Category Archives: Travel

In Transit

I feel as though time has stopped. I’ve felt like that a lot since I departed Sydney a few days ago. It’s a combination of different time zones, emotional exhaustion, odd sleeping habits and anxiety. Singapore is a nexus: I’m not at either of the places I call home. I am getting impatient, too. That pool of anxiety about the flight, the time, the weather. There’s nothing more I want than to just climb aboard and settle in.

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So I am waiting in the Snooz Lounge where the American and I spent some time in the middle of our 37-hour flight all those months ago. My body cries out for a nap, but I want to use the time aboard for such things. Outside, a tropical storm is rolling over Singapore, and I am watching the spectacle from the comfort and safety of the best terminal in the world. Little people below race around in oddly shaped carts servicing the Singapore Airlines 777 that just arrived to Gate B2.

It’s been a very emotional few days for me, and I am just spent. It was so hard leaving my family and friends, and it always is. But this was extra hard. I’d spent three months back in home with the whole crew, and so it’s understandable that the bonds are stronger than usual. It’s getting harder and harder to leave them. One day, I don’t know if I will be able to.

But I know that even in this state of fogginess, I’ve been so incredibly lucky to be able to spend this time with my family and friends. And time is the most important thing: you can’t make more of it. All this emotion reminds me that I am alive, that I am loved and that I love. A good friend of mine told me that ‘crying is feeling life physically’, and I appreciated hearing that. These tears are a happy, sad, tired, anxious tears. But the one thing these tears are not is regretful. I have lived these last three months fully, and I am proud of that. I’d do it again in a heartbeat.

And so in the midst of wallowing in the sadness of not being with my family and friends back in Sydney, I turn my focus to this next phase. I am about to board a flight back to SFO, back to the place I have chosen as my home, and back into the waiting arms of the man I love. I’m incredibly fortunate to have such lovely people around me in Sydney and San Francisco. When I get there, I will unpack and prepare for the next chapter of my American life. But there’s always a piece of my heart still back in Sydney.

Alexander McKenzie, 'Toni Collette'

The 2013 Archibald Prize at the Art Gallery of NSW

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Last Friday night, my mother and I were lucky enough to score a ticket to the opening of the Archibald, one of Australia’s premier art prizes. It was evening of artsy fashion, eating fancy hors d’ouevres, hobnobbing with notable artists and personalities, listening to a few speeches and getting exercise politely clapping with a glass of bubbly in your hand. I love the art, the controversy and the debate around this event: the Archibald always delivers. And this year is no exception.

We arrived fashionably late by fifteen minutes, which turned out to be long enough to miss the rush of the doors opening yet plenty of time to imbibe a few OJs and champagnes before the new Director of the Art Gallery of NSW, Dr Michael Brand, officially announced the winners of the four prizes: the Sulman, the Wynne, the Trustees’ Watercolour Prize, and the Archibald.  It was fantastic to see three of the four winners were women, including the winner of the Archibald.

In his opening remarks, Dr Brand referred to the prizes as ‘the Archies’ multiple times. Giving them a nickname shows a great reverence for their significance within the Australian art world and popular culture, as well as great affection. To me it also sums up what the prizes are all about: it’s an egalitarian opportunity to submit your work, to have your say, irrespective of your training. Anyone could have a go — even I could still be an award-winning artist. It is possible, and that’s what is captivating about the ‘Archies’.

Half the foplks stayed upstairs to keep hobnobbing and stay close to the bar.

Half the folks stayed upstairs to keep hobnobbing and stay close to the bar while the other half were down in the exhibition space.

We positioned ourselves strategically near the stairs, so once the formalities were over, we were in the first wave to go through the gallery space downstairs to view the exhibition. The walls were a crisp white, the lighting was perfect and the ceilings high. Instantly, your eyes were drawn to the mass of colour on display.

Seeing the finalists of the Archibald Prize is the main attraction within the exhibition. The prize is awarded to the best portrait of a distinguished Australian, as painted by an Australian. This year, there were 868 entries from all over the country. Del Kathryn Barton won the $75,000 prize with an intricate portrait of the actor Hugo Weaving.

My only disappointment about the painting was seeing it hung in a rather odd spot.  Being that every man and his dog wanted to study the picture, you could barely get close enough to it to see Barton’s intricate details, and thus crowding up Vincent Fantauzzo’s photorealistic portrait of actor Asher Keddie. After waiting a good ten minutes, I finally managed to snap this with only one person and the shoulder of another in the shot:

Del Kathryn Barton, 'hugo'

Del Kathryn Barton, ‘hugo’

The popular choice for best portrait is rarely the same artwork as picked by the Committee. So there’s two additional (but unofficial) awards: The Packing Room Prize (as decided upon by those who unpack, sort and hang the art at the gallery), and the People’s Choice (as voted by members of the public after seeing the exhibition). I wasn’t able to get near the winner of the Packing Room Prize to nab a picture,  but I did see the subject, Tara Moss, dressed and styled in the flesh as she was on canvas.

I stuck my head into the packing room to take a sneaky photo, and smell the paint.

On my way out of the exhibition, I stuck my head into the packing room to take a sneaky photo and smell the paint.

Here’s a handful of the Archibald finalists I liked for a multitude of reasons:

Abbey McCulloch, Naomi Watts

Abbey McCulloch, ‘Naomi Watts’

Julia Ciccarone, 'Portrait of Nicholas Jones'

Julia Ciccarone, ‘Portrait of Nicholas Jones’

Prudence Flint, 'Ukulele'

Prudence Flint, ‘Ukulele’

Sally Ryan, 'Dr Catherine Hamlin AC (MBBS FRCS FRANICOG FRCOG)'

Sally Ryan, ‘Dr Catherine Hamlin AC (MBBS FRCS FRANICOG FRCOG)’

Joshua McPherson, 'Portrait of Ella'

Joshua McPherson, ‘Portrait of Ella’

Joshua Yeldham, 'Self-portrait: Morning Bay'

Joshua Yeldham, ‘Self-portrait: Morning Bay’

Julie Dowling, 'Wilfred Hicks'

Julie Dowling, ‘Wilfred Hicks’

Vincent Fantauzzo, 'Love Face'

Vincent Fantauzzo, ‘Love Face’

Alexander McKenzie, 'Toni Collette'

Alexander McKenzie, ‘Toni Collette’

The Sulman Prize is awarded to “best subject painting, genre painting or mural project by an Australian artist”. The winner of the 2013 Sulman was Victoria Reichelt for ‘After (Books)’. It was my favourite artwork by far in the whole exhibition. It’s not terribly big, but the deer in the library stack was arresting, looking as though it was lit from within.

Victoria Reichelt, 'After (Books)'

Victoria Reichelt, ‘After (Books)’

As in years past, most of my favourite pieces were towards the end of the exhibition, the finalists for the Sulman Prize. The Archibald entries may be the main drawcard, but I find the Sulman entries’ more broad, and I find the varied view points more interesting.

Michael Peck, "The watch'

up close — Michael Peck, “The watch’

Kate Bergin, 'Croquet, tea parties and other stories from Wonderland'

Kate Bergin, ‘Croquet, tea parties and other stories from Wonderland’

Pei Pei He, 'City Circle'

Pei Pei He, ‘City Circle’

Andrew Sullivan, 'Dinosaur trophy head'

Andrew Sullivan, ‘Dinosaur trophy head’

Prudence Flint, 'Queen Anne mirror'

Prudence Flint, ‘Queen Anne mirror’

The prize for the best Australian landscape painting or sculpture is the Wynne Prize. I didn’t much care for the winning painting, but here were a few I enjoyed:

Lucy Culliton, 'Table Cape'

Lucy Culliton, ‘Table Cape’

Alex Seton, 'Soloist'

Alex Seton, ‘Soloist’

Salvatore Zofrea, 'Morning light'

up close — Salvatore Zofrea, ‘Morning light’

Belynda Henry, 'The trees'

Belynda Henry, ‘The trees’

Dinni Kunoth Kemarre, 'My footy heroes'

Dinni Kunoth Kemarre, ‘My footy heroes’

Xiuying Chen, 'Central Railway Station, Sydney'

Xiuying Chen, ‘Central Railway Station, Sydney’, winner of the Trustees’ Watercolour Prize

The Archibald Exhibition is open now until 2nd June at the Art Gallery of NSW, open daily (except Good Friday) from 10am until 5pm. Adults $10 / concession $8 / Child $8 / Member $7 . More info.

*All photos taken by me with an iPhone 4s at the Official Opening of the Archibald exhibition at the Art Gallery of New South Wales, 2013.

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A Day on the Golf Course

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My mother has a rather strange aversion. It’s not a stereotypical one, like fearing rodents, or freaking out over spiders, but one that filled her with dread for more than a decade: She cannot enter the women’s locker room at her old golf club.

There was something in the room that made her feel unwelcome. The vibe, the energy in the women’s locker room was bad. She described feelings of claustrophobia, being weighted down, laboured breathing and of not feeling right. It wasn’t felt in the other areas of the clubhouse she frequented, like the restaurant or the pro-shop. Just the locker room.

Mum mentioned this aversion to us casually, as casually as she would that mention that mangoes are on sale at the green grocers around the corner. We were headed toward the club in question to play a round with my Dad. She wouldn’t be joining us. She entered the club’s unassuming driveway in the heart of an industrial area in Sydney. Pausing long enough to allow us to exit the car, she wished us well and left to spend the afternoon elsewhere – free from the grip of the locker room.

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It was a warm, sunny Thursday afternoon at the course. The Lady Members were enjoying their AGM luncheon in the dining room. A bloke with a prosthetic leg was practicing on the putting green. Cessnas were circling overhead in an endless cycle of touch-and-goes. It was rarity to meet up with my Dad during business hours for a sneaky round of golf. In fact, we couldn’t remember the last time he’d played hooky from his own business. It was rather thrilling for all of us.

Dad had already stocked up on water, counted his golf balls and grabbed a bucket of sand to repair divots. So as soon as we arrived, he marched to the first tee before we’d even warmed up. ‘No mucking around’, his demeanour said. Right on, Dad. We kicked off the adventure with reasonable drives down the first fairway and set off on the afternoon’s seven kilometre walk.

The first few holes had their ups and down – some great saves from green side bunkers, and some cold putting – and it was great to have him guide us around his home course. I took a mental (and photographic) note of all the physical aspects being back home afforded me. The feel of the bark on a paperbark tree, the sun burning my skin, the orange glow of the dirt tracks, the whoosh of a squawking cockatoo flying past me, the expansiveness of the blue Australian sky. I filed them away in my memory bank to be accessed in times of homesickness. I breathed deeply, trying to commit the feel and smell of the Sydney air to memory.

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We had felt the change blow in on the ninth teebox. The smell on the wind indicated rain. I thought it looked a good ways off, until the heavens opened when half way through the 12th hole. Unlike those in the Bay Area, storms in Sydney usually have plenty of lightning. And this one was a cracker! The storm front brought an incredible number of lightning strikes with it, and I did what I’d learned as a kid: I counted the seconds from the flash until the sound of the thunder to gage the distance of the lightning.

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All I could envision was two of my favourite people in the world ending up as human Van de Graaf generators. I can’t lie – I was really worried. After we putted out, I voiced my concern and we paused a few minutes to see if the front would pass quickly. We stood at the 13th tee, and Dad regaled the times he (re)married Mum in the club’s yearly Gretna Green tournament. Stories of club presidents acting as ministers, ‘marrying’ the playing partners in celebration of the town of Gretna Green in Scotland being the capital of young English couples eloping in ye olde times.

Okay, let’s go,” Dad said. He was not prepared to let pouring rain and sheet lightning ruin his surreptitious round. A true Australian male, he was not phased in the slightest. We soldiered on.

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Down the line, the storm lifted. No one else was out on the course. It was just the three of us, and the ducks. Dad stopped to check in with work. The American went in search of his ball that had rolled off the back of the green. I watched rays of sunshine peek through the clouds. We were all doing our own thing, but it was just one of those moments that takes your breath away. I whipped out my iPhone, hoping that fleeting beauty could be captured forever.

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The rain stuck around for the rest of the afternoon, like an afterthought. It didn’t fade our hot streaks on the 18th, holing in for birdies and pars for pleasure of the one-legged gallery. We wandered into the clubhouse to finalize the afternoon. Dad treated us: a Coke Zero for the American, a lemon squash for me. The ice bobbed around the glass, and I took big gulps, thirsty for this moment of nostalgia.

We loaded our gear into the car, and Dad proudly showed us how his new golf buggy collapsed into next to nothing.

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