano and Venice into to World, while also possibly leaving our little trace. To be ambassadors of such excellence and beauty is just the greatest joy and honour for us.

Visit: https://www.micheluzziglass.com/ Images: © Micheleuzzi Glass

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VANESSA BARBAY DAY 15 I remember the moment I met Vanessa at the SeeChange Arts Festival in Jervis Bay, NSW a few years ago standing in front of a ‘ﬁsh shroud’ sparkling in the winter sun. Her work was nothing like I’ve ever seen. I ended up even purchasing one of her shrouds for our home collection to remind us of Jervis Bay here in Canberra. It certainly provides a provocative conversation in our dinner parties! I’m so happy that Vanessa agreed to let me into her magical world and a very special family place connected to her father. This is art alchemy celebrating the life of its objects - life after death! Petra: Where were you born? Vanessa: Bankstown, a suburb of Sydney, on the 28th November 1972. Then on the 20th December 1972 my mother’s brother was tragically killed in a car accident in Sanctuary Point, NSW aged 19, and so she moved immediately back home to Vincentia, a town in the Shoalhaven Region of coastal NSW, with my father and I. Petra: Where do you live, and what’s the story of your orange house? Vanessa: I live in Vincentia after 20 years living in other places and feeling homesick. I returned to my home village and my childhood sweetheart Darren in 2013 before my father passed away in 2015. We built a home together on land my father had helped Darren purchase when we were young (and engaged). Returning to Darren and Vincentia was my midlife crisis. It was at this time I suddenly developed an obsession with the colour orange. I painted the inside of our new home terracotta (an earthy orange) and bought orange appliances and décor. It is a very happy colour. Petra: What inﬂuenced you growing up and what role did our incredible nature play? Vanessa: My mother’s family moved to Vincentia in the 1950s when it was all pristine bushland. Mum has lived in this beautiful place most of her life and still does today. I am a ‘Greenie’ and am extremely distressed by overdevelopment in the Shoalhaven. As the only children living in Vincentia for a time, mum and her brothers became territorial when tourists visited. She and I are both saddened by the dramatic changes in Vincentia – especially the destruction of the swamp when the Bayswood Estate was created. My father’s fascination and creative engagement with the natural wonders of the Shoalhaven made the biggest formative impact on my philosophy and artmaking.

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Petra: Your dad created an amazing body of work during his lifetime, what role did his Hungarian heritage play and what was his presence in local community? Vanessa: When my father suddenly migrated from Hungary as a teen, he was about to start an apprenticeship at a zoo. Instead, he moved to Australia and had to gain employment as a plumber. Once he had settled down with mum in Vincentia, he began collecting the butterflies and insects of Australia. This led to an apprenticeship with a Hungarian taxidermist at the Sydney Museum and his lifelong practice as a taxidermist. He worked with the Booderee National Park preserving animals for their information centre. He was known as the ‘spider man’ due to his other fascination - Australian spiders. He learnt to collect and milk funnel web spiders, one of Australia’s most deadly. He began breeding them and would preserve spiders in resin as gear lever knobs and paperweights - selling them at a stall at the local Lady Denman markets. He was a well-known eccentric character in the community, in addition to being a local plumber. My Hungarian (Magyar) grandfather and Hungarian (Czigany) grandmother were also creative practitioners. Grandfather was a jeweller and photographer. He identified my talent for drawing as a child and set me challenging drawing projects. My grandmother wove complex tapestries and carpets designed by my grandfather and played the violin. She had goats as well. She gave birth to my father in Zalaapáti, Hungary near Lake Balaton where her people, the Czigany or ‘Horse Gypsies are from. Her maiden’s name was Czigany. I long to visit this sacred place of my ancestors. Petra: You studied at the wonderful ANU – what was your experience and how did it shape your creative practice? Vanessa: The lecturers in painting at the ANU under the leadership of Ruth Waller were excellent. My practical supervisor was Vivienne Binns OAM. Viv pushed me out of my comfort zone representing mummified animal bodies from my father’s collection into experimentation with decomposing animal bodies (the antithesis to taxidermy practice). I created my first ‘shroud’ or decomposition print under her guidance in 2019 when I completed my honours in painting. This led to a PhD project developing the first shroud paintings ever created in art (to my knowledge).

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Petra: You were lucky to ‘live’ and work in an Indigenous community - how would you describe the experience and the importance of ochres? Vanessa: My childhood featured close friendships (and love) with Indigenous peers and formative teaching and guidance from local Indigenous elders, notably Laddie Timbery and Guramaa (George Brown Snr.). Aside from my father, my childhood idol was Indigenous actor David Gulpilil, and I would create illustrations for the stories in his dreaming book. My dream was to one day visit his country in Arnhem Land. This dream came true during my PhD when I received a research scholarship to travel to, and live in Kunbarlanja, Western Arnhem Land. It was here I learned how to collect, prepare and apply traditional ochres from Kunwinjku traditional owners. I was taken to sacred ochre sites for each colour and told the associated dreaming stories. My ANU theory supervisor Nigel Lendon also had conducted research about a Yolgnu artist from Arnhem Land, David Malangi. Nigel was an excellent guide when I wrote my dissertation on the artistic history and mythopoeic thinking of Kunwinjku artists in Western Arnhem Land. Ever since this life-changing experience I have worked with ochres gifted to me or collected with permission from both local and interstate locations. Petra: What does your creative process look like from beginning to end? Vanessa: I have built up an extensive ‘tool kit’ of options in my studio process over 30 years of professional practice. The central process developed during my PhD includes a ‘plein air’ stage when the ‘shroud’ is created. An installation in an outdoor environment – usually on private property owned by fellow artists with farm or bush land – allows animal bodies to decompose on canvas attached to sprung bed bases and secured with mesh to deter predators. The weather, surrounding trees, and other animals add to the marks made on the canvas during the month-long period required to allow the animal body to decompose onto the canvas. This creates a bodily impression via fluids, fur or feathers, flesh and bones. Following this period, I take away the mesh and photograph the animal bodies post-decomposition before removing the animal remains and collecting the stained canvas. I steep the canvas in vinegar briefly and then hang it out to dry and cure in the sun and wind for another month. Also, sometimes I boil the canvas in eucalyptus leaves using an old copper cauldron my grandmother used to use for washing clothes in Vincentia before she had a washing machine. Both processes kill bacteria. When ready the canvas is then stretched onto a wooden frame and sized with rabbit skin glue. This step also helps adhere any bodily remains to the canvas.

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Now the work is ready for the studio process which involves ﬁrst deciding if stitching is needed to repair or add texture to the bodily stain. Then the post decomposition photographs of the animals are projected onto the canvas in order to produce an accurately sized representation of the disintegrated body on or near the body stain, so they are in conversation materially and metaphorically. This is my communion with the dead subject, who has literally collaborated with me. I usually paint this projected image using bitumen and oils, but sometimes I include watercolour or ochres. The next step involves a decision about whether to paint the ground – which is sometimes heavily stained with mould, leaf litter or bark, etc. Usually, I paint into the ground using white ochre (Delek) or gesso. Sometimes I use a repeated motif of a nest or husk and paint in the negative space created by its projection, or the silhouette of a dead tree. In all my shroud works, the raw canvas is evident and becomes a key element within ﬁgures depicted. Petra: How do view work with your shrouds and what’s the message in them? Vanessa: As a ‘Greenie’, nature and the animals living in it are the most precious to me in the face of human overpopulation and mass animal species extinction. I view myself as a literal recorder of animal death due to human activity (habitat destruction and roadkill).

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Petra: Music has been part of your family and you are continuing with your orange drums in your band, so what does music mean to you? Vanessa: My grandfather played piano, my grandmother violin, and my father drums. He was a rock ‘n roll drummer in Surf City, Sydney during the 1960s. He even supported the legendary rocker, Johnny O-Keefe and was invited to play on Bandstand, a National TV show. Unfortunately, some of the band members did not show up and so they missed their cue! His band names were the ‘Vampires’ and the ‘Soul Survivors’. My dad taught me drums when I was very young, and I am still playing at age 50! I am addicted to playing it is essential to my wellbeing. My current bands are called ‘Living with Ghosts’ (an original instrumental collaboration with fellow painter Chris Jansch) and ‘Swamp Runners’ (playing Blues standards with Greg and Mark). Yes, I bought an orange drum kit recently (A Gretsch Catalina Maple – Amber Glaze!) Petra: What are you working on now? Vanessa: Currently, I have three paintings in process: a leather jacket and star fish shroud painting to replace a sold work from a sea creature set (a group of works that fit together like an irregular jigsaw when hung); a mummified animal painting symbolising the catastrophic impact of global warming; and a new direction in the depiction of animal death – a painting of tiny colourful shells traditionally collected and worn by Yuin women (bought from Wreck Bay Indigenous storyteller, Auntie Julie Freeman). This last painting also features a mummified dolphin Darren and I found washed up on a remote local beach.

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Petra: Can you share what your workshops look like? Vanessa: My studio spaces are in my home and feature easels, projectors, cool studio lighting, carpeted floor spaces for grinding ochres and working flat like Indigenous painters (I also like to pool paint and need it to dry flat, so it does not drip). I mix my own oil mediums and have extensive oil tube collections. I use my downstairs verandah for cooking and applying rabbit skin glue, and my carport for the vinegar baths and line hanging of shrouds. If needed, I conduct ochre painting workshops - applying commercially bought ochre pigments to cardboard. These workshops include Indigenous languages and seasonal themes learned from Kunwinjku, Dhurga and Dharawal communities and publications. Petra: How did the recent world events affect your art? You have an entire exhibition hanging in your house ready to be viewed. In your opinion, do people need to be encouraged to engage with art and culture again? Vanessa: Before Covid and the firestorms and floods I was a part of an active local artist group- ‘Jervis Bay and Basin Arts’. We ran a biennial festival called ‘SeeChange’ where I sold works. As a member of the National Association for the Visual Arts I had acquired insurance and so set up my home as a gallery in preparation for an Arts Trail in the Festival, which never eventuated. I would love to see JBBArts awaken once more and SeeChange continue. I will be participating in my first group show since 2020 this September/October in Berry called ‘Artsprings for Wildlife’ in response to the fire devastation. Also, I have just entered a work in ‘Arts in the Valley’. Plus, I have my first music gig since 2019 next month too. I think the arts sector audiences are desperate to see live art and music again! Hooray for 2022!

Visit: https://laomedia.com/ Images: © Vanessa Barbay and © Petra Jungmanova

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CAPE ST GEORGE LIGHTHOUSE DAY 16 On the picturesque South Coast of NSW, there are remnants of the infamous Cape St. George Lighthouse on the Cliffs in Jervis Bay, calmly weathering the elements and keeping secrets of its tragic and dark past of the people who carved their lives with their bare hands and buried their loved ones along the way. This is the story of a lighthouse that was built in the wrong place and caused more damage than good in its short existence, while now still providing fantastic adventurous experiences to watch whales as they bring their babies to Jervis Bay every year, or just for the fun of it, to watch sea eagles gracing the blue skies. For me a trip to my beloved Jervis Bay wouldn’t be complete without walking to the magnificent lookout and gazing into the blue yonder! After diving deeper into its dark past, I can understand the magnetism of this strange, wild place. If there were ever a vampire story, like Dracula, to be inspired by a place, this would be it! I am grateful to the Shoalhaven Council, the Jervis Bay Maritime Museum and the Mitchell Library for their help and co-operation in allowing me access to, and permission to use, their relevant records and photos, and Bridget Sant for allowing me to use excerpts from her fabulous book ‘Lighthouse Tales’ (all proceeds from the sale of which go to the Lady Denman Museum). Without them, this historical Yarn would not be possible. The ruin of the Cape St George Lighthouse sits on Booderee Aboriginal Land that is managed currently using traditional knowledge, by Parks Australia, together with the Wreck Bay Aboriginal Community. There are conditions of entry and fees to enter the Booderee National Park and it offers a bounty of beaches with crystal-clear waters; camping grounds for anyone wanting to immerse themselves fully into this paradise; and incredible views. So, a trip to the romantic ruins can become one big, amazing adventure just like in the old days! I love to pack a picnic to spend my day in the park with my family - reading books, drawing and dreaming.

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Whilst it is a picturesque location today, the Lighthouse, which came into operation in 1860, has a fascinating and grisly history of death and disaster, particularly amongst residents or people associated with it, as the table below shows. This history gave rise to the rumour that the Lighthouse was haunted by evil spirits.

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22.8. 1867

Isabella Jane Lee, the daughter of the principal lightkeeper from 1863 to 1873, died of typhus fever - a rare bacterial infection usually spread by parasites.

29.3.1882

Another resident, 13-year-old George Gibson, died from pleurisy, which results in the inﬂammation of tissue surrounding the lungs and causes pain when breathing.

1882

William Markham, assistant Light Keeper from about 1878 – 1883, was kicked in the head by a horse and died before he was able to reach the hospital in Nowra.

13.11. 1884

Edward William Honer was aged 50 years when he died of dyspepsia. He was a parent to a child or children at New Bristol Half Time School when he co-signed a letter in 1881 to The Minister for Public Instruction complaining about the lack of adequate education for school children locally. Probably a ﬁsherman.

5.7. 1885

Florence Bailey, aged 11 years when she died of Typhus Fever. She was the daughter of the Third Assistant Lightkeeper Edward Bailey. She is buried at Jervis Bay (probably then, New Bristol). Her father, Edward Bailey, supplemented his income by ﬁshing for sharks on the rocks below the Lighthouse. In 1895, he was washed from the rocks. Entangled in his lines in heavy seas, he was taken by sharks as his sons watched in horror.

14.7.1887

Harriet Parker, aged 19 ½ years. Kate Gibson, the Principal Lightkeeper’s teenage daughter, tripped while skylarking with a loaded ﬁrearm. The gun discharged, striking her friend Harriet Parker (the Assistant Lightkeeper’s daughter) in the back of the skull, killing her instantly. Her gravesite can be found in the Green Patch camping area.

15.1. 1895

Edward Bailey, Third Assistant Light Keeper; died after being taken by sharks and his body was not recovered.

1895

Francis Henry Hammer, the son of Mary Hammer (a single woman who lived at the Lighthouse), had a habit of pushing large rocks over the cliﬀ edge to amuse himself. However, he tragically met his end when he either toppled over or lost his footing when part of the cliﬀ collapsed. He was only nine or ten years old.

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As mentioned, the tragedy of the Lighthouse was not restricted to its residents, but also impacted on the ships it was supposed to be guiding. Some of the ships lost during its operation include: 1864

‘Mynora’, a wooden paddle steamer went ashore; gave rise to the name of ‘Steamers Beach’.

1870

‘Walter Hood’, a clipper ship sailing from London; driven ashore in a storm with survivors clinging to the wreck for three days - 12 lives lost.

1870

‘Summer Cloud’, a three masted wooden barque; driven ashore at what is known as ‘Summer Cloud Cove’.

1870

‘Maid of Riverton’, was employed in the salvage of the Summer Cloud; was lost as well, being forced ashore at Currumbene Creek.

1874

‘Rose of Australia’, a wooden brig; ran ashore near St Georges Head.

1874

‘Mary’ ran ashore in Wreck Bay with a faulty compass; gave her name to ‘Mary Cove’.

1876

‘Dandenong’, a sailing steamer; went down in a gale oﬀ Jervis Bay - 28 people were rescued and 55 drowned.

1878

‘Chimborazo’, a steamship; ran into Point Perpendicular in fog and was holed. She was ‘en route’ to Sydney to pick up the ﬁrst representative cricket team and take them to England. The cricketers had to ﬁnd other transport and only just arrived in time.

1882

‘Plutus’, a collier; ran aground at Currarong.

1885

‘Corangamite’, a lavishly appointed new steel steamer; ran aground in fog on the south-west side of St Georges Head.

The location of the Lighthouse has been a matter for debate and enquiry for nearly 150 years. Examination of oﬀicial letters and the minutes of the enquiry into its site suggest that the error occurred because of undue haste, incompetence, possibly even corruption, and probably cover up. There are two parts of the story. The ﬁrst is how Cape St George, or the southern headland of Jervis Bay, was selected over the northern headland (Point Perpendicular). The second is how the Lighthouse was then not built in the spot selected on the southern headland.

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The Site Selection and Construction This was period of considerable change in the four Australian colonies. There was growing trade, increased shipping along dangerous coastlines (many shipwrecks) and more ports. The need for lighthouses was recognised but there was still uncertainty and dispute how they should be funded. Each of the four eastern colonies (NSW, Victoria, Tasmania and South Australia) wanted to pass on the cost either to others, the Colonial Oﬀice, or the shipping companies. Merion Moriarty, the Port Master of NSW, ﬁrst raised the need for a lighthouse in 1852 when he wrote to the Colonial Secretary, suggesting: ‘…. lights should be placed upon the northern entrance to Jervis Bay, Nobby Island, the Solitary Isles, and Moreton Bay without any delay.’ Nothing happened in the following two years, so he wrote again in 1855 and the next day he received a reply: ‘Very well, let an estimate be made for lights upon Solitary Isles and the northern entrance to Jervis Bay’. Against this background a Conference (like a modern Commission) was convened in Melbourne in 1856. At this Conference, plans were begun to build a new lighthouse at Jervis Bay. Eighteen mariners (ship’s masters and coastal traders) were asked by the Commissioners which headland they preferred. Fourteen nominated Cape St. George in preference to the northern headland on the Beecroft Peninsula at either Crocodile Head or Point Perpendicular. The Conference subsequently recommended Cape St. George, ignoring the views of Moriarty who favoured Beecroft. Shortly after the Under Secretary for Lands and Public Works appointed the colonial architect, Alexander Dawson, to work with the Assistant Surveyor, E P Millington to determine a suitable site on Cape St. George. When Dawson and Millington returned from their inspection, they produced a sketch map, loosely representing the Cape St. George headland. On it they had marked two sites that they thought suitable for the construction of a lighthouse. These they marked S and T. Dawson then wrote a letter to the Secretary for Lands and Public Works outlining the merits of each site and that he recommended site S, four miles south of Jervis Bay. The recommendation of site S was approved.

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A tender to build the Lighthouse submitted by Messrs. Wray and French was accepted on 30 August 1859. Due to the inadequacies of Dawson and Millington’s survey and map, the contractors were faced with uncertainty and requested the Colonial Architect’s Office to send someone from Sydney to show them where to build. With the site ‘confirmed’, it was possible for work to commence. A few months later the building was complete. The 3-storey Lighthouse was built of sandstone blocks quarried near the present-day Jervis Bay Village. The Tower was situated about a mile north of Cape St George. It was 53 feet high from the ground to the base of the lantern, or 61 feet from top to bottom (considerably higher than Point Perpendicular which is 44 feet high to the top of the walling). It was divided into three storeys and was circular in plan, with an internal diameter of 10 feet. The walls were 3 1/2 feet thick at the base, tapering to 2 feet at the top. For the construction, sandstone blocks were dressed on both sides and bedded in lime mortar. The floors were timber. From the tower entrance, a stone staircase led up to the first floor and access to the upper storeys was by internal staircases built of iron. The gallery around the lantern was also sandstone, with a wrought iron rail. An oil store was attached to the living quarters built at the base of the tower. The light itself was different from others on the East Coast in that it had red, green and white lights alternating at half minute intervals. The coloured lights distinguished it from neighbouring lights but were not so clearly visible from a distance. Despite being accepted as only a temporary measure Cape St George operated for another 39 years. During this time, many ships were lost in and near Wreck Bay, disasters that the light could have prevented if it had been sighted correctly. There appear to have been more wrecks rather than fewer, defeating the purpose of building a light to protect seafarers. The light was finally extinguished in 1899 when the new lighthouse on Point Perpendicular was completed; the lamp was removed and used in the Crookhaven Lighthouse. In 1904 the Navy (the Australian Squadron of the British Royal Navy) was instructed to shell the tower because it was still proving a danger to shipping.

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The Confusion Even before completion, there were rumblings of discontent marking the start of a period of blame and evasion. Alexander Dawson had visited the site in June 1860 and tested the newly completed light, reporting that it had been built in the correct spot and that the works had been completed in a most satisfactory manner. However, Dawson was strongly contradicted by the newly appointed Principal Keeper, W B S Griﬀin, who also inspected the site in June and reported that the angle of clear vision was considerably less than he had been led to believe. Following these misgivings, seven members of the Pilot Board were despatched to make their inspection commenting that Dawson and Millington’s map contained ‘discrepancies so grave that it is almost impossible to decide whether either position marked on the map really exists’. All this led, on 12 February 1861, to a Select Committee of the Legislative Assembly of NSW being appointed under the Chairmanship of Merion Moriarty, ‘to enquire into all the circumstances connected with the erection of the lighthouse near Jervis Bay’. Further details of this intriguing enquiry can be found in Bridget Sant’s book: Lighthouse Tales.

The Lighthouse Life Getting stores to the Lighthouse was always difficult with the nearest landing place over 2 ½ miles away at Murrays Beach. Horses were needed for transporting mail and supplies and taking the children to and from school. One of the contractors offered to sell his good horse and cart to the first Head Keeper so that fuel for the light and all the domestic requirements could be transported more easily. Keeping a horse permanently was not easy as there was a shortage of grass for feed. On the other hand, goats were better suited to the terrain and were kept for milking, with some for meat for consumption and others as bait for catching sharks that were caught to supplement both diet and income. From 1860 to 1877 up to 15 people including the Lighthouse Keeper, 2 Under-Keepers and their families lived in the living quarters which were provided originally in a block of single storey buildings round the tower, which rose from the centre of them. Three rooms were provided for the Head Keeper, and two for each of the Under Keepers, inclusive of kitchens. The walls were also of sandstone, dressed on both sides. The roof was of stone flagging laid flat, supported on cast iron girders and covered on top with asphalt. Additional rooms and verandas for the two Under Keepers were added later. A weatherboard cottage on hardwood piles, containing seven rooms, was erected near the stables for the Head Keeper in 1877. One of the most intact buildings still present today is the double latrine (toilet) building with a wonderfully exposed and draughty outfall down the cliff face. This building drains directly out and over the nearby cliff face and is an excellent example of the strict attention to sanitation that was required in such a remote location. It is likely that it was divided into male and female sections. The kitchen and laundry building probably was erected around 1865 as ‘a store for the men’s provisions, a wash house and an oven, with a boiling copper for the establishment’. It provided much needed space as previously everything, including living quarters for the three Lightkeeper’s families, had been housed in the original Lighthouse building.

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Accidents & Misadventures As mentioned previously, during the 39 years the Lighthouse operated there were many premature deaths of children and adults with several of the children dying from illnesses. Isolation and shortages of medicines meant that survival depended on careful nursing and luck. Here, in more detail, are a few examples:

Harriet Parker The fate of Harriet was undoubtedly tragic. She arrived at Cape St George as a child, growing up roaming the Peninsula with friends and living a simple life. In 1887 she died in strange and dramatic circumstances as recorded at a coronial inquiry into her death. The statement made by Harriet’s friend Gibson, who went with her on the faithful day to look for a horse for Annie Parker, sums up the whole tragic incident: ‘Yesterday morning Harriet Parker sent her sister down to ask me if I would like to go with her for the horses; I said I would; we left here about ten o’clock ; going along the beach , I said to her, “what a pity we did not bring some lunch”; we came to Mc Phail’s hut; (a local fisherman living on the beach in New Bristol); we found the key and went inside; I lit the fire, and put on the kettle, and asked Harriet to go and get some wood; during her absence I put on one of McPhail’s hat’s, which covered the whole of my face, and I took up the gun that was lying in the corner of the kitchen; I was going out at the door when I met Harriet at the door; she tripped and fell down , and was laughing; I heard what I thought was cap going off; I then pulled off the hat , and saw her fall; I went to her, and called her by her name, and lifted her up; I thought she had fainted; when I lifted her; I saw blood running from her head; I then let her down again, and came home and told my father; when I took up the gun I didn’t know if it was cocked or not; I do not remember cocking it; I do not remember hearing the report of the gun; Harriet and I were always on the best of term; Donald McPhail is a neighbour of ours, and there was no other house within nine or ten miles; I am sixteen years and seven months old.’

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Edward Bailey Edward arrived at the lighthouse after the death of William Markham as the Third Assistant Light Keeper. On his meagre salary he had to support a wife and eleven children. He was in the habit of supplementing his income and family’s diet by catching sharks. He used to entice the sharks to the shore by feeding them goat meat. (Goats were one of the few domestic animals that could survive on the scrubby vegetation at Cape St George. At some point a herd of goats was placed on Bowen Island, eliminating the need for fencing. They were not removed until late in the 20th century.) Unfortunately, on one occasion when Edward was fishing off the rocks, he was washed off by a huge wave. His feet became tangled in his line and after a short struggle he was pulled under, feet first. Two of his sons, age 10 and 6 witnessed his struggle and disappearance and knew there was no hope of recovering his body. It would have been so quickly devoured by sharks; the boys had seen three in the area at the time of the accident.

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Educating the Children The well-known Shoalhaven painter, Samuel Elyard, made several visits, recording some in his diary (a visit in 1877). Elyard was the Shoalhaven’s most proliﬁc and best-known nineteenth century artist. His paintings provide us with earliest known depictions of many sites. His work dealt mainly with scenes of the Shoalhaven area, predominantly in water colour. He also visited in the 1890s after he had become a keen photographer. In 1877 he published the following article in the Town and Country Journal, describing his trips in 1870 and 1877.Each of the families at the Lighthouse had several children - the Baileys had eleven. From about 1870 until 1899 when the Lighthouse closed there was a school at New Bristol where these children were educated. The school was not always at the same location and, for a time after people moved aways from the New Bristol settlement, the school was located in a paddock at the Lighthouse. It may have been at this time that the children had tutors who rode out from Nowra. New Bristol (situated between Murrays Beach and Hole-in-the-Wall) had a Half Time Public School, sharing a teacher, Mr. Jeston, with North Huskisson Half Time School. On 7th August 1873 the Inspector General visited both schools and reported: ‘Number of pupils enrolled;

Boys 17 Girls 10 Total 27

Number present at examination;

Boys 14 Girls 10 Total 24

These schools are at Jervis Bay and about 12 miles apart. There are no out-oﬀices nor fencing at either place; but the school rooms are suitable and well supplied with furniture, apparatus and books. The general discipline is satisfactory. Singing is not taught; but the progress of the scholars in other branches is fair.’ At times the schools were poorly resourced or needing repairs. Henry Gibson, the Principal Keeper, was a member of the local board and parent of pupils at the school. He wrote several times to the Council of Education in Sydney asking for money for repairs or for extra salary for Mr. Jeston and his wife. In 1881 he and three other parents wrote to the Minister for Public Instruction applying for a full-time school. The school had three locations, getting closer to the Lighthouse each time. In 1876, there were more children in the area between Telegraph Creek and Murrays Beach. Their families supplied whaling and other ships with fresh water and other supplies. By 1889 the only children at the school were from the Lighthouse and so the school was relocated there. The school closed in 1899 when the Lighthouse ceased to operate.

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Visitors to Cape St George Samuel Elyard The well-known Shoalhaven painter, Samuel Elyard, made several visits, recording some in his diary (a visit in 1877). Elyard was the Shoalhaven’s most proliﬁc and best-known nineteenth century artist. His paintings provide us with earliest known depictions of many sites. His work dealt mainly with scenes of the Shoalhaven area, predominantly in water colour. He also visited in the 1890s after he had become a keen photographer. In 1877 he published the following article in the Town and Country Journal, describing his trips in 1870 and 1877.

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A trip from Shoalhaven to Jervis Bay (FROM A CORESPONDENT) ‘Some time since, with two companions in spring cart and with one riding horse, I started for Jervis, being desirous of making some sketches of the scenery at the lighthouse. At Parnell’s Inn, at Tomerong, we turned to the left, and by mistake found ourselves in the afternoon among the ruined houses of South Huskisson. A parson who lived in one of these ruins, showed us the way to the lighthouse, through the bush for we had gone quite astray. We proceeded on until sunset and having then lost our way again amongst the swamps and numerous cart tracks, we put up our tent to encamp for the night and got our supper. .… I shall never forget the dismal howling of the native dogs on all sides of the tent. …. after an early breakfast (we) proceeded towards our destination. Our cart horse not being very strong, we were obliged to unload the vehicle at the bottom of the sandhill and leave our flour and several other things behind. These we afterwards sent for. With much trouble we reached the lighthouse and encamped in the vicinity. One of my companions then returned to the Shoalhaven with the horses as there was no feed for them on the coast; and I immediately commenced the drawings I came to make. My companion amused himself in fishing whilst we remained. The place was so much exposed to the weather that we found tent life anything but agreeable, having sometimes to get up in the night to fasten the cords, in rain and … We found the quarters for the lighthouse keeper and establishment very insufficient. A fortnight passed away very quickly, and a couple of strong horses having been brought for us, we returned to Shoalhaven, carrying a load of native currants with us, there being great quantities at this place in the season... In September, 1877, I paid another visit to the bay, this time with a good strong horse, and a more comfortable vehicle, Mr Gibson having kindly offered me accommodation in the cottage lately erected for him during the time I proposed to remain. We travelled along the road formerly in use until we were stopped by a cockatoo fence, which some free selector had put up. We, therefore, had to turn back and tried to cross a swamp to reach the road which lay the other side of it, and nearly got bogged; but a good horse got us out of difficulty. We then headed the swamp, and crossed a ditch (by which our vehicle was partly smashed) cut on Government land, apparently by the aforesaid free selector, and succeeded in reaching the road we sought. About 3.0pm the lighthouse came in sight, and Mr Gibson made us welcome... Artists from Sydney will do well to visit Jervis Bay, as the coast scenery is, in my opinion, of the finest description. If on horseback, hobbles are necessary, and a supply of corn, for there is no grass of any consequence. My own horse was so disgusted with the want of grass, and at my not giving him a feed of corn the moment I arose, that he leaped the fence and took a gallop of six miles to find something to eat. This gave us trouble, but we were fortunate enough to catch him in time to make the journey to Shoalhaven by dusk. However, if the swamps were drained, there would be plenty of grass, and the land is rich and well suited for fruit trees and vegetables. At Tomerong the road passes over the tops of high hills instead of going at their feet; and I hope this will someday be altered’.

Visit: https://parksaustralia.gov.au/booderee/do/lighthouse/ Images: © Jervis Bay Maritime Museum, © Petra Jungmanova and © Dreamstime

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EVERGLADES DAY 17 This is the story of the ‘Everglades’, the most beautiful and well-preserved art deco house in Australia and the creation of its magical garden in the rugged Australian bush. Rising from the ashes to become a tranquil paradise, this example of the ﬁnest landscape architecture and an art deco architectural masterpiece will never be repeated in Australia. I fell under the ‘Everglades’ spell during my ﬁrst visit many years ago with my little son. Simply, I couldn’t believe the grandeur and genius of this place as we walked along a narrow winding path surrounded by a carpet of bluebells. Truly this place will transcend and challenge anyone’s idea about a garden and its relationship to a house and its inhabitants. All this was achieved over 14 years in an epic scale creation by the owner Henri Van de Velde, a merchant and felt maker, whose business success allowed him to follow his passion for gardens, and a renowned landscape architect, Paul Sorenson who had the vision and had devoted his life to creating this space. With the co-operation of and assistance from the NSW Archives of the National Trust of Australia I was fortunate to be given access to material from both Henri Van de Velde and Paul Sorenson. This presented me with the unique opportunity to let Paul Sorensen tell the story of his creation in his own words – ‘musings’ if you like, as written by him (with minor amendments for readability).

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EVERGLADES The Early Years As you enter the “Everglades”, you are filled with the expectancy of seeing something unusual, something entirely unlike anything you have seen before in Australia or for that matter anywhere in the world. So, as you walk on, your curiosity prompts you to enquire, when, how and why, was this property built and landscaped, and now open for public inspection? Thereby hangs a Tale….., but before going into the history of “Everglades”, it is only appropriate to mention, that “Everglades” is now under the auspices of The National Trust and without the foresight and intervention by this August body “Everglades” would have been lost to posterity. THAT is the reason, why now we can enjoy walking in the grounds of this wonderful garden. A brief history of “Everglades” will answer your other questions; therefore, you are invited to Leura, retrospectively speaking and the year is 1910. Here records reveal that Mrs. Stonier owned eight acres on the western slope of Denison St., where she built a residence, and named it “Everglades”. The house was close to the road and at the rear she planted an Orchard. Not only did she tend her Apple and Pear trees, but planted many ornamental trees as well, amongst them were a Cypress (Lambertiana), a Silver Birch, a Prunus and Larch, also a flowering Cherry. These are still to be seen preserved and incorporated in the schemes of the new “Everglades”. Mrs. Stonier toiled thus in her orchards and garden for many years, but disaster befell her property, when a fire went through and razed it to the ground. Nothing remained except blackened ruins and charred trees of the first “Everglades”… and so it was left! Time went by, the first World War was over, and Leura experienced an impetus of home builders. New life had been injected into the usual peaceful existence of the “Village”, as Leura was known under those days buy its citizens. Doctors, lawyers, businessmen and the retired, as well as active squatters settled there - some permanently, others built merely holiday homes. The scenic splendour, coupled with its tranquillity and crisp Mountain air, had long been an established attraction. Therefore, not only home builders came to Leura, but also, many visitors arrived for weekends to enjoy golfing; others for walks in the fern clad glens and gullies, or solely to admire the grandeur and rugged beauty of the landscape.

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PAUL SORENSEN from Denmark to Everglades Born in Copenhagen, Denmark, where I received my education. Commenced training in the landscape profession in 1902. In those years the requirements were everyone had to start at the bottom of the ladder. In Landscape Architecture, training commenced in the Nursery - to gain full knowledge and understanding of trees and shrubs, 5 years was the period required; in addition, came the Technical College Education. The last two years of my training fortunately came under the tuition of Denmark’s leading landscape Architect of the day. Amongst the gardens in his care was the Villa Hvidøre, the summer residence of our Present Queen’s great-grandmother Queen Alexandra, which she shared with her sister the Dowager Empress of Russia, and a garden in which I was privileged to work. The five years successfully completed, and in addition my military training over, I ventured South to Germany - Parks and Gardens in Belin, and Seidel in Dresden where camellias were grown by the thousands for indoor decorations. Then, To Sinai in Frankfurt A M where 1000 acres of lilacs were grown - 20 acres under glass; and as Lilacs are in flower for 6 months of the year, sent as cut flowers all over Europe. Other cut flower side lines were Roses, Carnations, Chrysanthemums, and Auratum Lillies - 100,000 a year. Then, an onward journey to Switzerland. In those years a landscape artist’s Paradise, where businessmen of Central Europe retired, with the desire to enjoy pleasant surroundings for the remainder of their years. With a high standard of pride in citizenship, and the outstanding masters in the landscape art to work with, I spent more than 4 happy years gaining most valuable experience and knowledge. Excursion journeys of study were made to famous old gardens of Italy, Austria and France. Urged to break new ground and see the other lands, and reading full page advertisements in leading Swiss papers, with an invitation to come to Australia the land of sunshine and many other lucrative inducements, I accepted and booked for Australia. The 1914 war broke out, ships sailing dates were delayed with great secrecy surrounding same, and so passengers were requested to report to London. Germany’s rapid advance in France with railway lines cut, led to observing men as comrades, men as friends meeting on Railway stations in Switzerland, yet one going to Germany in the East and the other to France in the West to fight against one against the other. Saying good-bye to my firm who had taught me many things, the chief of the firm asked where I was going, my answer - Australia was received with laughter, and the reply: “You will find no Landscape Architecture in Australia”. I Landed in Melbourne in March 1915, in the drought years of 1910 -1915, seeking advice of the Danish Consul. His is answer was: “Young man you have come to a wonderful country but arrived at a very bad time - accept whatever offers, have confidence, render faithful service and you will never regret it!”

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The oﬀering was a job on a station on the borders of N.S.W. and Victoria: accommodation: an unlined 10’ x 12’ iron hut - no windows, no furniture; wages: 1 pound per week. Not a blade of grass to be seen for miles; sheep and cattle dying every day; then the dust storms - impossible to see arms and legs in front of you. Many times, my thoughts wandered to the beautiful countries I had known. At least the rains came - unforgettable scenes to be witnessed and unbelievable transformation with mother earth again coming to life, months of observation. A never to be forgotten experience gained in a few months. Again, saying ‘good-bye’ intending to go to New Zealand, but getting no further than Katoomba. Leaving behind my Bohemian years of learning, I settled down to work. The No 1 job was re-modelling the garden of the Carrington Hotel for the late Sir Joynton Smith, and ﬁnding patronage in plenty, with every undertaking a stepping stone to better and bigger undertakings - like in 1933, meeting Mr Van de Velde.

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Henry Van de Velde and “EVERGLADES” Henri van de Velde was a new and frequent visitor to Leura in the late 20’ies; a man with boundless energy, courage and vision; a man with wide interests. It was generally assumed that Henri van de Velde was endowed with affluence - this was not so. He worked in many varied fields, commercial and non-commercial, but never tiring. Someone was bound to detect his rare qualities…..and so it happened. The crash of Wall St. in 1929 sent business houses rocking, financial institutions began drastic revisions of their affairs - those who survived were limping, hoping for miracles, but no such a thing occurred. There was only one remedy, place men at the helm fitted for leadership. When Henri van de Velde was handed the tiller to steer the then losing concern Felt and Textiles of Australia Ltd. out of its difficulties, he did so with zest for the task and the firm prospered under his guidance and leadership. On his many visits to Leura in 1932 he had watched the construction and progress of the garden at “Dean Park”, which was in the hands of Paul Sorensen, many years a Landscape Artist in Leura. Henri Van de Velde had made many mental notations, for one thing, in this construction, he had observed fine Craftsmanship and ingenious methods, and use of local materials. So, he approached Paul Sorensen for the purpose of receiving advice regarding the eight acres he had bought, and upon which he was building a home at the time.

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Thereafter, the two men met weekend upon weekend, walking, climbing and discussing the potentialities the site offered for Landscape Treatment. Henri Van de Velde had an innate comprehension of a scheme outlined to him, but could also quickly see pitfalls; however, advantages he noted with appreciation. There existed an imperceptible affinity between the two - their principles and ethics ran on parallel lines. That a friendship came with mutual understanding and implicit faith in each other was to be expected. The ultimate result of these many meetings was that Paul Sorensen was given ‘Carte blanche’ and complete freedom over the entire eight acres to do with as he considered for a Landscape befitting the aspect, and this was 1933. As a paradox to normal business routine, it should be mentioned here, that for this huge assignment, there never existed a Master Plan, nor were any Specifications ever prepared. Incredible, but true, no signed contract was ever needed. That year saw the first sod turned of the “Everglades” you see today… A herculean task lay now before Paul Sorensen. Never before in Australia’s history had anyone been called upon to create a private garden of such dimensions. The ‘modus operandi’ called for expert organisation: field work, such as surveying for quantities and alignments, and pegging of areas to be treated now and later; tools and gear to be considered; engaging of extra labour; and materials deliveries also had to be thought of all to enable the scheme to operate with a minimum of interruptions. Existing trees were marked for preservation - deformed and unattractive ones were removed, as were protruding rocks with no appreciable features. Every cultivated area was hand-dug to a depth of 2-3 feet and for this a team of workers was thus engaged for months and months. Henri Van de Velde and Paul Sorensen would continue to meet regularly every weekend to discuss the progress made and the schedule for the following week. All available ironstone found and dug out in process of trenching was saved and graded for various uses, such as retaining wall constructions and path making, with the residue for packing and filling in other work. Nothing was ever discarded; use was made use of everything. Stone retaining walls were constructed where required to hold masses of earth beyond, and other walls to enhance, or as demarcation. As many as fourteen Stonemasons were engaged at one stage, but this should be understood readily by observing the enormous quantities of small ironstones used in the overall construction of this garden. Furthermore, not every Stonemason can handle this material with dexterity, nor in the beginning, obtain the required exactness, as this type of work differs vastly from the usual and ordinary of Sandstone ashlars. Consequently, keen supervision had to be maintained of all work on hand, small or large, throughout the entire fourteen years it took to create this garden. “Everglades” was taking shape gradually. Huge moss and lichen covered rocks were hauled up the Mountainside to form an Alpine landscape. Some of the rocks were brought to the surface by block and tackle, others were levered foot by foot to the area above by nothing else, but sheer human strength. Nothing was ever easy, but the ultimate result was worthwhile. With that in mind, a happy co-existence prevailed and was shared between the owner, employer, and workers. Other major constructions were scheduled to take place within the boundaries. The huge lawn running North to South had to be formed, and the swimming pool had to be incorporated in this scheme. Thousands of tons of soil had to be handled again to produce this long stretch of level area, while simultaneously another hand packed retaining wall had to be built to support this work. That Henri Van de Velde was both impressed and proud of the achievement of the preceding five to six years, was not to be wondered at.

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As the earlier plantings had passed the infant stages and showed promise of even greater beauty, Paul Sorensen received encouragement to proceed. He had commenced, and although aware of the abnegation Henri Van de Velde had imposed upon himself to make “Everglades” possible, neither had doubts in their mind regarding the final result. So, the work went on and on. Thus, an area was selected for Theatre Garden, adjacent to the large lawn at the Southern end. The area is elevated from the lawn by about three feet. The handling of such subject is not an everyday assignment, even for those who are engaged professionally and continuously designing architecture. Everything now depended on the utmost care being exercised in selection of design and materials to be employed. The dignity of the surrounding landscape demanded aesthetic treatment; moreover, it would have to carry a message, or some appropriate symbol. What could be more beautiful than a classical application in this setting? It was decided to adopt a theme symbolising “Australian Youth”, and this was to be modelled and cast in bronze. Consequently, a sculptor was called in for a consultation, resulting in two bronze panels being inserted in the wall. Much and many were the details involved to obtain the desired effect. Two slender, smooth, sandstone pillars carry the semi-circular Arch above. Beneath, in the background of the niche, are the panes; the foreground enhanced by a rectangular shallow pool. The thought behind and volume of work entailed, would be too lengthy to dwell on this booklet. It should be mentioned, however, that the sides or “wings” on the Lawn Stage were planted with specimens of Thuya, possessing density and a type trusted to grow uniformly together. As another point of interest, an overseas Prima Ballerina once performed on this stage. Another, and possibly one of the finest features at “Everglades” is the Wistaria covered Loggia facing the southern Valleys. It was a bold decision to erect a brick construction at this aspect. The area sloped strongly and to the South and in some places, was quite precipitous. Strong and deep foundations had to be made to carry the superstructure. Bricklayers who were masters of their craft were detailed for this work. Bricks were selected for the colour and texture, and anything not conforming to the standard was rejected. Viewing the finished work from either end, it faintly resembles a Piazza and passageway combined in a castle on the Mediterranean Coast - with a difference, however, that it is overlooking blue valleys instead of an azure blue sea. With the entering of Australia into the Second World War, conditions at “Everglades” altered somewhat. Only men exempted from war service remained, progress was made, but at a slower rate. Both Henri Van de Velde and Paul Sorensen found that added responsibilities had been cast upon their shoulders, also, in their respective callings. The garden was maintained and kept in immaculate order, whilst a few men still worked on smaller projects about the property, and thus the Grotto was completed. The War was over and further work was discussed. New walls had to be built and other areas cleared to give room for added features. Some of these were completed before Henri Van de Velde went on a business trip to New York, where his tragic and untimely death occurred in 1947. The fate of the “Everglades “hung in the balance. Was the widow going to continue where her late husband had left off? …Was the Question. No, she was perfectly happy to place “Everglades” on the market. It was not an easy proposition to find buyers for this fine property, although in 1950 it was considered that by sub-division, it might have found ready buyers. On the sub-division plan it showed the garden cut into three lots (a sacrilege if ever there was one), however, “Everglades” was placed in the hands of a Sydney firm of Auctioneers to dispose of the lots under the hammer…the day arrived… there was much admiration…but not a single bid received. It seems that providence decided the fate of “Everglades” that day.

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Though the property has several owners since then - none of whom, if any at all, cared for the garden properly, or whether it was inadequate labour, or sheer lack of understanding by the various owners. No one knows, but for every change of ownership, “Everglades” fell into decay and disrepair, and could have become a relic form a past era if the National Trust had not recognized its value to the Nation. Now with the National Trust as custodian, Paul Sorensen rightfully is back to restore beautiful “Everglades”.

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EVERGLADES Interesting Features From the Brochure Prepared for the National Trust by Paul Sorensen Everglades is Australia’s First National Garden and Cold Climate Arboretum at Leura on the Blue Mountains. Comprising 13 acres of glorious garden property in natural bush setting, Everglades was acquired by the National Trust of Australia (N.S.W) early in 1962. It is situated on a slope which commands wide views of the Jamieson Valley and is recognised as an unusually ﬁne example of garden Architecture and Landscaping. In 1932 a Belgian born Sydney businessman Mr Henri Van de Velde bought the property, retaining the name “Everglades” and gave the well-known Danish landscape Architect, Mr Paul Sorensen the tremendous task of creating the garden.

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Garden areas were hand trenched to a depth of 3 ft to allow for successful tree planting and huge amounts of soil were carted by wheelbarrows to form terraces. At no times were the usual techniques of cutting and filling for the terraces adopted, but in every instance, filling only was accepted. The property is famous for the high standard of workmanship shown in the stonework, which is made up of specially chosen and shaped stones. The easy grading of the paths winding through the grounds and connecting the upper and lower terraces and patios enable visitors of all ages to enjoy the beauty and serenity of the surroundings. These paths and steps are made of stones collected from as far away as thirty miles. Other paths wind down to the lookouts and then to the Grotto Pool. The Grotto Pool was formed by moving a 40-ton rock which was handled by Mr Sorensen and three teenage boys, and in fact bodily carried forward to its present position in the foreground of the pool. Below the upper lookout, a dam has been made to provide a water supply for the extensive irrigation system covering the whole garden layout. Following Henri Van de Velde’s death in 1947 “Everglades” was sold a number of times and passed through many hands. The generosity of several anonymous donors enabled the acquisition of the property by the National Trust early in 1962. The trust considers it to be most important that this magnificent, landscaped garden be preserved and developed for the Nation, whilst garden lovers throughout Australia have acclaimed this object. One of the early difficulties in the restoration was the problem of combating weeds and blackberries which choked paths and had overgrown gardens during more than 15 years neglect. The various Urns in the grounds are exact replicas of originals to be found in the old gardens in Italy; restricted numbers only were permitted to be executed and exported. Distribution was under the control of the Italian Government. Southern Europe is also represented in the Bronzes. The boy with the thorn in his foot situated under the Weeping Japanese Maple on the path to the house. The runner to be found underneath the Poplar below the Squash Court and other Bronzes placed in the main courtyard. The various Urns in the grounds are exact replicas of originals to be found in the old gardens in Italy; restricted numbers only were permitted to be executed and exported. Distribution was under the control of the Italian Government. Southern Europe is also represented in the Bronzes. The boy with the thorn in his foot situated under the Weeping Japanese Maple on the path to the house. The runner to be found underneath the Poplar below the Squash Court and other Bronzes placed in the main courtyard.

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True peace and tranquillity exist in this glorious setting and as Mr Sorensen its creator explains “The success of a garden depends on what impression is made on the visitors mind by outstanding features, seen and observed during his wandering thorough the garden such features my consist of vistas terminating in an impressive focal point, a setting of rocks, perfect specimen of a tree, a distant view of the Jamison Valley from the Rock Garden on the highest level to the Grotto Pool walk on the lowest level continually changing, then from suitable vantage points, particularly at the water course garden, being able to stand back scrutinizing the many retaining walls, beauty of the lines of same and workmanship crowned by a glorious canopy of Lombardy Poplars, Celtis Banksiamen, Banks of Rhododendrons and Conifers and on the return journey the serpentine walls beneath the more than a hundred years old Scribbly Gums near the dam lookout. The main courtyard, the sun terrace looking onto an old Italian Urn the leaning Scribbly Gum lawn, The Theatre Garden every turn in the path something new, something unexpected enabling the individual visitor to select their own favourite spot. Such, brieﬂy are some of the features discussed by visitors when leaving ”Everglades”. The garden is held in such regard that a visit to it will be part of the training of student Nurserymen in the Parks and Garden section of the Lands and survey branch of the Department of the Interior which, in Canberra, maintains the country’s most extensive gardening and landscape projects.

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The chief Nurseryman Mr F.M. Moore has voiced to the Trust his opinion the “Everglades” is, without doubt the finest example of landscaping to be seen in Australia. Mr Moore also wrote: “It is with great pleasure that I contact you to tell you of the admiration I hold for the work that the Trust is doing in restoring “Everglades” at Leura. The garden itself is without doubt the finest example of landscaping to be seen in Australia and something which the Australian people should retain and guard very jealously. There are two reasons for such a statement, the first being that “everglades” was created by undoubtedly the most gifted landscape Architect in Australia and secondly because this continent will not see a repeat of this type of landscaping again on such a magnificent scale. It would be a wonderful thing if more horticulturally minded people could visit this amazing garden and experience the delight of viewing landscaping at its very best. The natural and virgin portion of “Everglades” contains a wide and varied and valuable collection of Australian Alpines, hundreds of perfect specimens are to be found there as well as Grevilleas, Boronia, Banksiamen, Acacias Hakea, Leptospermum to mention a few. This part when developed, plants named and labelled will be great attraction for lovers of Australian natives. The Trust has opened the unusual five-bedroom house for public inspection. Tribute is paid to the many people who have assisted with donations of cash, plants, and the many items required to restore the garden. Others have contributed labour and advice and to these as well the Trust extends its thanks.

Visit: https://www.nationaltrust.org.au/places/everglades-house-gardens/ Images: © Beverley Cliﬀord, © John L Phillips, © Harold Cazneaux, © National Trust and © Dreamstime

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PRAGUE DAY 18 Prague, this ancient city, brings many warm, happy memories for anyone who ever spends even a night there. The City of a Hundred Spires, the Golden City, or Mother of Cities – Prague, as we Czechs affectionately call her, will get under your skin the moment you step into her crooked streets leading you to the beautiful unknown. Modern Prague has many faces and caters for any taste from old-fashioned backpacking to luxurious, castle view hotels like the Four Seasons. I was born one hour from Prague; so my trips through my childhood saw a Prague that was not this shiny elegant place, but rather a mystically worn-out big city with empty streets where anything can happen. These days I plan ahead for my day trips so as to make the most of the historical, beautiful Centre and everything it has to offer. Simply, there is a lot to experience in Prague in one day. Catching the Metro and trams are the best ways to move around Prague. I always love starting at Václavské Náměstí (Wenceslaus Square), then make my way down past the Dobrá Čajovna (Good Teahouse) and then through the picturesque streets down to the main Staroměstské Náměstí, (Old Town Square) famous for its bloody history and the Prague Orloj (Astronomical Clock). Installed in 1410, this is the third oldest astronomical clock in the world and still puts on a show every hour. Everyone loves this spectacle that never gets old. The best way to enjoy it is with a glass of Aperol from the bar directly opposite. One summer when there was a heatwave it was so hot tourists were offered to be ‘hosed’ by the staff; it was very funny. Of course, there are many wonderful streets full of historical stories and significant places leading to the main Old Town Square, however, this yarn is not long enough to include all the delicious uniqueness concentrated in this city! In this heart of Prague, you can find something wonderful on every corner - from performing musicians, artists, art and craft shops, as well as very tacky souvenir shops which I despise passionately. Also, I still can’t get used to seeing Starbucks in this historical space. Prague is loved by many musicians and filmmakers - so bits of the streets keep popping out here and there and I always love seeing them!

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So, here’s some highlights if you continue from the Old Town Square toward to Vltava River: •

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The Old Jewish Cemetery - one of the largest of its kind in Europe. Plus, there’s the Golem - a creature formed out of a lifeless substance such as dust or earth that is brought to life by ritual incantations and sequences of Hebrew letters. The Golem, brought into being by a human creator, becomes a helper, a companion, or a rescuer of an imperiled Jewish community Faust House - one of the most mysterious houses in Prague located in Charles Square and the subject of ongoing legends. According to legend, the Devil took the resisting Faust to Hell by blasting a hole in the ceiling. The hole remains impossible to ﬁx with every attempt being followed by the bricks falling out again. The Tower of the Old Town Bridge, a Gothic monument’ designed by the renowned German-Czech architect, Petr Parléř. Construction of the Tower began in 1357, during the rule of the Emperor Charles IV.

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The Charles Bridge, the oldest bridge still standing over the Vltava River and the second oldest in Czech. The Emperor, Charles IV had it built in 1357, after the previous bridge, the Judith Bridge, had been destroyed by ﬂoods in 1342. Construction of the bridge was under the supervision of Petr Parléě, and was completed in 1402. The bridge was known formerly as the ‘Stone’, or ‘Prague’ Bridge and has been called the ‘Charles Bridge’ only since 1870. On the Bridge rests the statue of St. John of Nepomuk; a statue with huge religious meaning as it immortalizes the memory of Jan Nepomucký (John of Nepomuk), one of the most signiﬁcant Czech saints. According to a legend, he was tortured to death after he refused to give away the confessional secret of the Queen. His tongue allegedly stayed preserved for hundreds of years after his death. Many people believe that it brings luck if you touch the statue.

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Having reached the Charles Bridge, another exploration awaits – ‘Little Venice’! On the Lesser Town side of the Bridge there is what seems to be a smaller river, called the ěertovka Inlet (Devil’s Inlet). Where this inlet goes under Bridge is what is called Little Venice – a very picturesque area where you can explore or join a boat tour. To get there, it is usual to take one of two routes: walking through what is called Kampa Island and you come under the Bridge, or you come from the Castle along the riverside to get to the Bridge. Here you can see a water wheel in the distance. If you head towards it and cross the adjacent little bridge, you will be taken to the famous ‘John Lennon’ Wall. Since the 1980s, this wall has been ﬁlled with graﬀiti, inspired by Lennon, lyrics from Beatles’ songs, and designs relating to local and global causes.

Leaving the Charles Bridge, the road is decorated with richly coloured houses that, unusually, have symbols instead of house numbers, like house at ‘The Three Fiddles’ in Malá Strana. The road continues uphill to the Prague Castle, built in the 9th Century and now the Official Office of the President of the Republic. The Castle was a seat of power for Kings of Bohemia, Holy Roman Emperors, and Presidents of Czechoslovakia. An interesting digression is the story tour guides often will tell tourists that: ‘The amazing lights that illuminate Prague Castle were paid for by the Rolling Stones in 1990 as part of their Urban Jungle Tour’. This tour was the first big cultural event in Czech after the Velvet Revolution in 1989. The concert was advertised with the slogan: ‘The tanks are rolling out; the Stones are rolling in’! The Stones waived their fees and suggested the proceeds go to charity. Also, on this tour they developed a close friendship with Czech President, Václav Havel. The truth, however, is the Stones paid to modernize the lighting in the Representational Rooms of the Castle in 1995 during their Voodoo Lounge Tour! Still within the Castle grounds is St. Vitus Cathedral - the largest and most important church in Prague. Apart from religious services, coronations of Czech kings and queens also took place here. Additionally, it is the last resting place of several patron saints, sovereigns, noblemen and archbishops. Also, within the Castle complex is the famous ‘Golden Lane’, a small alley whose claim to fame is because of Frans Kaf ka and the Alchemists! Kaf ka, the famous German-speaking novelist, lived there for some time. Alchemists were believed to have lived there during the reign of Rudolf II whilst trying to change base metals into noble metals. However, although Golden Lane was known as ‘Alchemist Lane’, alchemists never lived there. The name ‘Golden Lane’ was derived from the goldsmiths who resided in the alley for some time during the seventeenth century. Next, situated just a few minutes’ walk from Prague Castle, is the quarter called ‘New World’ which consists of winding streets and small houses dating back to the Middle Ages. Thanks to its location, New World has maintained its character for several centuries. In 1600 the famous Danish astronomer and mathematician, Tycho de Brahe who was friends and also collaborated with Johann Kepler lived in the house called ‘At The Golden Griffin’. For some time, the house ‘At the Golden Acorn’ belonged to the Santini family, one of whom was the Baroque architectural genius, Jan Blažej Santini, who designed quite a few Baroque gems, like the UNESCO site at Zelená Hora near Žeár nad Sázavou. In addition, the artist Jan Zrzavý also resided in New World for several years.

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Located near the Castle, is the Strahov Monastery, particularly famous for its splendidly furnished Baroque library. It is considered to be one of the most valuable and bestpreserved historical libraries. The library contains over 200,000 volumes, 3000 original manuscripts from the Middle Ages, artifacts, first prints, manuscripts, and curiosities. It consists mainly of the three halls: Theology Hall, Philosophical Hall and Cabinet of Curiosities. Additionally, the monastery houses an important painting gallery with one of the most valuable monastery collections in Central Europe. The collection consists of about 1,500 paintings and other exhibits from the Gothic and Romantic periods. The Monastery is also home to a brewery that has been brewing beer since the 13th century. The “Dancing House” is set on a property of great historical significance. Its site was the location of a house destroyed by the U.S. bombing of Prague in 1945. At this point, it is worth drawing attention to the significance of Charles IV, who in Czech, generally is regarded as the ‘Father of the Country’. This highly influential King and Emperor left a legacy, both tangible and intangible, that dwarfs that of any other ruler of this Country. Charles was under tremendous pressure to relocate to Rome, traditionally the seat of the Holy Roman Empire. He steadfastly refused to move, even upon the entreaties of his good friend, Petrarch. He was responsible for much of the building work on Prague Castle and St. Vitus’ Cathedral with his prize architect, Petr Parleř. Charles was obsessed with collecting holy relics, and when he founded a church, would donate one or more relics. Around Easter he would hold an annual event in Charles Square, at a church that no longer exists, where holy relics would be displayed to massive crowds said to be of many thousands of people. Now to my personal favourite - the Rašínovo Náběeží Embankment, currently the most attractive and liveliest venue on the banks of the river in downtown Prague. Here you get a beautiful view of the Hraděany Castle panorama. Also, the Rašínovo Embankment offers a whole gamut of activities throughout the year - ranging from regular farmers’ markets, to sports, cultural and gastronomy events. Vaults in the wall of the River Embankment that originally were used for ice storage, have been renovated and now house shops, galleries, cafés, and bars.

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Simply Prague is packed with bars, clubs and cafes, many of them secret, so you need to know someone like my mate, Luboš, who is the best for pub crawls. The classical theatre and music scene is still very vibrant; even Mozart decided to write an opera for Prague after the local audience responded to his Le Nozze di Figaro with a far greater verve than their counterparts elsewhere. ‘My Praguers understand me’ Mozart said – and indeed they did. Finally, I should mention the Obecní Dům (Municipal House). This Art Nouveau building, built from 1905 to 1911, is proof of the continuation of the unprecedented artistic and craft skills and quality. It’s also great for a quiet coﬀee.

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The History of Prague An introduction to Prague would be incomplete without a summary of the City’s The city of Prague has had a glorious journey from being just a settlement in Vyšehrad, to one of the most loved cities in Europe.

4000 BC Before the arrival of the Slavs, certain regions of Prague were inhabited by Celtic and German tribes. The name Bohemia came from the Celtic Tribe called ‘Boii’- a name still used today for the western part of the Czech Republic.

6th Century During this period, two Slavic tribes inhabited both sides of the Vltava River. The Czechs and the Zlicanis built wooden fortresses on their sides, but were not at peace for long, as the nomadic Avars marched-in to takeover and rule the area. However, when the Frankish trader, Samo united both Slavic tribes, the Avars eventually were driven out.

9th - 13th Centuries Prague was part of the short-lived ‘Great Moravian Empire’, until the Czechs finally broke away. Around the 870’s, Prince Boěivoj built the Prague Castle. Soon after this, the area around the Castle flourished into an important trading centre, whereby all the merchants from Europe came together. In 1085, Vratislav II became the first Czech King. In 1170, the first stone bridge was built over the Vltava River. Otakar became King and granted royal privileges to Staré Město (the Old Town), and in 1257 Malá Strana (the Lesser Town) came into existence under Otakar II.

14th Century – Golden Age In 1310 the Holy Roman Emperor, John of Luxembourg, became King of Bohemia and the city bloomed under the Luxembourg Dynasty. During the reign of Charles IV, Prague became one of Europe’s largest and wealthiest cities. Around 1320, Hraděany, was established, and in 1338 the Old Town Hall was built. In 1342, the Judith Bridge collapsed in a ﬂood. It was replaced by the Charles Bridge in 1357. In 1348, Nové Město (New Town) was founded and the Charles University, the ﬁrst University in Central Europe, established. In 1355, Charles IV was elected as the Holy Emperor and Prague became the capital of the Holy Roman Empire.

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15th Century – Hussite Revolution The 15th Century is marked by religious conﬂicts in Bohemia between the Roman Catholic Church and the Hussites. This was caused by Jan Hus’s Church Reform Movement which eventually led to his conviction and his death, provoking the Hussite preacher, Jan Želivský, to rebel. Catholic councillors were thrown down from the New Town Hall and Prague was then ruled by certain Hussite Committees. Many historical monuments were destroyed, and Prague Castle was damaged as well.

16th Century – Habsburg Rule In 1526, the Habsburg Dynasty ruled over Prague and Prague Castle was reconstructed. In 1575, Rudolf II was crowned as the Holy Emperor. During this period, Prague evolved as the Centre of Science and Alchemy, and was nicknamed “Magic Prague”. Many famous scientists were attracted to Prague during this time. Also, following the ﬁre in 1541, Hraděany and Malá Strana were rebuilt and much of the beautiful architecture remains to this present day.

17th Century – Dark Age The Dark Age began in the 17th Century with uprising protests from the year 1618 with the ‘Second Defenestration of Prague’ when two Habsburg Councillors and their Secretary were thrown down from Prague Castle. This led to the ‘Thirty Years War’ that harmed much of Europe, and particularly Bohemia, where many people died. In 1620, the Battle of White Mountain took place, and the Protestants were defeated, leading to the loss of Prague’s independence. In 1648, Saxons occupied Prague and Swedes moved into Hraděany and Malá Strana. Other areas were damaged and the population in the city declined by more than 50%.

18th Century In 1784 under the rule of Joseph II, Prague was divided into four independent urban areas: Staré Město (Old Town); Malá Strana (Lesser Town); Nové Město (New Town); and Hraděany. During this time, the National Revival, a nationalist Czech movement began and this brought the Czech language, culture and identity back into existence.

19th Century – the Industrial Revolution The Industrial Revolution boomed in Prague. Many industries were established during this period. In 1845, a railway was started that connected Prague with Vienna. In 1850, Josefov was recognised as one of the historical centres of Prague. The National Theatre was opened in 1868, and in 1890, the National Museum was established. The city also experienced a rise in population.

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20th Century Prague became the capital of independent Czechoslovakia after the fall of the Austro- Hungarian Empire in 1918, while Prague Castle was the place for the first President of Czechoslovakia, Tomáš Garrigue Masaryk. In between World War I and World War II, Prague became closer to Paris. However, during World War II, Prague was occupied by Nazi Germany. After the war, Czechoslovakia was re-established as an independent state, and Sudeten Germans were thrown out and sent back to Germany and Austria. In 1946 the communists (KSě) became the dominant party and formed a coalition Government with other socialist parties. In 1948, the communists seized power and many democrats fled the country. In the 1950’s, the Country suffered harsh repression and decline; Stalin- style practices adopted by the KSě (Communist Party of Czechoslovakia) proving to be more damaging than anything. Images: © FreePik and © Dreamstime

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POETRY DAY 19

I HADN’T TOLD THEM ABOUT YOU Nizar Qabbani I hadn’t told them about you. But they saw you bathing in my eyes. I hadn’t told them about you. But they saw you in my written words. The perfume of love cannot be concealed.

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I LIVE IN YOUR EYES Farouk Goweedah I Live in Your Eyes She said: My Love, You will forget me And you will forget one day, that I, Have granted you my heart And you will adore another wave And you will leave my beaches warmth And you will sit, as we used to To listen to some other tones And you will not care for my sorrows And my name will fall as hope And my address will get lost So, my Love, will you say That you (once) loved me!? So, I said: Your love is my faith My forgiveness and my disobedience I met you with hope Remaining in my arms Like spring without a bird. On the ruins of a garden, The winds of sadness squeezed me Driving out the air in my chest I Love You like an oasis On which all my sorrows have calmed down I Love You like an aura that tells My songs to people’s silence I Love You like ecstasy that runs

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TELL NO ONE Khalil Gibran Travel and tell no one, live a true love story and tell no one, live happily and tell no one, people ruin beautiful things.

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DIE ON MY CHEST Nizar Qabbani I have given you the opportunity to choose so choose whether to die on my chest or on the pages of my poetry.

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