119 p. , black and white illustrations; with colour photograph of book launch, compliments slip and article on Junction Hotel Preston pasted inpreston victoria, city of preston, preston city library, oral history, social conditions, working conditions

Article on the replacement of war memorial chainsaw sculptures in Greensborough War Memorial Park, and ceremonial cremation of old sculptures. The new sculptures will be known as the Homefront Project.1 p. text and col. photographsgreensborough war memorial park, homefront project, homefront sculptures, chainsaw sculptures

Homeowners are being urged by a legal expert to exercise extreme caution ahead of the State Government's bid to buy up properties for the North East Link project.News article 1 page, black text.north east link, compulsory acquisition

Photographs and maps from Plenty/Briar Hill Camp 1989. Possibly a school project, includes itinerary. Photographs are not named. Location: "Tandara" Halls Gap.Colour photographs and maps in albumHand drawn front cover with name of artist.plenty, briar hill

River bank stabilisation project along the Plenty River at Greensborough 2015, conducted by Melbourne Water. This photo shows the path beside the Plenty River in Greensborough.Digital copy of colour photographplenty river, melbourne water

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. this project was under his direction.B&W photos of Excelsior Hall 2003, prior to redevelopment into units 10 - Princes St view from southbuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. this project was under his direction.B&W photos of Excelsior Hall 2003, prior to redevelopment into units 01 - Back entrancebuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. this project was under his direction.B&W photos of Excelsior Hall 2003, prior to redevelopment into units 02 - Chimney in Station Stbuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. This project was under his direction.B&W photos of Excelsior Hall 2003, prior to redevelopment into units .03 - Window in extensionbuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. this project was under his direction. B&W photos of Excelsior Hall 2003, prior to redevelopment into units 04 - Front doorbuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. this project was under his direction.B&W photos of Excelsior Hall 2003, prior to redevelopment into units 05 - Louvre windowsbuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. this project was under his direction.B&W photos of Excelsior Hall 2003, prior to redevelopment into units 06 - "No Nukes" graffitibuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. this project was under his direction.B&W photos of Excelsior Hall 2003, prior to redevelopment into units 08 - Paperbark tree in Station Stbuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. this project was under his direction.B&W photos of Excelsior Hall 2003, prior to redevelopment into units 11 - Station St view from southbuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. this project was under his direction.B&W photos of Excelsior Hall 2003, prior to redevelopment into units 12 - Roof valancebuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. this project was under his direction.B&W photos of Excelsior Hall 2003, prior to redevelopment into units 13 - view of hall from Northbuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Taken by Gary Spivak, an officer of the City of Port Phillip involved with the reconstruction of heritage buildings to create low cost housing. this project was under his direction.B&W photos of Excelsior Hall 2003, prior to redevelopment into units 14 - view of Hall from Westbuilt environment - civic, town planning, heritage, excelsior hall, rsl, returned services league

Photographed by Joan CURTIS on the last day the trains ran. Prints made by Pat Grainger from Joan's negs during the 'Vintage Port' Project, 1990North Port railway station, photographed day of last train from Port Melbourne, October 1987: east side (Bay bound), northern endDetails in black ink on backtransport - railways, built environment, joan curtis

Photographed by Joan CURTIS on the last day the trains ran. Prints made by Pat Grainger from Joan's negs during the 'Vintage Port' Project, 1990North Port railway station, photographed day of last train from Port Melbourne, October 1997: east side (Bay bound), southern endDetails in black ink on backtransport - railways, built environment, joan curtis

Photographed by Joan CURTIS on the last day the trains ran. Prints made by Pat Grainger from Joan's negs during the 'Vintage Port' Project, 1990North Port railway station, photographed day of last train from Port Melbourne, October 1987: west side (city bound), passengers waitingDetails in black ink on backtransport - railways, built environment, joan curtis

Heart Foundation Kellog Local Government Award. National Winer for Project with Limited Resources. City of Whittlesea Thomastown Recreation Centre for Women's Aquatic Programawards

Under the doona investigates the creative potential of observing the domestic environment and connecting with the local landscape within the restrictions of COVID-19 in 2020. The global pandemic is explored from a personal domestic and local position on Wurundjeri Country in Nillumbik in my 5km radius.Universally recognisable as a symbol of hygiene, the Chux cloth was discovered discarded and coated in Nillumbik’s infamous clay on my daily walk. Local Indigofera Australis was used to extract ‘Chux blue’ to botanically dye hand spun silk and Polwarth yarn. Not a scratchy synthetic Chux, my handwoven natural fibre soft cloth positions soothing touch as an all-important sense within the physical constraints of social distancing. My masked daughter holds her pet rooster. My son learns new card tricks using crackers. Family and local surrounds provide close and reassuring comfort. The project values intimacy, touch and local connectedness. On a global scale.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it

My paintings reflect upon the peculiar state of our existence in the pandemic ravaged world: a microscopic and invisible virus has wreaked havoc and revealed the fragility of the human race regardless of our technological and economic advancements. Overwhelmed by the hostile environment, our once arrogant bodies are depersonalized, suspended, fragmented, perplexed and isolated. Mixed with different races, colours and genders, the new bodily world is an imaginative vision of the post pandemic psyche. The lines and shapes delineate an space with new boundaries and depth, full of aching, longing, order less and distorted bodies forming an assemblage endlessly floating on the blue surface, gasping for air, emerging and submerging, shrinking and extending. COVID-19 is a wakeup call for us to rethink our relationship with technology and environment in order to create new control, purpose and identities, which we need to help future generations to survive. Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it

Isolation is something I am all too familiar with.In the middle of the last decade, for a period of three years, isolation became my way of living, as due to my health, I physically couldn’t leave the house, or even my bed very often. I would be so desperate to get out of the house at times that it was if I was a prisoner trying to escape the confines of Alcatraz. The isolation experience during the COVID-19 pandemic has brought back many emotions and memories of that time, some of which I would rather not remember.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it.

‘Relax, We’re Doing Great’ explores the mixed messages and lottery of language we have been exposed to during COVID19. Sourced from local and global leaders, warning signs and public messages, the text ranges from instructional to in-denial; to even epidemiologically dangerous rhetoric.These works connect into the hand-made, digital and 24/7 news cycles - key coping mechanisms for fears and uncertainty - of this pandemic period. The power and importance of language is highlighted when experienced en masse. The repetition of the layout of these works also allows for the creation of GIFs – mimicking the flickering of LED signage.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it.

Leaving Isolation is play on words; a pun. It is a joke shared with new imaginary friends found while living alone, in isolation. Processing emotions, sanitising theories, engaging in shadow play; these works show individual native leaves that resemble expressive faces collected on permitted daily walks. 30 small, 15 x 21 cm still life studies in ink and watercolour are hung to reference a calendar month during COVID-19. The work considers the nature of ecology in the anthropocene while confronting emergent psychological myth-scapes during Lockdown.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it.

Score for Multi-Species Partnerships is a participatory performance and moving image assemblage. The score offers a guided framework to become reacquainted with the everyday, queering notions of community and care through meditative movement practice. Inter-species collaborators partake in a series of propositions which facilitate a ‘becoming-with’, deepening their sense of place and comfort with one another and their environment.Seeking alternative forms of connection during isolation, this global project uses embodied praxis and visualisation to bring together artists and non-artists, humans and non-humans, to consider how we co-exist and affect one another through material and energetic transference. Initiated in April 2020 following the COVID-19 outbreak, participants chose whether to practise anonymously or document their experience and contribute to the visual archive. The private becomes public as intimate encounters in domestic settings are shared, speaking to cultures of performativity and voyeurism in the digital age. Artist/Director: Luigi Vescio. Performers: Adina Kraus, Anna McDermott, Claudia Lomoschitz, Josh Freedman, Luigi Vescio, Martin Lee, Maximilian Bishop, Melanie Cobham, Nathan Dubber, Niharika Senapati, Omar Felix Faber, Pia Lauritz, Rachel Jessie-Rae O’Connor, Shamira Stone, Will Hall, Yuiko Masukawa.Many thanks also to those who chose to participate in private.This project was also supported by Creative Victoria through the Sustaining Creative Workers initiative.Commissioned by Nillumbik Shire Council as part of the Art in the Time of Covid project which invited artists to create artworks that reflect the pandemic and the artists' personal experiences of it. Video

Each illustration is of a scene inside the Dennys Lascelles Building in the early days of its use as the National Wool Museum. The artists were members of the CEP Project.CEP P3oject/ Drawings and watercolours/ of/ Dennys Lascelleswool stores