Heaven on Earth No.11.
In 1921, this bronze war memorial was erected in Pyrmont, an inner suburb of Sydney. The statue was created by Gilbert Doble in honour of the local men who enlisted in the Australian Army during the First World War. It’s hard to appreciate that I actually light painted this statue. Apart from the glow of dusk, there was no other illumination so I was able to light her wings to accentuate the wonderful texture in the bronze casting.
Heaven on Earth No.10. My light painting of the Fiaschi Monument at Waverley Cemetery in Sydney. This beautiful work is dedicated to the memory of Kate Reynolds Fiaschi (born Ireland 1850 - died Sydney 1913) — a loving wife to Italian-born Thomas Fiaschi, and a devoted mother to two daughters and five sons (one of whom died in infancy).
Heaven on Earth No.9. There is a poignancy in this pose that never fails to move me. The sensual intimacy between the angel and child is wondrous. I created two light paintings of this statue, from different angles. I’ll post the wider profile shot in a week’s time.
Heaven on Earth No.8. The inscription reads “Sarah Jane Hickey”. I was struck by the height and power of this monument in Sydney’s Waverley Cemetery. I also wanted to use the large palm tree behind it as an intriguing background.
Light painting in the Field of Mars Cemetery, Sydney. The natural weathering of these stone statues is part of the appeal for me. And when they are carefully lit, in isolation, all sorts of details are revealed.
Heaven On Earth No.1
And now for something completely different! For years I’ve been fascinated by the beauty of angelic statues. They instil a sense of peace and poignancy, especially in deserted cemeteries. They also make the most wonderful subjects for “light painting”.
Light painting of a sandstone-lined creek in Sydney’s Eastern Suburbs. This creek runs through the grounds of Vaucluse House, a historic residence near Sydney Harbour. The creek was contained by sandstone blocks as part of relief work during the Great Depression of the 1930s. From my series: Sedimentary — The Legacy of Ancient Seas.
Serpentine Wall, Balmain, Australia. Light painting this lonely park was a lot of fun. It overlooks Sydney Harbour and the small red light is for maritime navigation. The snaking wall and the paved path are all made from Sydney sandstone. Simmons Park is in total darkness at night so I had plenty of time to light paint with my MagLite torch (flashlight). From my series: Sedimentary — The Legacy of Ancient Seas.
Boulder at Terrigal, north of Sydney. Beneath the headland locally known as The Skillion, there is a rock platform dotted with eroded boulders. This 2.5 metre-high beauty was a wonderful subject for light painting. From my series: Sedimentary — The Legacy of Ancient Seas.
Henry Lawson Cave, Naremburn, Sydney. My light painting of a cave (actually it’s a large sandstone overhang) where it is believed Henry Lawson (1867-1922), one of Australia’s most notable writers, slept off his frequent tavern visits in the Naremburn area. From my series: Sedimentary — The Legacy of Ancient Seas.
Mrs Macquarie’s Chair, Sydney. On a peninsular, overlooking Sydney Harbour and the Opera House, there is an exposed sandstone rock cut into the shape of a bench. It was carved by convicts in 1810 for Elizabeth Macquarie, the wife of Lachlan Macquarie, Governor of the colony of New South Wales. When I recced the site at night, I was surprised (and delighted) to find that the entire bench area was in darkness. So I took the opportunity to light paint one of Sydney’s iconic (and free) tourist spots. From my series: Sedimentary — The Legacy of Ancient Seas.
Lennox Bridge, Glenbrook NSW. This magnificent sandstone bridge was light painted with a single torch (flashlight) during a 10-minute time exposure. There was no other light at the site. The bridge was designed and built in 1833 by a Scottish stone-mason, David Lennox with the help of 20 convicts. It is the oldest stone bridge on the Australian mainland.