Beach scene looking along water line towards a vegetated area in background with two figures fishing.

On plaque: Bellarine Peninsula Art Show 1991 Best Watercolour or Other Medium "Surf Fishing Ocean Grove" by John Sterchele Purchased by Bellarine Rural City Council

surf, fishing, ocean grove, john sterchele, geelong

Weedy Sea Dragon

weedy sea dragon, seahorse

Part of the 2009 Mouth and Foot Painting Artist Exhibition held at The Shearer's Arms Arts Centre & Visual Gallery

Landscape painting of wool shed with sheep in foreground

sheep, mouth and foot painting

Twenty two individual portraits of past mayors mounted with calligraphy

The Worshipful Aldermen Councillors and The Mayor and Officers of the Corporation of the Geelong

geelong, mayor

This stained glass was originally installed at Geelong Town Hall following its expansion in 1917. The Geelong Council involved the staff and former students of the Gordon Technical College in designing the artwork and aesthetic of the building. Arthur S. Pittock, former student and local glazier, was responsible for the design and construction of the large stained glass window in the stair hall. The window was described as “a special feature” in the new building with the leaded glass work using “the motif throughout in Greek form, of admirable colour”. The window showcases the City of Geelong’s original coat of arms, featuring images of Geelong’s early industries: sailing, wool, wine and wheat production, and a kangaroo as an inescutcheon. During the redevelopment of City Hall in the late 1960s the stained glass window was removed from the building. The surviving City Hall window is the most elaborate, known surviving stained glass window by Pittock

Geelong Crest fashioned in glass

By the right use of God's gifts 1894

stain glass window, arthur s. pittock, city hall geelong

Black and white photograph of a large building with columns and the road in the foreground

city hall geelong, city of greater geelong, johnstone park

The blue section of the paining represents our amazing ocean, bays, rivers, creeks and wetlands. The white creamy section represents our coastline with the footprints imbedded into the sand tells the story of our old people who have been so connected to this coastline for many thousands of years, the mountain represents the You Yangs which holds a special part of our history here on Wadawurrung country, the 7 gathering circles in the mountain represents the 7 family groups within Wadawurrung, WAA the crow he is our protector here on country and Bundjil is our creator which is why I have implemented these 2 birds into my painting, the u shape people symbols represents my family of 5 generations still living on Wadawurrung country, my great grandmother Joye Eccles my pop norm Eccles my mum Corrina Eccles myself and my beautiful daughter Alira, the eucalyptus leaves up the top is a part of cleansing I have incorporated therese leaves because this country is cleansed everyday by he family when conducting a smoking ceremony.

Painting of Eagle and Crow with water and footprints below. Brown, orange, blue, green, black used.

bundjil, you yangs, wadawurrung

This piece represents the landscapes of Wadawurrung Country. It involves the oceans, the cliffs, the river, the mighty You Yangs. The circles depict gathering on Country. Be this Indigenous, Non Indigenous or both entwined.

Painting of series of mountains and rivers. Brown, blue, green, yellow, white used.

On bottom right-side of canvas - AJ Howell

wadawurrung country, you yangs

This work is all about Country for Wadawurrung people, the lay of the land, food crops and the abundant recourses which sustains the Wadawurrung people. Again I have used traditional patterns and made reference to Wallaby Grass and Murnong staple foods for Wadawurrung people.

Painting of river and grassland from above. Green, blue and brown used.

On back left bottom corner - J.Murray.Jones 2019 'Corio'

corio, wadawurrung, murnong

Harbour scene

Rohan Robinson is an artist born in Geelong, and attended “the Mill” part of Deakin University in 1980-82, studying Fine Art. In 2010-11, he was the manager of Kayili Artists Aboriginal Corporation, at Patjarr in the Gibson Desert W.A., where he oversaw the development and marketing of artworks of the corporation’s members. The community is the remotest in Australia and averaged 25 people, mostly consisting of elderly people and part of the Ngaanyatjarra region, with some members not having any consistent contact with white fellas up to the mid 1960’s. During his time it was common for all the community members to go out hunting and having a visit to important areas, where members would get some tucker of rabbits and lizards and honey ants and perhaps some “meow meow” and have a nice sleep in the shade on the warm sand. Robinson would often take his painting gear along and do some work on unstretched linen on the desert ground, he would paint for a while and then perhaps lie around with the elders or follow one of the expert hunters and observe from a distance [several meters] the skills of elderly women casually walking through some recently burned spinifex knocking cowering bunnies on the head with a steel rod. It was on one of these occasions, when this particular painting was being conceived, that after returning from the hunting mission, he was informed by some of the mob, that an elder had been spending time looking at this work in it’s infantile stage...”You know the old fella over there, he been looking at that painting of yours” It was later in the day, when returning to Patjarr, that the elder Arthur Robertson approached Robinson, and demanded/asked that Robinson paint his stories for him. Mr Robertson was suffering from Parkinson’s disease, and was having trouble painting, but had been doing some brilliant work with Posca markers. It was with a certain reluctance that Robinson agreed, as he felt this to be a “political hot potato in some quarters” but also respected a relationship between artists beyond the cultural divide. Mr Robertson demanded that they start immediately and armed with pencil and paper they created the notes for several paintings under Mr Robertson’s direction. The painting that you are viewing is signifcant in that it was the catalyst for this relationship between the two artists. Mr Arthur Robertson died later that year 2011.

Gold framed blue and earth tone painting. Painting depicting four circles with mountain and sky in the background.

Colourful view from bathing platform back towards the beach with diving platforms, buildings and garden area

geelong waterfront

Submitted to the Bellarine Peninsula Art Show 1988. Won the President's Award.