“It might be wondered looking at it… whether people’s monuments accurately reflect their natures; whether this sheery mess, this hollow gesture, this smiling shrug of the ideals we trade, is a mirror of its makers. Likely because of its brilliant outside is likely now to bring them universal calumny. And it might be wondered too whether such things never come to pass. Because they require the cooperation of fallible men and the leadership of inspired men who can only finally repel because of their obsession. But, it stands a frosty, glad symbol of whatever you like. Destroyed by cussedness. Betrayed by cowardice. Brought to this quietus by the politics that giveth and the politics that taketh away. Hallelujah, we guess. Hosanna, to whatever’s possible, in the best of all possible climates. She’ll do mate. Or will she? “
In 1968 an Aussie in London called John Weiley decided to make a film on the construction of the Sydney Opera House. He pitched his idea to young film maker, David Attenborough, who thought it was an amazing idea. Despite Australian ABC’s opposition, they managed to interview some of most of the key designers and politicians at a point when the entire project was in shambles. The film was super critical of the NSW government and was supportive of Utzon - the architect who had just lost his job on the building. After 2 years of scripting, interviewing, filming and editing, Weiley finished his project and took a trip to Greece. Upon his return to London, he learned that it had been destroyed. There was no trace of the reel and no one would tell him where it went. To this day he doesn’t know what happened, but suspects foul play.
… Almost 45 years later in 2012 an email showed up in Weileys inbox asking if he was the man who made the Opera House film. Collecting archived footage in London, someone had stumbled across a reject reel. It was pieced together and broadcast in 2013.
Here it is in all its glory. One of the best docs I’ve ever seen.
A couple of weeks ago Saal Digital asked me to review one of their book products... Eager to start seeing some of my images in print, it was a great chance for me to self-publish quickly and easily without the hassle of understanding the ins and outs of graphic design and printing.
I sat down with East London based figurative painter Lorna May Wadsworth to talk about her studio space, gentrification and the future of artists in the city.
Photographer
Nicholas Gascoine spent his mid 20's in New York City. There, he would work alongside some of the most prominent fashion photographers, often flying to exotic locations. The move back to Australia had followed an exciting period of work, and Gascoine found the body of water lapping onto Sydney's Eastern beach fronts restorative.
My friend James and I decided that we were going to cycle to Paris... Wasting little time um-ming and ah-hing, we decided to plan for the fastest route (London-Newhaven-Dieppe-Forges-Les-Eaux-Pontiose-Paris) and a couple of weeks later we were off. A quick run down below with some few black and white shots taken en-route ...
Before leaving Sydney, I did a few photography shoots for Sydney’s new 'Neighbourhood Paper'...
Jess Cook has been involved in a range of events and creative projects over the last 15 years. From running collaborative art events and helping to manage large-scale festivals, her latest endeavour is arguably the most ambitious. As Founding Member and Managing Director of Sydney’s 107 Projects, she’s been integral in creating an impressive cultural space in central Sydney. In addition to housing exhibitions, dance classes, theatre performances, artists’ in residence, horticulture, cooking and workshops spaces, 107 has become host to some of Sydney’s most prominent creative organisations and projects. Collaborations include FBI’s Ears Have Ears, Heaps Gay, Groove Therapy and The Bower, to name just a few.
Jess recently showed me around 107, talking about the space itself, as well as creative spaces, more generally.
