Beloved sex-worker statue, Joy, comes home after nearly three decades of absence from Sydney More on Surry Hills After overwhelming public objection saw its removal in 1997, Joy has finally returned to Yurong Reserve, Surry Hills. In the mid 1990s, NSW became one of the first jurisdictions in the world to decriminalise certain forms of sex work. Inspired by this, local artist, Loui May (then Fraser), created a statue depicting a sex worker standing in a doorway.  Slightly bigger than life-sized, the statue was made from cement and marble dust, giving it a striking white finish. The doorway was a rectangular frame made from metal and painted bright red. In her original pose, she was leaning against the door jamb holding a cigarette in one hand. May named her “Joy” to echo the sentiments of sex workers at the changing laws, and also to reflect the service they provide.  Joy was installed on Stanley Street in 1995 as part of a local council program to promote artists and activate unused spaces. It was only meant to be in place for 18 months, however many residents immediately objected to the artwork, or more specifically, to what it depicted.  The statue was vandalised many times, and the outcry was continuous. It was finally removed in 1997 and taken to Macquarie University, where it was put on permanent display, seemingly without as much controversy.  While conservative locals were happy to see Joy go, many others were not, especially sex workers and allies for whom the statue meant so much. Joy was widely considered to be the first statue anywhere in the world, that honoured sex workers. She represented legitimacy, visibility, and acceptance.  There was a quiet desire among many in the community to have the Statue of Joy returned to what was considered her rightful place. Over the years, that quiet wish became louder and built momentum until a full-blown campaign was launched in the early 2020s.  In 2023, after a petition was lodged by an advocacy group, City of Sydney sought feedback from residents on whether to return the statue to its original spot; 80% of respondents said yes.  It was great news…except…Macquarie University didn’t want to give the original statue back.  This actually turned out to be a blessing in disguise as it led to a replica being cast in bronze.  “To have a bronze in Sydney it’s the sculptor’s dream come true,” May told ABC News.  Macquarie Uni gladly loaned the original statue out so that a mould could be made. Casting technician Matthew Crawford oversaw the making of the new statue.  It’s a mostly faithful reproduction but a few significant changes: the colours of the statue and door frame and, most notably, the absence of the cigarette which was removed in deference to new attitudes towards smoking.  In a statement, sculptor Loui May said:  “While my hands may have created this sculpture, it is the women who have lived and worked in this area through history that JOY represents. On their behalf, I give thanks to the hundreds of supporters who believed this sculpture was important, including writers, academics, journalists, artists, podcasters, poets and others.”  The new statue of Joy was unveiled on November 8, 2025, and now stands in Yurong Reserve, just off Yurong Street in East Sydney.

Sydney’s oldest surviving manor, Cleveland House, has faced mounting deterioration despite decades of heritage recognition More on Surry Hills By Rita Bratovich Once Sydney’s oldest home and a rare example of early colonial architecture, Cleveland House has long suffered from neglect. “This old grey house, now part of a group of buildings, is, from an Australian point of view, very old indeed.” This quote is from The Freemasons Journal, 1938 in reference to Cleveland House — which has since aged another 87 years! Occupying the block of land between 51 Buckingham Street and 146-164 Chalmers Street in Surry Hills, this impressive two-storey mansion has a history dating back to early settlement. However, if you were to walk past it today you would do exactly that - walk past. Surrounded by crude wire fencing, graffitied, rusting and crumbling, this important heritage-listed landmark has been allowed to fall into dereliction. Rudimentary and emergency repair work has been conducted over the last two decades, but the serious maintenance work required has been delayed by ping ponging DAs and approvals. Cleveland House is not only a beautiful example of quality architecture, it is also testament to two convict-cum-free settler success stories. Daniel Cooper was “transported” to Sydney from England in 1816, but received a pardon two years later. A shrewd businessman, Cooper immediately began building his empire, beginning with a pub and a store and expanding to include a shipping company, a brewery, and eventually the large, notable trading company, Cooper & Levey. By the early 1820s, Cooper was a very wealthy and very prominent figure within the colony. In around 1823, the now married Cooper commissioned another successful ex-convict, respected architect Francis Greenway, to design a residence on his five hectare parcel of land in what is now Surry Hills. The result was a stunning two-storey mansion in the Colonial Georgian style. Made from brick on stone foundations, it featured a wrap-around verandah supported by stone pillars, an iron roof, ten large rooms, an enormous basement with four cellars, a beautiful cedar interior staircase, stone exterior staircase, and verdant, landscaped gardens. The external rendering was stucco. Several outbuildings surrounded the main house and helped create courtyards. Built on a hill with very few other structures around, the magnificent mansion offered views down to the harbour. Alas, Cooper and his wife, Hannah, separated in 1829, having spent only five years at Cleveland House. The house was rented out so that Hannah would have an income. Meanwhile, the rest of Sydney colony continued to develop. Despite its distance from the rest of the world, Australia was an early adopter of technologies, including the invention of steam engines. By the mid 1850s, a railway line had been established in Sydney from Circular Quay to Parramatta. A terminus was built at Redfern in 1855 (which later became Central Station). Surry Hills was quickly urbanising. Daniel Cooper died in 1853 and his estate was sold and subdivided into eight blocks — the main house and out buildings remained on one block. From then on, Cleveland House changed ownership and experienced a wide variety of tenancies and uses. It was a ladies college, a boarding house, a laundry, a group of apartments. In 1903 it was owned by Sisters of the Good Samaritan of the Order of St Benedict and functioned as a school and convent. Then the Franciscan Missionaries of Mary purchased it in 1946, residing there for around 12 years before it was bought by NSW Society for Crippled Children in 1958 and used as a hospital. Current owners, LGS Enterprises Pty Ltd, acquired the property in 1988, demolishing the out buildings and a further subdividing the land. A 103 unit residential apartment block called Princes Gardens was built adjacent to Cleveland House. Meanwhile, Cleveland House continued to host a diverse range of tenants, including a solicitor's firm and an importer/exporter of dental supplies. InVivo Communications, medical education company and subsidiary of LGS Enterprises, moved in in 1997 and still lists 51 Buckingham Street as its address, even though Cleveland House is said to be vacant. Despite its historical significance and the threat imposed by repeated change of tenancy and development, it took until April 1999 for Cleveland House to be registered with New South Wales Heritage Council. Even with oversight by the Heritage Council, the once glorious manor house is in severe decline. As far back as 2010, the owner was ordered to repair the roof, drainage system, gutters, downpipes and flashing to prevent water damage to the building. A grant of $50,000 was awarded in 2013 so that repair work could be done. The verandah floors had already collapsed due to improper water drainage. Whether or not this work was ever completed, Cleveland House continues to display signs of dilapidation. An integrated development application (IDA) submitted in 2019 is still awaiting approval on all elements. Being registered with Heritage NSW indicates that Cleveland House has state significance as a historical building. Local residents are keen to see it repaired and actually used in a way that benefits the community: a museum, cafe, venue, cor ommunity centre. Something that honours its past. Cleveland House 146-164 Chalmers St, Surry Hills

The iconic Italianate estate Iona, owned by Baz Luhrmann, has changed hands after a dramatic four-hour bidding showdown that saw the mansion sell for $37.5M  More on Surry Hills The celebrity couple purchased the rare inner-city property, named Iona, in 2006 for a mere $10 million. Featuring 22 rooms, including seven bedrooms and bathrooms, a temperature - controlled cellar, caterer's gas kitchen, conservatory, sunrooms, gym, large basement, library, as well as spacious balconies, expansive landscaped garden, in-ground heated pool and parking for 12 vehicles, this grand manor house might normally be found on a sprawling country estate.  Instead, it is ensconced at the end of an unassuming cul-de-sac, minutes from the hubbub of some of the city’s trendiest precincts.  During their tenure, Baz Luhrmann and Martin hosted parties with a glitterati guest list and ran their successful production company. They sold their stately home in February 2016 at a $6million profit on their purchase price. The purchasers, Tim Eustace, principal adviser at Mercury Private, and his partner Salvador Panui, made some notable upgrades while retaining the existing original features of the beautifully preserved circa 1880s building. They refurbished the kitchen and cultivated plants in the garden that helped provide more privacy.  After almost 10 years, Eustace and Panui were also ready to move on. By then, Iona had soared in value, with estimates putting it up around the $40million mark. Its first outing on the market, last year, saw it receive tepid interest.  The second go around, new agents Sydney Sotheby’s International, put it in the window with a very conservative price estimate. That attracted a handful of very serious contenders and led to a four-hour private bidding battle. Eventually the esteemed property was attained by an Eastern Suburbs family for $37.5 million.

A closer look at how Tanya Plibersek balances ministerial duties with local life. More on Surry Hills By Rita Bratovich Name: Tanya Plibersek Occupation: Member for Sydney, Minister for Social Services 3 words to describe a typical day: long, busy, rewarding Something people wouldn’t expect about your role: No two days are alike. Every day is interesting. It’s fair to assume Tanya Plibersek loves what she does, having done it for 27 years and counting. The popular politician is as much a Sydney icon as the Bridge or Opera House; testament to that is this year’s election result in which she achieved the highest primary Labor vote in the country. Tanya’s legacy, however, will go beyond high polling scores. As a conscientious, empathetic MP, Tanya proudly notes among her achievements the introduction of Kids’ Dental; the building of 80 new homelessness services; and the additional 100 million hectares of land and ocean that have been conserved in Australia. Motivated to make a difference, Tanya aims for significant systemic changes, yet she also feels great satisfaction in being able to help individual constituents, especially when she’s their last resort. With cost of living and housing affordability being pressing issues in her constituency, Tanya knows there is still a lot of work for her to do. Thankfully, she also knows where to re-fuel and find inspiration! Local Favourites Surry Hills/Darlinghurst: Best coffee – Flour and Stone Best meal – Bastardo, or Fontana if you are prepared to leave Darlinghurst to go to Redfern. Must-see/do in 2025 – Qtopia – with a quick visit to the National Art School thrown in for good measure. A Day In The Life of Tanya Plibersek's 6.00 am – Take our dogs Frankie and Robbie for a walk. Stop at Mentmore and Morley for the first coffee of the day. 7.30 am – Drive my son to school because I’ve been away in Canberra all week and I want to spoil him a bit. Stop at Flour and Stone for a ham and cheese toastie for him and another strong coffee for me. 9.00 am – It’s Women’s Health Week, so visit the Leichhardt Endometriosis and Pelvic Pain clinic to talk to doctors and nurses about the difference new Commonwealth government funding for women’s health is making. Cheaper contraceptives, IUDs, endo medicines and menopause meds. 10.00 am – Meet with constituents about a range of personal and local issues. Catch up on emails. Thank John, our volunteer accountant who has been helping low income constituents with their tax returns, as he does at “tax help” time every year. 12:00 pm - Delicious lentil and cauliflower soup from Brickfields for lunch. 2:00 pm – Visit the Older Women’s Network in Newtown to speak at their Women’s Health Week event. Wish I could stay and listen to the whole thing!! 4:00 pm – Paperwork. Paperwork. Paperwork. Writing back to constituents who have emailed me. Putting the final touches on a Cabinet submission 6:00 pm – Takeaway from Erciyes for dinner. My daughter is home from Broken Hill for the weekend, so her favourites are on high rotation. 8.00 pm – Watch my younger son play basketball. 10:00 pm – Generic moody British detective drama on Britbox and a cup of peppermint tea to unwind. This is my real day today. The best thing about my job is the extraordinary variety. No two days are the same. My parents taught me to treat everyone I meet with respect, and one of the things I like best about my job is being able to help people at some of the most difficult times in their life. MP Tanya Plibersek 1a Great Buckingham Street, Redfern (02) 9379 0700

Inside the final New Breed season from Sydney Dance Company, featuring four world premieres from Australia’s rising choreographers More on Surry Hills By Adeline Teoh Now in its 12th season, Sydney Dance Company’s New Breed continues to stand as one of Australia’s most vital platforms for rising choreographic talent. Bodies as landscapes, dancers as pigeon people – there’s so much choreography can say if you understand the language of dance, and so much you can feel even if as a newcomer to the form. For 12 years the Sydney Dance Company’s New Breed program has placed emerging Australian choreographers in the spotlight. A collaboration between Neil Balnaves AO, of principal partner The Balnaves Foundation, and Sydney Dance Company artistic director Rafael Bonachela, New Breed has commissioned 49 new works by 47 choreographers, giving Australian dance the platform to develop new talent. “Over 12 seasons we’ve experienced thrilling, compelling, and deeply original works that have left a lasting impact on Australian dance,” says Bonachela. “New Breed has been an anchor of Sydney Dance Company’s vision to nurture and platform the voices of emerging choreographers.” The December 2025 presentation is the finale for the New Breed program and sees four world premieres by fresh faces Emma Fishwick, Ngaere Jenkins, Harrison Ritchie-Jones and Ryan Pearson. Fishwick’s marathon, o marathon examines the desire to continue performing personal convictions in a time of exhaustion. “I interviewed 12 people with frontline professions – this included paramedics, nurses, psychiatrists, teachers, carers, social workers, and climate activists. The focus was on what they know to be true about what they do and how it functions within society today,” she says of the genesis of the work. Key ideas of persistence, doubt, trust, and resistance emerged. “Then it sprawled out from there to find different references and aesthetics as a way of expanding how the dancers and audience might relate these ideas to present day realities.” Though the Perth-based choreographer says she never seeks to force an understanding of her work, she invites people to relate to what unfolds on the stage. “I hope that people leave feeling more aware of their relationship to persistence and resistance, and how that impacts the way they move through the world today.” Jenkins, a Sydney Dance Company dancer, makes her debut as a choreographer with From the horizon thereafter, an homage to her native Aotearoa/New Zealand. The hardest part of transitioning from dancer to choreographer was “having infinite possibilities and deciding which path to follow to get to the river,” she says. “I’m grateful for many wise words from friends, mentors and my colleagues in the piece. I’ve loved getting a glimpse into what it takes to craft a work from the outside, far from where I feel most at home – being inside the movement as a dancer.” From the horizon thereafter centres Jenkins’ homeland, “drawn from memories and stories my grandparents shared about the land, our ancestry and the wairua (spirit) of the ever-shifting landscape. There’s a sense of arrival or migration, a movement through the cycle of Te Kore (the void), Te Pō (the night), into Te Ao Mārama (world of light),” she elaborates. “This work is a personal reflection, an ode to the ephemeral beauty and memory of the land, to the sense of something that can never fully be held. It grieves the spaces once tenderly walked upon, the land that breathes through us.” The world that Ritchie-Jones creates with his work Pigeon Humongous marks a distinct change of genre, underlining the expansive possibilities of contemporary dance. The award-winning choreographer, also known as a dancer and filmmaker, presents a dystopian vision in which a global virus gives rise to a post-apocalyptic world of punk pigeon people. “In this work, I am really enjoying exploring this new world logic and pushing into creating strange tension in the work, both physically and dramaturgically,” he says. “I’m less focused on trying to impart a particular reaction when I make work and enjoy the act of offering up themes and ideas for an audience to negotiate for themselves. I invite the audience to come into my vision and to enjoy the rigour of my obsessions.” For Pearson, that obsession is video games. Save Point sits at the nexus of nostalgia and invention and blends dance and combat choreography. “I really wanted to have a concept that was very close to me, and I knew a lot about. I like creating works about moments of my past, usually when I was growing up,” says the Sydney Dance Company dancer, who previously choreographed for Bangarra Dance Theatre’s Dance Clan program. “Save Point is about my memories playing on my PS2 and computer. It gives me a sense of confidence to create opinions about my own life, and with that confidence, I can create things that make me happy.” While creating the work, Pearson saw interesting similarities between the gaming screen and the dance stage. “Gaming choreography shares similar dramatic moments that you might see on a stage rather than on a battlefield. That’s what’s so fun about these games, they can blur the reality of what’s possible in the real world, escaping you into these fantasy worlds where you can control elements, wield humongous weapons and ride on the backs of dragons. With this inspired melodrama we’ve created a lovely blend of dance and gaming combat, with a little hint of kids’ play.” Although the New Breed program has come to an end, The Balnaves Foundation will continue its partnership with the Sydney Dance Company through its Artist in Residence program, which strives to support the next step of emerging artists’ creative development. For now, the finale of New Breed promises to be a momentous presentation of Australian contemporary dance. Tickets for New Breed (3-13 December) at Carriageworks are on sale now at sydneydancecompany.com

Sarah Blasko and the Sound of Newtown By Lucy Pearson Read More on Newtown/Enmore Sarah Blasko’s music is steeped in introspection, cinematic soundscapes, and an ethereal quality that has captivated audiences for decades. But beyond the haunting melodies and poetic lyricism, Blasko’s roots are firmly planted in Sydney’s inner west—particularly Newtown, the suburb that played a pivotal role in shaping her artistic journey. A hub of creativity and counterculture, Newtown provided the backdrop for Blasko’s early musical explorations, from intimate gigs at local venues to the streets lined with record stores and second-hand bookshops that fed her artistic curiosity. Her new album I Just Need to Conquer This Mountain marks a profound moment in her musical journey—one that bridges her personal growth, her relationship with motherhood, and a deep reflection on grief, goodbyes, and the beauty of new beginnings. Six years in the making, this album is a testament to the changes Blasko has experienced and how time and space have shaped her creative vision. Her first release in six years, I Just Need to Conquer This Mountain was born out of an unexpected and cathartic period in her life. “A year and a half ago, I was broken, hurt, and confused,” she says. “But a year and a half on, I feel clearer and stronger. I’ve had time to think, time to live, time to work out where I want to go with my music and my life.” The album reflects this inner transformation, a journey that echoes the themes of endings and new beginnings that are central to the record. The process of making the album was both freeing and relaxing for Blasko, as she embraced the creative space without external pressures. As she recounts, “This album was probably the most relaxed and free-feeling record I’ve made.” She credits this ease to her newfound balance between family life and her career. “Everything feels relaxed and free when I’m working these days,” she adds. “It’s all a walk in the park compared to looking after kids!” The freedom she describes is not just about having control over her time but about embracing her music on her own terms—without the constraints of a record label or anyone telling her what to do. One of the album’s highlights is “Goodbye!”, a deeply emotional duet with Ryan Downing. Blasko has always been drawn to the power of collaboration, and Downing’s voice complements hers beautifully, adding a timeless, almost cinematic quality to the track. “I started hearing the various lines as responses to one another,” she explains. “Ryan’s voice sounds like it could come from another era… it’s imbued with a drama and timelessness that I love.” While the album’s music is expansive, Blasko’s personal life in Newtown—her home for many years—also plays a significant role in shaping the authenticity of her work. Newtown, with its eclectic charm and creative energy, has been both a source of inspiration and grounding for the artist. Some of her favourite haunts give a glimpse into her everyday life beyond the stage. One of her go-to spots is Cairo on Enmore Road, a relaxed eatery that serves fantastic Egyptian food. “It’s a ten-minute walk from my house,” Blasko says, “and I often daydream about their dishes. I usually order the charcoal chicken plate and a karkade.” Another place close to her heart is Uturn Vintage, a recycled fashion store nestled near a vibrant mural. She enjoys the relaxed vibe, where she’s free to explore the racks without the pressure of overzealous salespeople. “There’s a nice, relaxed vibe to it. I hate shops where people try to help you too much!” Blasko’s connection to Newtown is not just about convenience; it’s about a deep sense of belonging in a place where she can unwind, recharge, and find joy in the simplicity of her surroundings. When it comes to family, Blasko’s relationship with her son Jerry brings an added layer of meaning to her personal life. She often takes him to The Courthouse Hotel for a game of pinball and a drink after school. "I’ve enjoyed The Courthouse since I was in my 20s," she reflects. "Now, in my 40s, I still go there, and I take my son. It's a very different context these days, but I like the neighbourhood feel of the place." Blasko’s relationship with Newtown is also reflected in her music. The raw, unpolished essence of the area mirrors the candid and honest themes explored in her songs. Whether it’s strolling through Camperdown Memorial Park at sunset or attending a show at the iconic Enmore Theatre, Newtown has offered Blasko a sense of community and connection. She recalls a life-altering performance at Enmore Theatre in 2004 by The Flaming Lips, which left an indelible mark on her. “One of the most special nights of my life was playing my own show at the Enmore,” she shares. “It was a moment of pride and joy, and I’ll never forget the celebration that followed across the street at karaoke.” As Sarah Blasko prepares to embark on her upcoming tour, her reflections on the journey that led to I Just Need to Conquer This Mountain offer a rich tapestry of emotional depth, personal transformation, and creative liberation. Newtown remains at the heart of this journey—an inspiring yet grounded environment that nurtures her evolution both as an artist and as a person. With her new album now out, Sarah Blasko stands at the summit of her journey, ready to share her most intimate, cathartic, and hopeful work yet. Her path from Newtown to the stage reflects not just a geographical journey but one of self-discovery, resilience, and the embrace of new beginnings. Read More on Newtown/Enmore

Read more on Newtown Next time you’re out in Newtown, taka a particular interest in the walls. Amongst the busy streets and secluded alleyways you may be lucky enough to spot a plastered piece of art by Alex McDonald, AKA Absurdeus. Known in the art scene by his pseudonym Absurdeus, Alex is bringing more joy and colour to Newtown by pasting his stunning art to the neighbourhood  walls.   Q: Your name is very unique and lends a great insight into your work? How did you come up with it?   A: I came up with it while studying philosophy and creative writing at university. I was working on a collection of poetry and narrative prose where I would portray particular philosophical fields as Greek mythological figures. It’s a portmanteau of Absurdism and the character Odysseus. I adopted it as a pseudonym when I started doing paste-ups at the beginning of the pandemic. I’ve always felt glueing original oil paintings to walls is kind of ridiculous, so it seemed like a fitting alias for my street art. Q: Have you always been an artist? Where did it all begin for you? A: There’s been a strong artistic and creative community around me for much of my life. My parents ran a studio-gallery-residence called Art Unit back in the 80s, which is where I was born. I got really into visual arts about a decade ago. I was drawn to how effortlessly it allowed the weight of my thoughts to drift away. It’s such a great, meditative way to be present and get out of your own head for a while. Q: How would you describe your medium and style? What drew you to this form?   A: These days I almost exclusively work with oil paints and pallet knives in my paintings. I was drawn to the sensuality and texture of both the medium and technique of using blades rather than brushes. The extra sensory stimulation helps me to really get lost in the act of painting and embody a creative flow state absent of any higher thought.   Q: You come from a fairly artistic family, your mother famously painted Newtown’s iconic Martin Luther King Jnr mural. How do you feel your family's association with art impacts your practice? Did it challenge you to take a new approach to street art? A: I see my street art as more of a continuation and blending of both my parents’ approach. Mum painted a whole series of iconic murals around Erskineville, Newtown, and Enmore in the 90s. And Dad used to design and produce these wild triangle posters for exhibitions and gigs, which ended up pasted up around town.   Growing up in an artistic environment definitely made it easier to just take up a creative practice on a whim, regardless of field or medium, and pursue it for no more than the enjoyment it gives me to make something. My parents and their friends were a very positive example of the freedom, joy, and community that can come from art in that regard. Q: Who or what is your biggest inspiration and/or mentor?   A: Probably my mum and my mental health, if I’m being honest. My single biggest motivation to paint is how peaceful I find it as a pastime. It’s incredibly meditative and helps me to emotionally regulate. Painting regularly makes it much easier for me to navigate all that life throws my way with a clearer, calmer mind.   Mum was a great source of inspiration for me to take up creative  practice more consistently and follow it through for no more reason than to see where it might go. She couldn’t stop herself from being creative and making art if she tried. She’s been artistically relentless and innovative longer than I’ve been around   Q: Lately, your plastered pieces have centred around vibrant floral designs. Why do you think this is the case? A: I paint bright florals far, far more than anything else. I don’t want to think about what I’m painting, and I want to avoid as much higher thought as possible when  I paint. I find thoughts get in the way of losing myself in process, and injures the therapeutic effect of being aimlessly artful as an act in itself.   Among the sheer variety of flowers can be found every colour, shape, and gesture. That’s why they became my go-to subject matter. I don’t have to think about them, or at the very least they lend themselves to the meditative and expressive approach to painting I’ve come to enjoy so much in the last few years.   Q: What’s your relationship to Sydney and the inner west? A: I’ve lived most of my life in the Inner West. I’m actually named after the suburb of Alexandria, which is where I was born at Art Unit. I have a great affection for a lot of the suburbs around the Inner West, it was such an awesome place to grow up as a borderline feral street kid in the 80s and 90s. Q: How do you decide where to paste/share your art? What are your goals regarding changing the space they occupy? A:. When the pandemic began, a number of friends told me how much joy they were getting from discovering the nooks and crannies and little details hidden around the suburbs they lived in. I had dozens and dozens of works sitting around, so I figured I could help bring some novelty and brightness to the neighbourhood by sharing my art in public. It’s really all snowballed from there, I know it still brings a lot of happiness to people when they stumble upon my art scattered around the city Over the years deciding where to put my art has become an extension of the same approach I take to the act of painting itself. It’s all about feeling, less about thinking. I’ll pick a suburb and then spend hours wandering around until walls or locations leap out and tickle my intuition, and then up goes a painting. I am trying to get out of my comfortable Inner West bubble more often these days though.   Q: Is there anything else you would like our readers to know - any future showcases, etc, you’d like to promote? A: I’m currently curating an exhibition for GoodSpace Gallery at the Lord Gladstone in Chippendale on July 3rd, where I’ll be showing my stuff with several other local artists, alongside my mum’s new sculptural work. The best place to find my work or contact me is Instagram under the name Absurdeus. I’ve pasted up over 350 original oil paintings in public since early 2020, and don’t intend to stop anytime soon.   To keep up with Absurdeus and all of his artistic adventures, you can follow him on Instagram and keep an eye out for his artwork on the streets! READ MORE ON NEWTOWN

From Aeroplane Jelly to ACDC, Newtown has a mixed bag of links to rock ‘n’ roll history, some iconic, others eclectic. Here we undertake a tour of some significant sites around town. More on Newtown By ALEC SMART The Sando, 387 King St Newtown The Sandringham Hotel, affectionately known as The Sando , was for over a decade, one of the most important live music venues in Sydney for launching and sustaining bands during its heyday from late 1980s to late 1990s. From 2012 it was upgraded and rebranded as the Newtown Social Club, but its past glories were over. It’s now a mini-golf arcade-meets-cocktail bar. I personally remember The Sando evolving from a tacky bar, where elderly men avoided their wives and hustlers enticed naive pool players to gamble on the unavoidable outcome of a few games, to an essential live music venue. It was poorly set up - the bar service area dominated the majority of the room, with a low stage for bands taking up the entire left wall, meaning punters were forced to cram in, with little room to dance. Ordering a drink usually meant getting jostled by sweaty dancers and dodging coughing chain-smokers, then losing half of your drink on the return trip to a safe spot to consume what was left. But the atmosphere was electric. From 1987 to 1991, Celtic folk-punkers Roaring Jack  (Australia’s lively answer to The Pogues), had a Thursday night residency at The Sando that saw the venue routinely jam-packed with rowdy punters spilling out onto the pavement. Their song, Yuppietown , was critical of the gentrification of Newtown and surrounds. Coldplay recorded their 2014 music video A Sky Full Of Stars  on King St Newtown The Whitlams also had residencies at The Sando. Singer-songwriter Tim Freedman adapted a poem by local writer Justin Lowe for the band’s 1999 tribute song God Drinks at the Sando . The Whitlam’s biggest hit, Blow Up The Pokies , a memorial to bassist Andy Lewis (who took his own life due to a crippling gambling addiction), also referenced the venue in the opening line: “There was the stage, two red lights and a dodgy P.A…” Freedman wrote several songs about Newtown, including 12 Hours and Year of the Rat . Satirical TV show Chasers mocked his apparent obsession in their Newtown Song with the words “There’s a thousand songs I’ve written and they are all about bloody Newtown!” The old Sandringham Hotel, aka 'The Sando, at 387 King St Newtown Spanish-style garage, 426 King St Newtown The 2002 comedy-drama Garage Days is set in Newtown and features multiple locations along King St and Enmore Road, Sydney Uni and Marrickville Bowlo. Among these is the 1930s-built former garage at 426 King St, which has been neglected for years having miraculously survived developers’ wrecking balls. The film is about an ambitious but mediocre rock band seeking the attention of a major music promoter to further their career, in a time when many venues replaced live music with poker machines. (‘Pokies’ did indeed eviscerate Australia’s once-vibrant live music scene in the late 1990s). The Palace Hotel the band loiter in is in fact a studio set, but the exterior utilises the Hollywood Hotel in Surry Hills. The band also performs live at the Homebake Festival in The Domain, which ended in 2012. The script was written by alt-rocker Dave Warner, who had a hit in 1976 with the controversial but delightfully gritty album Mug’s Game . Greek-Australian director Alex Proyas ( The Crow , I Robot ) told Dark Horizons in Oct 2002: “I shot a lot of the movie around Newtown which was fantastic – I used to live there for many years - being able to glamourise Newtown, show off the ‘exotic’ side of it, was kind of a challenge...” Scene from 2002 comedy-drama Garage Days 294 King St Newtown + Victoria Park Pool At the former band rehearsal studios in what is now Newtown Gym at 294 King St, in a second floor rear-facing room overlooking Erskineville Road, a band that stamped their indelible mark on Australia’s cultural identity had their first rehearsal in Nov 1973. Near the corner of Wilson St, above what was until recently Civic Video (now Thai Pothong Restaurant), four lads - guitarist Malcolm Young, drummer Colin Burgess, bassist Larry Van Kriedt, and vocalist Dave Evans - gathered for the inaugural rehearsal of powerhouse rock band ACDC . In July 2017, original vocalist Dave Evans told Canadian magazine Cornwall Seeker how he was recruited to ACDC version 1. “I answered an ad in the Sydney Morning Herald newspaper for a heavy rock singer and Malcolm was on the other end of the phone line when I called... He asked me to come for a jam with Larry and Colin as they were forming a band. I met up with them and jammed and we then shook hands and said we had a band! We did not have a name yet though. Angus auditioned a week later as his band Kentuckee had also split up and then he was accepted as the fifth member of the yet unnamed band. We decided on AC/DC a few weeks later.” AC/DC in 1974 with original vocalist Dave Evans singing " Can I Sit Next To You Girl? " ACDC’s first public gig was at Chequers Nightclub at 79 Goulburn St in the city on New Year’s Eve Dec 31 1973. On 1 April 1974 they performed at Victoria Park Pool, on the corner of City Rd and Broadway, and this is where Angus Young first wore the iconic school uniform that remains his onstage outfit almost 50 years later. On 22 July 1974, ACDC, now a glam-rock act wearing brightly coloured stage costumes, released their debut single Can I Sit Next To You Girl? with Dave Evans on vocals, which peaked at number 50 on the ARIA music charts. In Aug 1974 ACDC parted ways with Evans, and formally replaced him on 24 Oct with veteran singer Bon Scott, who was then between bands and working as a shit-shoveller in a fertiliser factory… and the rest is history. ACDC returned to Victoria Park on 7 Sept 1975 and headlined a 2SM Radio concert, the band playing on the roof of the swimming pool building. 41-49 Alice Street Newtown Albert Francis ‘Frank’ Lenertz (1891-1943) was a wholesale groceries and liquor merchant and a part-time song writer. In 1923 Lenertz, who then lived at 284 Victoria Rd Marrickville, wrote the song Newtown is an Old Town (That I Love) , which was recorded for radio with vocals by a Miss Eileen Patterson. In 1926 Lenertz became managing director and co-partner of tram driver Adolphus ‘Bert’ Appleroth’s jelly manufacturing company Traders Ltd in Sussex St, City (previously, Appleroth made jelly in his bath!). The following year they relocated the factory to 41-49 Alice St, Newtown (which is now a council housing estate). In 1930 the company was rebranded Aeroplane Jelly , and Lenertz wrote the theme song for radio: The Aeroplane Jelly Song , which became the longest-running advertising jingle in Australia. Aeroplane Jelly artwork At first sung live several times a week by three-year old Jennifer Paykel, then recorded by music hall entertainer Amy Rochelle (who sang it in a childish voice), in 1938, seven-year-old Joy King was chosen to sing the definitive version after winning a state-wide competition. That adaptation was played continuously on radio and TV over the next 50 years. At one stage in the 1940s, the advert was broadcast over one 100 times a day, a saturation campaign never done previously. In 1956, 7-year-old actress Barbara Llewellyn was filmed for a TV advert sat on a swing, miming to Joy’s song from 18 years earlier, and although the advert was updated, the song remained the same until the late 1980s. Imperial Hotel, Erskineville + Camperdown Cemetery The 1994 comedy-drama, The Adventures of Priscilla, Queen of the Desert , about the mixed fortunes of three drag singers in a pink coach full of exotic costumes, featured opening and closing dance scenes in the front bar of the LGBTQI-friendly Imperial Hotel at 35 Erskineville Rd, Erskineville. The Imperial continues to feature drag shows and trade on the international success of the film. St. Stephens Church and Camperdown Cemetery, Newtown, also feature in a scene at the start for the funeral of ‘Trumpet’, whom, we are told, asphyxiated on peroxide fumes in a bathroom while bleaching his hair. Incidentally, the iconic coach, described by actor Guy Pearce as “owned by Swedish tourists Lars, Lars and Lars,” was provided by a Newtown character called 'Fast Nick', who owned two coaches and lived in the other parked close to the Imperial Hotel. It's been reported as the touring bus of Newtown-based band The Whitlams , but the group may have used it only once on a trek to Brisbane. Scene from the 1994 comedy-drama The Adventures of Priscilla, Queen of the Desert 290 Church St + 188 King St + Camperdown Park In 2013, Sydney reggae-rock fusion band Sticky Fingers filmed the music video for their song Australia Street on King Street. Although the song and accompanying video doesn’t include the actual Australia St, the film clip starts parallel to it on the opposite side of Camperdown Park in Church St. There the band exit #290 as the singer begins: “It was a real sunny day, we were chilling in the land of the Camperdown Park..” The band members then make their way north along King St then turn into Brown St and up Buckland Lane before entering a door at the rear entrance of 188 King Street for a party/band jam in an upstairs room. Sticky Fingers, formed 2008 in Newtown when the founding duo recruited a guitarist busking outside Coopers Hotel, were twice rejected to perform at the annual Newtown Festival in Camperdown Park. Cheekily, they set up their own DIY stage in a friend's backyard nearby on the day of the 2010 festival and the guerrilla performance caught the attention of record promoters and producers who nurtured their recording career. The band headlined Newtown Festival in 2011.   Sticky Fingers  in the music video for their song Australia Street  on King Street Newtown I Have A Dream Mural + Newtown Neighbourhood Centre Some suggest the Sticky Fingers’ Australia Street film clip of the band strolling up King St inspired British pop band Coldplay to record their May 2014 music video A Sky Full Of Stars in Newtown, except Coldplay wander south instead of north, and actually end up in Australia St. Coldplay invited audience participation via social media just 12 hours ahead of the filming, attracting 250 fans.The guerrilla-style, single-take video features the band members wearing portable amplifiers, instruments in hand. It starts with singer Chris Martin strolling the footpath before meeting up with the other band members beneath the I Have A Dream mural on the side wall of 305 King St - artist Juilee Pryor’s heritage-listed painting of Martin Luther King’s face above an Aboriginal flag. Thereafter they all stroll south and congregate with fans for a singalong in the pedestrianised zone beside the Newtown Neighbourhood Centre. Young Henrys Brewery In Feb 2018, American alt-rock band Foo Fighters teamed up with Newtown brewery Young Henrys in Wilford St for a beer named Foo Town Lager, made with American hops. The limited-edition brew coincided with the band’s 2018 Australian tour, which also involved small concerts at a number of Australian venues, including Hollywood Hotel in Surry Hills, where the beer was served. Young Henrys’ previous pairings of limited-edition brews with rock bands include: YouAmI (‘BrewAmI’ in 2013, to celebrate the band's 20th Anniversary Tour); Dune Rats (‘Dunies Lager’ in 2016) and Queenslanders DZ Deathrays (‘Pils N Thrills’ pilsner for the Blurst Of Times Festival in Brisbane in April 2016). Young Henrys special-edition band brews Live Music History of Newtown - Other Links Richard White , a former musician and refrigerator mechanic who used to repair guitars for AC/DC and The Angels and also built a lighting system for one of Midnight Oil's tours, started WiseTech Global from his Newtown basement. WiseTech, which provides logistics software for the world's biggest transport firms, is now used by over 5000 companies worldwide. Frenzal Rhomb , featuring St Ives High schoolmates Jason Whalley and Lex Feltham, formed in Newtown to participate in a Battle of the Bands competition in 1992 while Whalley was studying Philosophy at Sydney University. The band was named after a pet rat that was itself named after a parallelogram optical prism that redirects light, called a Fresnel rhomb after its 1817 inventor, Augustin-Jean Fresnel. Ignatius Jones , former singer of 80s OzRock band Jimmy & The Boys, and former Creative Director of Vivid Sydney (2011-2019) is a Newtown resident. Jones, with creative partner David Atkins, directed the 2000 Sydney Olympics opening and closing ceremonies and wrote and directed the stage musical The Man from Snowy River . Murray Cook , founder of hugely successful children’s TV band and media phenomenon, The Wiggles , is a Newtown resident. Cook was The Wiggles’ guitarist/songwriter from 1991-2012, when he stepped back from performing to focus more on creativity and production. In 2015 he joined R&B band Soul Movers. Guitar Magazine once speculated that Cook was perhaps the most influential guitarist in the world due to his being the first that young children are exposed to during their formative years watching The Wiggles on TV. Bart Willoughby , drummer/songwriter with Indigenous reggae band No Fixed Address, co-wrote the song Newtown Dreaming in 1993 with another Murray Cook – not the aforementioned Murray from The Wiggles - which was recorded with the band Mixed Relations on their album Love . The Lemonheads ’ 1992 composition My Drug Buddy , from their best-selling album It's A Shame About Ray , references King Street. The song has no chorus with sentences that don’t rhyme: “We have to laugh to look at each other. We have to laugh 'cause we're not alone. As the cars fly up King St, it's enough to startle us…” Songwriter Evan Dando told SongFacts that the ‘drug buddy’ was his friend Nicole and the lyrics inspired by a night they spent together in Sydney, high on amphetamines. Monica Trápaga , jazz singer and actress, was also a presenter on the Australian children's series Play School from 1990-98 and sang the theme song to kids’ program Bananas In Pyjamas . Trapaga was also a presenter on TVs Better Homes & Gardens from 1997-2003 and thereafter managed Reclaim, which retailed home accoutrements and bespoke furniture at 356 King St. until it closed down at the end of June 2015. John Kennedy’s Love Gone Wrong 1985 song King St references three Newtown venues, two of which have gone. Maurice's Lebanese restaurant, the downstairs of the 1889-built Trocadero former indoor roller skating rink at 69-77 King St is now a print store with offices above; and Coles' New World supermarket at 69-77 King St, is now the multi-screen independent cinema Dendy’s. However, The Hub at 7-13 Bedford St, then a pornographic cinema, which Kennedy ironically describes as the “jewel in the crown” of King St, is with us, albeit now in transition to become a large craft beer bar and entertainment venue called Urban House of Brews. Kennedy also wrote a song called Ghost of Newtown , which references Camperdown Cemetery: “I’m sitting on a headstone in St Stephens cemetery”, which he sang with his band The Honeymooners. The 1982 drama movie Monkey Grip , although set in Melbourne, was filmed primarily in Sydney, including Harbour View Hotel at Dawes Point in The Rocks. Co-starring the late Chrissy Amphlett , whose band The Divinyls provided the soundtrack, some indoor scenes were filmed at 6 Warren Ball Avenue, Newtown. The second music video for The Go-Betweens ‘ breakout song Streets of Your Town , the colour version (not the black & white video) includes the platform of Macdonaldtown Station among a montage of city scenes. Scene from the 2002 comedy-drama Garage Days   ===================================

A holistic, collaborative approach to Women's Health at the Papaya Clinic, Newtown By Rita Bratovich Read More On Newtown/Enmore Papaya Clinic is located in Newtown Alice Street; close to the city but a world away from your typical multi-service health centre. With a focus on women’s health, Papaya Clinic has brought together an all-female team of professionals with expertise across a range of disciplines. Their goal is to deliver specialised service in a caring, safe and collaborative environment. Director and Founder of Papaya Clinic, Winnie Wu, brings a long list of credentials plus years of experience as a physiotherapist, business owner, pilates instructor, professional dancer, and mum to her practice. She is a pelvic health & musculoskeletal physiotherapist with a special interest in helping women through all life stages including pre and postnatal, all through to post-menopausal years. To that end, Winnie and her team of pelvic physios, naturopaths, acupuncturist have created the Embrace Program for pregnant and postpartum women, and the Menopause Mastery program for perimenopausal women. Their health programs are tailored and provide best practice frameworks to help women navigate health concerns, prevent complications and feel good and empowered going through the delicate period of change. Papaya Clinic focuses on providing holistic care across the four pillars of health – hormonal, physical, emotional, nutritional health. Their team of experts work closely with one another and seeing one is like seeing all. When is the best time to see a pelvic floor physio? When you have pelvic floor symptoms such as leaking, heaviness, straining, incomplete urinary emptying, painful intercourse, etc, that’s when we highly recommend getting your pelvic floor assessed. If you’re expecting, you can do that safely from 20 weeks’ gestation onwards, and your physios can work through strategies to reduce the risk of tearing during labour. Winnie and her team have prepared a Mama Planner, which you can download it for free on the Papaya Clinic website. It details care recommendations for each trimester, with the help of professionals such as physiotherapists, midwives, acupuncturist, naturopaths and doulas. The same care is provided to women of all life stages, including those with chronic pain, poor gut health, emotional stress, symptoms with perimenopause and post-menopause. Through different disciplines within Papaya Clinic, and movements education such as Clinical Pilates, the team takes care of your whole wellbeing. Book an appointment online and visit their clinic on Alice Street. The Papaya Clinic Suite 6, 32-72 Alice Street, Newtown www.papayaclinic.com.au

Curiosity and compassion led local observer Jo Wallace to start an online platform and publish a book telling the unique stories from the Newtown and Enmore communities. Jo Wallace Interview Jo Wallace has lived in Newtown for over 20 years and loves it. She loves the sense of inclusion, feeling welcome, the idea that anything goes. “It really comes down to the people…I would always see these amazing creative projects and just random things happening,” says Jo. “These are different people, they’re my kind of people.” For a long time, Jo had thought about creating a book to capture and share stories and images of the fascinating people she saw around her. They intrigued her. “[I wanted to know] why they do these things and what they want to bring to people, and just knowing them. I’m just a very curious kind of person, I suppose, and I love people,” says Jo. It was not until she stumbled upon a particular book while researching a trip to New York several years ago that she finally saw how to manifest her own ideas. The book was Humans Of New York. It was a revelation. After researching some more and discovering “Humans Of…” variations already existed around the world, Jo decided to set up the Humans Of Newtown Facebook page. Originally, it was just a way to get things rolling and have a repository for content. Then came the blog. “And it took on a life of its own and there was this beautiful engagement with the community, so I actually kept it going.” Soon afterwards, Jo was approached to put together a book, Humans Of Newtown (2015), by independent publishers, King Street Press. From there, she has variously been asked to work on individual projects, but Humans Of Newtown is her main focus - outside her full time marketing job, that is. Self-Taught Photographer, Jo Wallace As a photographer, Jo is mostly self-taught and intuitive. She doesn’t plan her shoots, preferring to let things happen organically. “I’ll just look at someone and if they look approachable, I’ll just go up and introduce myself, tell them what I’m doing, what the project’s about, and ask if I can photograph and interview them - and I would say 99.9% of people say yes.” Of course, it’s not quite that simple. There’s a degree of empathy exchange, building of trust. Once that’s established, you then have to be prepared for anything. “You don’t know what you’re going to get when you interview somebody. Sometimes I’ve been really surprised that people have poured their heart out to me within 5 minutes…and been in tears and telling me a story that’s deeply moving for them. In terms of how I respond - I’m not a counsellor but I’m deeply privileged that somebody has shared this story with me, so naturally I want to connect with the person, I want to listen to their story and I want to understand it. And there are things that are told to me that I don’t include because I just think it’s too personal or it’s crossed that boundary as a story…” Some stories have gone into dark and challenging territory, however, overwhelmingly the net result of the project has been positive. People have said it has given Newtown a strong sense of cohesiveness and identity. It has also provided an opportunity for people to approach someone in the street whom they may have seen in the book or online. For Jo, the project yielded a surprising and very personal reward. Soon after the book was launched, Jo was diagnosed with cancer. It was then that all the love and energy she had put into her community came back to her in spades. “I guess that’s what community is about, you don’t realise how much you need it until you do,” she says. Through the book and the project, Jo had fused deep connections and received support she doesn’t believe would have existed otherwise. “That is what community is - we all give and hopefully, when needed people can take back what they need.” With life on hold at the moment due to the pandemic, Jo has been substituting photographic portraits with sketches she has done of various Newtown buildings. When things return to normal, she hopes to grow Humans Of Newtown, though at this stage, she’s not sure how. She just knows it will require the input of other generous humans. “What people take from it they take from it, but I’m always grateful that people give.” https://humansofnewtown.com.au https://www.facebook.com/humansofnewtown Book available from the website.

NSW’s new Low and Mid-Rise Housing Policy is reshaping Mosman planning laws, sparking concern over heritage, density, and council planning control. More on Mosman Mosman's new planning laws policy, an amendment to State Environmental Planning Policy 2021, commenced on February 28 this year and will affect LGAs across Greater Sydney, the Central Coast, Illawarra-Shoalhaven and Hunter regions. In a nutshell, it allows for the development of low and mid-rise housing on properties that are within a walkable 800 metres of a town centre (defined as a hub that provides goods, services, community amenities and public transport).  Spit Junction and Cremorne are two designated town centres that will impact Mosman LGA residents. The new rules will allow for the building of low-rise (dual occupancies, terraces, townhouses and apartment blocks up to two storeys high) and mid-rise (apartment blocks from three to six storeys high). The policy has a delivery target of 112,000 homes over the next five years statewide, and NSW Government will have full implementation controls. This means local councils, like Mosman, will not have independence in redevelopment decisions.  Mosman Council has expressed its concerns with the state-controlled policy, stating they do not gel with already established planning. They have fears that the inherent character and heritage appeal of the area will be affected; that the unaccounted for increase in population will impact infrastructure and services; that they will not meet the environmental impact standards established under Mosman Local Environmental Plan 2012.   Meanwhile, some canny home-owners and developers have already started capitalising on opportunities presented by the new planning policy. Real estate agents are putting together lucrative packages, encouraging adjacent homes on a desirable patch of dirt to sell their houses as a job lot.  Billionaire investor, James Packer, is teaming up with developers, Time & Place, to build a multi-level apartment block on Redan Street. The 60 luxury apartments will include 16 affordable housing units, and sit on a hillside overlooking Balmoral Beach. Five adjacent houses have been purchased and will be bulldozed for the project.  At The Spit end of Cowles Road, three homes are being sold together as a package and touted as a “Mosman LMR development opportunity”.  A massive block of 12 homes, six on Rangers Rd and the six behind them on Brierley St have been earmarked for an eight-storey building featuring up to 100 apartments, again, some set aside for affordable housing.  It’s not just houses that are being sold in bundles; three adjacent mixed-use buildings on Military Rd near Spit Junction have been sold for redevelopment into a stunning new apartment and retail block.  Change is happening swiftly and without regard for how the sudden physical imposition of these buildings and their attendant influx of new residents will impact the neighbourhood. Even more alarming is how rapidly the district’s collection of beautifully preserved historic homes and gardens are being razed.  Perhaps it was inevitable and even for the greater good, but it’s still a little sad.  For more information visit: mosman.nsw.gov.au/planning-and-development/low-mid-rise-policy

The Mosman Art Trail is a 10km artistic trek through some of the most picturesque seafront locations in the 2088 postal district. More on Mosman By Alec Smart The coastal walk, which starts in Mosman Bay and ends in Pearl Bay, visits 12 significant sites where artists, both historic and contemporary, painted iconic scenes, which date from 1885 to 2015. Taylors Bay 2024. Photo: Alec Smart Launched on 30 April this year, the Mosman Art Trail route encompasses Little Sirius Cove, Taylors Bay, Chowder Bay, Georges Heights, Balmoral Beach, Edwards Beach, Chinamans Beach, and The Spit, before reaching its terminus. Along the way, the 12 locations are marked with copies of the individual artworks, which reveal how the landscape has significantly altered since the earlier works from the late 19th and early 20th century. Taylors Bay 1913. Painting by Elioth Gruner The 12 original paintings are actually featured in a dedicated room within Mosman Art Gallery. John Cheeseman, Gallery Director, explained how the trail was conceived. “The Mosman Art Trail was originally the brainchild of Neil Balnaves [a local philanthropist and collector] during COVID lockdown. Neil had been confined to walking the streets of Mosman and was inspired by the thought of linking significant art (through interpretive signage) to the places he walked. “Neil had previously donated the Mosman Gift, a collection of significant Australian impressionist and modernist works to the Mosman Art Gallery…” House Boats - The Spit, 1937. Painting by John William Ashton Neil Balnaves, who passed away in 2022 not long after he conceived the Art Trail, donated 16 Impressionist and historic paintings by important Australian artists to the gallery in 2010. “Mosman Art Trail was developed to bring these works to the attention of new audiences,” John continued, “to let the public stand in places that inspired great artists in the past.” The Balnaves Foundation, Neil’s legacy, provided financial support for the creation and manufacture of the signage along the Art Trail, plus a guide map and a Kids' Art Trail that runs in tandem. QR codes at each location (scanned on mobile phones) provide a narrative, featuring the voice of actress Claudia Karvan. Boats at The Spit, 2023. Photo: Alec Smart The Art Trail passes the historic Curlew Camp on the eastern shore of Sirius Cove, which from 1890 – 1912 hosted many famous painters who lived for much of that time under canvas. Although camp resident Arthur Streeton's painting of Sydney Heads appears further on the Trail, are there any works of Sirius Cove area by the Curlew Camp artists likely to be added to the Trail walk in the future? “The Mosman Art Trail has been enthusiastically received by the public,” John said, “and we have had calls to extend it and have additional works included, including around the Curlew Camp area. We are currently monitoring continuing take-up and feedback from those that use it.” Are there Mosman-themed artworks in storage at Mosman Art Gallery that might be added to the Art Trail? “There are a range of works within the collection that could be used to extend the trail,” John confirmed. “These could be works such as a recent donation of an Ethel Carrick Fox work at the northern end of Balmoral, or a Nora Toovey work on the construction of the Spit Bridge, or even a recent acquisition of work by Imants Tillers for Sirius Cove. “There has been a suggestion we could incorporate signage of significant Aboriginal heritage sites around Mosman into the Trail. I even had an approach from Armidale about including works from their Hinton Collection, including Tom Robert's Mosman Bay. There are endless possibilities on what could be included…” Sydney Heads, 1895. Painting by Arthur Streeton Does he have personal favourites along the Art Trail? “My two favourites are the Arthur Streeton situated at Georges Heights and the Ethel Carrick Fox at Balmoral,” John revealed. “Both works are incredibly examples of each artist’s works, bring a sense of joy and optimism, and reveal the significance of this incredible landscape in new ways.” Sydney Heads, 2024. Photo: Alec Smart The Mosman Art Trail is free, although some sections are not wheelchair-accessible. It is recommended that those with restricted mobility or young children check online to determine which of the 12 sites are easiest to visit. “The Trail is a great experience in itself, but also a great excuse to revisit the wonders of Sydney Harbour and the Mosman foreshore,” John recommended. “Walk the glorious harbourside of Mosman and stand in the places that inspired some of Australia's greatest artworks. “Pack a water bottle, and a picnic lunch, don't forget the sunscreen, and bring your friends and family - enjoy!” Mosman Art Gallery, 1 Art Gallery Way Mosman www.mosmanartgallery.org.au Phone: 9978 4178 Mosman Art Trail Map ==================================