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https://www.manningclark.org.au/manningclarklectures daily 0.75 2025-12-03 https://www.manningclark.org.au/gallery-1 daily 0.75 2025-10-18 https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/ccc9cd63-dc2d-4616-be3f-3d783a36ea2a/Jakub.JPG MCHI Gallery Jakub Mazurkiewicz “Sooty Owl” pure titanium, wooden box 2024 The origin of this work is described in this part of his statement: “The genesis of the Sooty Owl piece emerged from my examination of a mathematical construct proposed in 1918 by Gaston Julia. The intricate details of this construct, known as a Julia Set, became discernible only with the advent of computers many years later. Within the framework of a Julia Set, I found the form of a Sooty Owl. With careful methodology, I extracted the image and translated it into titanium, colouring through the application of intense heat from a specialised flame.” www.charleysforestsilver.com.au https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/9f093465-91bb-45b1-93a5-d29c1460d512/MCH-TheRise-RuthHinigston.jpg MCHI Gallery Ruth Hingston “The Rise” embroidery on linen 500 x 380 2024 Here is part of Ruth’s statement. As suburban developments surge across the Canberra landscape, small farm structures become isolated reminders of early rural settlers. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/b6d335ae-af20-4334-b157-28d5a5437f53/Broad-headed+snake+unframed+.jpeg MCHI Gallery Libby Moore “Please stay, Broad-headed snake” lino cut on Arches paper, 2023 520 x 423 Libby says Native animal and plant life is disappearing all around us. Within the Hornsby Shire where I live, there are nearly sixty endangered and vulnerable species, or populations, of amphibians, reptiles, birds, mammals and invertebrates. As a result of the increasing number of natural disasters such as flood and fire, together with a fast-growing human population needing more space to live, the habitats of our endemic wildlife are being wiped out. #libbymooreart https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/94b58c7b-6964-4485-81d7-a2623b486f71/Sky.JPG MCHI Gallery Sky Mazurkiewicz “Rift” 2024 recycled sterling silver and found stones from south eastern Australia displayed on Australian hardwood timber Here’s a hint of Sky’s statement to go with the partly revealed image: The stones represent the earth; the veins or matrix within the stones represent white colonialism, environmental damage and suffering of the earth and its inhabitants, including fauna and flora. Beautiful objects can be created from humble materials not considered precious. My approach intentionally observes a pared back and simplified dignity, influenced by the natural surroundings of the Budawang Ranges and the romance of old ethnic tribal silver. #charleysforestsilver https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/c42950b8-d3b2-4733-b228-a5649b1a05d1/Bill.jpeg MCHI Gallery Bill Dorman “Conviction” 200yr old muntz metal (brass) ridge capping from Goulburn courthouse dome, original patina and form. Hand formed mild steel and cast copper 2300 x 1050 x 300 Boats have long been in the psyche of the Australian story. The history and politic around invasion, transportation, “illegal” boat people plus the recreational attachment to water still forms part of the story of who we are. In this work created for the Manning Clark House exhibition, I investigate our connection to Australia’s convict past. The provenance of the muntz metal that forms the boat plays into this narrative with the brass dome having been made in England in the early 1800s and sitting as a lid of justice in Goulburn for over 150 years gathering story and patina. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/8919a9b1-9b47-4430-b092-054d69f6261a/Forgotten+Promise.jpg MCHI Gallery Nikki Main “Forgotten Promise” cast glass, polished, velvet cushion, 2018 380 x 480 x 120mm Nikki says she is submitting "Forgotten Promise" in honour of Dymphna Clark, especially her involvement in setting up the Aboriginal Treaty Committee. Her cast crystal glass piece, Forgotten Promise, hints at an official paper document, folding itself into a parcel of land. The land represents Hill 60, a parcel of land on the Wollongong coast inhabited by local aboriginal people – the Wodi Wodi people of Dharawal Nation. Nikki isn’t on social media but here’s her website: www.nikkimain.com https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/e48cdb95-c4b9-49dc-8267-4a4ad84960f1/Giants.jpg MCHI Gallery Lizzie Hall “Giants” graphite, ink, conte on watercolour paper, 2024 My father told me about three giants, brothers living long ago in the far North of England. They were named Con, Ben and Cor. … Read Lizzie’s full statement after the opening. #stillrickspeedy www.lizziehall.com.au https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/effc8e95-5d66-420d-b6ab-9681593456b9/IMG_7046.jpg MCHI Gallery Cecile Galiazzo's contribution for heritage uncovered is Rhythm of Wood 2024 cedar, oil paint 335 x 425mm Here is a taste of her statement.: The cedar forests of south-eastern Australia were cleared for agriculture, and furnished the colony. Fine examples of this beautiful timber exists in many historic homes and public buildings in heritage towns such as Braidwood, NSW. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/b1c615e4-552d-48cb-a51c-8ab0fe864402/Alder_Forest+Trees+of+Australia.jpg MCHI Gallery Alison Alder “Forest Trees of Australia [before rampant logging and climate fires]” screen print on paper, 2020 Not long after the catastrophic fires of 2019/20, when I was dipping into Henry Lawson’s “While the Billy Boils” I realised that many of the volumes in my library needed updating. In the case of Lawson’s book, I simply added ‘Australia Burns’ as I felt so despondent over this nation’s lack of climate action. In the case of GJ Rodger’s book “Forest Trees of Australia”, I wanted to highlight the importance of old growth native forests as an intrinsic aspect of this continent’s heritage which need both preservation and respect. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/e369bbba-f6c4-4f86-b330-81f561aa770d/IMG_6956%281%29.jpeg MCHI Gallery Basil Hall “Mine - Ours” (Anti Adani T-shirt). Accompanying Basil Hall’s print in our “heritage uncovered” exhibition is this t-shirt, which will be displayed on a dressmaker’s dummy. As Basil says The T_shirts were done for a protest against the Adani coal mine held in front of Parliament House in Canberra. The message refers to the granting of unlimited water rights to the coal mining giant. The groundwater in the Great Artesian Basin is OUR heritage! www.basilhalleditions.com.au #basilhalleditions https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/239632ec-72ea-4b04-8729-dd540b301005/Lis.JPG MCHI Gallery Lis Mertens #preservationfelt - Albina’s Treasure hand-felted fine Australian merino wool & vintage embossed silk scarf, 2017 Albina was born in Pedavena, Italy around 1902. She married Francesco who came from the same village. They travelled to Stenay in France where Francesco worked in the coal mines. Francesco departed for Australia in 1927 and went prospecting in Central Australia, then share-farming in Griffith where the couple were reunited 7 years later. In 1947, the family moved to Kentlyn, near Campbelltown and set up a small mixed farming business. Albina lived there until she moved to a Nursing Home. Her life possessions were boxed up and stored, amongst them a treadle sewing machine and countless cartons of fabric and sewing notions. I was much taken by this exquisite, contemporary coloured, embossed silk scarf in one of these boxes. Uncovering Albina’s heritage and travels narrows down where she found/bought this fine piece. How long it has been in her possession is a mystery. As soon as I saw it, I knew that this fabric was to be preserved. An extension of my Feltmaking practice has been to combine examples of artisanal and vintage fabrics with fine merino wool to create the #preservationfelt series. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/fe23ba3f-95ae-44a5-8ab6-7091cb6145b0/MCH-Siren-TimBrook.jpg MCHI Gallery Tim Brook "Siren" giclée print (no. 1 of an edition of 5), 2023 Just seven hundred metres from Manning Clark House, the Canberra Fire Museum is preserving another part of Canberra’s heritage. It celebrates the history of Canberra’s firefighters from the founding of Canberra to the present day. It houses a remarkable collection of documents and artefacts. Volunteers lovingly restore vintage fire engines and polish them until they glow in the sun and each machine reflects all those around it. Only a big glossy print can do justice to this effect. https://hingstonbrook.com/photo https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/c6af60ba-8368-440c-b3d0-b74764ca52df/FrankiSparke+BENT+ANCESTOR+1.jpg MCHI Gallery Franki Sparke "Bent Ancestor 1" Bent Ancestor 1 relief print and stencil on paper (free-standing), 2023 This work is part of a series, created to celebrate the courage and power of our ancestors' journey – over land and sea – and to acknowledge their continued presence. frankisparke.com.au https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/ba41b4a9-d817-4f63-8737-d0c34fc5f15a/Familiar+Waters%2C+Charcoal%2C+2024.jpg MCHI Gallery Surya Bajracharya “Familiar Waters” charcoal on paper, 2024 This work is an adaptation of Goya’s painting, Saturn Devouring His Son. The interpretation of Goya’s painting sees it as a reference to the Roman myth (inspired by the original Greek myth), in which Terra(Gaea) foretold that one of the sons of Saturn (Cronus) would overthrow him, just as he had overthrown his father, Caelus(Uranus). To prevent this, Saturn ate his children moments after each was born, one of these being Jupiter (Zeus). His wife, Ops (Rhea), hid his sixth child and third son, Jupiter, on the island of Crete, deceiving Saturn by offering a stone wrapped in swaddling in his place. Jupiter eventually supplanted his father just as the prophecy had predicted. There are various interpretations of this painting: the conflict between youth and old age, time as the devourer of all things, the hunger for and corruption of power, and an allegory of the situation in Spain, where the fatherland consumed its own children in wars and revolution. It is these last two ideas and the genocide taking place in Gaza that have shaped the inspiration for this work. It is a very sad narrative that humanity inherits and repeats. @suryabajracharya https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/6ab03058-c46c-47d7-a4e1-4649df6a7dc1/Constellation.jpg MCHI Gallery John Pratt "Constellation for lost flora" etching, 2023 This is a reflection on a landscape increasingly under threat. The more ‘intimate’ presence of flora within that landscape is a particularly poignant symbol of that broader vulnerability. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/9f12958d-085c-4f8e-b102-a3beb43aac8f/Gwenna%281%29.jpg MCHI Gallery Gwenna Green, "Shaded" earthenware, 2020 Australian ceramic practice has a rich history. It’s the early Australian handmade tableware in particular that has most inspired the making of this functional yet decorative work, an example of the inherited powerful artistic legacies from our forebears, reshaped and built upon. Using the visual motifs that are inherently Australian I’ve created a table object that celebrates our artistic heritage and cultural influence, with a twist. @gwenna_green_ceramics_ https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/c2da0e2d-87d3-4888-9f7a-9229921750b9/Deb+Johansen_Wilkinson+Leek+Orchid_oil+on+board_39.5x56cm%281%29.jpeg MCHI Gallery Deb Johansen Wilkinson Leek Orchid oil on board, 2024 Nunnock (Nanook) is a rare montane swamp perched on the edge of the escarpment in the South East Forest National Park, NSW. It is a shallow depression of around 100 hectares of sub alpine bog – full of peat and sphagnum moss. This high country was cared for, managed and utilised by the Maneroo people for thousands of years. Its importance passed on from generation to generation. However, with the growth of colonisation in the late 1800’s, prime grasslands around the swamp were sought after and country was taken and used for summer grazing. Next, the growing trade for timber meant large scale logging threatened the old growth forest that surrounded the grasslands. This provoked a barrage of protests in the 1980’s and 90’s and eventually this area of the SE Forests was protected under the banner of National Parks, which included Nunnock Swamp. Although this area is protected it is still disturbed and threatened by pigs, deer, wild dogs, introduced plants and now climate change, but still it acts as a haven for the native flora and fauna endemic to this area and therefore is a place of significance and special value. I chose the Wilkinson Leek Orchid to represent this significant place because it grows near the swamp, has been recently discovered (1999) and the orchid is named after June Wilkinson, a local woman who was a leading figure in saving this natural environment for future generations. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/3c5afd19-be19-4be2-ba49-db282154ea97/Victoria%281%29.png MCHI Gallery Victoria Clutterbuck Inheritance watercolour, aquarelle pencil and fixative on primed canvas, 2024 These inherited things belonged to people I loved. I have known Piggy all my life. Since my earliest childhood I have always loved watercolour. Both my parents used watercolours and I still used my father’s watercolour box, refilling the ancient China pans as I go. In my life I have worked in many different media: ceramics, wood, embroidery, oil painting, printmaking but I always come back to water colour (I try to do the best I can). https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/f5cf8a4c-a152-48d1-8400-ad3de3f99aa9/Basil+Hall+Silkscreen+Terms+of+Engagement+2020.jpeg MCHI Gallery Basil Hall Rules of Engagement silk screen print, 2020 The print is taken from a photo (acknowledged & permission granted) by Alex Bainbridge and depicts young Canberra climate activist, Josh Creaser, confronted by the police in The Galilee Basin near the gates to the proposed Adani mine. The print refers of course to St Paul’s moment of revelation on the road to a Galilee in another country and it is hoped that those halting our young activist’s progress might “see the light” one day. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/6bf887d0-db62-46cc-b08d-e7e54ab7d81d/William+%28detail%29.jpg MCHI Gallery William Verdon Heritage (detail) Photoshop-altered digital photograph, 2024 Walking in the bush is one of the things I love to do. It is a source of constant disappointment to find evidence of human impact on our natural environment though. This photo is of a car turned on its side and abandoned in the bush, never to be recycled or salvaged, but rather to rust away over time. Perhaps it will provide shelter or habitat for animals, or maybe just fodder for the occasional photographer. It may cause wonder at the made up story of being there, or just annoyance for being litter. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/bb802ba7-2eff-413f-8f5e-ca8413d6866b/Sam%27s+in+situ.png MCHI Gallery Sam Kidd Portal (shown in situ to minimise reflections) found objects, wooden box The work represents a very personal history of my life in Braidwood N.S.W. The objects include many plate pieces found in my backyard while creating a garden which began over thirty years ago. Many of the items included are from my archival collection which I have cherished for decades, bits and pieces that have meaning and relate to me and could not part with have formed the narrative and the assemblage. The Old Wesleyan Church (my home), circa 1855, is a significant building in the Braidwood landscape and holds a very special place not only for myself but for my family, friends and the community. It's photographed daily by tourists and we have always hoped that the Council would feel the same as I do about our history and how valuable our historical buildings are, and that they should be preserved and conserved (not necessarily restored) for posterity. This has not been the sentiment for over a decade, with the building and garden being jeopardised by development and not being protected under the regulations that exist. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/9af7fc1f-3e2c-4da6-a0ac-6342f5f4aa49/kate+Stevens.jpg MCHI Gallery Kate Stevens Erasure (Al-Israa university, Gaza) oil on canvas, 2024 This work is about the deliberate erasure of Palestinian cultural heritage by Israeli forces occurring currently in Gaza. The painting depicts the destruction of Al-Israa University, which was also home to the National Museum. Palestinian libraries, mosques, universities, poets, journalists and academics have all been targeted by Israeli forces. (If sold, 50% of the profit will be donated to Palestinian Red Crescent). https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/00d5d130-75b8-4f23-a2de-7803dcfed238/Lea.jpg MCHI Gallery Lea Durie Submerged wild Canberra clay, terracotta clay, slips, glazes, underglazes and decals, 2024 The new city of Canberra sits on ancient ground. Submerged considers the history of this place, from deep time to its transformation into the national capital. It starts with a curiosity of what is beneath this city, built on Ngunnawal and Ngambri country. Going underground, the work is made with 300 million year old clay from beneath the suburbs. Going under the surface, it dives for knowledge on what exists and was lost, beneath the lake. Working with the beautiful, rough wild clay creates an exchange between place, labour and material. A sticky sensory engagement with the material creates a new way for me to explore the place I have called home for most of my adult life. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/1f517d4b-3612-4bbb-9d5c-b8d7d48a1d1c/Maggie.jpg MCHI Gallery Maggie Hickey Stamp hooked rug, wool yarn on primitive linen backing, 2024 Postage stamps were first issued in 1840 and have been used world-wide ever since. Fewer stamps are produced now due to digitisation, and interest in stamp collecting has gradually waned since the 1980’s. It’s a Boomer pastime and a dying one at that. Yet stamps contain, in miniature form, histories of nations. Even in the short period of Australian federation, stamps reveal plenty about its evolution and development. A pity then, to consign these tiny artworks to dusty albums. Old Parliament House, formerly known as Provisional Parliament House and now the Museum of Australian Democracy, opened in May 1927 and the first stamp with an image of the building was issued on that date. Fifty years on, this ‘provisional’ edifice continued in use and a further stamp was issued to mark the occasion. As a Boomer myself, I chose to reproduce the 1977 stamp, enlarged, loud and proud in the time-old technique of rag rugging. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/7ac82c65-c670-40d5-8672-b46135ac464d/Tracing+the+Grain%2C+%28Toona+ciliata%29.jpg MCHI Gallery Julian Laffan Tracing the Grain (Toona ciliata, Australian Red Cedar) hand-coloured woodblock 19th Century drawer fronts sourced from the Braidwood tip, 2024 Focusing on the woodblock as a remnant of a living being reorients the print to re-consider this matrix with the lives of trees and our entangled relationship with materials. Taking a multi-perspectival awareness considers the role of the woodblock as a container of time and information and recognises the social connective role of trees to the story of the woodblock in a multi-species way. Through tracing and acknowledging the grain and the figure evident in woodblocks I am intentionally forming an affinity with my material and seeking to understand with the evidence of the lives of trees. I am acknowledging the woodblock itself as a heritage artefact and as a remnant being in the world. The individual narrative of this particular timber is key to understanding past life as a being, as a portable artefact and its present life as an art subject. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/f8a4e94e-be0b-4f8f-a4d2-057957266db4/Paul+Bott.jpg MCHI Gallery Paul Bott Queen Tess fencing wire, 2024 This bracelet is made from old Braidwood fencing wire, another foray into blacksmithing as an adjunct to my usual goldsmithing work. This piece is the first to be created and the next in the series will have hand-made padlocks, all part of my philosophy to recycle materials. The old French padlock with the bracelet is not for sale, but I can provide another. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/95a116f6-089e-43d3-9e8f-6882ef7f7fc3/image_123650291.JPG MCHI Gallery Angelo Rossi tenacity black and white giclée print, 2023 The camera accompanies us on our regular walks, our ramblings often on the old goldfields of Mongarlowe. Heavily churned and scarred, the heritage of the whitefella activity weighs heavy on this fragile but resilient landscape. This image title exemplifies nature’s relentless expression of itself. https://images.squarespace-cdn.com/content/v1/63ccc4017fd40a4ce04adfb5/7542be31-a835-4c7e-baad-cba5283499ee/nature+trail+%28crossing+paths%29+Catherine+Moore%281%29.jpg MCHI Gallery nature trail (crossing paths) watercolour pencil, coloured pencil and acrylic on timber panel, oiled, 2024 Leaves native to this country weave their way across the landscape, gently following suitable paths. 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