Persian Danny suggested last week that we drive up to Wollongong’s north as Chris T had never crossed the famous Sea Cliff Bridge!
So we met at Steelers yesterday – more on the changes there in another post—and Persian D drove us north. We decided Stanwell Park was the place to lunch. In April 2014 I had been there on a family history quest, you may recall: To Stanwell Park: 1; To Stanwell Park: 2; To Stanwell Park: 3 – and amazing events in NSW! – and that last one begins: “Bussing it over the Sea Cliff Bridge. Wonderful!…” Go there for more pictures and an account of this rather amazing structure.
We settled on this place to eat:
Ian and Jo Draper own The Palms Cafe. Ian is an international chef whose signature dishes use only the best local produce. The menu features daily specials, hearty dishes as well as light meals, and all day breakfast. Dine indoors or al fresco in the sunny courtyard against the magnificent Illawarra escarpment. Drop in for devonshire tea and cake baked fresh on the premises.
Our choices included slow cooked lamb shoulder and meat loaf. Chris T, a chef himself, soon picked up on the fact this was no ordinary chef’s place. He took away two jars of Ian’s special tomato jam, which had been used to garnish his meat loaf dish.
Afterwards we visited John and Frances Vander’s “Articles” gallery in the same buildings as the cafe.
There were truly beautiful things in there: some Robert Dickerson, some marvellous glasswork and pottery, andsome evocative seascapes by Cronulla artist Nicole Southworth. Frances Vander was most welcoming to us mere lookers, one a pensioner who can only look! But Chris T plans to go back to buy a framed print or two by John Vander – very affordable. His original works are really rather beautiful, and also interesting as he is a very careful realist painter with a strong sense of history. As his site says:
When John Vander paints a town he paints it as a portrait painter would paint his subject.
Every building is accurate. He sketches every building in the street before he starts his final work.
John says, ‘My paintings are sparked by my feeling for the subject. I want others to view my work and catch the same impression of light, colour and form that inspired my original impulse!’
Here is an example, a place both Chris T and I have visited. In fact Chris T worked in Sofala at one time.
Storm Approaching Sofala
John Vander was born in Belgium. It’s an interesting story.
This goes back another seven years, but I thought it worth replaying now.
Posted on August 2, 2008 by Neil
Please visit Message Stick – Sights Unseen – Pictures By Michael Riley. Here are a couple of samples. They are linked to source.
Untitled IX, 1992
Kristina (no glasses) 1984/6
Even though “the late Wiradjuri/Kamilaroi artist Michael Riley is one of the most important Indigenous artists of the past two decades” according to Stills Gallery, to my shame I have to confess I had not registered his work or career. I should have. I am also wondering if that third picture is the Kristina I know…
Posted on August 9, 2008 by Neil
In Personal Reflections: Saturday Morning Musings – the art of Jiawei Shen this morning Jim Belshaw gives his account of an SBS documentary I missed last night, as I watched a DVD and then the Olympic Games.
Eyewitness (George Gittoes) 1997 linked to source
There are quite a few Chinese artists, and Chinese artists now in Australia, who have produced very interesting work over the past two decades. See for example Other histories: Guan Wei’s fable for a contemporary world. Here are some examples of Guan Wei’s work.
For more on Guan Wei see:
Guan Wei’s ancestors were part of the Manchu nobility in China in the mid-seventeenth century. ‘His great-grandfather was the Comptroller of the Yihe Yuan, the luxurious Summer Palace constructed for the Empress Dowager Cixi at the end of the last [nineteenth] century; his great-great-aunt was taken into the imperial family, and gave birth to Aisin Gioro Puyi, or simply Henry Puyi, also known as the Xuantong Emperor, the last imperial ruler of China.’¹ By the early twentieth century, this family had fallen out of power. Mirroring that strange chemical compound in Les vents, in which a form exists for a fleeting moment, the ebb and flow in the fortunes of Guan Wei’s Manchu family suggests an equal transience…
Guan Wei moved to Australia in 1990 after witnessing the tumultuous events of June 1989 in Beijing, China. His first visit to Australia was as an artist-in-residence at the Tasmanian School of Art. Since then, Guan Wei has been an artist-in-residence at the Museum of Contemporary Art in Sydney and at the Canberra School of Art, Australian National University.
His work has been included in several major exhibitions in Australia and internationally, most often as a significant painter who continues to make a contribution to the art that emerged from China post 1989…
Through the decade of the 1990s, Guan Wei’s work drew heavily on the cultural and geographical differences between China and Australia. To mark the tenth anniversary of the Tiananmen Square massacre in China, the Museum of Contemporary Art in Sydney organised an exhibition titled ‘Guan Wei: Nesting, or the Art of Idleness 1989-1999’. Guan Wei currently lives and works in Sydney.
He was awarded his Australian citizenship at the same ceremony as M received his.
The work in the previous entry was in the less avant-garde, more officially sanctioned, area of contemporary Chinese art.