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Glenelg Shire Council Cultural Collection
Drawing - Drawing, botanical, Collin Elwyn Woolcock, Calocephalus brownii (Cushion Plant). Calocephalus citreus (Lemon Beauty-Heads), 1985
Part of "Woolcock Gallery Collection" exhibition 1989, CEMA.Two flowering plant studies. On left is a grey-green foliaged plant with small leaves growing close to the stem. Multiple stems end in single rounded flowers with many petals. On the left of this study are two details of a florette with many petals. One the right of this study is a detail of a cluster of leaves. The study on the right of page contains multiple stems with narrow, long grey leaves on stems ending with a single rounded yellow flower. To the lower left of this study is a detail of a yellow flower stem.Front: Calocephalus brownii (Cushion Bush). " citreus (Lemon Beauty-heads) (lower left) (pencil) CEW/85 (base of flower, lower left) (coloured pencil) CEWoolcock (lower right, signature) (pencil) Back: 16 (upper left) (pen) -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, botanical, Collin Elwyn Woolcock, Bossiaea cordigera (Wiry Bossiaea), n.d
Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Drawings of a plant stem with detailed views of flowers and leaves. Upper left is a top view of a yellow and red flower, labled "b1". Below this is a study of two heart-shaped, dark green leaves ("c"). In centre is a setm view with many-leafed stems coming from the central stem (approximately 8-10 leaves per stem) ("a"). Three flowers on long thin stalks come from these leafed stems. One bud and two seed pods are also shown sprouting from the stems. On right are two flower views - one side view and one back view. Numbers are in pencil and are also printed on white paper and glued to surface of the paper. The work is mounted in a double matt (off-white on yellow) and framed under glass in a wooden frame with gold paint.Front: Bossiaea cordigea (lower left) (pencil) Written in hand unlike the artist's over an erased pencil title. CEW (signature, lower left of image) (purple pencil) Back: 52 (upper left) (pen) -
Glenelg Shire Council Cultural Collection
Drawing, Collin Elwyn Woolcock, Astroloma pinifolium (Pine Heath), 1972
Part of "Woolcock Gallery Collection" exhibition 1989, CEMA.Drawing of cuttings and flower and foliage details of plant with brown stem, narrow green leaves and green and yellow flowers. Eight drawings including one cutting with green foliage and four flowers, two flower details (one side view and one above view) two long leaf details, two details of buds and one detail of a stem with five leaves. The work is mounted on apricot and white matts. Framed in gold and grey-green frame with glass glazing.Front: CEW/72 (green pencil, below stem) Pine Heath (lower left) 45 (lower right, erased) Back: 4 (upper left) -
Glenelg Shire Council Cultural Collection
Print, Angela Gee, Old Lady, 1983-1984
CEMA Art Collection Part of "A Community View" 150 years in Portland Screenprint Exhibition Part of Angela Gee Residency 1983 and 1984Laminated screenprint of standing female figure dressed in black and holding a red umbrella. The figure is wearing a red glove and a pink item in her hair. The background is a floral wallpaper print in blues and greens.Front: 8/ 37 A Gee Back: 19 -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, botanical, Collin Elwyn Woolcock, Glycine clandestina (Twining glycine), 1970-1990
Part of "Woolcock Gallery Collection" Exhibition 1989, CEMAFlower study with detailed views. View on left is of a stem of two entwined pale green tin stalks, with three-leafed stems coming from it, flower buds, flowers and a seed pod. Views on right are details of (top-bottom): a blue flower (top view), two leaves, a seed, and three views of flower emerging from purple sepals. View labled in pencil and with typed letters on paper glued to surface of image. Mounted in a double matt (grey on pale blue) in wooden frame with gold and blue paint.Front: Glycine clandestina (lower left) (pencil) Back: 75 (upper left) (pen)cema, botanical, collin woolcock -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, botanical, Collin Elwyn Woolcock, Cymbonotus preissianus (Austral Bear's Ears); Centipeda minima (Spreading Sneezweed). Centipeda cunninghamii (Common Sneezeweed), 1970-1990
Part of "Woolcock Gallery Collection" Exhibition, CEMA, 1989.Three plant studies. At top of page is a study of a broad-leafed stem, with eight leaves and two flowers. On the right of this study are two pen and ink views of flower buds. Below in page centre is a plant with many small leaves and multiple stems. There are many small round flowers. On left of study are a flower, bud and leaf study. On the right there are two bud studies, one flowering stem study and one leaf study.Front: Cymbonotus preissianus (Austral Bear's Ears). Centipeda minima (Spreading Sneezeweed). " cunninghamii (lower left) (pencil) Back: 26 (upper left) (pen) -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, botanical, Collin Elwyn Woolcock, Craspedia glauca (uniflora) (Common Billy-button). Craspedia pleiocephala (Soft Billy-button), 1985
Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Drawings of cuttings and flower details of two plants with green stem, yellow flower and long green leaves. Nine drawings including (left-right) one brown and green detail, one yellow and pencil flower detail, a cutting of plant with a tall yellow flower and green foliage at base of stem, two flower details in pencil (one with yellow), a cutting with yellow flower and green foliage at base, two flower details in yellow and one detail in green and yellow. The work is mounted in a double matt (pale grey on apricaot) and framed under glass in a gold and grey-green frame.Front: CEW/85 (vertical next to stem) Craspedia glauca (uniflora) (Common Billy-button) " pleiocephala (Soft " ") (lower left) (pencil) Back: 23 (upper left) (pen)cema, botanical, collin woolcock -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, botanical, Collin Elwyn Woolcock, Bossiaea heterophylla (Variable Bossiaea), 1976
Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Pencil study of a flowering plant, with details of flowers, leaves and seeds. Study on lower left is of a leaf and stem. Above this is a seed. To the right is a stem with leaves and seven red and orange flowers. On the top right is a study of a flower with yellow petals and red-orange centre. Below this is another flower detail with red-orange petals with yellow edges. Below this is a side view of a flower. Below these are seed studies, and a seed pod study, Mounted in a double matt (tan on olive) in glazed timber frame. Each view is numbered in pencil (partially erased).Front: CEWoolcock (signature, lower left of image) (purple pencil) Back: 76 (upper left) (pen) -
Glenelg Shire Council Cultural Collection
Drawing - Drawing, botanical, Collin Elwyn Woolcock, Epacris lanuginosa (Woolly-style Heath), 1970-1990
Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Drawings of a cutting and flower heads of a plant with brown stem, green long and narrow foliage and star-shaped flowers in clusters. Seven drawings, including one branch with flowers and foliage, two white and brown flower heads (side view), one star-shaped flower head (above view), one detail of flower stamen and two leaf details. The work is mounted in a double matt (pale grey on apricot) and framed under glass in a gold and grey-green frame.Front: Epacris lanuginosa Woolly-style Heath (lower left) (pencil) Back: 7 (upper left) (pen)collin woolcock, botanical, cema -
Glenelg Shire Council Cultural Collection
Drawing, Collin Elwyn Woolcock, Helichrysum paralium (Coast Everlasting). Helichrysum secundiflorum (Cascade Everlasting). Helichrysum thyrsoideum (Sticky Everlasting), n.d
Part of Woolcock Gallery Collection Exhibition, CEMA, 1989.Drawings of cuttings of a plants with different views and details. Two larger views depict stems with flowers and leaves. These are at the top and the bottom of the image, with the lower stem showing more base of the florettes. Six different views of leaves, three floew details and a smaller stem study accompany the larger studies. The work is mounted in a double matt (off-white on grey) and framed under glass in a wooden frame with silver-paint.Front: Hel. secundiflorum (Cascade Everlasting) " paralium (Coast " ) ~ " thyrsoideum (Sticky " ) (lower left) (pencil) Back: 29 (upper left) (pen)cema, botanical, collin woolcock -
Glenelg Shire Council Cultural Collection
Drawing, Collin Elwyn Woolcock, Styphelia adscendens (Golden Heath), 1971
Part of "Woolcock Gallery Collection". Exhibition CEMA 1989.Studies of leaves and flowers. Three studies of leaves, one cluster on a stem and two in detail. Three studies of flowers a different stages of development: two showing the pink and green petals emerging from the green calyx and and one showing six stamen surrounding the stigma and style of a pistil. At the top right of the image is a study of a seed, green with pink surrounding petals. On the far left centre is a view of a stem with green leaves and flowers.Front: Styphelia adscendus Golden Heath 6/9/71 (lower left) (pencil) CEW/71 (green pencil) (lower centre of image) 40 (pencil, erased) (lower right) Back: 2 (upper left) (pen)cema, botanical, collin woolcock -
Glenelg Shire Council Cultural Collection
Painting, Frank Werther, Dead Wattles, 1962
CEMA Art Collection Winner of 1962 Portland Artists' Society Prize for the category Painting. Included in the 1999 "Salvage" Exhibition at CEMA Arts Centre.The painting depicts several trees on a multi-coloured ground with mountains in the background. The trees in the foreground are linear and completed in shades of browns and pinks. The work has a white, gold and blue hand-painted frame with exposed canvas.Front: Werther '62 (bottom right, brown paint) Back: PORTLAND "DEAD WATTLES" 40 GNS FRANK WERTHER COTTLES BRIDGE VIC per MAYNE NICKLESS (white chalk) Red sticker: 32 Yellow sticker: 1962cema, portland artists society -
Glenelg Shire Council Cultural Collection
Print, 1834-Portland-1984, 1983
CEMA Art Collection. Part of "A Community View" 150 years in Portland Screenprint Exhibition. Part of Angela Gee Residency, 1983 and 1984.A laminated screenprint of a portrait montage in black on coloured background. The foreground consists of over one hundred small portraits which cover the majority of the work. On the left and top right sides are black outlines of various flora. At the top of the work is black text which reads "1834 Portland 1984".Front: Angela Gee '83 (lower right) (pencil) Back: 20portland, angela gee residency -
Glenelg Shire Council Cultural Collection
Painting, Enid Denton, Flinders Ranges, 1963
CEMA Art Collection Winner of 1963 Portland Art Society Art Prize for category Watercolour. Included in the 1999 "Salvage" exhibition at CEMA Arts Centre.The painting depicts mountain ranges from an elevated position looking down across the mountains. The mountains in the foreground are predominantly shades of green, yellow and brown. The mountains in the background are various shades of blue and extend into a pale blue sky. The work has a grey painted frame with a white cardboard mount and glass.Front: E Denton (lower right, black paint) Back: ENID DENTON "FLINDERS RANGES" (1963) Watercolour (typed label) 1963 (yellow sticker) -
Mission to Seafarers Victoria
Painting - Oil painting, Evening on the Yarra, c. 1898
The subject is similar to John Ford Paterson's painting also called "Evening on the Yarra'. The artiste signed J. White on the left bottom corner. A mention of a painting called "Evening on the Yarra" by John Whyte (mispelling or not?) is made in The Age in 1898 about the Annual Exhibition of the Melbourne Art Club. There are different leads for the name : it could be John Goldsworthy White, an amateur marine painter, or J.S. White, a marine painter active in the 1890s and member of the Victorian Sketching Club. (or maybe a transcrit or print error and this is the same person) Marine artLarge oil painting of sailing ships at dock with smaller sailing vessels and row boats on stretched canvas in elaborate gilt Victorian frame. Unglazed Steel eyelets and hanging wire Lower front left corner: signature (possibly) J. Whitesailing ship, docks, wharves, artwork, yarra river, john white, artwork-paintings, j. white, sheds -
Mission to Seafarers Victoria
Photograph - Photograph, colour, 1988
A group of artists created an arts centre and save the Mission building but it was demolished in 1995.Colour photograph depicting the Mission to Seamen, Beach Street, Port Melbourne in 1988. In front of the building is a sign for an art exhibition: " Zeitgeist - Spirit of the Times - paintings by Phil Edwards, Robert Ewing and Anthony May, Sculptures by Andrea Griffin, August 18- September 8 1988."port melbourne, harry a. norris, brick, art deco, 1937, beach street, ww2 -
Mission to Seafarers Victoria
Document - Statement, Photocopy, Dagmar Udhe, 1998
The organisation of the 1998 CIP , 6th edition in Melbourne was titled "The Bridge", and took Richard Thomas, Katherine Armstrong, Gail Davidson and the legion of others like Dgamar Udhe, a German artist, over two years of dedication. One of the oval was left at the Mission since.The item demonstrates the ongoing relation of the Mission with artists since its beginning. http://www.artdes.monash.edu.au/globe/issue8/tbtitle.html The oval ultramarine perspex is still exhibited in the entrance hall: See item 1493 dagmar udhe, art installation, dome, exhibition, cultural events -
Mission to Seafarers Victoria
Poster, ANL Art Prize 2007, 2007
Official promotion poster for art exhibition at MTSV, 2007 A record of the ongoing involvement of the MTSV in maritime art, and working with the art community by providing a suitable venue and display space.Large paper poster, coloured inks. art, maritime, exhibition, art, 2007 -
Mission to Seafarers Victoria
Poster (item) - Poster, exhibition, Mission to Seafarers, 2005 ANL Maritime Art Prize & Exhibition, 2005
Dates of the exhibition, logos and names of sponsors.anl maritime art prize, 2005, exhibition, mission to seafarers, flinders street, sponsors, poster -
Mission to Seafarers Victoria
Flyer, The Rogue Academy, Sea Shanty Singing Workshop, 2017
The flyer advertises a complimentary event to be held on the 23rd September 2017 in association with the Sounding Histories Exhibition at the Mission to Seafarers, 717 Flinders Street, Melbourne. One of several events held to celebrate the Mission to Seafarers 100 years of service at the Flinders Street building.One of the few physical records of the event. The event generated some gifts and donations.Small flyer predominantly blue wash with variable text advertising an event.See image for details. The printing advertises an event to be held under the general title of Sounding Histories. There is a small logo in the lower right hand corner.mtsv, sounding histories exhibition, 100 years of service, mission to seafarers, 100th anniversary, centenary, sounding histories, exhibition, performance, events, installation, sea shanties, concerts, music, songs, sailors, seamen, seafarers, flinders street, 2017, cultural events, the rogue academy, cameron bishop, anne wilson, maree clarke, artworks, deakin university, fiona lee, amanda shone, dinner, volunteers, michael needham, catherine bell, bishop and reis, michael graeve, anne scott wilson, community -
Mission to Seafarers Victoria
Letter - Correspondence, 16/07/1952
Allan has finished his photography course and passed the exams.. Eleven of his photos were exhibited in the end of year exhibition and one of them, a portrait of an Indian girl, received a gold star award. Quinn CollectionA pale blue self-folding letter (0901.a1) headed 8 Gloucester Walk, London W 8 and dated 16/07/52. Letter is written in green ink. It is addressed to Mrs K Hayes, 14 Fitzroy Street, St Kilda, Victoria, Australia. It is postmarked Paddington W 2. Return address is Allan Quinn, 8 Gloucester Walk, London W 8. letters-from-abroad, allan quinn, alette andersen, london 1952, vera south, musical 'south pacific', mary martin, pat and barry hannon, covent garden, margot fonteyn, frank sedgman -
Mission to Seafarers Victoria
Furniture - Sanctuary chairs, pair, Gladys Hawkey (1886-1974), c. 1917
William Scott Purves Godfrey (1872-1953) designed the chairs and Miss Gladys Hawkey (1886-1974) carved them. W.S.P Godfrey was born in Toorak on 6 April 1872. He was was the cousin of Ethel Godfrey. Educated in Brussels and at Melbourne Grammar, he studied Architecture at the University of Melbourne. He and Henry Howard Spowers established the architectural firm Godfrey & Spowers, known for the design of the Argus building, around 1901. W S P Godfrey retired from practice in 1944. He died in August 1953, aged 81. He's buired in the St Kilda Cemetery with the Godfrey family. Gladys Hawkey was a member of the Guild. (photographed during the Norla Fete). She was born in Sandhurst, Bendigo and is buired in the Bendigo Cemetery. Little is known about Gladys Hawkey. She may have been a student of Robert Prenzel. Another mention of her work is made in an article in 1915 where her escritoire is offered in a raffle to raise funds for the Australian sick and Wounded. The chairs were donated in 1919 when the Flinders Street mission was open. In a style of Robert Prenzel with Australian Flora, the chairs are in the typical Arts and Crafts style. Like many women from the early 1900s, she was likely to have been inspired by the Australian exhibition of women's work and other female woodworkers of the time.Handcarvedgladys amy hawkey (1886-1974), william scott purves godfrey (1872-1953), lhlg, ladies harbour lights guild, chapel, flinders street, mission to seafarers, seamen's mission, wood carving, godfrey and spowers, heritage listed, arts and crafts, gifts-1917 -
Mission to Seafarers Victoria
Poster, Art, Labour and Working Life, 2018
A poster printed by the RMIT in 2018, to promote an exhibition of works at the MTSV about the interelationships between labour, working life and artistic practice. BACKGROUND The Work of Art was an exhibition about labour, working life and artistic practice. The exhibition explored three aspects of art's relationship to work: (1) artworks about contemporary labour, (2) the labour of art-making itself and (3) the often precarious aspects of life as a working artist. Throughout the exhibition, different artists "worked" from the space of the gallery, revealing the layers of manual, emotional and intellectual labour involved in the work of art. CONTRIBUTION I was invited to develop the exhibition by the "Murphy Group", a group of researchers at RMIT. As the lead co-curator for the exhibition, I researched the history of artistic responses to working conditions. Through this process I identified a gap - while many artists have explored the conditions of labour and working life in their artworks, fewer have drawn attention to the working conditions of artists themselves. This became a key theme in the exhibition. The exhibition presented the work of nine contemporary Australian artists, including high profile and mid-career artists like Bindi Cole and Bek Conroy, alongside the work of emerging artists. In addition to the display of artworks throughout the space, five artists worked performatively, bringing to life the processes and manual labour involved in artmaking. A public forum extended the complex discussion on the relationship between art, work and labour. SIGNIFICANCE The works were presented in the context of a public space that has a strong relationship to contemporary labour - the Mission to Seafarers in Docklands. The Mission to Seafarers is a working mission that provides support to ship-workers. Presenting the works in this space created a real connection between the artworks and the lived experience of precarious labour. The exhibition reached a large audience including over 1000+ visitors in 10 days. It fostered a high engagement on social media and attracted media coverage including a feature in ArtsHub.A record of the ongoing involvement of the MTSV in art, and working with the art community by providing a suitable venue and display space.A3 size yellow paper promotional poster, double-sided. Three-quarters of the front of the poster is covered with the repeated line "Art, Labour & Working Life" in large font, to form ten rows. These rows are in outline form except for picked out words which are in entirely black characters and these cascade down, a row at a time, a word at a time, to form the same line ("Art, Labour & Working Life"). rmit, 2018, events, labour, working life, artistic practice, hiring event, cultural events, multimedia, nicholas walton-healey -
Mission to Seafarers Victoria
magazine, Australian Association of Model Societies, All Models Exhibition - International Trade Fair, 1955
... Mission to Seafarers Victoria 717 Flinders Street Docklands ...The exhibition was held in the Royal Exhibition Building from 25 August to 3 September 1955. The proceeds went to the the Mission.The magazine is one the many fundraising efforts from the Mission.A4-sized magazine of multiple pages. Front cover of magazine is in blue, white and black ink. At the top of the cover is a stylised depiction of the world globe linked to a gear by a drive chain. The lower part of the cover depicts a stylised abbreviated city and seaside scene. Inner pages are monochrome and detail ship model builds, with pictures.'1955 All models exhibition, International trade fair' 'August 25 - September 3' 'All proceeds to Missions to Seamen'trade fair, 1955, probus club, ship models, fundraising -
Mission to Seafarers Victoria
photograph - Photograph, Black and white, Loading of goods, November 1932
The photograph taken on the Saturday 12 November 1932 was published in November 1932 in a newspaper. (clipping in the MTSV Collection) with the following capture: "Show Boat Committee: Members of the Victorian Chamber of Manufactures yesterday inspected the Nieuw Zeeland, the sister ship of the Nieuw Holland, which is the proposed Show Boat for the advertisement and exhibition of Australian products in the East. Watching flour being loaded for the East."The ship was sent to Java with Australian products.large b & w photograph loading of goods onboard shiploading, bags, shipping, nieuw zeeland, nieuw holland, show boat, victorian chamber of manufactures, flour, eastern trade -
Mission to Seafarers Victoria
Artwork, other - Art installation, Dagmar Udhe, Leap of the Heart: Ultramarine perspex oval shape by Dagmar Udhe, 1998
See document 1507Information for the brochure (http://www.artdes.monash.edu.au/globe/issue8/tbtitle.html) Construction in Process VI The Bridge, Melbourne Event: March 21-31 1998 Exhibition April 1-30 1998 During Construction in Process (CIP) III at Lodz, Poland in 1991, Emmett Williams and other participating artists initiated the idea of a biannual "performance" of their project in different cities and sites around the world. In the first instance, CIP was a response to the strictures of museum contained commodification of art practices and the dissolution of communism. And with this agenda in mind, their events affirm the active participation of international artists with local infrastructure and site specific materials. The organisation of the 1998 CIP in Melbourne, titled "The Bridge", took Richard Thomas, Katherine Armstrong, Gail Davidson and the legion of others over two years of dedication. And they brought off one of the most open-ended, logistically challenging conceptual events this metropolis has witnessed. The following photo essay provides a personal survey of the "The Bridge", as I saw it transpire around me. German artist Dagmar Udhe created several art installation in Swanson Dock and the Mission. This plaque was placed either in the dome or outside the dome. It may have been forgotten or left intentionally by the artist.PerformanceUltramarine ovoid shaped perspex plaque attached to the wall in the entrance of the Mission (Flinders Street).art installation, dagmar udhe, cultural events, artwork-paintings -
Mission to Seafarers Victoria
Domestic object - Mug, The Mission to Seafarers; Caring for Seafarers since 1857, 2018
Production of the mugs was inspired by the interest of visitors in purchasing a mug like the ones on display created by an artist Catherine Bell in 2017 for the Sounding Histories exhibitions.This mug added to the Mission collection as a contemporary example of MTSV memorabilia and promotion and features bth current logo and image of the building complex.Pale gray ceramic drinking mug with a mid-blue lining and a large handle (1668). Colour image transfers decorating outer walls.The Mission to Seafarers logo in a blue oval with 'Caring for Seafarers since 1857' printed in blue underneath is printed on the front. On the back in dark gray is a stamped effect of a street scape with Mission buildings with 'www.missiontoseafarers.com.au . On the underside a paper lined is adhered with a printed barcode and price of $12.00. mtsv memorabillia, mug, souvenir, mtsv shop, marketing -
Mission to Seafarers Victoria
Flyer - The Elephant Room, 1988
Louise Hearman used the Norla Dome and painted a mural which had taken her around a year to complete. The exhibition called Elephant Room was shown from May 1988. The work was vandalised in June 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that timeBlack and white flyer with dual lengthways ribbings on the back side, possibly indicative of an intent to fold the flyer in three.The Elephant Room You are invited into the dome at the “Mission to Seamen” building, no. 717 Flinders St (ext), painted by Louise Hearman. Opening night Thurs May 28th 6 pm - 9 pm Visiting hours 11am -6 pm Tues to Sun from May 29th to June 11th Or by appointment ph (03) 328 1400 a.h. Sponsored by: Australian Council, Crown Hire, Art Stretchers Oliver-Davey Glass and Box Archer Emery.cultural events, exhibitions, paintings, artists, norla dome, 1988, louise hearman, elephant room, flinders street, melbourne -
Mission to Seafarers Victoria
Article - Clipping, photocopy, Deborah Stone, The sky’s the limit for modern Michelangelo, 10 May 1988
... exhibitions 1988 melbourne flinders street ross duncan cultural events ...Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that timeBlack and white copy of a newspaper article, printed on A4 paper.The sky’s the limit for modern Michelangelo Because it was there . . . Melbourne artist Louise Hearman in the domed gymnasium of the Mission to Seamen - Picture: ROSS DUNCAN THE dilapidated pool halls of Melbourne’s Mission to Seamen are an unlikely setting for a budding Michelangelo. But when Louise Hearman came across the one-time mission gymnasium she could not resist the urge to create a fresco. It did, however, take a little persuading for the Anglican Church, which still owns and operates a mission in the 61-year-old building, to agreee to house a minor Sistine Chapel on their premises. A year of labour later, Hearman has had no complaints about the great swirling sky or huge oil paintings which now adorn the empty 11-sided room. Instead she is constantly visited by old sailors and passers-by who are thrilled to discover the unusual architecture and artwork. “When peoiple come here it’s a real discovery. It’s something they find for themselves,” she said. Her pictures are neither religious nor symbolic, merely outpourings to create an atmosphere. “THere are lots of things I’d like to say but I’m not saying them in my paintings. “There are no messages, they don’t have any political statement. Life was a little more comfortable for Hearman than her renaissance predecessors. After struggling with cumbersome scaffolding to reach her “canvas” she discovered the modern wonders of the scissor lift. She does not look on the work as a huge achievement. However, it may all be for nought. Unless money is spent to restore the building the paintings she has created will crumble and die - Deborah Stone The Australian Tuesday 10 May 1988louise hearman, elephant room, norla dome, exhibitions, 1988, melbourne, flinders street, ross duncan, cultural events -
Mission to Seafarers Victoria
Article - Clipping, photocopy, Megan Jones, It’s heaven now in the old gym, 1988
Louise Hearman used the Norla Dome and painted a mural painted which had taken her around a year to complete. The exhibition called Elephant Room was shown from June 1988. The work was vandalised in 1989 and subsequently demolished.Louise Hearman is a Melbourne born artist and Archibald Prize winner. Hearman first came to public notice in 1987/88 when she spent a year painting the mural in the Norla Dome. The premises of the Mission also served as her studio at that time.Black and white copy of a newspaper article, printed on A3 paper.louise hearman, exhibitions, 1988, norla dome, flinders street, cultural events, melbourne, elephant room, ian hunter