Winter hiking — in Carnarvon

The Amphitheatre

“Somewhere between the start of the trail and the end is the mystery of why we chose to walk.”  Author unknown

Rock hopping across creeks, tottering on a swing bridge, scrambling up a steep gully, traversing a shale scree slope, kicking up dust in sandy valleys, negotiating boulder lined gorges, walking on narrow ridges, basking on spacious plateaus, luxuriating in the shade of a magnificent forest and sleeping under a trillion twinkling stars. All this and more filled six glorious days on the beautiful Carnarvon Great walk. Yep. I went hiking again.

Long term readers know I am a fan of multi day hikes and have headed into the wilderness on a number of occasions. Our, (my beloved and I) recent hike took place in Carnarvon National Park. We ventured forth on an 87 kilometre, six day independent hike.

View from Battleship Spur lookout

A feature of the National Park is the Gorge. It is literally an oasis in what is classified the  ‘semi-arid’ heart of Central Queensland. Don’t be mistaken, the landscape is anything but barren or lifeless. The countryside of Central Queensland is something to behold; there is a beauty and majesty in its expansive golden hues and resilient plant life. The Carnarvon National park rises from a flat landscape and is strikingly green on approach.

The Gorge itself is about 30 kilometres long and was created in the most part by water erosion.  There is evidence of wind erosion in some areas. The walls of the gorge are white sandstone while the narrow side gorges display hues of red and pink. It’s a magical place, full of history and stunning natural features to appreciate.

Day one of the hike is on the main walking track.  You don’t immediately get away from civilisation but it is a fabulous day. While only 10 km from the visitors area to Big Bend walkers campground, hikers rack up more kilometres with the many side trips on offer.  You don’t want to miss the side trips. We dumped our packs several times to head in and explore the cool, damp lushness of the Moss Garden, the remarkable, ‘washing machine spun’ hollows of the amphitheatre, the dark, protected cavern of Ward’s Canyon and the impressive Art Gallery and Cathedral Cave — both display striking examples of aboriginal rock art; poignant reminders of the heritage of the land.

Day two is when the real fun begins. Firstly, there are no more tourists. just you, your walking buddy and nature. Secondly, hikers experience tremendous diversity over the course of the day. It begins with a walk over a boulder strewn dry creek up a small gorge followed by a scramble up an almost vertical 200 metre gully.  Yes, scramble.  I don’t normally like this sort of thing but it was immensely gratifying once I got the measure of how my 17 kilogram backpack balanced while I was on all fours grabbing onto tree roots, laying away off cliff walls and hauling myself up. It might not have been an elegantly executed ascent but it was enjoyable.  Above, the landscape changes. You are out of the gorge and heading for higher ground. There had been some back burning prior to our hike and the land was blackened, open to the sun and hot.  There are ladders to climb, narrow tracks to follow and a scree slope to negotiate as one heads for the top of Battleship Spur, over a 1000 metres above sea level,  where the view of the gorge below is gobsmacking and the weariness slips away.  The trail continues along a long grassy plateau where, if you are lucky, you’ll see wild Emus running about.  Making camp my mind wandered to the past and images of stockmen herding cattle and making camp, on that very spot, played like a movie behind my eyes.  Gadd’s walkers camp is on an open plain and is a stunning platform from which to watch the sun sink behind the trees and marvel as the sky pricks with thousands and thousands of tiny lights.

I found day 3 tedious. Compared to the previous days it was more desolate and less diverse.  It was exposed and followed dusty, sandy trails.  On reaching the top of a particularly steep uphill section there is a magnificent view of Battleship Spur and the gorge in the distance. The vantage point provided an opportunity to witness how far we’d walked.  It is possible to find shade in spots to rest and revive. A highlight is the suspension bridge that leads to the campsite. There were a number of Kookaburras around camp which came close enough for us to enjoy their proud demeanour.  The river was dry and so we were lulled to sleep by the swish of the wind, high in the trees, rather than gently cascading water.

Day four I imagine will be a favourite for many hikers as they wander through the stunning Mahogany forest. While eating breakfast we were alerted to the flight of red-tailed black cockatoos by their less than melodic screeching. A good signal to start walking. It is hard to describe the Mahogany forest. It’s peaceful, lush, cool and moist.  The trees, silvertop stringy barks, soar overhead while ferns and smaller plants grow below. We decided to throw down a tarp, lie down and take in the splendour around us for an hour. Arriving early to a bush oasis campsite allowed plenty of time for reading and relaxing. A note to potential hikers; you do need to carry toilet paper and a small shovel as a couple of campsites do not have toilets provided.

Day five is a very short day at only 13.8 kilometres and it is tempting to join it to the last day and hike out. It is possible to rise early and make the 29 kilometre hike back to the visitors centre and while I sat reading during the afternoon I felt perhaps we should still be walking. In the end, my love of nature and being away from civilisation supported sticking to the original plan.  Savouring the experience is better than belting out big kilometres and missing the landscape. The track to Cabbage Tree campsite wound through an area of grass trees with towering spikes. They looked like sentinels standing aloft.  It was fascinating and another display of the diversity this walk has to offer.

Having survived a wild and windy night with a significant rainfall we woke to a splendid, misty morning for our descent. From the tableland the trail leads close to the edge of the plateau. There are striking views and if you are lucky you’ll  see large falcons gliding the thermals. Falcons are just one of 173 species of birds in the park. The birdsong along the whole walk is delightful.

The descent is steep in sections, though it’s not all downhill, apparently you have to go up to go down. Wild dingoes can be heard howling in the distance (distance, being the operative and preferred word here).  All too soon signs of the outside world begin reappearing. In the last two kilometres there is a  side-track which leads to a lookout, with views over the mouth of Carnarvon Gorge. It is a popular day walk from the visitors area below. Despite the ‘traffic’ on the trail it is a pleasant ending to an enjoyable walk. The track descends through woodland to Carnarvon Creek and is very distinct with stone steps and a few short ladders.

The Carnarvon Great Walk is the perfect winter hike. It is closed between November and February, the hottest part of our summers.  We walked in the middle of winter and wore short-sleeved t-shirts each day and only donned a jacket in the evenings and early morning on rising.  There are bores or tanks at each campsite as running water is not guaranteed.  All water should be treated before consumption. A hat is a must and a long-sleeved shirt for the open sections will protect you from the sun’s biting rays. It is recommended hikers have experience and be self-sufficient to complete the Great Walk.

We drove from Brisbane to Carnarvon, about a 9 hour drive.  You could fly to Roma and hire a car.  I haven’t investigated tours though we did see tour buses so that could be an option also.  Families love the two camp sites; one for caravans and one for tents, at the base of the gorge.  There are cute little cabins for rent also. There is much to see and explore and something for everyone.

It’s a happy place, even the trees smile

 

Redefining preconceptions about art

“Art is not what you see, but what you make others see.” ~ Degas

In retrospect, it was public art. It had an energy to it. It brought life to the places around me. I thought I had an open mind when it came to art. It didn’t take long to realise my beliefs were outdated as I scrambled to adjust a decades old perception of public art.

The genre of public art for me had included sculpture, murals and I threw in street art, which I know is not strictly public art, but I was challenged to rethink my view-point recently when I hit the streets of Brisbane to follow a contemporary public art trail.

Armed with a downloaded PDF my partner in art and I headed off for a morning of joy and immersion in creativity. The very first piece we came across was not included on the list.  A week later I discovered it was the city’s newest piece of public art (below).  It was obviously art to me, as to the other pieces on the list, to be honest, we were stumped.  I had excepted the art to be easy to find and literally hit us in the face.  We stood on street corners searching.  We wandered up and down pavements looking.  Checking the ‘map’ and descriptions we soon discovered some of the art was what I might have mistaken for building decoration and architectural flourishes rather than commissioned work from the public purse.

Now I know all art does not appeal to all people – I get that. But I was perplexed by the painted ceilinged walkway, the coloured tiled wall and the barely perceptible swirls on the glass facade of a building.  Had I not been searching for these pieces they would have caught my eye and I would have admired the beauty, the departure from the norm in each of them.  On this occasion, I was expecting something different. Something more immediately recognisable. Something I could ‘label’ with an existing language to say – hey, that’s a piece of art.

I came away slightly disconcerted and just a little baffled but keen to redefine an obviously outdated and incorrect viewpoint.  What I have discovered, thanks to the Association of Public Art, is that “public art is not an art ‘form’.  Its size can be huge or small. It can tower fifty feet high or call attention to the paving beneath your feet. Its shape can be abstract or realistic (or both), and it may be cast, carved, built, assembled, or painted. It can be site-specific or stand in contrast to its surroundings. What distinguishes public art is the unique association of how it is made, where it is, and what it means. Public art can express community values, enhance our environment, transform a landscape, heighten our awareness, or question our assumptions. Placed in public sites, this art is there for everyone, a form of collective community expression. Public art is a reflection of how we see the world – the artist’s response to our time and place combined with our own sense of who we are.”

According to this comprehensive definition and with a new understanding, each piece of art I discovered was appropriately classified as public art and I am keen to discover more. Have you had a similar experience where you have had to adjust your thinking to align with  a more widely held view?

 

 

Is it a plant or an animal – exploring Queensland rainforests

Why did the mushroom go to the party?
Because he’s a fungi!
Louis Tomlinson

Rainforests are magical places. There is so much to see, hear, feel and smell. There are giant trees, twisting and looping vines, melodic birds, dank soil, tumbling waterfalls, and rough, fuzzy, hairy bark along side smooth and mossy rocks. Another feature of rainforests that deserves some attention are organisms that are often overlooked. Fungi.

Fungi are fascinating. Being neither plant nor animal, despite sharing some properties common to both, they are recognised in a kingdom all of their own. There are five kingdoms used for classification of organisms: Plantae, Animalia, Fungi, Monera (bacteria), Protista (unicellular organisms). Unlike plants fungi do not photosynthesise. Having no chlorophyll they can’t convert sunlight into food. Being unable to produce their own food like other plants they scavenge it, like animals. Another trait shared with animals, or more correctly insects, is the existence of chitin in their cell walls.

Fungi’s role in the rainforest while not terribly glamorous is functional. Fungi recycle and decompose material. Many people don’t realise that the soil in rainforests is quite poor. To ensure rainforests continue to grow in this poor soil fungi break down organic material allowing nutrients to become available to plants for growth. These tiny fungi enable the huge trees to live. Now that’s pretty cool.

To be accurate, there are three basic types of fungi that feed off dead or living flora and fauna. There are Saptrotrophs that break down animal and plant remains so nutrients can be released and taken up by new living plants and animals. Parasitic fungi, on the other hand, attack living tissues and divert their resources to their own use. Mutualists digest wood to help other rainforest beings such as insects and help feed released nutrients back into growing trees. Not glamorous but definitely functional and way cool!

The dampness of the rainforest is essential, as some fungi need it to pump up their cells to keep their shape. Stronger fungi don’t need water for their form but to grow they require a high concentration of water in the wood they digest.

Have you ever hiked in a rainforest or national park and been required to dip and scrub your boots? Often this is because of the way fungi reproduce. They produce large numbers spores; some fungi release up to 200 million spores an hour. These spores are tiny and once discharged can travel huge distances. They are mostly distributed by wind but in the rainforest, the spores of many fungi are eaten and dispersed by insects and animals. Humans are animals. The grooves of hiking boots can carry many spores from place to place and be deposited when the caked on soil dries and falls out. Unwanted or troublesome strains of fungi spore can easily and inadvertently be transported this way.

Of huge importance is that rainforest fungi are not for human consumption. My best advice is to never eat fungi; many varieties can be toxic or fatal to humans. Leave the slugs, snails, cassowaries, rat kangaroos and insects to feast on fungi. Eat your trail mix instead.

Next time you are in the rainforest explore the small magic; look down, pay attention to the fallen trees and stumps. Enjoy the shape and the colour and the arrangement of the fungi on display. They play a vital role in our rainforests.

If you are not quite convinced, I leave you with some fun fungi facts.

  • Without fungi, dead plant material such as leaves, twigs and logs would pile up on the forest floor to form a massive heap as high as the canopy.
  • Some fungi glow in the dark.
  • It is possible there are more fungi than plants or animals.
  • One individual fungus of the species Armillaria bulbosa covers an area of 15 hectares. It weighs an estimated100 tonnes (the same as an adult blue whale), and is thought to be over 1500 years old.

When your buttons are pushed

When peacemaking doesn’t work and you can’t deal with the button pusher, or your own buttons you just have to abandon your adult sensibilities and join forces with your  inner child.          Shannyn Steel

Every now and then someone comes along and pushes all your buttons.  Those great big red buttons, best used in case of emergencies. The ones best avoided due to the inevitable ugliness that can arise. Sometimes those very same people push those very same buttons on a seemingly regular occurrence.  The worst button pushers, in my book, are the stealthy ones.  The ones who won’t actually confront you, who actively avoid direct contact with you but make a raft of comments to others, provide input when you are not present and actively and subtly undermine you.  They just seem to make those comments, dismiss and devalue you and your work in a calm, off-handed yet deeply cutting way.  Their many small jibes, combined, are as strong and powerful as an upfront all out attack. Those buttons, once pushed, can send you reeling, into an internal rage or plummeting into an abyss of self-doubt and torture.

Of course, psychologists, and those whose buttons haven’t been pushed in the moment, will tell us the other person cannot make us feel a particular way, it’s our choice how we react to the momentum they use to push our buttons. They are, after all, our buttons.  I agree and good advice suggests we attend to our buttons.

My first question in situations like this is always – where am I at fault?  Is there some justification for the way this person is behaving (not that I condone bullying but behaviour happens in a context). It’s hard to stay calm and so terribly easy to dissolve into a trade of unpleasantness, behind the person’s back. But it’s wise not to go there, apparently (but by golly it does feel good to let it all out with a trusted friend). Sage advice also suggests we avoid confrontation.  I’m onboard with that, though taking a direct and civil approach has yielded good outcomes for me in the past.

When calm reason fails, peacemaking doesn’t work and the professional advice just don’t cut it, I abandon my adult sensibilities and join forces with my inner child.

I actively avoid my inner child as a rule but she comes out to play, in ways never intended by the gurus, coaches and psychologists, when flummoxed by a button pusher and when I’ve failed to deal with my own buttons. At times like these, thank goodness they don’t happen often, I feel my demeanour slip and I slide dizzyingly into a place where biting, kicking, stamping and yelling feel like the best course of action.  Of course, this isn’t entirely appropriate in many settings (mind you, I haven’t actually succumbed and staged this drama for real) but no one else sees the montage playing in my head, right!  The physical and mental relief that would flow from a good old tantrum might just have a much-needed transformative effect.  That got me thinking about healthy ways adults could unleash the inner beast of frustration in socially acceptable ways.

Running is good.  People tell me drinking helps them but that doesn’t meet the healthy criteria (and this was all about avoiding self punishment), getting out in nature and sitting on the grass under a tree rates highly, walking too. Writing your frustrations is suggested by many (hey, I’m a genius and didn’t know it).  Talking to a friend and a myriad of other great tips exist to relieve the frustration and stress of a situation.

Exercise and physical movement get high marks by a lot of sources.  I guess we all knew that, though in a light bulb moment the realisation dawned that if our emotions, our stress, our anxiety can trigger chemical reactions which effect our physical health causing inflammation, a weakened immune system and more, then reversing the equation could have a similarly positive effect. Combined with the instinctual need to throw a tantrum I hit upon the single best outlet for dealing with the aftermath of your buttons being pushed.

When peacemaking doesn’t work and you can’t deal with the button pusher, or your own buttons. When you can’t seem to move on and things are weighing you down and you just have to punch the shit out of something;  go a round with a boxing bag. You can hit and kick and yell and grunt and flay about until you have nothing left to give. It’s acceptable adult behaviour, and it’s a damned good salve for a raging mind, a wounded heart and a dinted ego. Plus, there are a whole raft of physical benefits from the release of endorphins. A good old round with a boxing bag can not only reduce the stress that’s mounted but stave off anxiety, boost self-esteem and improve sleep too.

Have you stumbled on any unique and successful ways to cope with an awkward situation and regain your equilibrium?

On a serious note: if you are experiencing workplace bullying or are in a difficult situation, don’t ignore it.  It won’t go away on its own.  Seek the assistance of the workplace advisor, a health care professional or a skilled and trusted colleague. 

 

 

Underground arias

“The aria, after all, is the soul of opera.”
— Richard Strauss

A phone call from my son sent me on a fact-finding expedition. We had spoken about an upcoming event in the limestone caves of Rockhampton, a north Queensland regional town. It was opera, a form of entertainment neither of us have fully explored before but one that intrigued us given the venue.

Keen to know more I headed to Google and discovered Brisbane Underground Opera. The company began in 2007 and perform not only in the caves but in abandoned buildings, mines, tunnels and airport hangers. An event was scheduled in my city in a heritage listed water reservoir. A place I had passed a week or so before on my Churches and Shrines walk. I bought a ticket.

The Springhill reservoirs, there were two I learnt, were not always covered by the odd-looking orange hut like structures that are there now. Built in the late 1800’s the set in-ground reservoirs provided water for the city of Brisbane  until 1962. Abandoned for nearly 50 years by almost everyone expect the homeless, misguided teenagers and possums, the site was reopened in 2014 by the Brisbane Underground Opera.  A most unlikely and extraordinary venue —once filled with water it is now filled with song and sound and joy. The space has been transformed and the experience is transformative.

One enters the chamber from above, down a rigged scaffold staircase. My first impression on entering this historical site was of wonder for the marvelous structure and architecture. The interior features columns and brick arches. A small stage in the centre provides a focal point. Clever lighting cast blue hues creating an interesting mood. Projected images of water bubbles cast upon the walls provided a reference to the history of the venue.

It’s an intimate setting, which allows the audience close access to the performers. I was the second row from the front, in the north wing, and could have reached out and touched the performers, so close was my seat. It is a theatre in the round design that works well. Performers adeptly played to the four sides and filled the space with their voices, sans microphones. As you’ve guessed there are no full-blown operas performed here with staging and sets, rather various arias. Let me not diminish the entertainment value and the clever use of minimal props to create stories for the audience. The cast had not only wonderful voices but also a keen sense of humour and delightful stage presence.

The performance I attended was a compilation of arias from a range of Operas and stage shows. Those featured included La Traviatta, Sweeny Todd, Carmen, Madame Butterfly, The Mikado, Phantom of the Opera and The Gondoliers. A good first time introduction I think. The surrounding brick walls, arches and tunnels provided arresting acoustics. A number of times I closed my eyes to shut out the visual input and absorb the elegance of being wrapped in sound.

This experience has not a convert to Opera made, though I would be keen to attend another event in the caves and an abandoned castle a short drive away. Carols in the reservoir sounds like something I’d like on my bucket list for this year too. The ambiance of a place adds much to the experience. The outstanding talent of the performers is something I can definitely appreciate.

Have you attended an event in an unlikely venue that has left a lingering memory?

Remembering and giving thanks

The bugle is sounded; it’s playing The Last Post.
The diggers spring to attention when they hear that mournful note.
They have two minutes silence.
You don’t hear a sound.
That’s in respect for the soldier in the ground.

The diggers wear a flower, the poppy is red
They throw it in the grave when a soldier he is dead.

Joe McSweeny – Soldier

 

War 1914

What a mug I have been
fighting in the war for the Queen
trying to dodge the enemy lead
jumping over the stinking dead.
Someone said you got good pay;
the mighty sum of four bob a day.

You chase the enemy day and night
strike me lucky, they give you a fright.
There are bursting shells of every type,
this goes on all the night.
I feel so crook and half fed,
I’d give a quid for a night in bed.
My legs are aching, my feet are sore
I have a toothache and a very sore jaw.

The Sergeant said, “In you go.”
The trenches is cold and covered in snow.
You shake and shiver to early morn
Out you hop, over the top, at the break of dawn.
Now the big guns boom and bark
they send big shells out in the dark.

Now the Diggers brave and true,
they hop over the top, same as you.
They fight the enemy, they were brave,
the hungry Digger without a shave.
Now they laugh and give a cheer
we would give a quid for an Aussie beer.

The soldier’s life it’s like being in hell
They take him out and give him a spell
They march him round and he is feeling fine
Seven days later, he is back in the line.

The Aussie boys are fighting machines,
They proved that by beating the enemy at the city of Messines,
In the trenches in Belgium and on the fields to the south
They Howitzer the enemy and bayoneted them out.

Now the war is over you can hear people say
‘Thanks to the Diggers, we will keep it that way’.

The bloke that wrote this was a backwoods kid
Everybody laughed at whatever he did.
Now he is old, his hair is grey
and if he was writing for money he would starve the next day.

Now you have heard my prattle and chatter,
No wonder I am as mad as a hatter.

Joe McSweeny

The bloke who wrote this was my great-grandfather.  A quiet and gentle man when I knew him.  He wrote a few ‘poems’ about his time in the war and while there are only several pages of notes and few words the essence, between the larrikin humour and the now political incorrectness, reveals a horror I hope never to face.

Lest we forget.

For peace of mind, focus on the small spaces in-between

Image

The simple things bring lasting pleasure

Notice the small things. The rewards are inversely proportional.
Liz Vassey

Pausing the monkey mind was once a major priority for me. The constant chatter was deafening and debilitating. A wise woman shared with me a strategy; focus on the silence between the Oms in meditation.  It worked.  Those tiny spaces, for a breath, between the rhythmic chanting allowed my mind to rest and I eventually turned down and tuned out the monkey mind.

Today I see a great need to soothe nervous tension and anxiety, whether caused by work related stress or the result of too many responsibilities and expectations.  A great many people are being pulled into the eddy of chronic psychological dis-ease. Without discounting the support of professionals there may be a way we can help ourselves to resurface and recreate a more joyful life, using a similar strategy as described above. Instead, the attention would be on the small moments of joy between the larger grey periods.  Leader in the field of positive-psychology Marty Seligman, found that by consciously focusing our attention on what we want more of in life we increase our chance of getting it.  So turn your attention away from what you don’t want and see the things you do.  This is tough when you feel overwhelmed, on edge, lacking energy or can’t leave the house. So start small.

A posy of home-grown flowers from a friend, watching birds and animals in the wild (substitute garden), the soft ache of used muscles at the end of a long walk. These things bring me joy. As do following the path of a balloon as it rises into the sky until it is no longer visible or spotting a brightly coloured bush flower in a sea of green undergrowth as well as taking a moment to appreciate the magic of a giant tree soaring overhead while feeling the texture of its bark.  Filling the house with warm and soothing aromas on a cold, wet afternoon while baking cookies and brewing chai tea, the sound of a child’s laughter,  a smile from a stranger. These are the pauses in between.

Peace can be ours. We can rebuild joyful lives and it need cost nothing. Harmony can be restored. These things can be ours if we appreciate the many small moments in life. The first step is to notice. Notice where you focus most of your attention and refocus it if necessary.

My plans went awry today and it was great!

“Walk as if you are kissing the Earth with your feet.”
― Thich Nhat Hanh

Wilderness places and the natural world are antidotes for an anxious mind and tired body. I went for a drive today.  It was longer than expected ― the way was blocked by a landslide close to my destination. I rerouted, the long way, and after more hours than intended I arrived high up in the hinterland where a cool breeze whispered around my body and danced in my hair.

I set out with the intention of shrugging off months of overwork and brain drain on a 17 kilometre walk. Alas, it was not to be. The track was closed due to recent weather events and was unsafe. This was not shaping up to be the day or the soothing balm I had intended. Not to be deterred I opted for a much shorter though highly picturesque walk and drank in the gifts around me.

 

Making Modernism and me

Art has the power to transform, to illuminate, to educate, inspire and motivate. Harvey Fierstein

I have to confess, the majority of my favourite artists are men. Is it because there are fewer female artists or is it, as is the case with sport, that female artist have not enjoyed the same exposure as male artists or is it simply a gross carelessness on my part not to delve deeper and wider? Perhaps a combination of all three. The work of performance artist Marina Abramović, painter Margaret Ollie, sculptor Louise Joséphine Bourgeois move me. I am surrounded by female artists, many colleagues and friends are fine artists, sculptors, glass blowers, performers and I own art work by female artists. Yet, male artists seem to gain much space on gallery walls, in print and media. So I was excited, though unsure of what I would see, when I went along to the most recent exhibition at the Queensland Art Gallery. Making Modernism is a combined exhibit of works by three female artists – Margaret Preston, Georgia O’Keeffe and Grace Cossington Smith.

Preston and Cossington Smith are Australian and O’Keeffe, American. The gallery space was intimate yet displayed a generous number of works by each artist making for a unique and pleasing experience.

I felt an immediate affinity with Preston and a familiarity with her work that I realised came from having explored the same places, tended the same flowers and photographed the same bush flora she depicts in her art. I was propelled back to a childhood home that had tongue in groove walls when admiring a still life, I knew the texture of the wild flowers and banksias, and I was surprised to see a painting titled White and Red Hibiscus dated 1925. I recently discovered a white hibiscus plant, a colour so rare, even my grandmother, an avid gardener had never seen.

I felt a comfort in viewing her work.  It is immediately very Australian, not only in the subject matter but the restricted colour palette which closely resembles the colours chosen by indigenous Australian artists. Her woodcuts are absorbing, her still lifes strong and potent.

Moving into the space reserved for Cossington Smith’s work I was taken from a tryst in nature to a celebration of the urban environment. Her work is post impressionistic. Her use of colour is energetic and elicits emotion. On seeing The Curve of the Bridge and The Bridge in Building I recalled Ashley Hay’s The Body in the Clouds, a novel that explores three intertwined stories from different times on the site where the Sydney Harbour Bridge was built.

Standing back and surveying the works there are a strong reflections of Van Gogh and Cezanne in a distinctly Australian setting. The effect was transformative and surreal.

The landscapes of New Mexico, Colorado and Arizona fascinate me. I wish to explore and roam those places. A short time with Georgia O’Keeffe’s work strengthened that desire. I felt a strong connection with her,  not through a familiarity of setting as it was with Preston but sensing a shared love of and affinity with nature. O’Keeffe, like me, was pulled by nature. Her landscapes are expansive, luminous and evocative of place. Her flowers bring us in intimate closeness with nature. Having a habit of narrowing in with the camera I enjoyed Canna Leaves and Corn No 2 for the detail. I responded quite emotionally to many of her works. The flowers were pleasing, Pelvis a stark, compelling portal and Black Place, Grey and Pink caused a fleeting, wrenching despair, I felt drawn into the void.

Three distinctive styles, three incredible women, three strong artists.  This was an enriching exhibition, well worth a visit.