Brian Leslie Howe, AO (born 23 January 1936), is an Australian former politician who served as the Deputy Prime Minister of Australia in the Labor government under prime ministers Bob Hawke and Paul Keating from 1991 to 1995. Howe was born in Melbourne. He spent his early childhood in the suburb of Malvern and was educated at Melbourne High School and the University of Melbourne. He later studied theology in Chicago (1967–69) and then returned to Australia. He served as a minister with the Methodist Church and the Uniting Church in various parts of Victoria – Morwell, Eltham and Fitzroy. Howe was elected to the House of Representatives in 1977 representing the northern Melbourne metropolitan electoral Division of Batman. He defeated the incumbent Horrie Garrick for Labor preselection in a hard-fought contest.[1] A member of the Socialist Left faction of the Labor Party, he was Minister for Defence Support in the government of Bob Hawke from 1983. In 1984 he became Minister for Social Security and carried out various radical reforms to Australia's welfare system.[2] Howe appeared to face significant opposition within his electorate in 1988, when up to 60 members of the Greek Westgarth branch of the ALP defected to join the Australian Democrats. One of the defectors, tram-conductor George Gogas, contested Batman as a Democrat candidate in 1990, but polled only 12.9 per cent of the vote.[3] After the 1990 election Howe was appointed to the post of Minister for Community Services and Health. When Paul Keating resigned from Cabinet in 1991, Howe succeeded him as Deputy Prime Minister. He became Minister for Health, Housing and Community Services in the Keating government in December 1991, dropping the health part of the portfolio in 1993. In June 1995 he resigned as Deputy Prime Minister and was succeeded by Kim Beazley. He did not stand for re-election at the 1996 election. Following his parliamentary career, Howe has been appointed as an Associate Professor for Melbourne University and continues to work with social policy and related fields. He is a member of the Church of All Nations in Carlton, and active in the Uniting Church. A full biography in his own words can be found in the Proceedings of the Uniting Church Historical Society, Synod of Victoria and Tasmania, Vol. 21, No. 1 for June 2014.Howe alighting from a car at Williamstown dockyards March 1985.Identification of Howe.

Brian Leslie Howe, AO (born 23 January 1936), is an Australian former politician who served as the Deputy Prime Minister of Australia in the Labor government under prime ministers Bob Hawke and Paul Keating from 1991 to 1995. Howe was born in Melbourne. He spent his early childhood in the suburb of Malvern and was educated at Melbourne High School and the University of Melbourne. He later studied theology in Chicago (1967–69) and then returned to Australia. He served as a minister with the Methodist Church and the Uniting Church in various parts of Victoria – Morwell, Eltham and Fitzroy. Howe was elected to the House of Representatives in 1977 representing the northern Melbourne metropolitan electoral Division of Batman. He defeated the incumbent Horrie Garrick for Labor preselection in a hard-fought contest.[1] A member of the Socialist Left faction of the Labor Party, he was Minister for Defence Support in the government of Bob Hawke from 1983. In 1984 he became Minister for Social Security and carried out various radical reforms to Australia's welfare system.[2] Howe appeared to face significant opposition within his electorate in 1988, when up to 60 members of the Greek Westgarth branch of the ALP defected to join the Australian Democrats. One of the defectors, tram-conductor George Gogas, contested Batman as a Democrat candidate in 1990, but polled only 12.9 per cent of the vote.[3] After the 1990 election Howe was appointed to the post of Minister for Community Services and Health. When Paul Keating resigned from Cabinet in 1991, Howe succeeded him as Deputy Prime Minister. He became Minister for Health, Housing and Community Services in the Keating government in December 1991, dropping the health part of the portfolio in 1993. In June 1995 he resigned as Deputy Prime Minister and was succeeded by Kim Beazley. He did not stand for re-election at the 1996 election. Following his parliamentary career, Howe has been appointed as an Associate Professor for Melbourne University and continues to work with social policy and related fields. He is a member of the Church of All Nations in Carlton, and active in the Uniting Church. A full biography in his own words can be found in the Proceedings of the Uniting Church Historical Society, Synod of Victoria and Tasmania, Vol. 21, No. 1 for June 2014.Howe at Williamstown dockyard with an exploded view of a frigate September 1984.Identification of Howe.rev brian leslie howe, deputy prime minister of australia

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. In 1966 Boyd travelled to Far North Queensland and the Northern Territory for research – the Expo exhibits included a coral display, a large rock feature made from Australian sandstone and a native plant garden.Colour slide in a mount. Rankin St, Innisfail, Queensland, AustraliaMade in Australia / 5 / DEC 66 (?) M8queensland, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. In 1966 Boyd travelled to Far North Queensland and the Northern Territory for research – the Expo exhibits included a coral display, a large rock feature made from Australian sandstone and a native plant garden.Colour slide in a mount. Probably Innisfail, Queensland, AustraliaMade in Australia / 4 / DEC 66M8queensland, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. In 1966 Boyd travelled to Far North Queensland and the Northern Territory for research – the Expo exhibits included a coral display, a large rock feature made from Australian sandstone and a native plant garden.Colour slide in a mount. Probably Innisfail, Queensland, AustraliaMade in Australia / 7 / DEC 66 (?) M8queensland, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. In 1966 Boyd travelled to Far North Queensland and the Northern Territory for research – the Expo exhibits included a coral display and native plant garden.Colour slide in a mount. Paronella Park, Mena Creek, outside Innisfail, Queensland, AustraliaMade in Australia / 10 / DEC 66 M8queensland, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. In 1966 Boyd travelled to Far North Queensland and the Northern Territory for research – the Expo exhibits included a coral display and native plant garden.Colour slide in a mount. Motel, likely near Innisfail, Queensland, AustraliaMade in Australia / 1 / DEC 66 M8queensland, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. In 1966 Boyd travelled to Far North Queensland and the Northern Territory for research – the Expo exhibits included a coral display and native plant garden.Colour slide in a mount. Location unknown, possibly Innisfail, Queensland, AustraliaMade in Australia / 2 / DEC 66 M8queensland, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. In 1966 Boyd travelled to Far North Queensland and the Northern Territory for research – the Expo exhibits included a coral display and native plant garden.Colour slide in a mount. Location unknown, possibly Innisfail, Queensland, AustraliaMade in Australia / 9 / DEC 66 M8queensland, slide

Robin Boyd was appointed Exhibits Architect for the Australian Pavilion at Expo ‘67 in Montreal. In 1966 Boyd travelled to Far North Queensland and the Northern Territory for research – the Expo exhibits included a coral display and native plant garden.Colour slide in a mount. St Monica's Cathedral, Cairns, Queensland, Australia, 1967-8. (Architect: Ian Ferrier.)Made in Australia / 36 / DEC 66 M8queensland, slide

SEPIA TONED PHOTO OF PTE. J.S. CAMPBELL. TYPICAL AUSTRALIAN ARMY UNIFORM RISING SUN BADGES ON COLLAR LAPELS.PTE. J.S. CAMPBELL 2ND A.L.T.M.B. DIED BURIED ATBORRE MILITARY CEMETERY NTH HAZEL BROOK. NORTHERN FRANCE.local history, photography, photographs, military

Mollie Hill was a famous Welsh-born Australian watercolourist who studied at the Melbourne National Gallery Art School and is known for her 'eye for colour'. Her work features many landscapes of northern Victoria as she lived for some time in Shepparton and Wandiligong. She was also a well-known journalist. Depicted in this painting is the old council borough offices which were demolished in 1962. Rural City of Wangaratta Collection. Gift of Wangaratta Co-operative Housing Society No. 3 Ltd.A watercolour landscape of the old Wangaratta borough offices painted using shades of green, red, blue, and brown.Obverse: Mollie Hill/ (bottom right corner) PRESENTED/ TO THE BOROUGH OF WANGARATTA/ BY WANG. CO-OP. HOUSING SOCIETY/ NO. 3. LTD. IN APPRECIATION OF THE/ GENEROUS ASSISTANCE RECEIVED./ (in mounting board)wangaratta art gallery, mollie hill, watercolour, painting, landscape, borough offices

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

Painter, printmaker and sculptor Rick Amor is one of Australia's most distinguished senior artists. He was a good friend of the late George Baldessin and three times Archibald Prize winner Clifton Pugh, having lived and worked at Pugh's property, Dunmoochin in Cottles Bridge, Nillumbik during the 1980s and 90s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'The Ruin' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. Rick Amor has been an ardent supporter of the Baldessin Press & Studio and a great patron of living artists. In 2014 the Press partnered with Amor and the State Library of Victoria to create The Amor Residency at The Baldessin Press & Studio, which is part of the Library's annual fellowship program. 'The Ruin' was based on a plein air painting done by Rick Amor on a trip to Broken Hill in 2001 and reflects on death and the passing of time so eloquently portrayed by the industrial ruins of NSW. In the tradition of a Piranesi, the work emphasises the transience of life and the triumph of time. Black and white drypoint etching in which a small figure, a traveller; located bottom left, points to a large crumbling edifice (building), a stage like space in the background. Ed.14/25baldessin, print, drypoint, amor, 2018 ekphrasis, ruin, etching, ekphrasis2018

George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. This work chosen for the folio is from an incomplete edition from 1966. It has been printed on Baldessin's original 1974 cast aluminium Enjay press (designed and made in collaboration with Neil Jeffreys) and restored specifically for this project by Dan Jones. In addition Deanna Hitti has used Baldessin's original Japanese Torinoko paper, stored safely in his studio for over forty years. ‘Portrait II’ is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print is a fine example of Baldessin's primary interest of the figure, which displays great sensitivity to and observation of the human condition. Distortion, exaggeration and fragmentation were employed by Baldessin as tools to animate and scrutinize the displaced, dispossessed and alienated figure, flattened against the picture plane. Black and white distorted and exaggerated figure (head and shoulders), with hands raised to the face and the figure's right eye. acquatint, etching, baldessin, ekphrasis2018, figure

Jan Senbergs was born in Riga, Latvia, in 1939 and came to Australia when he was ten. Senbergs’ work has been characterised by a simple and bold aesthetic. From lush landscapes to barren urban spaces, his body of work signifies an artist who has continually experimented with shape, form and motif, a fundamental humanist vision, a finely-honed sense of the absurd, and a rigorous studio practice spanning printmaking, drawing and painting. Senbergs is Baldessin's exact contemporary. He was also born in Europe and fled his homeland because of the war, arriving in Melbourne in 1950. Like George, Senbergs also worked at the RMIT and in 1973 represented Australia at the Bienal de Sao Paulo. Senbergs first met George when he was living in St. Kilda. George asked if he could screen print his 'Argus' catalogue for a show at the gallery in the Argus building. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971. The bluestone studio was hand built by George, his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'New Jersey - rust belt' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. This print finds its' origins in the time Senbergs spent at Harvard in America in 1989-90. In the context of Baldessin it explores an industrial urban surreal vision that was common to both artist. The image captures the life force of the city revealing the keen and observant eye of Jan Senbergs. Similar in sensibility to his large scale charcoal drawings of the 1990s, the artwork is not only a record of what the artist sees, but of what interest him. By following the movement of each line the viewer can witness the artist's eye travelling through, over and around each element of the urban landscape. The scale is deceptive with the image bled to the full-size of the sheet of paper like a microcosm of a much bigger whole. sugar lift etching of an urban (cityscape - New Jersey) scene - bridges, roads, buildings, in thick black brushstrokes. The image is busy; full of energy and movement. A bleed print in which the paper barely contains the city scape. In pencil (handwritten): top centre: left '14/25' (edition); centre 'New Jersey-Rustbelt' (title); right 'Jan Senbergs' (signature); print, sugarlift etching, urban landscape, ekphrasis2018, new jersey, line, rust belt

Imants Tillers has been identified as a quintessential postmodern artist in his use of appropriation and quotation. Since 1981 he has used his signature canvas boards to explore themes relevant to contemporary culture, from the centre/periphery debates of the 1980s to the effects of migration, displacement and diaspora. Most recently, his paintings have been concerned with place, locality and evocations of the landscape. Imants Tillers and Baldessin met on their way to the Bienal de Sao Paulo in 1975 and in the following year worked on two collaborative etching plates in Paris that were printed by Pierre Giarudon. 'Unsaid + Nameless' harks back to his experiences with Baldessin in Paris forty years ago. It is a poignant image of absence that can be read in the tradition of the momento mori. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George.'Unsaid + Nameless' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. In 1976 Baldessin and Tillers embarked on the collaborative work 'According to des Esseintes'; a post modern Surrealist game of consequences and sequences. In homage to his friendship and work, Tillers completed an unfinished Baldessin plate from 1976 inspired from their 'des Esseintes' collaboration. The addition of Odilon Redon's 'smiling spider' is indicative of Tiller's broader post-modern approach. Solar plate etching of Odilon Redon's 'Laraignee souriante' (The Smiling Spider) on an incomplete plate etched by George Baldessin in 1976 on Somerset paper. Other images include skewed perspectives of a wooden window frame, 'wooden' floor or table(?) folded sheet of paper and unknown apparatus. In pencil (handwritten): low plate: left '14/25' (edition); centre: 'Unsaid + Nameless' (title); right 'Imants Tillers' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)solar plate etching, george baldessin, somerset paper, spider, line, ekphrasis2018, odilon redon, appropriation, post modern, surrealism, collaboration, paris, folio

Painter, printmaker and installation artist John Wolseley was born in Somerset, England. He lived and worked throughout Europe before relocating to Australia in 1976. His work explores how people dwell and move within landscape. Wolseley see's himself as a hybrid mix of artist and scientist; one who tries to relate the minutiae of the natural world - leaf, feather and beetle wing - to the abstract dimensions of the earth's dynamic systems. Using techniques of watercolour, collage, frottage, nature printing and other methods of direct physical or kinetic contact Wolseley finds ways of collaborating with the actual plants, birds, trees, rocks and earth of a particular place. George Baldessin was one of the first artists John Wolseley met when he arrived in Australia in 1976. Both immigrated to Australia and connected through this shared experience. They were both at 'Realities Gallery' with Marianne Baillieu in the 1970s and 80s. George Baldessin (1939-1978) was born in San Biagio di Callalta, in the Veneto in Northern Italy and arrived in Australia ten years later. A printmaker and sculptor he built his bluestone studio at St Andrews (Nillumbik) in 1971 with his partner Tess and the three Hails brothers, Rob, Doug and Don. Made of recycled materials the studio today contains all of George’s equipment including the large press, which he modelled himself with the help of Neil Jeffrey (Enjay Presses). George won many prizes throughout his career and is represented in many of Australia's public art collections including his famous 'Pears' sculpture in front of the National Gallery of Australia, Canberra. In 1975 he represented Australia in the Sao Paulo Biennale, before living and working in Paris until his return to St Andrews in 1977. In 1978 George was killed in a car accident aged 39 years. In 2001 Tess returned to St Andrews to reclaim the run-down studio and reconstitute it as The Baldessin Press & Studio - a printmaking retreat. It operates in George’s memory, so that artists may continue to create, perpetuating the generous spirit of George. 'Life world of the Longicorn beetle' is one of eight prints in the 'Baldessin & Friends commemorative folio. The folio was conceived by Tess Edwards as a fundraising initiative in celebration of the The Baldessin Press & Studio's fifteen year anniversary, and as a way to honour George Baldessin's memory. The Baldessin Press & Studio is a not-for-profit organisation created in memory of the late George Baldessin (1939-1978), whose original studio is now open to the public for creative use and as a practical legacy to living artists. The Studio is located in St Andrews, Nillumbik. The folio is a unique coming together of seven very different and acclaimed artists who are connected by their friendship to the missing eighth member, George Baldessin. Communion and collaboration with nature are central to Wolseley's practice. He assembles different drawing methods to represent a kind of inventory or document about the state of the earth. His interest is to paint the processes and energy field of the living systems of this land. 'Life world of the Longicorn beetle' is his continued exploration of Australia's natural eco-systems. The beetle attacks the eucalypt and in the process of tunnelling into the wood of the tree leaves scribbly patterns. The work celebrates the cycle of life, and the wisdom and delicacy of these creatures. This three dimensional work consisting of three layers of paper is a varied edition, offering just the slightest difference between each print, reflective of variation in nature. The found log used as a woodcut acknowledges the interconnectedness of nature and living beings; the log is not apart from the art and the beetle has become an active artistic collaborator. An intimate and layered print of a tree log with line trails from the Longicorn beetle. Patches of pink, yellow and orange watercolour placed randomly. Woodcut from found log and etching on chine-colle with water colour on Gampi (top layer), Mulberry (middle layer) and Arches (bottom layer) paper. In pencil (handwritten): low plate: left '14/25' (edition); centre 'Life world of the Longicorn beetle' (title); right 'John Wolseley' (signature); low paper: right emboss 'GB' (Baldessin Press & Studio monogram)woodcut, etching, chine-colle, landscape, environment, longicorn beetle, print, baldessin, ekphrasis2018, eco, mixed media

A windmill may be considered one of the most iconic sights of Australian Farming life. A pump like this rest at the heart of all such windmills, turning wind energy into water for farmers both here in Australia and worldwide alike. The water windmills access is referred to as an aquifer, an underground layer of water trapped in rocks but accessible with use of water wells and windmills. Australia is home to an underground aquifer known as the Great Artesian Basin. It is the largest and deepest aquifer in the world. Stretching over 1,700,000 square kilometres, the Basin underlies nearly a quarter of the continent including most of Queensland, the south- east corner of the Northern Territory, the north-east part of South Australia and the northern part of New South Wales. The basin is 3,000 metres deep in places and is estimated to contain 64,900 cubic kilometres of groundwater. To try and give this number context, a megalitre is a million litres. The Great Artesian Basin contains 65,000 million megalitres of water. This would be enough to cover all the land on the planet in almost half a metre of water.Lift style piston pump typical of an Australian farm connected to a multi-bladed windmill. Bronze cylindrical construction coming up from removable wood base. Rotating lever is above outlet pipe which would send water to the storage tank.windmill, australian farming, great artesian basin, aquifer