It is enough to be with the plants and animals and be in this place with Fennel and Crow. There is no rush to go further than here. With the collection of works in The Long Quiet, the artist creates still and gentle moments for such reflection. In the still days of restrictions the fennel causes us to consider our assumptions about our own lifecycle. In the pandemic we have to rethink our anticipated futures, as our past may no longer predict a particular future with any certainty. The plant expresses its past and future in the present time there is no shying away from eventual decline nor from new beginnings as its presence holds both in the now. With a botanical eye Jo Darbyshire shows us that it is made up of multiple jointed bends, like pathways that veer sharply then reorientate to take their part in making the whole. From a distance it can appear as a collection of straight stems, leaning outwards and inwards. The patience of painting and of careful looking brings the reward of deeper connection with the individual components of the fennel stem. Writer’s permissions required to reproduce, in any format > contact exhibition is supported by the State of Western Australia, through the Department of Local Government, Sport, and Cultural Industries.Thank you to Loretta Martella, Art Collective WA, Cassandra Beeson and Old Bridge Cellars, William Wandering Distillery, Damon Hurst, Andrew Daly, Aidan Kelly, Alan Shortt, and Joan Leese and Helen Idle. I re-imagine - the Fremantle Prison as the Limestone Hill it once was, I get that feeling - of running wild and unsupervised down that unruly fertile crescent again I remember - the squares & rectangles, that contained the federation house where I began The turnstile, the eastern entrance of the South Freo footy oval. On my last, at last I get a glimpse of that fig tree on the rise, I’d never make it past the count of 7, gasping for a glimpse,Įvery time I ’d imagine the se prisoner’s ,Ĭhasing me, catching me, chocking me out,Īs I stumble through those last 3 breaths.
I’d t ry to count to 10, my lungs bursting, from the inside out With sadness and regret - to hear a kid laugh - so hold your breath! ” “There’s prisoners in there, with children just like you it I’ll ruin their day, “No -one breathes, until we get to fig tree on the rise ,” from Nana again. I loved the power and compassion of my Nan she never came 1st. Rigid standing to attention, we await her instruction. “Hold the line!” says my Nana us 5 kids, at least one in the pram. On children - in their care - at that time - were unknown, W e’d punch out over the road from that landmark building,ĬBC “T he Christian Brothers College ” - their sexual abuse atrocities,
#Project canvas finocchio full
I wanted a royal show-bag full of licorice Not vegies - I wanted sugar - “ Souk karhr ” in Moroccan. The Nana, us 5 kids, at least one in the pram. Like meerkats, they raise their furry heads The unruly Fertile Crescent – plant food - Fennel That! The Portuguese, they were planting wildly too, to survive ġ2,000 years long, 300 generations strong. all co-joined, all apart – squares and rectangles - the modern take? it’s separated by a crack, from JC’s specialist soccer oval, no gaps, it’s that building we now know as the FAC, or the Fremantle Arts Centre , Who, during WW2, lived in what was then the Fremantle Lunatic Asylum , Or “I - talian” as my Nana would say, a pronunciation she got from the Yankee ’ s, Loosely tillered terraces, disguise plantings, W hat’s now “ The John Curtin College of the Arts - specialist soccer oval ,” Spoken word poem performed by Damon Hurst and supported by Andrew Daly on drums and Aidan Kelly on double bass Crows (Australian Ravens) watched over my journey and I collected their feathers over a period of five months. Its very ordinariness ensures its anonymity, and therefore its survival.
The Italians brought finocchio to Fremantle, making it an introduced species in Australia. I became aware of wild fennel growing everywhere.
#Project canvas finocchio series
The paintings in this series are about my experience during the COVID-19 lockdown of roaming the ‘wild areas’ of Booyeembara Park, the abandoned golf course and the industrial area near my home in Fremantle. They try to capture the sense of stillness that I treasured, and my much greater observation of nature, while also touching on the sense of foreboding that I felt during that time. Cathedral Square, 2/565 Hay Street Perth, Western Australia 6000
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