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Issue 23 * 2016
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The hillscene is created in partnership with Burrinja
Check out our faceboook page for lots of yarny goodness.
Wonderful Winter @ Burrinja Louise Daniels, Unravelling 3
Louise Daniels: Unravelling 4 June – 3 July
Tania Pendlebury
A powerful charcoal drawing and aluminum sculpture series representing women dealing with the burden of change and uncertainty.
HIPPO! HIPPO! A BIG NEW MUSICAL ADVENTURE! Wed 29 June at Thurs 30 June Step into the enchanting world of a little girl and her large, imaginary and loveable-pink Hippopotamus with this heart-warming tale of friendship, imagination and discovery. Burrinja - Cnr Glenfern Rd & Matson Drive, Upwey ph: (03) 9754 8723 w: burrinja.org.au
Burrinja Circus Festival 2016 June 25 – 3 July Do something AMAZING this Winter. Delight and enthral the whole family with circus workshops, inspiring student shows and professional circus extravaganza!
burrinja - BUILDING COMMUNITY THROUGH ARTS
editor’s rave I thought Winter would never get here, since the Autumn has been so warm. Then it came all at once and now the chill has finally hit us. But it's not all about bracing ourselves for the cold. A few important events are coming up. Firstly, very soon we'll be celebrating the Winter solstice. In Belgrave we do that with the Lantern Parade, a festival that brings people from near and far and with it an atmosphere of light that can brighten any dark night, see our blog for more details about this years festival. Secondly, we'll be having an election soon, which gives us a chance to reflect on what is important to us for the next few years and beyond. To think about which of the parties has the best policies on the issues that matter to us personally and that affect us all in the wider community and beyond. The environment is one issue that I'm passionate about, so with this in mind I asked local and Greens senator, Samanatha Dunn, to write a piece that would help us contemplate the important issues when voting in the upcoming election. No matter what party you're thinking of voting for, now is the time to ask critical questions and express your opinion to your local candidate. There's no better time to get your message heard as policies and promises are being made to gain our votes. We've covered a few big issues this time around. From the key environmental issues for this election to the state of arts funding. An upcoming exhibition that reflects on the wounds left by the Maralinga nuclear testing and a rally
to try to keep our children Safe in Belgrave. But we've also got our usual mix of artists, new retail spaces and wonderful locals doing what they do best, getting involved. We welcome a new addition to our editorial team, Anna James who will be helping us edit our articles so they are beautifully polished and a pleasure to read. Our next issue we will have Jen Angel join us giving us a photographer's perspective and making our hillscene team a well rounded crew. Instead of hibernating this Winter and staying out of the cold. Get out amongst it and embrace everything the season has in store.
Editor/Designer Adriana Alvarez Cover Ken Taylor Editorial Committee Adriana Alvarez, Ross Farnell, Amy Middleton, Gareth Hart and Anna James Contributors Ken Taylor, Amy Middleton, Samantha Dunn, Tiffany Morris North, Lorelei Vashti , Sean Fennessy, Darren Clarke, Omi Milentijevic, Kerry Dawborn, Gareth Hart, Eric Sou, Luna Sol photography, Mel Berry, Jen Taylor, Cathy Ronalds and Adriana Alvarez facebook: The Hillscene www.hillscene.com.au blog: hillsceneblog.wordpress.com/ For submission and advertising enquiries email: hillscene@westnet.com.au Printed by Ferntree Print on Envirocare 100gsm recycled paper. Š Copyright 2016
The hillscene is created in partnership with Burrinja Proudly sponsored by Pho to by Adr iana Alva
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Photos by Amy Middleton and Adriana Alvarez
WOW! Great Cover Words by Adriana Alvarez Ken Taylor is a quiet and unassuming kind of guy. You’d never know from talking to him that he is a successful artist whose works are in high demand around the world. His illustration work is highly sought after and graces the gig posters of major bands like Pearl Jam, Florence and the Machine and Primus as well as movie posters and the odd skateboard, apparel or beer label design. And now we’re lucky enough to have one in our own backyard, an impressive lyrebird mural painted for End of the Line, greeting locals and tourists alike as they enter Belgrave. His work has an immediate impact. The line work and incredible detail is what draws you in, making you look deeper. It’s graphic style of black line work and minimal muted colours makes it rich and intense, and the design often containing art deco details adds a sophisticated tone.
Beyond that there’s the twist that seals the deal. Whether it’s putting a saddle on bird to make for a more interesting poster, a fox suspended and encircled in ivy or a woman floating in a partly submerged city. His dark, alternative images are counterbalanced with beautiful details to make his works “girlfriend proof ”. It’s the otherworldly nature of his realistic work that takes it to another level.
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“I enjoy the detail,” says Ken. “I like something that makes people double take a little bit and it doesn’t have to be a mind blowingly original idea or anything but even with the lyrebird thing for example, there’s nothing special about that thing but it’s just fricking humungus. The fact that you see a 45m long bird makes people double take anyway.”
Ken does the details so well, you can tell it’s a natural talent. As a young boy in Perth he was chosen from primary school to go to a special high school where art was taught instead of the usual elective subjects. Doing anything from traditional oil painting to sculpture to learning how to make paper, pottery or animation, all taught by teachers from around Australia who would come and do a semester with the kids. “We were doing life drawing classes in year 8. The sort of stuff you do when you go to Uni, we would do when we were 12 and 13. It was really great, so I guess from a really early age I knew what I wanted to do.”
He went on to do a design degree majoring in illustration and screen printing. After a few years of doing 'nothing much', he eventually became involved in the music and graffiti scene in Perth doing posters and flyers for friend’s bands. But things really started to take off when he moved to Melbourne in 2002 to pursue the idea of becoming more immersed in music. He met up with a fellow ex-Perth musician who had a “street press” style online zine. Together they put together a print version of it and through this got to meet people much higher up the chain in the Australian music industry. Eventually he went out on his own, shared an office with Major Box music, met up with other musicians and hooked up with Beyond the Pale posters in St Kilda. Through them he did one or two posters for international touring bands and it all took off from that point on.
Now he works almost exclusively on music and movie posters, to an open brief. Working away on his enormous Wacom pen-on-screen drawing tablet primarily in Illustrator, he’s able to create extremely precise and detailed work. He occasionally creates original works in pen and ink or paints in
acrylic when he does exhibitions with a group of international illustrators called thevacvvm. “It’s all fun stuff really I kind of keep that as a basic rule. I don’t want to do anything that I don’t enjoy.”
Ken has lived in Belgrave for around 2 years. He moved up here from Thornbury with his family after coming to visit a friend in the hills and soaking in the atmosphere. They came up the following weekend to look at two houses and ended up buying one. “And we’ve loved it ever since. I don’t think I would move back. You just get used to the nature and everyone knows everyone, it’s lovely. You just walk down the street and meet someone you can have a coffee with them or a beer or whatever, you just don’t get that in many other places. There’s a real sense of community here and it’s great.” Now Ken is part of that community. He’s already left an indelible mark, with his artwork now gracing the walls of our own little town. But don’t expect to hear him singing his own praises, this modest artist hasn’t even signed his work yet. www.instagram.com/kentaylorart kentaylor.com.au
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Vote for the environment Words by Samantha Dunn So how will the environment feature in the upcoming federal election? Sadly the environment rarely gets a look in but I know in the Dandenong Ranges (which forms part of Casey and Latrobe electorates) it’s a key issue for many people who live here. There’s the local issues; weeds, weeds and more weeds, but there’s the bigger issues too that need to be in the forefront of the minds of hills locals. Dangerous climate change poses the greatest threat to our world in human history and requires urgent local, national and global action. This is the critical decade for combating global warming and it should be part of the federal election dialogue. Sadly it receives very little airplay. For too long there’s been little differentiation on core environmental issues, there’s a bipartisan approach from the major parties on logging our native forests, digging up coal, building the biggest coal mine in the Southern Hemisphere, destroying our Great Barrier Reef and accepting millions of dollars in fossil fuel donations. Although there’s much rhetoric about ‘innovation’ and ‘new economy’, there’s been little delivered to transition to a clean-energy powered economy and correct the current trajectory of the Australian economy away from the dying, polluting industries of the past. It’s been terrible to hear the stories of coal seam gas/fracking coming from regional Australia, destroying communities, wrecking our land and our waterways. Bringing it back to a more local level, there’s the
Climate Guardians at Toolangi forest.
issue of logging in Victoria, we know that there’s a better way. An enormous amount of community work has been done to see the creation of the Great Forest National Park in the Central Highlands of Victoria. This would provide greater job opportunities to local economies and protect the forests for all their values. Currently Victoria’s precious Central Highlands forest is being logged at an alarming rate to produce Reflex copy paper. This logging threatens our clean water, air and carbon stores. It’s also pushed the Leadbeater’s Possum to the point it’s been declared critically endangered. The current federal arrangements give exemptions to the logging industry from Commonwealth laws to protect endangered species. Across the board there’s been a continued lack of action on logging native forests for so long. In a time of dangerous climate change we should be doing all we can to keep our forests standing, particularly our mountain ash forests, the most carbon dense in the world. Too often environmental issues get overlooked at election time but the reality is if our environment continues to be degraded and we don’t start to see real action on dangerous climate change then our future is very grim indeed. There’s a saying that’s been around for a long time - No jobs on a dead planet. It speaks volumes. At this election choose wisely, our future depends on it. I know I’ll be voting for the environment. Samantha Dunn MP - Greens Member for Eastern Metropolitan Region and proud member of the Dandenong Ranges community.
cafe tarts Tin Pan Alley - Upwey I’d only heard great things from my friends about Tin Pan Alley Foodsmiths, so I was eager to try out this new pizza joint. Located in the main street of Upwey, Tin Pan Alley has been operating since the start of the year. The menu basically consists of wood fired pizza and pasta. All pizzas are one size but enough for two people, unless you’re really hungry. We decided on a half and half pizza – half creole chicken with feta and sweet potato crisps, and half potato with crispy bacon and sour cream. Tin Pan Alley uses quality ingredients and you can really taste the difference. Almost everything is made onsite, from the dough and the sauce to the slicing of the meat and roasting capsicums. All reasonably priced under $20. Vegetarian, vegan and gluten free options are available too. Included on the menu are a few plainer pizzas that even the fussiest of kids would like, a Hawaiian style pizza and a margarita. The staff were friendly and welcoming and the décor is relaxed and homely. Its great to see the wood fired oven doing a workout in the corner. This time we were smart. Sharing a pizza allowed room for dessert! We chose the flourless chocolate cake and the orange and almond cake, both were delicious and we would recommend eating both together! This place gets really busy so getting there early or making a booking is the way to go. I'll definitely be taking the kids! (Editor) 60 Main Street, Upwey facebook - Tin Pan Alley Foodsmiths Tiffany Morris-North Tiffany is a passionate artist/crafter/ foodie living with her family in the beautiful Dandenong Ranges. Follow her adventures on her facebook page Tiffany Morris-North artist.
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Photography by Sean Fennessy
Jacky Winter Gardens By Amy Middleton and Lorelei Vashti When I visited Jacky Winter Gardens ( JWG) I experienced one of those moments when my inner aesthete took charge of my senses and blocked out any interference from the ‘real’ world – it was soothing sensory bliss! Over a cuppa, Lorelei Vashti shared the Jacky Winter Gardens story with me. How did the idea for the JWG come to be?
Jacky Winter is the name of a Native Australian Robin, and also the namesake of The Jacky Winter Group, one of Australia’s leading creative Production and Representation Agencies. JWG was a natural extension of the work we do with our clients and artists in terms of blending art and commerce. In addition to looking for an additional source of income as we started our family, we really wanted to create a special place where we could both showcase the work done by our represented artists in a new way, while at the same time contribute to the growing tourism industry in the area while also supporting artists in commercial practices. Who are the creative souls behind JWG?
Apart from all of the amazing Jacky Winter staff and artists, Jeremy Wortsman and myself, Lorelei Vashti, do most of the hands on work. Jeremy is the director of The Jacky Winter Group, and I am a writer. We have a two-year-old daughter Winifred,
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and a five year old Italian Greyhound named Levi. We both moved to Selby from Melbourne, around four years ago. Please tell us a little bit about why you chose Belgrave to be the home town for JWG?
We’ve been living in the hills since 2012, and we love it. We want other people to see how beautiful it is, too! When we visited this property for sale in late 2014, the gorgeous and expansive gardens and peaceful atmosphere immediately struck us as incredibly special. We could easily see it becoming a perfect private creative retreat for visitors from the city who want to recharge their batteries. As for its location in Belgrave, that’s a no-brainer. We love this town! Not only is there Puffing Billy and lots of cafes within walking distance, but it’s also the home of our beloved Cameo Cinemas. And yet, despite all these modern conveniences, when you’re at Jacky Winter Gardens itself you feel like you’re nestled in a rainforest. Belgrave is a treasure because, here, you really can have it all! Tell us a little bit about the design choices and renovation process of the JWG?
JWG was restored and renovated by the brilliant Sarah Trotter of Hearth Studio. The moment she first stepped on to the property she could see a vision for it, and her beautiful references to the
surrounding environment are one of our favourite things about the design. We had always envisaged JWG to showcase the work of the artists Jacky Winter represents, and we were so lucky to draw on such a talented and diverse range of artists to help feather our nest. Some of our favourite works include the front door glass panel which is inlaid in three types of gold foil and abalone by signpainter Will Lynes, or the screen printed map of the garden that each guest receives a copy of by James Gulliver Hancock, or the paper lampshades by Paper Engineer Benja Harney. The list goes on and on, but fortunately there is a comprehensive guide on the site that details all the work. Why did you decide to (generously) offer an Artistin-Residence program?
Jeremy and I have both benefited over the years from being part of a supportive creative community, and we wanted to give something back. We can, so why wouldn’t we! We began our monthly artist-in-residence program in November last year, and it has been such a joy to watch firsthand artists we admire use the space in their own individual way to focus on completing, starting or working on a commercial project, as well as be introduced to new and emerging practitioners. We are set up to support nine creatives annually, and individuals from any creative field are welcome to apply. If successful, they’ll receive a week’s stay at JWG to dedicate to their practice. Artists support all of us with their inspiring, challenging and beautiful work—we have to support them back! Is it possible to stay a JWG if you aren't an artist?
Of course! The Dandenong Ranges has a rich history of tourism and B&Bs, and JWG is a private guesthouse and creative retreat, ideally for two adults but it can sleep up to five guests. It can be booked all year round (except during the weeks of the artist residencies). During their stay, guests have the entire property to themselves: the gardens, the house and the studio. We want our guests to feel like it’s their own home away from home, and to come back and enjoy it every season. The magical way the house interacts with the environment is what originally drew us to it, and we hope our guests will feel the same. We also hope some guests will use the studio and other spaces in the house to be inspired to reconnect with their own creativity. jackywintergardens.com
Safe in Belgrave =Proud of Belgrave Words by Amy Middleton On March 16th, a group of volunteers who identify as the Safe in Belgrave team staged a street party in Belgrave, responding to the public rally held by the Australian Christian party against the Safe Schools program. Safe Schools is rolled out by the Safe Schools Coalition, a national coalition of organisations and schools working together to create safe and inclusive school environments for same-sex attracted, intersex and gender diverse students, staff and families1. The Safe in Belgrave team is made up of dedicated, passionate and proud Hills residents who come from all walks of life, differing backgrounds, various age groups and belief systems. The street party included the involvement of local traders and community members decorating the street in rainbow banners, flags, and rainbow bunting, while Sooki Lounge hosted a disco that spilled out onto the footpath, with tunes like ‘I will Survive’, ‘YMCA’ and ‘It’s Raining Men’ emanating from the venue’s sound system. According to the Australian Christians party website, they also believe in having a genuinely safe environment for all children, but only through the implementation of an inclusive anti-bullying program. Vickie Janson, the Victorian Senate candidate for the political party Australian Christians, states that Safe Schools is presented as an anti-bullying program and therefore
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sounds like a very good thing. However, she considers that it neglects the main reasons children are bullied, instead placing all of its emphasis on sexuality2. In an interview with Ms Janson, she referred to a Canadian survey of 105,000 students which found that children are predominately bullied due to appearance or body image; those most targeted were fat, thin, tall, short, red-haired, beautiful, ugly, unfashionably dressed – or who look different from the norm in any other way3. Ms Jansen also criticises the program for introducing primary school aged students to sexual concepts that are not age appropriate. She said, “Australian Christians is committed to protect children from early sexualisation and therefore believes it is in the best interest of children to recognise them primarily as human beings, rather than focusing on and reducing them to sexual beings.” The street party organised by Safe in Belgrave was a response to the Australian Christian rally held on the same day. The rally by the Australian Christian party aimed to present a petition to James Merlino MP, the Victorian Education Minister, whose office is located in Belgrave. While the majority of participants were not from the Hills community, one of the speakers was a local mum, so the rally was not unrepresentative. Although there was a clear polarisation of
Kathleen Snowball Campaign Spokesperson at the SIB rally
Lana Rice (left) and Gracy Dixon speaking at the rally
Photos by Darren Clarke
perspectives being voiced by the groups present on March 16th, one might suggest that it was a great testament to the Belgrave community that both sides of the discussion could be voiced without aggressive retaliation, particularly when dealing with a subject that has gained such contracting media attention, has multiple political undercurrents and also impacts the daily lives of so many individuals. Has the Belgrave community been able to nurture a culture where multiple views and perspectives can find a platform, where both freedom of speech and a celebration of individuality can take place simultaneously? Kathleen Snowball, campaign spokesperson for Safe in Belgrave, agreed with this sentiment, noting that it was an intentional decision to respond to the rally with grace and dignity. She said, “Belgrave is one of the few places where you can be whoever you want to be, so our message was not about denying a group the right to protest. We chose to focus on a positive message of celebrating who we are.” Ms Janson also reflected on the event, stating, “We were very grateful to the local community for their genuine tolerance and we engaged in many civil discussions with locals, which we appreciated. We are very aware there are people of goodwill on both sides of this debate.” The street party was a fun and witty response to the rally, giving Safe in Belgrave an enormous amount of traction. Overwhelmingly positive attention on social media and Twitter saw the
story reach over 500,000 Facebook users alone within twenty-four hours. A number of members of the Safe in Belgrave team were invited to meet Mr Merlino, who expressed his support for the group. He reiterated the importance of the Safe Schools program continuing in schools, and Labor's promise for the outlay of the program to continue in Victoria with or without federal funding. Mr Merlino said, “I am very proud of how the Belgrave community has come together to show its support for the Safe Schools Coalition. You represent the many thousands of Victorians who have rallied in support of our kids – whether in the streets, online or in writing.” While the event in March was the catalyst for the formation of the Safe in Belgrave team, the ripple effect throughout the community has been the galvanising force behind the group. It has inspired them to continue working to celebrate the uniqueness of Belgrave and provide a safe space for all individuals to be individuals. Their message to us is to keep talking to each other, and to find ways to respect and celebrate our diversity. Peta Freeman, the Media and Communications representative from Safe in Belgrave seemed to sum it up best when she said, “It is the content of a person’s soul that really counts. The overwhelmingly positive response and support that we’ve received from the local community has been incredible. It’s a testament to the warm and welcoming, big hearted and kind nature of Hills residents.”
1. www.safeschoolscoalition.org.au/ 2. www.australianchristians.com.au/news/stop-safe- schools-in- victoria/ 3. www.tdsb.on.ca/Portals/0/AboutUs/Research/2006StudentCensusSystemOverview1.pdf
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In a while Words by Adriana Alvarez The silence in the room was palpable as Miller and her band stepped onto the stage to play their gig. It was as if the audience was already anticipating the beautiful lyrical qualities of Miller’s music and voice, hanging on her every word. Miller herself noted how great it was to have an audience that was ‘really listening’ as we eagerly soaked up her stories and easy banter with the band at the opening of the Skylark Room last Friday night. Miller, a twenty-five year old singersongwriter, has been launching her new album In a While all week, doing stints with Claire Bowditch on ABC radio and on local station 3MDR. The title track from the album is currently number two on the triple j Unearthed roots chart. It’s a dreamy, melancholy track which draws you in with beautiful distinctive vocals and understated music. The rest of the album has a similar
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feel; emotive, vulnerable folk ballads with stories that resonate with the deepest part of your soul. Last year, after a hiatus, Miller made the decision to become a bit more serious about her music. "I’ve been playing for ten years. I did a lot of pub gigs and stuff like that and it got a bit tiring and then I just pretty much gave up for a period of time. But then I always bring myself back to it because I love to play and I love to write." Going part-time at her job gave Miller more time for music, allowing her to write the album in just a couple of months. Collaborating on the writing process was Miller’s partner, Hayley. Miller loved the way they worked together; Hayley is a writer, so crafting the lyrics together was something
that ‘just fell into place’. "The thing about my music, it’s very… I don’t want to say simple and mean it in a bad way, but a lot of my music is very stripped back. Obviously it’s written with a couple of chords and a guitar and I’m very much focused on lyrics. So for me the most important thing about collaborating with others is to make sure that people understand where the music is centred." The album was recorded in February at Hummingbird Studios by Tristan Bird, with some help from Miller’s old bandmates: Tom Bensley on bass and Jack Kirne on keyboards. Hayley or ‘Hay Possum’ also plays percussion for them when they perform. Earlier this year, Miller featured at the Belgrave Buskers Festival and won the open age category for over 21s. The festival is a favourite of hers, so when she saw it was coming up she jumped on board.
“I thought I would love to be a part of that because I love Belgrave, I love what the Buskers festival is about. It’s about giving young people – all kinds of musicians – a chance to share their stuff on the streets to a really great audience and a great culture of people. Belgrave is just full of all different kinds of people and colour… and to just stand there and play your music and have people walk past and smile it’s just really a kind of inviting place. It’s about fostering that talent and creating that platform and literally saying you know we have music on our streets, come and listen. Come and be a part of this community.” We’ll happily listen to your lyrical musings and embrace you as part of this community whenever you like, Miller. To listen to Miller’s music visit www.millermusic.com.au or follow her on www.facebook.com/themillerfolk and www.instagram.com/themillerfolk
custom framing & Fine art printing Museum Quality Archival Materials High Resolution Digital Reproduction
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The Stories that Must Be Told Words by Amy Middleton
While we don’t always have the means to do huge things at Burrinja, there are times when a challenge set by one member of staff is met by the sheer determination and curiosity of another. An exhibition titled Black Mist Burnt Country is the result of one such fusion, which has resulted in an ambitious project that Burrinja is incredibly proud of. Central to Black Mist Burnt Country is the commitment to acknowledge and reveal the lived experiences of the individuals affected by the British atomic test series in Australia in the early 1950s. Secondary to this is the ongoing relevance of these events within a contemporary context. The exhibition includes artworks by Indigenous and non-Indigenous contemporary artists, and will be launched in September this year at SH Ervin Gallery in Sydney, marking the sixtieth anniversary of the first atomic test at Maralinga on September 27th 1956. The test was examining one of twelve atomic devices to be trialled from 1952 to 1957 at Montebello Islands off the coast of Western Australia and at Emu Junction and Maralinga in South Australia. The exhibition is scheduled to then tour ten metropolitan and regional public galleries in five states until 2019, when the tour will conclude at Burrinja. In an interview with JD Mittmann, Curator and Manager of Collections at Burrinja, I was given insight into the origins of the project. It was initiated four years ago when Ross Farnell, Director of Burrinja, suggested developing a touring exhibition. JD’s personal interest in a particular work – an item of the Neil McLeod Gift Collection by Jonathan Kumintjara
Brown, titled Maralinga Before the Atomic Test – was the starting point for the project. Extensive and ongoing research includes five trips to visit and consult with the Anangu/Pitjantjatjara communities in Yalata and Oak Valley. This research has revealed a dark and untold part of Australian history that continues to affect both the environment and Indigenous communities today. Maralinga Before the Atomic Test was one of a series of works by Brown that expressed the personal impact the tests had on his life, and gives context to the confronting nature of his artwork. After being removed from his parents at Ooldea Mission at a very early age, he grew up with foster parents in Melbourne and Sydney. It was not until he was in his late twenties that he found his parents at Yalata, South Australia, and learnt about the dislocation of his people and the destruction of the traditional lands by atomic testing. Although he was unable to communicate with his family – as he did not speak the Pitjantjatjara language – he discovered a brother he didn’t know about. The revelation was traumatic, and he turned to art for relief and to tell the Maralinga story. JD extended his research to other Indigenous and non-Indigenous artists to question
what commentary contemporary artists have created on the subject. Lin Onus, an Upwey Koori artist, was one of the first artists to make a direct response to Maralinga with a life-sized sculpture of a woman shielding a young child from the nuclear blast. JD described the sculpture as being ‘very emotive – there is anger, but also resilience in the gesture of the woman facing the blast front on’. The exhibition includes the work of over thirty artists, each sharing their voice and their story. It was only through discussion with JD that I began to understand the underpinning drive that has sustained him through the duration of this project, and why he considers exhibitions like Black Mist Burnt Country to be of vital importance. It is the stories of people like Brown that should implore us to question our current political climate, and make a stand accordingly. JD states "We live in a global world. It scares me to see how leisurely we address nuclear issues in politics and policy in Australia. We have heard that the Federal Government has settled on a nuclear waste dump in the Flinders Ranges, and the South Australian government is promoting a dump in Australia for high level nuclear waste from across the world." With a background in journalism – and having grown up in Germany, where critical debate is part of the culture – JD is a big supporter of people having a voice to steer the decisions made by our leaders. "Whether we are considering issues on refugees or climate change or uranium, we need more of a public push to say what we do or don’t want. Many world issues are complex, but we need to start somewhere," says JD. Art is a highly effective vehicle for information and to build awareness. It has the ability to make people alert, and at times needs to be confrontational in order to provoke a response.
Top: Jonathan Brown with his artwork. Above: Cuartor JD Mittman
"It is rewarding when you work on something that beyond its aesthetic qualities has meaning," says JD. "I find it important to highlight that past events have consequences and legacies. They often lead into decisions about today – for our future." Black Mist Burnt Country addresses contemporary issues in a subtle way. It shares a part of Australian history that is not well known and has not been dealt with properly. While this exhibition started as a simple idea, it was the leadership at Burrinja that refused to be intimidated by its breadth, significance and the magnitude of work required to bring the project to fruition. "We are part of the hills community, which has a level of social engagement and elements of activism which led to Burrinja’s existence in the first place. In some ways what we are doing here is not too far-fetched in terms of Burrinja’s identity; it is something that is still very much related." For more information, visit www.blackmistburntcountry.com.au
Paul Ogier "One Tree"
Artisans of Leather Words by Omi Milentijevic My lofty desire for a creative work nest in the Hills was excited by a conversation with temono designer and maker Arwen last year. She shared a dreamy tale of a place with ethical practices and a sound environmental way of being. On entering this wild sphere of artisans crafting creations with such integrity, passion and precision the warp and weft of me was woven anew. I knew this rare realm was home. Lovingly welcomed to the hearth of leather crafters Jarren, Toshi and Arwen I watched and worked wide-eyed at the stream of bags, satchels, wallets, purses, belts, jewellery, cushions, accessories and homewares they fashioned with fastidious attention to detail. Every stitch is analysed, every hide perused for blemishes, every fastening checked, every rivet tested…the level of care is inspiring to witness and learn. There is refined beauty in each element of the work offered for the growing cult of temono collectors. All that is shared from the temono workshop holds an ineffable sense of the special and the sacred.
Flooded with messages spawned by the media machine selling us permeable trends and disposable products, we ache for the elusive ‘Authentic’. Artefacts that evoke a feeling of connection with the love that brought them into being implicitly hold stories of makers who honour their craft. Since the inception of temono in Tokyo twelve years ago, Jarren and Toshi have toiled relentlessly to pursue their vision of a working environment where creative collaboration feeds conscious production. Jarren shared a reflection on temono’s place in our culture, “Manufacturing in its traditional form cannot exist in the modern Australian economic climate, so by revisiting the manufacturing business model and its failures; talented, creative people can once again have a career in Australia. Our goal is to have a like-minded group of professionals, the best in the field, working together making the impossible possible again. Artisans who believe that by being connected to production, the customer experience
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is personal and their creations are not thrown away with last season’s trash. Instead they are admired and treasured for years to come.”
Responses from the people who explore the wares of temono echo this primal urge for quality leathergoods made with care. Appreciative sighs from those encountering the products in store blend with the cries of victory when a piece reaches fruition in the workshop out the back. Though a windowed doorway divides the spaces, a tangible relationship exists between artisan and admirer in the newly opened temono retail mecca in Tecoma. The collective of makers recently shifted when CJ of Limerence and End of the Line fame entered our midst. Our family now feels complete - Jarren the Creator, Toshi the Visionary, Arwen the Guide, CJ the Warrior and myself, the Scribe. There is real excitement when an assemblage of craftspeople gathers, intuitively understanding how each contributes to the whole. CJ shared her experience with me,
“I feel so honoured to have been welcomed into this highly skilled, dynamic team that blows me away everyday with their wealth of knowledge and passion. Temono has such a unique way of using traditional leather working techniques to create quality products that are both contemporary and timeless. I couldn't be more proud to be learning these traditions and being a part of the temono story.”
Like CJ, the sense that I am a part of a world where each day I am being shown how to create in a way that harks back to days of yore fills me with ensouled satisfaction. Unlearning the modern as I step into methods used for eons is a privilege. Here we find the poetics of time-honoured handcrafting celebrated by our diverse array of talented folk tinkering away in the new temono space.
Visit us at shop 5, 1563 Burwood Highway, Tecoma. www.temono.com.au
Design for living Words by Kerry Dawborn
By 9:50am on April 16th, six people had arrived for the housing forum I had organised with Mary Farrow, for the Centre of Resilience at Emerald Community House in Emerald. Three were presenters; the remaining were people I knew. The presenters surveyed the empty hall with polite but slightly nervous expressions. I prayed… About five minutes later, at 9.55, the hall was full. People continued to trickle in as we began, until there were participants swinging legs off the cupboards at the rear of the hall, or making themselves comfortable on the floor at the front. Parents with small children parked themselves near the outside door for easy access to the yard outside. I sighed with relief. Mary and I had begun talking about housing issues over a year earlier. Housing affordability is plummeting, housing stress is spiralling, and society’s definition of homelessness and its demographic is expanding beyond single men to include young people, couch surfing grandmothers and women with children sleeping in cars. We wanted to provide an opportunity for the community to engage powerfully with these issues, make connections and develop strategies for action. We were also aware of Australia’s growing interest in small housing, tiny housing and tiny houses on
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wheels as practical, accessible and potentially empowering responses. So in this first of three Design for Living Forums, we focused on small and tiny houses as a starting point to kick off the conversation. Our first presenter was Sally Wills from Small Change Design – a Melbourne-based design and building company focusing on small dwellings. Sally is an advocate for changes to the granny flat rules, aiming to bring Victoria in line with other states in allowing permanent secondary dwellings of up to 60m2 to share titles with larger houses on properties of appropriate size. Currently in Victoria, granny flats may only be used for those who are economically or medically dependent on the main residents, and are supposed to be removed when that person moves on. This rule means that Victorian granny flats are generally lower quality, transportable buildings that are not supposed to be rented to non-dependants, so they provide only a limited response to housing issues. Next to speak was Darren Hughes, founder of the Tiny Houses Australia facebook page, which provides support and networking to those interested in tiny houses, especially tiny houses on wheels (TOWs). Darren explained that houses built on trailers as ‘vehicles’ do not attract the same regulatory constraints as
Tiny House advocate Darren Hughes explaining tiny houses on wheels
L to R: example of a tiny house on wheels, secondary dwelling by Soft Loud House Architects traditional houses, and are treated much the same as caravans or other moveable dwellings. They provide a flexible option as they can be parked where it would not be possible to have other dwellings. They are also usually more comfortable than caravans, being built much like a traditional house. TOWs currently fall between the planning regulation cracks, meaning that their viability depends on finding a place to park where they will not attract negative attention from regulators. Alvyn Williams from Soft Loud House Architects in Warburton explored the basic needs that housing fulfils, reaching beyond shelter and safety to personal fulfilment and community. He discussed the potential of small and tiny houses, as well as alternative housing configurations, to help meet these needs creatively, without crippling debt or inefficient land and resource use. We wrapped up the forum in groups, to reflect and give feedback to assist in developing the
focus for the next two forums, to be held in the following twelve months. The groups identified what we learned from the presenters, what we need to know more about, and the biggest obstacles we face in addressing housing issues. The enthusiasm and engagement of participants had the hall buzzing with the opportunities and challenges. People wanted to know more about everything: living off the grid, multiple occupancy arrangements, insurance and bank loans for tiny houses, shifting negative cultural perceptions, promoting changes in legislation, and more. Suggestions were made for future workshops on construction, planning regulations and to hear from others who have travelled the path. We look forward to future sessions where our community can engage so thoughtfully with the housing issues that concern them. For more information go to: Design for Living Housing Forums on Facebook or email designforlivingforums@gmail.com
Chi Generation Tai Chi
Tai Chi & Qigong Morning & Evening Classes Belgrave Ferntree Gully Silvan Upwey su@chigeneration.com.au
Su 0437 949 919
www.chigeneration.com.au
Photo courtesy of Yarra Ranges Council
3D Arts’ Movie Mayhem Flashmob @ Celebrate Mooroolbark Festival
Dance Here! Words by Gareth Hart
After fifteen years of dance practice I have never encountered a program like Dance Here anywhere in Australia. A program that calls upon its community for ideas, supports those ideas with marketing and production, pays artists fairly, and does so on such an immense scale is surely the only of its kind in Australia. The Dance Here program is part of Dance Tracks, a three-year Yarra Ranges Council initiative in partnership with Ausdance Victoria and Burrinja Cultural Centre, aiming to increase awareness and participation within the dance sphere. The creatively explosive community we love here in the Yarra Ranges has again dished up an exciting program of events. The council asked the community for projects that featured unexpected moves in unexpected places by unexpected people. Through this provocation, a month-long dance extravaganza featuring a diverse range of dance and movement workshops, performances and pop-up events was curated. The events occurred in outdoor, indoor and the in-between spaces of the Yarra Ranges. Community, arts, culture and environment colliding in one project?
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How very Hillscene indeed! Between March 15th and April 15th, thirtynine community driven dance projects took place featuring over fifty artists. Collectively, the project saw thousands of people dancing throughout the Ranges in parks, streets, festivals, buses, schools, community halls, dance studios, museums, cafes, libraries and local arts centres. Some highlights of the program include local dance champion Viv Rogis, and her curation and coordination of ‘Circling the Brink, convergence 2’ at TarraWarra Museum of Art; Gretel Taylor’s video works, ‘Someone Somewhere Dancing Passionately’ featuring elderly residents dancing in their favourite places; flash mobs; performances; workshops and more – completely taking every inch of Yarra Ranges by surprise! Laurie Pradier, a participant of a Dance Here flash mobs, reflected quite poignantly on his experience. I have felt so much more connected to this community by participating in these dance events. I am discovering a wealth of creative, passionate, artistic, positive and spiritual young people, strengthening my faith in humanity and the future.
Photos by Luna Sol Photography Left to right: Viva Dance’s Argentine Tango @ Sassi Studios, Dancesport Kingdom’s Biggest Progressive Dance @ Melba Park and Art Ranges Network’s Dancing The Great Divide @ Birdsland Reserve.
By supporting, producing and exposing the art of dance in all of its various forms (performance, workshops, installations, film and participatory events), we can begin to understand the value that such a positive, healthy art form has for a community. It can connect community members from disparate walks of life in a shared love of movement. It can empower creative communities to work, and walk, together in the name of art. It can get people moving and dancing for pure enjoyment without the selfcriticism of merit based dance training. And, most importantly, it can inspire people to be more aware of their embodied selves. Yarra Ranges Council Mayor, Jason Callanan, spoke with pride about the Dance Here program. Dance Here celebrated the Yarra Ranges as an iconic destination for arts and culture. The project showcased the work of local artists and increased free access to arts and cultural activities for residents and visitors. Dance Here
successfully encouraged community wellbeing in a fun and upbeat way, while bringing people together and celebrating significant locations across the region. I must admit, when the Mayor, artists, project participants, and the community all agree, I believe we have discovered something very powerful, potent and exciting indeed. I wear many hats. I write for the Hillscene, I am the director of a local arts festival, I work in community arts development, and I have interests in space design and boutique wine. But my oldest love – choreography – sometimes finds it hard to raise its head publicly in my local sphere. I was fortunate enough to be involved in three distinct Dance Here projects, which have continued to expand my understanding of my own choreographic practice. What a joy to have such a dynamic, inclusive, supportive and progressive program right here on our doorstep.
an eclectic mix of local culture experience a ‘hillscene’ moment magazine & blog www.hillscene.com.au
www.hillsceneblog.wordpress.com
What happened? Words by Gareth Hart
On Friday 13th of May, an earthquake of a magnitude never before felt in my lifetime hit Australia. But you could not feel this through your body or on a Richter-scale. This was felt in the hearts, minds and souls of anyone involved in the Arts industry.
The earthquake was measured to an amount of 65: the number of Arts Organisations who were no longer to receive operational funding from the Australia Council for the Arts, the Australian Government’s peak funding body. The number 65 represents 35% of previously funded organizations who have not received support this funding round. Coupled with the fact that the next round for multi-year funding will not be until 2019, many of these now defunded organizations face bleak futures, even closure. In 2015 the Australia Council, who administers the majority of governmental funding in Australia, had over $70million dollars removed from their total distribution pool. Much of this has been redirected to a Ministerial Arts Fund called ‘Catalyst’ by our previous “Arts Minister” George Brandis. Over time, the arts industry has crafted a peer-reviewed, transparent, arms-length funding system, and Catalyst is quite the opposite of this. Many well-established companies with track records of creating excellent art of social value are now facing grim prospects. These organisations include Next Wave Festival, Arena Theatre Company, Kage Physical Theatre, NAVA, Express Media, Meanjin and many more. The responsibility for cultural advancement and an enriching Australian Arts climate now lies with far fewer organizations that it previously did. One could be forgiven for
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assuming that less Arts Organisations in the industry starts to tread a frightening path towards more homogeny and less diversity within our cultural sphere. Sounding a death knell for works that push the boundaries of our ideas and culture. The major saving grace of these bleak decisions has been that a record number of Indigenous Organisations and Regional Organisations have been funded, many for the first time. This, in itself, is highly worthy of praise and celebration. The silver lining?
I cannot help but remember when Tony Abbott was voted into power in this Country, it instigated an overwhelmingly active political discourse that I witnessed tear through Australia in protest of the harsh, anti humanitarian and antiquated policies and beliefs he held. It was the only silver lining I could see, that Australia was more politically active than I had ever witnessed. Like then, I am starting to see some small strands of hope emerge. Never before have I seen the Arts industry stand so strong, unanimously holding hands in loud and proud support of the Arts. I am witnessing a truly resilient community who refuse to lay down, move to Europe or simply stop making work. Proportionately, the Arts are subsidised less than mining, farming and manufacturing, and yet attract a 700% return on investment. In 2015, the Australia Council’s ‘Arts Nation’ report* outlined Government subsidy of the Creative Industries at a $7billion investment, with an economic impact of $50billion annually. Food for thought. As artists we get up, we make work, we
Photo by Eric Sou
do so in under-resourced and poorly supported capacities and we refuse to give up, because we know this is bigger than us. Artists understand that cultural value is not quantifiable the same way corporations assess their outcomes (even considering the statistics above). We are reminded, time and time again, about the value that the creative industries play in the lives of the community. We know for a fact that the creative industries aid in the development of progressive thought, empathetic social values, socially-conscious governance and more cohesive communities. Imagine feeling the weight of that, every time a musician strikes an A-flat, a dancer throws a leg into the air or a visual artist makes a mark with a pen. I am ranting now, but it is a rant that has been building for some time, indeed over a decade as I come to terms with the life choice I made to pursue a more altruistic,
and ultimately more rewarding career. This article is only a small part of a large National debate and conversation, concerning how we will create supportive and nurturing environments for our industry for now and into the future. In short? I implore you to take up arms in non-violent protest. Go see more art. Make more art. Talk more art. Tell an artist that you value what they do. Watch the credits of the next movie right to the end. Write to Fesderal Minister for the Arts Mitch Fifield and tell him that you value the Arts. Clap a little louder at the Theatre. Give an extra donation to the next busker you see on the street. Subscribe to a local literary journal. Read the Arts policies of the major political parties and decide if you want that in our future. Share this article online. #ausvotesarts
*This report is available online through www.australiacouncil.gov.au
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Photos courtesy of Mel Berry
Local Gems Words by Amy Middleton and Mel Berry Am I alone in experiencing ‘drop in the ocean’ insecurities?
I often wonder how much difference I am actually making when I compost my green waste, or recycle yet another loo roll. I will even substitute the aesthetic pleasure of an Art Series coffee cup for my ugly old Bosch-sponsored KeepCup. But what effect do these small decisions have on our world? If you have ever had the same doubts, then the Berry-Smiths are here to remind you why every action we take to care for our environment is one that matters! The Berry-Smiths live together on their small family farm, striving for a more environmental way of living. Committed to making the world a better place for their young son, the Berry-Smiths are experiencing the joy of creating a sustainable home and thriving as they adapt to the farming lifestyle. First of all, who are the Berry-Smiths?
Mel Berry originates from Mareeba, Queensland; Tim Smith is an Upwey boy; and the latest trio member is our boy, Jack Berry-Smith.
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Please tell us a little bit about the Berry-Smith farm, and why you chose the spot in Avonsleigh to make your home.
When looking for a family home, we fell in love with the little black farmhouse (circa 1936) with its grand trees and views, and all the little outhouses that each have their own unique character. We wanted a farm where we could have adventures as a family: climb trees, camp under the stars, grow a veggie garden and orchard, and have four legged friends to tend and care for.
You guys are pretty awesome at turning lemons into lemonade – would you share your story about the powerline company? We hadn’t even unpacked our moving boxes when we found out that numerous trees on our property frontage were to be lopped for the protection of the powerlines. It was sad news to us and we felt sick in our hearts to see them go; some trees were 80—150 years old. After consultation with the power company and local council we came to what we all felt was a good outcome. The trees would not just be reduced to firewood and mulch, instead we wanted any good timber to be left
in long lengths with the hope that we would mill the timber and use it to its full potential. Two years later and after four days of milling, with some trees yielding a 90% salvage, we had over 60 posts and 180 rails – enough for a post and rail fence that would extend down our driveway and along one paddock. We also milled some long solid slabs, which we hope to one-day craft into beautiful furniture pieces.
Many hands had helped along the way, but the fence finally stood proud when Tim, Dave (Mel’s Dad) and Marco (Mel’s Brother-in-law) came to visit for a ‘holiday’ from Queensland. Their combined skill and fierce determination to see the job completed before flying back North saw the fence constructed in less than a week. It was so satisfying to see the timber find its home again on the property in this new shape.
During the consultation process with the power company and local council, an agreement was also made to revegetate part of the property. We had a private report done by the Southern Dandenong Community Nursery at Birdsland Reserve and Cardinia Shire Council. Based on their calculations of the tree age and species they were able to work out that 400—500 native indigenous plants would be required to replace the trees that had been lopped. We then sought the expertise of the Friends of the Helmeted Honeyeater Community Nursery (FOHH), who assisted us in plant selection that was genetically matched and suited to our farm location in Avonsleigh. We also went on tree planting days with FOHH to get the skills and knowledge needed to do our own planting day. With the help of friends and family, a revegetation corridor has been planted, and it is thriving. What are the future plans for the Berry-Smith farm? The next adventure we look to embark on is setting up our Flow Hive bee family. We just completed a fantastic beekeepers course run by The Beekeepers Club, which included a special session with Flow Hive Inventor, Stuart Anderson. We aren’t rushing into a honey empire, but like to take a ‘smell the flowers’ approach, soaking up the advice and knowledge of our passionate beekeeping friends. We hope to keep expanding our garden, planting yummy bee foods, winter flowers, fruits and veggies and getting creative in our landscape design. We hope to get a number of water tanks operating this year, and dream of creating our own energy with solar or wind power one day.
Why have you chosen these sustainable avenues for creating your home and caring for your property?
We have a long way to go to call ourselves environmental warriors but that doesn’t stop us from reducing our waste, recycling our soft plastics, shopping locally, choosing pre-loved over brand new and predominately using washable nappies and wipes for Jack. There is so much more we want to do to reduce our impact on the environment so that Jack doesn’t have to live in our wasteland. I guess that’s what makes us hopeful about giving Jack a farm life; he can experience firsthand bees, plants, animals, and our little family all working together to create a harmonious existence.
Photos courtesy of PEG
Platypus challenge
Words by Jen Taylor
Platypus are fascinating and curious creatures. They don’t obey any of the evolutionary rules - they’re mammals but they lay eggs, they have no natural predators but they have venom, and they have fur but webbed feet and a bill. Most excitingly they live in the creeks throughout the Dandenong Ranges. In fact, Monbulk Creek is home to the world’s oldest platypus - he’s 22 years old, and he’s called Wild Bill. Platypus Education Group was born last year, thanks to a grant from Yarra Ranges Council, to educate, engage and excite children, and the community, about these unusual animals. Platypus Education Group, or PEG, has been running free incursions for all the local primary schools since January. Students from Prep to Year 7 can learn about everything that makes platypus so unique. More importantly, they can learn about how to protect them. Like most animals, the biggest threat to them is litter, specifically plastic and elastic bands/rings. Hair ties, milk bottle seals, elastic bands and more are repeatedly
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dropped or discarded on the ground and in parks every day. These then get washed into the creeks either directly or via the stormwater drains, where they risk getting tangled around a platypus. Which then leads to cuts, infections, and even strangulation. So The Elastic Band Challenge was created. Every school PEG visits is given one month to collect as many bands and rings as possible - these can be picked up from the ground, or taken off bottles or jars at home. But every single one must be cut. If they are not snipped they still pose a threat to the platypus. The school that collects the most bands will be announced at the end of the year. The prize? The winning school will become the Official Adopter & Protector of Wild Bill. Will you take up the Challenge? Will you do this simple act that will directly benefit our local platypus friends? Will you Spot it. Snip it. Bin it?! For more information on platypus, the Elastic Band Challenge or PEG visit www.platypuseducation.com
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Photo by Cathy Ronalds Photography, www.cathyronaldsphotography.com
Artist Shelley Krycer’s practice includes painting, drawing, installation, collaboration, design and object making including basket weaving and jewellery. www.shelleykrycer.com
Work in Progress