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Max Dingle - new works  at THE WALL

20/7/2018

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The Wall - Max Dingle new works   
5.30pm 17 August 2018

The Wall - Max Dingle new works   
5.30pm 17 August 2018

These works have been made especially for hanging in an exhibition at The Wall, a shop front exhibition space in an Arcade in Ulladulla on the South Coast NSW run by artist and author Robert Hollingworth. I will be including three paintings and two sculptures all of which are a departure in style. The steel sculptures have been folded, twisted , hammered into shape rather than cut grind and welding.  The paintings are overall abstraction, but on a larger scale and I have abandoned the geometric elements, at least in these few works, whether I develop / continue exploration in this style is an unknown at this stage.
Opening -  5.30pm to 7.30pm Friday 17 August 2018
The WALL  art projects, Eastside Mall, 113 Princes Hwy, Ulladulla NSW
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Ruby Grapefruit and Blood Orange

17/7/2018

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Prawn, Ruby Grapefruit, Blood Orange Salad plus Sea Food Stew

The Ruby Grapefruit are ready to pick and this year for the first time I have Blood Oranges (plural), the tree has never done very well but clings to life and every now and then produces a single orange, but this year has eight fruit. Had people to lunch and served this salad:
1 ruby Grapefruit (segmented, membrane peeled from each, cut into 3 / 4 pieces)
3 small blood oranges ( segmented, membrane peeled from each, cut in half )
500 gms prawns  ( peeled and split lengthways)
spinach leaves add leaves from 1 bunch basil, 1 bunch coriander, 1 bunch mint
Dressing
Grated fresh ginger, any reserved juice from preparing the grapefruit and oranges, fish sauce, chopped fresh chilli and palm sugar (or use chilli jam ), pepper and olive oil (or oil of preference).

Also served a Spanish style sea food stew, 
Zarzuela de Mariscos, one of those stews whose contents vary according to what is fresh and available at the time.
Prawns, mussels, clams, firm white fish*, blue swimmer crabs.
Use prawn shells and bay leaves to made a stock. Melt onions and red capsicum in olive oil, add diced tomatoes. Soak saffron in a cup of white wine. Cut one or two Chorizo sausages into slices and brown in a separate pan. Strain stock add onion mix, sausage, saffron and wine, simmer until nearly ready to serve. Add seafood, firm fish first, then prawns and crab/s. Add ground almonds (or Almond meal), about a cup or a little more....until you think it looks slightly thickened or the " right" consistency. Add mussels and finally clams until opened. Add the juice of a lemon and (optional) paprika. Taste & adjust for salt and pepper.
Serve in big bowls with lots of bread
* I used locally line caught Albacore Tuna, which was on special at $11.95 a kilo. Not exactly " white", but how could you not. It also says something about the local market - everyone wants the "white" fillets … Snapper $32, Flathead in the late twenties , Blackfish $17.  Why bother when tuna is so cheap and when you can get freshly caught whole mullet for $6 a Kilo.  For the mullet, fillet, skin ( the fishmonger will do this for you) and coat in crumbs that have been whizzed up with stale sourdough, parsley, turmeric, salt and pepper, a touch of lemon peel optional.
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22nd Australian Symposium of Gastronomy

14/7/2018

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Symposium of Gastronomy - registrations now open

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Take your place for a weekend of conviviality, conversation and culinary creativity.
The 22nd Symposium of Australian Gastronomy brings together some of the most influential and creative food thinkers, writers, academics and industry professionals from Australia and beyond. For over 30 years, SAG has informed and inspired thinking and debate on Australian foodways, past, present and future.
‘Out of Place’
The main SAG program runs from Friday 16 to Sunday 18 November at the evocative Female Orphan School on the Western Sydney University (WSU) campus at Parramatta. We are excited to partner with WSU to present the Symposium at this landmark, fully-restored venue.
  • We have partnered with Sydney Living Museums for our Friday evening reception at historic Elizabeth Farm, with the theme of eels and other native food
  • More than 40 papers and presentation proposals covering topics from indigenous foodways to the place of imported food traditions in Australia and across the globe have been received
  • Gay Bilson is the keynote speaker at the Saturday night banquet at an iconic location, with the menu curated by chef Alex Herbert.
‘Out of the Kitchen’
On Monday 19 November, we have a program exploring and discussing the challenges and changes faced by our food industry. From food criticism to the role of food in social change, join chefs, cooks, restaurateurs, food scholars, writers and thinkers to consider the future of the industry and exchange ideas with industry peers.
  • Author and comedian Benjamin Law will moderate a panel discussion on food and social change. Angie Prendergast from Two Good is one of the guests.
Registration
Full 3-day program (reception, banquet, Saturday, Sunday plus Monday event): $720
Full 3-day program Early bird discount: $650 [Until 31 August]
Student full 3-day program – $500
Student full 3-day program Early bird – $420 [Until 31 August]
  • Student ticketholders must verify their eligibility by sending in a photo of their current student ID by reply.
Two-day SAG main program (reception, banquet, Saturday and Sunday but NOT Monday) – $650
Two-day SAG main program Early bird – $550 [Until 31 August]
Student two-day SAG main program – $450
Student two-day SAG main program Early bird $350 – [Until 31 August]
Additional places can be purchased for the Friday Reception at $75, and the Saturday Banquet at $120. Numbers are limited.

​

BOOK NOW
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Roast Lamb & Salt Bush

14/7/2018

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Roast leg of lamb on a bed of salt bush

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The coastal Salt Bush, Atriplex Cinerea, planted in my garden a few months ago is now big enough to harvest and use the leaves as an edible bed for roasting lamb. The end result is a subtle flavoured meat and a delicious fat soaked vegetable.
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Samuel Elyard  1817 to 1910

12/6/2018

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Samuel Elyard at Jervis Bay Maritime Museum & Gallery

Opening in mid June are 2 exhibitions of the watercolours of Samuel Elyard, the coastal paintings and Cape St George Lighthouse paintings. Previously, in October - December 2014 I have curated an exhibition, Samuel Elyard : Of time and place, at the Shoalhaven Regional Gallery Nowra which concentrated on the paintings of Nowra and the Shoalhaven River, this new exhibition focuses on the coast from Cruikhaven River ( sic  - Elyard's spelling ) to Wreck Bay and as Samuel's output included a number of works featuring the lighthouse, a small exhibition of these works along with a history of the lighthouse was also curated at the same time.
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The Artist: 
William Elyard, Surgeon Superintendent, and his family, including fourth son, four year old Samuel, arrived in Sydney in 1821 on board the John Bull, a female convict ship from Ireland, carrying 80 convicts and 22 free settlers. A few years after the family had settled in Sydney, in about 1826, Samuel was sent to Mr Gilchrist’s school where he was taught drawing by Edmund Edgar and showed an aptitude for art. By the age of nineteen he was teaching some drawing classes, taking on commissions and portraits and tried, unsuccessfully, to make a living as a professional artist. In 1837, he took up a position as a Clerk in the Colonial Secretary’s Office and as he wrote “There is not so much anxiety about this kind of life as there is in the profession of painting alone – consequently more of happiness. It is however an everyday sort of life.” He continued to paint and take commissions in his spare time.
After being taught drawing at Mr Gilchrist’s school in 1826, he attended John Dunmore Lang’s Australian College where, under J. B. East, he studied miniature and oil painting. At about this time he also took additional lessons with William Nicholas.
He also became acquainted with Conrad Martens, purchasing a number of Marten’s landscapes as well as painting his portrait. Along with Martens, the most significant influence appears to be John Skinner Prout, under whom he studied in the early 1840’s. Elyard’s preferred medium was watercolour and, like Prout, his preferred subject matters were picturesque buildings, street scenes and landscapes.
Elyard was an innovative artist and can be said to be an early starter in the use of a relatively new medium, and using quality watercolours painted on a very large scale; his panoramas are up to 130 cm in length. He painted en-plein-air years before this was common practice by Australian artists, who only regularly painted direct from nature from the 1880’s, and as he left England too young to remember or be influenced by the light and colours of the English landscape he could be said to be one of the first Australian artists to capture, in watercolour, the land, light and colours of Australia.

The Coastal Paintings

Samuel Elyard – The Coastal Paintings
Samuel started visiting the Shoalhaven after his family had acquired property and one of his first visits, aged 17, was in January 1834 which is recorded in a small handmade diary titled “Sam’s trip to Shoalhaven”. By the age of nineteen he was teaching some drawing classes, taking on commissions and portraits and tried, unsuccessfully, to make a living as a professional artist. In 1837, he took up a position as a Clerk in the Colonial Secretary’s Office and as he wrote “There is not so much anxiety about this kind of life as there is in the profession of painting alone – consequently more of happiness. It is however an everyday sort of life.” Elyard continued to paint and take commissions in his spare time. However after 30 or so years in public service and numerous visits to family in the Shoalhaven, in 1868, due to ill health, he retired on a pension, and by March 1869 was living permanently at Nowra. This ‘forced’ retirement at age 51, to a quiet life in the Shoalhaven, was undoubtedly very good for his physical health and assisted in moderating his mental health issues; He lived another 42 years and died at 93 on 23 October 1910. Elyard’s retirement also resulted in an extremely beneficial artistic and historic legacy for the Shoalhaven, he was now able to spend time capturing favourite scenes and landscapes in his art. As indicated by the works that have been positively dated , the paintings in this exhibition are mainly from various trips to the Crookhaven, Cape St George, Jervis Bay and Wreck Bay areas during the 1870’s.

The Cape St George Paintings

 Samuel Elyard was an early adopter of photography and purchased a daguerreotype from Freeman Brothers in Sydney in 1856, although he only started advertising himself as a photographer and exhibiting his photographs from 1890 and in 1892, produced, with the assistance of photographer M. D. Hussey, photographic facsimiles of his watercolours, that were published in Sydney as Scenery of Shoalhaven.
The photograph of the lighthouse as it was,  was probably taken by the artist on one of his several visits possibly during the 1890’s. Research suggests that the people pictured are Henry Gibson (Principal Keeper 1877 – 1899), William Parker ( Assistant keeper 1870 – 1899) and Edward Bailey (3rd Assistant Keeper 1882 – 1895 ) and their families.

Lighthouse as it is today :      A review held after the lighthouse was completed in 1864, concluded that the lighthouse was built in the wrong place. There were multiple causes for the mistake, buck passing, confused decision making by the bureaucrats and the contractor seemed to have arbitrarily shifted the site to one closer to where they were quarrying the stone for the buildings, in an effort to save transport costs. Given this conclusion, it is still not understood why the decision was made to operate the lighthouse anyway. The end result was that ships travelling from the north could not see the light, and crucially those sailing from the South did not have clear vision of the light until it was too late to prevent mishap. During the time the lighthouse operated 1864 to 1899 there were 23 vessels wrecked in the area, though it must be said that not all these were directly attributable to the misplaced lighthouse.
Cape St George Lighthouse was shut down and replaced by the Point Perpendicular Lighthouse in 1899. In 1917 it was decided that Cape St George Lighthouse was still causing some confusion to sailors. When the tower was visible during the day or by moonlight, it could be mistaken for Point Perpendicular Lighthouse, so the Australian Navy came to the “rescue” and used the Lighthouse as target practice, hence the ruins that are seen today. On 24 June 2004 the ruins were listed on the Commonwealth Heritage Register. 
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    Max Dingle, artist, independent curator and writer resides on the south coast of NSW, Australia

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