Davinder Hart has Created this Magnificent Artwork which we proudly bring you today. It is Titled “Meeting Place” Please click on the bag icon to see all information about this stunning painting. A meeting place was crucial for aboriginal people and still is to this day. Here we can all come together as one from all over the country to share our stories, tucker, medicines, dances, songs and artefacts. Aboriginal people were known for their peacefulness. The lore was put in place for that to happen through the storytelling. We shared everything with each other and that’s why we never fought one another because there was no greed. The curvy double-sided lines represent the invisible boundaries when we have gatherings between tribes. We don’t have straight narrow lines to cause division like you’d see in the suburbs and cities. It’s to show that there is a personal boundary when gatherings are in place but not to segregate. The curved lines depict the willingness to share space but still respect other mobs presence. The circular symbols represent the campsites within the meeting place. Mobs from all around Australia would set their camps up during the time of the gatherings. Fires would always be burning, and other mobs would tend to pop in for yarns and build connections. Sharing knowledge was the way of our old people. The big white dotted lines connecting the circles represent the main tracks that are being used for the gathering within their own tribe area. The thin lines represent where the tracks were left behind from all the people who attended the gatherings at the meeting place. Davinder Hart is an indigenous artist who was born in Perth, Western Australia. His family roots connect from Bibbulmun & Katanning in the south west region of the Noongar people. After turning one he grew up in Adelaide until he was eighteen.
I decided to publish a second video this week because I filmed so many in the past weeks that they’re starting to pile up and I feel like they’re getting old ? Does that even make sense 🕯 oh and in the video I sketched this — tell me what you think
A true highlight of the AAADA Sydney Antiques and Art Fair this week: McCRAE, Hugh (1876-1958); LINDSAY, Norman (1879-1969) Idyllia. (The author’s own copy). [Sydney] : N.L. Press, . Large quarto (418 x 355 mm), bound in white calf over white papered boards with Norman Lindsay decoration in gold and red (a few light marks), 35 pp, with Lindsay decorations in black highlighted with gilt, further illustrated with five large original Norman Lindsay etchings with titled tissue guards tipped-in, each signed and numbered by the artist; the original etchings are ‘What the Deer Said’, ‘Robin Hood’, ‘Pantera’, ‘The Yellow Lady’ and ‘The Talking Breasts’. Limited to 133 copies of which 100 were for sale to the public, signed by Hugh McCrae (this copy is number 40); opposite the title page McCrae has inscribed the full text of his most famous poem, Colombine, with his signature at the foot; a superb and unique copy. There is no mystery as to why Hugh McCrae would have chosen his poem Colombine to inscribe in his own copy of his second collaboration with Norman Lindsay. Bloomfield described Colombine as ‘a small lyrical masterpiece’ and it is widely regarded as the finest of McCrae’s works. This was the poem which, in a very real sense, had helped rescue the poet from poverty two years earlier and which would take on an almost talismanic significance for him. During a chance encounter in George Street with his friend Norman Lindsay, when McCrae had shown the artist his freshly-penned manuscript of Colombine, the poem had so impressed Lindsay that he promptly arranged for it to be published by Angus & Robertson; furthermore, in a gesture of great generosity toward his impoverished yet supremely gifted friend, Lindsay ensured that McCrae received the net profit from the sales of a de luxe edition of 20 copies that contained a fine, large Lindsay etching. The success of Colombine, the author’s second volume of poetry, cemented McCrae’s