I’d wanted to
visit Geelong for a long time – at least five years in fact – but on every
visit to Melbourne, there was always some reason for delaying the trip.
But now, six
months in to living in Central Victoria, I have finally made it. I drove there
about two weeks ago, despite the fact that I hadn’t heard a lot of praise for
the place. Most comments were along the lines of “I’ve never found anything
there to recommend it,” or, “It’s solid working class and filled with football
freaks,” said someone else.
But when
another person told me it was “still pleasantly grungy – not yet fashionable or
pretentious,” I decided a trip was definitely warranted.
And having met a young solo mother with two kids, holding down three jobs
and studying at Geelong’s Deakin University, and thereby making the 1.5-hour
drive twice a week for lectures, I decided I‘d need a better excuse for NOT
going than, ‘I never find the time.’
Plus I had a
mission. I wanted to catch the last days of “Fred Williams in the You Yangs,”
an exhibition at Geelong Art Gallery. Several people have asked if my painting
has been influenced by Fred Williams, but as I’d never heard of him (I’m
ashamed to say), until three months ago, I decided I’d better find out what he
was all about.
[As an aside,
No, my work hasn’t been influenced by him and any very tiny similarity in SOME
of my paintings, is purely coincidental].
For anyone else
who has never heard of Fred Williams (1927-1982), he was an unassuming-looking
man – a major Australian artist - who is said to have changed the way the
Australian landscape could be painted and seen “in resolutely abstract terms,
yet powerfully recognizable by viewers as quintessentially of Australia.”
His work in the
You Yangs (a fascinating granite-covered landscape about 20km north of
Geelong), began in 1962 and continued through to the late 1970s, encompassing
everything from sketches and notes to drawings, prints, gouaches and large scale oil paintings.
I loved them
all. I sat in front of them in a quiet gallery for a long time, taking in the
meditative quality of his abstract hieroglyphics – like exquisite little bird
scratchings in oil paint; and so very evocative of the Australian
landscape. It was peaceful after the
hustle and bustle of the Archibald Prize Gallery next door, where
every man and his dog had arrived to look at the finalists and winners. They were literally pouring in by the bus load.
The
Archibald Prize is awarded annually to the best portrait, 'preferentially of
some man or woman distinguished in art, letters, science or politics, painted
by any artist resident in Australasia’.
The
Archibald Prize was first awarded in 1921. In establishing the prize, J.F
Archibald’s aim was to foster portraiture as well as support artists and
perpetuate the memory of great Australians. Over the years some of Australia’s
most prominent artists have entered and the subjects have been equally
celebrated in their fields.
I
was particularly taken by the Nicholas Harding portrait of Australian artist,
John Olsen, Anh Do’s portrait of Aboriginal actor, Jack Charles, and by Andrew
Lloyd Greensmith’s work, “The Inner Stillness of (102-year-old) Eileen Kramer (above).
Beyond
the art gallery, I spent some time driving the streets of inner Geelong getting
a feel for the place. Geelong is a port city, located in Coria Bay, 75km
south-west of Melbourne. It is Victoria’s second largest city, with a
population of around 192,393.
In October this
year, it became one of the 180 world-wide cities to be part of UNESCO’s Creative
Cities Network. The designation recognises the design history of Geelong and
surrounds, from the region’s Aboriginal heritage to its history in textiles and
wool production; automotive design and manufacturing to designs that have
revolutionised surf culture. It also celebrates innovations currently being
made across the region in advanced manufacturing and virtual reality.
You need time to
discover a lot of that I suspect, as it’s not immediately evident on a quick
one hour drive. The shops were mostly ordinary at first glance, in buildings
old and new; there seemed to be a proliferation of Asian restaurants, numerous
tattoo parlours, pubs and Pokies places.
That
said, I quickly discovered some beautiful old houses and inner city buildings.
The new Geelong Library and Heritage Centre (beside the Art Gallery) (above), is
striking for its geodesic dome. It was designed by ARM Architecture of
Melbourne and opened in November 2015.
By
comparison, the huge Geelong Government Building across the road surprises with
its overt Brutalist architecture (also above).
And
then there is the wonderful palm-lined esplanade, alive with walkers and
cyclists –definitely a jewel in the city’s crown I’d say. With its multitude of
cafes and restaurants, landscaped gardens, public art, kids’ play and swimming
areas, enclosed sea baths, the restored historic carousel, it’s a major attraction
for locals and visitors alike.
And
then there are the quirky bollards – over 100 of them that are located in
around 48 different spots along the promenade. They’re the work of local artist
Jan Mitchen, who was commissioned by the City of Greater Geelong to transform
old timbers and piles from a city pier that was demolished in the 1980s, into
works of art. It must have been a mammoth undertaking but one well worth it.
They give the whole area a great sense of fun and colour.
It
was a fleeting visit but it did confirm one thing for me –another trip south,
probably an overnighter – is definitely on the cards in early 2018.
