When we decided to have a stream built in the backyard, the landscape gardener asked two questions. What sound did we want from the small waterfall? Did we want moss on the rocks? He returned with metres of pvc pipe, rolls of pool liner, and truckloads of bare bushrock and river pebble. He was finished in three days, and at first his stream looked as artificial as a water feature in a shopping centre.
‘Now you wait’, he said.
And we did.
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In our garden there are seven plantation pink sasanqua camellias along the back fence, five dark pink hiryu camellias down the side fences, and there is one prostrate hiryu which will eventually reach across the pond. We planted most of the plantation pinks over 25 years ago, telling ourselves that we’d prune them every year. These trees are now up to ten metres high, taller than the peppercorn tree, the Chinese pistache and the jacaranda which complete the canopy. Each has a trunk circumference of 60 centimetres. Continue reading Camellias
This magnificent jacaranda tree is in our neighbour’s yard, but it overshadows ours, just as its roots must underlie the gardens of the neighbours further south and west. After a couple of weeks of taking photos of my garden, I realised that I had been treating it as off-limits. Unconsciously, I thought that I’d be cheating on the terms of the project if I included it. Continue reading Borrowed landscape
For the past few months, since beginning this photographic project, I have been uploading photos every day to an Instagram account. There are now many hundreds there. Every photo is different but every one is also the same.
Take this image. What do you see? A fist? An embryo? A fern? A mother and child? A helix? A shell? A heart in a rib cage? A mathematical formula? Continue reading What do you see?
Sometimes from far away
They sign to me;
A violet smiles from the dim verge of darkness,
A raindrop hangs beckoning on the eaves,
And once, in long wet grass,
A young bird looked at me.
Kathleen Raine, ‘Exile‘
The film Smoke centres on everyday mysteries and on the friendship between Paul Benjamin, a novelist with writer’s block, and Auggie Wren, the manager of a Brooklyn cigarette shop. One day Paul is surprised to discover that Auggie doesn’t just sell cigarettes. He also has a vocation. He takes photographs. More specifically, he has taken a series of four thousand pictures, each of them shot at the same time of day and of the same place: the corner of Third Street and Seventh Avenue, where his shop stands. He cannot explain why he does this. “It just came to me”, he says. “It’s my corner, after all. It’s just one little part of the world, but things happen there, too, just like everywhere else. It’s a record of my little spot.” Continue reading Everyday Mystery
Last Friday I took my Aunty Sheila to L’Arche for Spiritual Soup. Spiritual Soup is a gathering that takes place once a month at one of three L’Arche Houses in Sydney. Core members, assistants, coordinators, family and friends come together to share a simple dinner of soup and bread before adjoining to a quiet place in the house to celebrate the community’s solidarity through prayer, song and educational activities that core members are able to participate in. Continue reading A Visit to L’Arche
It was a cold and drizzly day when we visited Pieve Santo Stefano, a town some 15 kms north of Anghiari, near the source of the Tiber, which runs right through the middle of the town. Pieve is close to the birthplaces of both Michelangelo and Piero della Francesca. It was almost completely destroyed by the retreating German army during the second world war, and the non-descript postwar buildings contributed to a bleakness about the day of our visit. By contrast, what awaited us was yet another experience of the gracious hospitality we had been shown while staying in this part of Tuscany. Continue reading National diary archives, Italy
While exploring many archaeological sites, galleries and museums in Turkey and Italy, I felt in awe of the human achievement – not just the achievement of the artists but of the archaeologists, curators and restorers involved in preserving the work of centuries. Then, on a day when I thought I couldn’t possibly enjoy one more painting, sculpture or fresco – let alone yet another ‘Madonna con Bambino’ – this painting by Tommaso Maria Conca (in the Pinacoteca Comunale, Città di Castello) – touched my heart. See how the wise-looking, clear-eyed baby seems to be comforting his mother. Yet this is the wrong order of things – a mother should comfort her child. This, and the woman’s inward-looking expression, caused me to feel immense pity for her. She is in pain and at the same time resigned. Nothing she can do will prevent the fate that awaits her precious son.
Madonna col Bambino; 1795-1797 ca. Olio su tela; 55 x 40cm.
(Fototeca della Fondazione Federico Zeri)
(- Carolyn Parfitt)
Anthropological fieldwork is currently under threat from university administrators who assume it is simply inefficient and wasteful to spend 6-12 months in the field. So why does fieldwork have to take so long? I think I know the reason but I don’t think the administrators will like it. It is because the researcher needs this duration to ensure the person they are at the beginning suffers, and fails, and dies to themselves, so that they can see the world anew. I think that fieldwork is slow because it requires an element of mourning and grief. These, I notice, are themes that are also in Demelza’s and Michelle’s blog posts!
So here is the argument as a story. I began my PhD fieldwork in 1980, in the coalmining town of Kurri Kurri, in the Hunter Valley of New South Wales. Continue reading Meeting Bunny Dawn (Why Fieldwork Takes So Long)
