Visited Sturt Gallery in Mittagong to see Harriet Goodall’s solo show “Circling Back”
“I am forever circling back, not just in my dreams, but literally also to collect materials I find by the roadside or in the paddocks. I weave through these fences and burnt out car panels with naturally coloured fibres that mimic the scribbly lines of insects on bark, striations in granite boulders, wending rivers or sheep tracks in dry paddocks. My heart beats for the decay and beauty of inland Australia and this is an elegy for the loss of feeling that I belong there”.
these mended pieces of old corrugated iron were beautiful
and caught up with my sculptor friend Bronwyn Berman at her new studio space in The SHAC
with a good communal space to relax and get warm
Bronwyn’s display case
working space
so good to Bronwyn’s pennant & talisman for the dream

Peter Webb plant guru extraordinaire

Posted: July 13, 2019 by Mo Crow in It's Crow Time
Tags: ,

Peter Webb is the most connected, intuitive, gentle gardener and artist I know, we first met in the 70’s in Melbourne when he was working as the seed collector for the Botanic Gardens, he showed me how plants communicate and wisely advised to start collecting seeds way back then. The beautiful stained glass windows he designed and made for a friend’s house in the Dandenongs inspired me to start working with glass even though the thought of cutting myself was so scary it took a few years to steel my nerves. Peter has lived in Brazil since the early 80’s collecting seeds and reconnecting people with the land and plants with such deep heart & his partner Bel Cesar.
He gave me these beautiful words half a lifetime ago
“Spirit likes to see us dance on the shifting sands of change”
here’s a link to a public lecture he gave in Senegal earlier this year
Peter Webb RAW Academié Germination
(this lecture is spoken in English with a French translator for the audience, if you want to skip the introduction in French, Peter begins his talk at 7:20 minutes)
love how he says in closing that the only hope for our world is art, not just in the galleries but on the street, in our lives. How we need to be creative, to trust our sensitivities to help make sense of our world, to understand each other and create a way to heal ourselves and our beautiful broken world.

namaste

A treasured memory with Peter was helping out on his wild block of land in the Otways of Victoria in about 1978. Earlier in the year he had a local bulldozer driver push in a road with an area cleared & leveled for the tiny wooden house he built by hand. A bunch of us young hippies camped there one weekend to help sow an acre of meadow garden to revegetate the building site. We woke at dawn to meditate with the rising sun, then broadcast buckets of mixed flower and herb seeds harrowing them in by harnessing ourselves to long pieces of wood with nails for tines. We finished the last of the harrowing just on sunset with the Full Moon rising as a gentle rain came down to water in all the seeds, one of the most magical experiences of my life.

yesterday we visited the Southern Africa Garden at the Royal Botanic Gardens here in Sydney
the fabulously horrid Eastern Cape Blue cycads are thriving
the formidable spines and very stiff leaves of Encephalartos horridus
will go back in spring when the weather is warmer to draw this amazing plant!


Marti ‘s pennant for the dream is changing with the elementals
“Thought you might like to see what has become of my pennant from I Dream of a World Where Love is the Answer: When I received it back from you, I hung it in my pear tree and sent you photos but over the past few months, it has taken a beating hanging out in our pear tree. Winds have buffeted it, rain has soaked it and that is all to the good but it is our fierce sun that has faded the cloth bits to a delicate patina, if I can use that word when describing cloth! What doesn’t fade is the fact that love while at times, fragile, holds. and is always the answer to helping our world.
I love the idea of keeping the pennant outdoors but it was becoming fragile; I didn’t want to deconstruct it so I did some thinking. As much as I love dyeing with the foraged natural gifts that I find in the land, now and then, I get jazzed by the alchemy of creating rusty cloths. The magic that comes from using steel wool strands, rusty pipes, horse shoes, clamps, files, old nails, is terrific. Recently I worked with all of these rusty bits and came up with a cloth that while industrial looking is also reminiscent of the cliffs and markings here in New Mexico. As I looked at this cloth, a light bulb went off in my head! What if I enfolded my fading pennant in this tough cloth. The idea that it would be intact but hidden also appealed to me. Rust takes a long time to fade, I’ve had rusty cloths outdoors for several years and so, I did just that; tucked it inside the rusty cloth and stitched a new cover for my pennant. Sadly the winds tore away the tree and peace symbol talisman, made by Barry Smith, that I had at the end of the pennant but on a positive note, I like the idea that someone may find it on a sandy trail, on the sidewalk or in an arroyo. I did stitch the little piece of blue armature and of course, the star that you sent to the front of the pennant cover. It holds so much joy and connection from the Gathering. I had dyed the lace and tulle bits that you had sent in tea so added a few pieces of lace also to the new pennant cover. The juxtaposition of the delicate lace with the tough rusty cloth I find quite sentimental and I love knowing that the original pennant that shared so many connections with the Gathering flies once again, free in the New Mexico wind, sending its vibe of connection and caring.”
love holds for our beautiful broken world keeping The Dream alive
here’s links to
ripples post 1
ripples post 2
ripples post 3
namaste

 

yesterday we visited Catherine Truman’s touring exhibition ‘no surface holds’ at Hawkesbury Regional Gallery
In Preparation for Seeing: Cell Culture Glove 2015
white cotton glove encrusted with glass spheres, Coplin jar, microscopic slides, steel forceps inlaid with glass spheres, light pad
Ongoing Being detail 2010
mixed media
Crab Claw installation 2015-17
glass spheres, crab claws, bones, shells, sea urchins
no surface holds is a line by the Belgian/French feminist Luce Irigaray from her book ‘The Sex Which Is Not One’ (1977)
Truman notes “it’s a potent piece of writing… about the dissolving of boundaries that exist between two people.”
Catherine writes “I’m illusionist at best and when I make an image or an object the catalyst is usually a very transient impression, something fleeting, perhaps just a sensation. I become deliciously absorbed in the quest to make something tangible of that sensation and yet I know it’s actually impossible. I work with the notion that all knowledge is fluid and can be altered by something as simple as the shifting light.”
Catherine is one of those amazing artists who builds bridges between science and art, a very inspiring show
then this morning Jude Hill began her Patchwork in Perspective Part 2 looking at components and their fluidities of connection
which got me considering these leftovers from the dream

Old Man Crow just wrote a new song!

We caught the train up to the Blue Mountains to see Flora Sensa and Captured by Silk Threads at Braemar Gallery in Springwood, then Cathy shouted a fabulous lunch at the Norman Lindsay Gallery followed by a delightful bush walk round the edge of the property
thank you beautiful friend!