Glen Davis Retort No. 1

Glen Davis Retort No. 1 is a special place where industrial architecture of the 1940s melts into the natural beauty of the Capertee Valley. The abandoned mining town of Glen Davis, located 200 kilometers from Sydney, is as dramatic as the magnificent valley the township rests in.

I first visited the mining town in the 1980s, just 35 years after the town had ceased production of Shale Oil and people had left it desolate in 1952. Upon entering the main street, I was confronted with twisted grey timbers competing with rusted iron pipes and concrete girders. It is just one of those places that is a photographer’s paradise at any time of the day or night.

This painting draws inspiration from a photo I’d taken from the window of the Powerhouse while looking towards the Fan house building with the distillation plant (Retort No. 1) in the background. In this artwork I like how the afternoon light echoes through the Capertee Valley bringing a soft pink glow to the trees and long wheat grass surrounding the buildings.

Geographically the Capertee Valley is recorded in the top 3 widest Canyons of the world, but it seems to lose the “grand “accolade because it is not as deep as the Grand Canyon in North America. What it misses out in depth it excels in for the colour of light and shade in the sandstone escarpments and for the ancient spirit of Capertee River. And now, the harsh smells from the distillation of shale oil have been replaced by the fragrant smoke of campfires, with billies boiling tea, in the Glen Davis campsite.

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I have taken the long road to discover that painting and photography can sit side by side, for me painting is my first meaningful creative outlet. I use my photography to inspire my artwork and I hope my love of composition, subject and light come through in my artwork.

I was born in Papua New Guinea and lived on a remote rubber plantation before moving to Sydney in 1971 at the age of 7. I was finding it hard adjusting to the city and my mother encouraged me to take up oil painting.

Having won an art competition when I was 10, the judges recommended that I study at the local TAFE on a Saturday morning. I completed one term but felt out of place with students who were all over 16 years old, so I did not continue. (I was also a TV junkie, we had no TV in Papua, and staying at TAFE meant missing out on Hey Hey It’s Saturday.)

It took me 40 years to rediscover painting.

The one constant in my work is to find a new project and during my break from painting I have been a project manager in Information Technology. This kept me in a world with projects, and here too I learnt that even the smallest piece of data contributes its meaning towards each information system. The other constant motivating me in life is to finish a project so I can start a new one.

My creative drive comes from knowing that each brush stroke I make contributes its meaning towards the completed work. What inspires me about art is how the smallest brush strokes, when added together, can radiate a meaning for the person who gazes at the painting far beyond the meaning of each brush stroke.

I aim to do my best in each project and try to avoid, at all cost, the haunting feeling I get when I leave a project unresolved. Even to this day I still think of my unfinished painting of a sailing boat peeping out behind photographic developing chemicals back in 1979. I was 15 then and my easel had been replaced by a camera and darkroom. A part of me still needed to finish the oil painting, but photography filled the void, so the unfinished artwork was thrown away in a frenzied darkroom clean out before my HSC exams.