Saturday, January 16, 2021

Funding My Epiphany




All Saints East Horndon source: All Saints homepage



Above the Essex village

where my childhood petered out...

a russet Tudor church stands on a hill.

Across a busy highway

up a lane, through a barred gate

past brambled headstones

my Clarks-shod feet found it one afternoon.

 

I entered through its low doorway

to hazy mote-filled air revealing

spattered pews, uneven masonry, ancient niches

and dusty alabaster monuments.

 

A narrow brick stairway led to a tower

housing four bare bell yokes,

above the droppings and bodies of birds

 

I lingered in the church until daylight began to fade 

sensing something solemn in this deconsecrated shell

- a counterpoint to the bland bungalows and

utilitarian buildings

of our post-war constructed village

 

In those next few weeks a quest consumed me -

Kodak box camera images, wax rubbings

dutiful copies of

names, dates and heraldry

legends, culled from pamphlets,

of slain dragons and Anne Boleyn’s secreted heart…

the first frisson of discovery

 

Twenty years on

visiting from a new land

I expected the decay to be complete

yet found my church rehabilitated,

disturbingly clean,

used for meetings and musical performances.

Safe, if no longer mysterious

 

Then on New Year’s eve 2020,

to cap the chaos of Trump and Brexit and COVID and planetary conflagration,

some people held a rave in All Saints

installing port-a-loos amongst the graves

splintering the Norman doorway

shattering a window

chipping stone and plaster work

using Lady Tyrrell’s tomb as a bar and

strewing  the floor with their empties.

 

Friends of the church have launched an appeal

- my philanthropy exceeds my budget

(thirty five pounds sterling

is over  sixty Aus dollars!) 

but I spare what I can 

to preserve the 500 year old fabric

of the church and of my epiphany.

 

Jan Pittard © 2021

 


Page from my 1967 notebook with notes and drawings produced at All Saints. 



The church interior as it was left by the revellers source: Essex Live website. 


References: 

Saturday, October 17, 2020

Bunny Ambivalence

Rabbits are not native to Australia but, along with other European pests, arrived by ship in 1788. Within 50 years they were endemic. 

In January 1912 Mr James McGrory of Willarma Station near Yass claimed in a report published in the Hillston Spectator & Lachlan River Advertiser that he had poisoned and collected the corpses of 5000 rabbits in one night, he volunteered three witnesses in case readers disbelieved him.

Record rabbit catch in the Riverina, The Sydney Mail 28 August 1912

Later that year the Manager of Wagga Wagga’s Borambola Station, Mr A.P. Wade, boasted a haul of 2000 rabbits in a single night to the Sydney Mail. The newspaper’s photograph of his inert quarry, arranged with Kondo-esque neatness, is reproduced above.   

As recently as February 2012, the ABC news website reported Riverina shooters culling more than 1000 bunnies each night. 

Just a week ago I went for coffee at the Lucid café in Gurwood Street (the ‘Paris end’ of Wagga) and saw a miniature lop eared bunny with markings resembling a Hercules Poirot moustache, fluffily hopping around nibbling pellets and carrot sticks. When she was ready to leave, its owner (appropriately enough) popped it into her handbag a la Paris Hilton! 

Currently on Gumtree miniature rex & lop eared bunnies are available in Wagga and Thurgoona for between $30 and $120.   

Australia exported frozen rabbit meat and pelts to Britain from the 1890s onwards. Rabbit stew was a favourite dish in ‘the old country’ and no less here where its economical and nutritious qualities sustained many a family during the Great Depression.  In the 1940s and 50s rabbit stew was still a rural favourite cooked over fires in rabbiters’ camps and, according to the Daily Advertiser of 15 January 1952,  introduced to city lads like Noel Mannering, Bill Pask and Peter Giles when they ‘went bush’ to celebrate the end of their apprenticeship training.  Ah, that 'schoolies' was as benign these days!

In the 21st century, two of Wagga’s most cherished institutions are Cottontails Harefield Vineyard & Restaurant and the Curious Rabbit Gallery-Café-Bookshop. 

Signage for arts hub in Wagga Wagga (the Paris end) referencing Alice in Wonderland 

I think it would be accurate to say that this town has an ambivalent relationship with the lagomorph. 

My own relationship with the species has also waxed and waned. An English childhood ensured that Beatrix Potter’s tales primed me to want bunnies as pets. I was given a pair when I was about nine. Benjamin was named for Potter’s creation, I can’t recall the name of his sibling. They were quite nasty and aggressive. Far from donning tam-o’-shanters and engaging in delightful whimsy, they scratched and bit me whenever I attempted to handle them or clean out their hutch and escaped to a neighbour’s (not Mr MacGregor’s) garden the first chance they got. 


Tenniel's and Potter's rabbits - my childhood bunny ideals

Despite this disappointing real life encounter, the rabbits in the books I read were consistently endearing. As well as Benjamin there was Peter and the Flopsies (we had an EP of Vivienne Leigh telling their story and singing “We don’t care, we don’t care, we don’t care a fig, there’s a cabbage in the larder though it isn’t very big (and any way tomorrow is another day!)” There was Lewis Carroll’s timid, tardy white rabbit who beguiled Alice into taking that plunge into Wonderland. There were Hazel, Fiver, Campion and Bigwig making the epic journey to Watership Down in Richard Adams’ 1972 novel. There were Jane Pilgrim’s delightful Blackberry Farm books and Enid Blyton’s adaptations of the Brer Rabbit  stories. 

I was not to get close up and personal with bunnies again for many years to come. Soon after arriving in Australia it was evident that rabbits were considered vermin here and subject to a variety of eradication techniques from baits to fumigation, from  buckshot to germ warfare*. Their fur was also the chief material used in Australia’s national hat, the Akubra. 

Sam Hood's 1927 photograph of Fort Street school boys being shown how Akubra hats were produced - some distinctly ex-looking bunnies as props.

It was quite by chance that we came to own a succession of pet rabbits in the 2000s. When we still lived in Sydney suburbia a litter was born under a neighbour’s house and one, whom my daughter named Leslie, hopped into our lives. We had him less than a fortnight when our ginger cat, Simon chased him and gave him a bunny cardiac arrest. My daughter was bereft and we actually paid good cash money for his replacement, a dwarf  lop eared rabbit called Waldorf (after a block of apartments we passed in Parramatta en route to collect him). Waldorf had a mischievous and engaging nature. He spent some time in his hutch but plenty with us in the house. Our Friday night ritual was for the family to occupy the sofa and to seat him on the window sill behind us as we shared a Cadbury’s family block with him and watched a movie. Waldorf’s life was short – he disappeared one night, probably the victim of a dog, fox or owl - but evidence was that he had fulfilled his destiny with a neighbour’s doe as we saw his likenesses hopping about the street a few weeks after his demise.

Waldorf being forced to endure a white rabbit trope - he hated that fob watch and immediately chucked it off the settee

After Waldorf we had Doris, Brian and Stuie – all blow-ins, or hop-ins, and perhaps  (at least the first two who had lop ears) Waldorf’s descendants. Their fate was sealed when we moved to Wagga. They did not cope well and succumbed, we thought at the time, to the heat, but now I wonder if they caught calicivirus. Any way all three perished within a few months of relocation. Strange thing was that there was another bunny hopping about, a fawn coloured beauty. An abandoned packet of pellets and an empty hutch told us it had been the former residents’ pet. It seemed well adapted to the climate but our neighbour ran it over in her 4 wheel drive.   

So the Riverina is no place for rabbits unless they are on a wine bottle label or a bookstore’s signage. However wild ones do abound so I guess the rifle totin’ locals can still catch a cheap tasty feed  or contribute to the Akubra supply chain!

*Anthropomorphic and cute though bunnies may have been in British literature I realised on a trip back to the UK in 1984 that the country of my birth had also tried to wipe out wild lagomorphs (although they were not an introduced species there), with the myxomatosis virus. We encountered an ailing rabbit on a drive through country lanes and after ‘rescuing’ it my Uncle Ken had to dispatch it with a resounding ‘thunk’ of his shovel. 

Tuesday, June 30, 2020

A wee Riverina town


The Doug Anthony All Stars had fun with the name ‘Uranquinty’ when they came to Wagga. I checked, ‘Uranquinty’ is indigenous; it means yellow box tree and plenty of rain. These days Uranquinty’s average rainfall is about the same as the rest of the Riverina’s but maybe it was remarkable a few thousand years ago. The yellow box tree is a slow-growing, spreading eucalypt with yellowish tinged bark that shreds in ribbons. According to Landcare, it thrives in ‘light to heavy well-drained moist soils but ’resents high water tables’.  Again, did it enjoy more of a drink back in the day? 

Then there is the association with the 2001 musical, ‘Urinetown’ which I haven’t seen but, as it is described as a witty post-Brechtian satire on disaster capitalism,  it would undoubtedly be just my cup of diuretic tea.

It would be crass to dwell on these cross-linguistic homonyms were it not for the fact that at least some amongst the town’s roughly 900 residents find lavatories and drainage a source of great civic pride. This is evinced by pages on their promotional website ‘Uranquinty the Friendly Village’ and ‘Visiting Uranquinty’ which between them feature five images related to public toilets and waste disposal: two images of the toilet block in the rest area, two images of  art work on the wall of said toilet block, and an image of the grey and black water disposal facility. These pictures are given prominence and, unlike photographs of the cenotaph, roll of honour, RAAF memorial and statue commemorating immigrant women and children, are displayed the right way up!

A good investigative blogger does not rely only on secondary sources and old DAA jokes, she goes to the source – especially if the source has one of the region’s best bakeries! So I recently made my fifth visit to Quinty, as the locals call it. Despite two days without rain, the gutter outside the Quinty Bakehouse was awash - spooky! Having applied hand sanitiser and availed ourselves of different entry and exit points, we took our coffee and two of the tarts spruiked on their ample signage opposite to Wirraway Park. This ‘popular rest stop and play area right on the Olympic Highway’ (Wagga Wagga Council website) features all of the above mentioned monuments and 10 life-sized cow cut-outs made from hand-forged solid flatbar steel by artist Jane Cavanaugh. The cows are fun, juxtaposed nicely and good for teasing the dog. They also light up at night.


I’ve lived in the Riverina for five and a half years now but I still behave like a tourist reading every plaque, inspecting all public art and commemorative installations, researching the area’s history and taking lots of photos. So I checked out the simple cenotaph and granite plaque commemorating locals who served and fell in World Wars 1 and 2 respectively. For such a small town, Quinty made a huge contribution to the forces in the latter conflict. In a chicken and egg conundrum I haven’t been able to determine if that is because an RAAF training school and fuel depot were located here, or vice versa.

I was surprised and pleased to see Canny Kinlock‘s sculpture of a woman, with her two children and suitcase, representing refugee families offered  a home in one of Uranquinty’s disused army and air force camps in the late 40s and early 50s, their men folk often working as labourers on the Snowy Mountains hydro scheme. 

But all that is on the public record. I sought the public toilets. Our coffees did their work and it was time to inspect these facilities.  Inescapable on approach is the bright blue plastic lidded ‘Dump-Ezy’ tank. Resembling a children’s paddling pool or sand pit, though one hopes it is never mistaken for either, it is labelled  a ’dump point’ for the ‘disposal of black and grey water’ from RVs and caravans. Grey nomads, for whom my spouse and I are sometimes mistaken, pass this way often and take the opportunity to download, so to speak.  I know about ‘grey’ water, we use it on the garden, but ‘black’ water I had to look up. Ah, it is the liquid that comes from flushing the toilet in mobile homes it ‘contains the pathogens of faeces and the nutrients of urine … diluted (by) flush water’.  Put like that is seems crime to harbour it – or to waste it!

The ‘dump point’ does tend to dominate the view which is a shame as a framed photograph of the toilet block on the wall of the toilet block (a bit meta that) features a caption in texta drawing attention to the fact that ‘the toilet block is made to blend in with the silos at the back’, an idea ‘suggested by Elaine Mortimer’ and realised ‘by locals’. 


Heritage-sympathetic architecture is alive and well in Quinty! 


Our historical and aesthetic education continued even further as we entered the conveniences. Front and centre is an unattributed mosaic depicting the (European) history of Quinty including the growing and cartage of crops, the pleasures of being a smocked figure sitting in the fields (although this could be a trio of scarecrows), two small planes looking as if they are about to engage in a dog fight and a glimpse of the formidable silos. Most prominent of course is the pub! Fair enough, it is one of only half a dozen functioning businesses in the town, is a nice arts and crafts influenced design and has probably contributed a fair number of users to these facilities.


Thinking I was unlikely to ‘squeeze’ any further ‘drops’ of blog material out of this visit, imagine my delight on opening the cubicle door to yet greater evidence of Quinty’s joy in all things lavatorial!


Note: All photographs are mine except for Yellow Box Tree, Wagga source: Wikipedia and Unranqunity public toilet block source: Google Maps

Monday, April 13, 2020

Ekphrasis - Tree Conversations

Poems written in response to the exhibition Conversations With Trees - networking with the world wide wood, Wagga Wagga Art Gallery,  8 February - 3 May 2020. 


As Above So Below - Nancy Tingey 2019 (pictured below)


Shiny filaments of polyester
Static yet sprouting
spindly roots and branches

Fibre from the techno-sphere
rendered into an
exclamation of grasses

Avian sounds playing in the background
at odds with these synthetic forms
woven, meshed, bound
coiled, spun, and splayed.

Neatly wild
in their perfect glossy blackness,
too pristine
to come from soil.


Jan Pittard© 2020



  


Picnic for the for the Trees - Dotti le Sage 2020
Intercontinental Picnic - Dotti le Sage 2020

The artist says she is illustrating
our symbiotic, ceremonial and social connections with trees.

She has superimposed images
of classic vessels and bric-a-brac shop china
on screen prints of plantation timber.

Strange to see a picnic site
set with genie bottles and Doultonware

Where are our discarded soft drink bottles,
Maccas wrappers and lethal plastic straws?

Have they charred with the perished forest
in the fires?

These pictures remain.

Jan Pittard© 2020



Peeling Away Series I – V - Christine Appleby 2018 (pictured above)

Calico tinsel spirals

suspended tubes and cylinders
dancing threadbare weaves
Sheer gossamer
with copper sheen

Steely filaments
fraying strands
suspended with wires
to hold their billowing forms

Gallery lights cast inevitable shadows,
less subtle versions of your tactile selves

‘Coiling shapes of peeling, falling bark’ says the artist...

Your lustre is like no chalky gum tree surface I have seen;
you belong to a submarine realm.

Buoyant, adrift
insubstantial

Through the camera  
less solid still,
strands no longer distinct
blurs of putty and saffron
like imploding fungi

Improvisation on a theme?
Interpretation of a brief?
Word on object.
Parasite on parasite.


Jan Pittard© 2020

Tuesday, January 21, 2020

Nordic Saga

I

We were at Ikea in Fyshwick
at opening time
in anticipation
of domestic transformation.
The excitement abated
after the first hour and a half.
In the end we were there
for over three hours…
We lost each other four times
and had to text or call.
There is a store plan and arrows
projected on the floor;
we were generally heading
counter to the arrows
while technically not illegal,
it still felt like failure.
Towards the end we discovered secret shortcuts,
‘worm holes’ Bob called them,
but nothing spared our aching legs and feet.

II

We went to Ikea to get the Hemnes and the Fillan
simple enough you would think.
We ended up with the Skurup, the Skogslok,
the Djungelskog and the Dronas;
the Fillan was out of stock.
They were expecting some in
but we baulked at the $200 delivery charge to Wagga
and decided to wait,
to take a chance,
see if we can get it next time.
We did order two Flarras to come by courier though,
much cheaper
they should be here on Tuesday.

III

At home now
we are integrating our Hemnes
into our existing furnishings.
It has Scandinavian cousins
in our Billy bookcase and a 1980s trolley
anonymous now
forerunner of the Bror.
Ikea names come
not from a random generator of letters
as it is  tempting to think,
but from words for Swedish places, people and things
(I know because Bob Googled it in bed).
The tradition was set by its founder,
Ingvar Kamprad
who struggled with numbers;
I can relate.
There is a taxonomy online
don’t be disappointed
it is still quirky…
kitchen utensils get their names
from fish, mushrooms
and adjectives.

IV

The first flatpack is open
there are 30 wooden plugs,
24 shoulder bolts
and two sets of eight screws.
Bob says assembling the Hemnes
is therapeutic -
let’s see how he feels
after three hours!


© 2020








Thursday, October 24, 2019

Interwoven

It’s funny how apparently unrelated threads in our lives can intertwine and how we sometimes hit upon unknown facts about people that resonate deeply with us. In the last couple of years I have discovered the unknown (to me) talents of two friends  and an unsuspected connection between their lives and mine. These disparate skeins have become woven together in a way that is both bittersweet and cathartic.

Diablo Mode was big, dark and hirsute. A bear.  I met him when he was the newish partner of our long-time friend and former neighbour John Stone. John is a bear too. But grizzly. I sat on their deck in Stanmore and admired the assorted boots, joggers, and lone leather motorcycle glove, hanging on the fence, sprouting succulents. They looked quirky, a bit random and a bit curated. ‘That’s Diablo’s work’ said John. I looked around and soon saw other evidence of Diablo’s creativity: objects combining manufactured elements like thread, copper wire and brass tacks with native grasses and seed pods.


Diablo Mode (aka James David Gardener) 

As well as being John’s witty, saturnine companion who lent me a sympathetic ear and settled me down to rest on their window seat when I got drunk after a fight with my sister, Diablo was an artist!

His earliest work was playful, impermanent. With chalk he drew stitch patterns over cracks in pavements and masonry and traced the outlines of shadows cast by streetlights leaving evocative after-images when the sun rose.  He came under the influences of surrealism, and its sister movement Dada, making slyly homoerotic collages and sculptures, increasingly incorporating found objects. As he matured as an artist Diablo was affected by a rich range of other influences and produced work of increasing originality and sophistication. On an art school trip to Central Australia he found his true metier: weaving using a combination of Australian native flora  and man-made elements.  



Examples of Diablo's work blending natural and manufactured elements 

Diablo Mode was also known as  James David Gardner and he died suddenly in the early hours of 25 October 2018 aged only 45.

John was poleaxed. Sydney friends and artists rallied and arranged a fittingly flamboyant wake within days. Five hours away in Wagga, with a husband who had just had a heart attack, I couldn’t make it. John sent us a link to the slide show. The art impressed me, blending those industrial and botanic materials into forms that belied their fragility and impermanence. The pictures and videos of them together taking their dog, Bodhi, on road trips, walks and swimming undid me.



John, Bodhi & Diablo on a road trip in their van 

Now John was faced with the challenge of re-homing Diablo’s vast stock of works in progress, art tools, accumulated found objects and botanic materials. Most could go to his family, but a destination for the painstakingly accumulated raw and prepared botanical materials needed to be found.


Aunty Kath Withers in her studio in Wagga Wagga not long after her diagnosis

I first met Aunty Kath Withers during my short-lived career with Riverina TAFE. A revered Wiradjuri elder, she taught art at Junee Gaol. In its wisdom, the New South Wales vocational education system insisted she acquire a formal qualification to continue to do so. I met her weekly in the library and we quickly formed a bond over fathoming the weasel words and coyote concepts that make up vocational  training ‘packages’ and the byzantine complexity of TAFE’s eLearning system.

Aunty Kath got a diagnosis of breast cancer a few weeks in and we took a break so she could undergo treatment.  For some reason during that interval TAFE decided not to fund any more of our sessions together. Kath and I stayed in touch. I saw her give the welcome to country at several events and she invited us to her exhibition Looking Forward, Looking Back at the Wagga Art Gallery.  The breadth of her artistic output, which includes print-making, painting, pokerwork and weaving, often referencing her childhood in Wagga’s Tin Town, astounded me. We have two of her pieces, Murrumbidgee Dreaming and New Beginnings, on our walls.


Work produced at Aunty Kath's weaving workshops

Despite an increasing success as a practising artist, Auntie Kath says her greatest joy is passing on her cultural knowledge and technical skills by running workshops, particularly weaving workshops.

An idea began to form…

Maybe Diablo’s botanic stockpile could travel the 450 km from Sydney’s inner west to Tatton in Wagga Wagga. There it could fulfil its destiny in Aunty Kath’s hands and those of her workshop participants. I talked to her and to John about it and early in 2019 John arrived in Wagga with Bodhi and a van full of treasures.



Delivering some of Diablo's botanic materials left to right: me, Kath and John

Delivering the cache and chatting we discovered a beautiful synergy.  Diablo and Kath had both learnt from the same mentor, the extraordinary and acclaimed basket weaver Virginia Kaiser. To compound the coincidence, I had also known Virginia, and packaged her work for an exhibition in Teheran, during my time at Craft Australia in the 1990s. It is extremely satisfying that our disparate paths have dovetailed like this. John  and others who knew Diablo agree that his materials are in good hands and will continue to be used by artists. It feels as though we are preserving an important legacy and perhaps contributing to the creation of new ones.


 In Memory of  James David Gardner (1973 - 2018)

NOTE: All images are reproduced with permission of Kath Withers and John Stone.


Sources:


Conversations with John Stone and Aunty Kath Withers
Carmichael, R. Gordon, Catalogue essay ‘Don’t Ever Stop’ retrospective exhibition of Diablo Mode’s work 2019
Recharge, relax, relearn/Brooke Munro @ Dirty Janes Bowral, 
 2017 – accessed September 2019
City of Wagga Wagga Council website – various pages - accessed September 2019

For more about these artists visit

Diablo Mode

Aunty Kath Withers

Virginia Kaiser