Friday, 3 October 2025

The Magic of the Mountain - Australian Everest Climb, 1984

The Magic of the Mountain


By James Tugwell


Article about Mount Everest climb by Australians in 1984

First published at ABC News, October 3, 2025



There was no crowd there to witness the moment two Australians stood on the summit of Mt Everest for the first time.


"This is the summit of Mt Everest, Qomolangma, Mother Goddess of the Earth. It's the most beautiful sunset I've ever seen," Tim Macartney-Snape told the tape recorder from the summit.


"The world is staggeringly beautiful from up here. In fact, it's beyond superlatives."


Four decades later, fellow summiteer Greg Mortimer can still see the fading light at the end of the day, the arrowhead shape of a giant shadow — Everest's silhouette — spearing out to the northeast across the expanse of the empty Tibetan plateau.


"I can close my eyes and it's as if the view from the summit is on the underside of my eyelids," he said.


"I feel the cold. I feel the fear. I feel the concern about getting down. They're all connected.


"It was like being on another planet. We were so far away from anything sensible


"It's a sobering reminder of how tiny we are in the face of big natural forces."


Watching on through the telephoto lens 3,000 metres below, the crew filming a documentary could just make out a figure in a bright red climbing suit on top of the world.


Alongside them was journalist Simon Balderstone, who immediately started running down to base camp to file a story — via Morse code — that would get a monster run in screen sheets outside newsagents all across Australia: Australians conquer Everest.


The front page of the Canberra Times on October 5, 1984 celebrating the successful summit.()

"There was a lot of hoo-ing and hollering when the little red dot made it to the top," he said.


The feat would later attract international attention, but in that moment in 1984, only the 12 members of the climbing expedition were there to witness it.


Most climbers nowadays climb the South Col route from Nepal, following in the footsteps of Edmund Hillary and Tenzing Norgay in 1953.



Over 68 days, all alone, the Australians pioneered a new route up the mountain that has never been repeated.


There were five Australian climbers, led by Lincoln Hall and Tim Macartney-Snape.


They were joined by Greg Mortimer, Geoff Bartram and Andi Henderson.


Together, they forged what is now known as the 'Australian Route'


One British author hailed it as "one of the greatest climbs ever done on the mountain" and "a model for what an expedition should be".


"We were going to find the route ourselves," climber Geoff Bartram said.


"We wanted it to be a new route. We didn't want to have oxygen, and we wanted to be small.


"We didn't want people to cook for us and puff out our sleeping bags.


"I felt just part of a good group of blokes off having a bit of an adventure. It was a huge adventure on a scale like I hadn't done before.


"But when I look back, I think, 'Holy shit — what did we think we were doing?'"


The climbers took with them three tonnes of food and equipment to last them for up to three months — transported along pot-holed back roads of Tibet and on yak-hide boats across flooded rivers and freezing streams. Each man carried 40 kilograms of equipment, with the rest piled high on the back of yaks.


"Once you got into Everest base camp on the north side, you were totally committed. There was nowhere to go," Mr Bartram said.


Mr Mortimer said the trip was a "Rubik's cube of logistics".


"Where are you going to sleep that night? What food, rope, supplies, and survival kit do you need at the next camp?


"Because we did a new route, it was all unknown. We were just making it up daily."


Early on, an avalanche destroyed a snow cave that the crew were using to store all their climbing equipment.


"It's like watching your favourite dog get run over by a truck," Mr Mortimer said.


"It's a reminder of how big the forces are at play and what tiny little pimples we are on the side of this huge pumpkin."


They dug and dug, but could not find their harnesses, climbing boots, axes or crampons.


Every day, they would wake at 3am, forcing down a few mouthfuls of oats, pull on climbing gear now borrowed from the cooks and support team, before exiting the warmth of their sleeping bags into a world of ice.


They would climb a few hundred metres up the mountain, establishing fixed ropes to provide support in the future, and come back down.


The next day they'd go a little further.


"It got to the point where it just became an enormous chore," Mr Bartram said.


"You are in the most stunning place you can ever imagine.


"But it gets tedious grunting up that bloody face day after day. It's backwards and forwards until you get to the top of the bloody thing and go home.


"When you spend that long at altitude, you miss family, friends. You don't sleep well. You don't digest your food well. You fart. You get exhausted. You can't help but think at times — 'Oh for Christ's sake, when is this going to end?'"


They faced all kinds of obstacles, from the small — birds ate their chocolate bars when a tent door was left open — to the big — temperatures with wind chill feeling as cold as -58 degrees Celsius.


Mr Mortimer also experienced snow blindness — a condition caused by UV rays reflecting off the sun, like sunburn to the surface of the eye — and had to sit in the dark for two days to recover.


Days later, he and Mr Macartney-Snape were caught in an avalanche with only an eight-millimetre-thick rope to grab on to.


"It was a massive tsunami wave — but one full of ice blocks and snow," Mr Mortimer said.


"We were unable to do anything or go anywhere — completely at its mercy.


"I remember burying my head into the snow, hunching down, trying to stand up in the weight of snow coming down on top of us, but I couldn't and losing my feet, and the rope just stretching, stretching, stretching but the rope didn't pop. And it just went over the top of us and we both survived."


It rattled the group.


"I am afraid of coming up," Mr Bartram radioed to the group afterwards.


"The avalanches that are coming down off Everest now are bigger than I've ever seen in my life."


And that was before the group had to pass through the heart of avalanche territory.


Around 7,000 metres up the face — the climbers had to traverse through White Limbo — what Mr Bartram described as "a huge snow slope at the perfect avalanche angle".


"It was limbo between heaven and hell," he said. "If you crossed it, you were in heaven, but you thought, 'Shit, I could end up in hell here'."


With increasingly less oxygen in the air, every breath sounded like a painful rasp, as if the body was suffering terribly.


Mr Bartram turned around at about 7,400 metres of altitude, suffering from the symptoms of Cerebral oedema — brain swelling caused by the high altitude.


And when it came to the final push, Lincoln Hall decided to go no further — he'd lost toes to frostbite previously and was worried his pace was too slow.


Just 50 vertical metres from the summit, Andi Henderson's crampon broke. But as a result of taking off his gloves to fix it, he suffered severe frostbite.


His fingers would later puff up like big black shrivelled bananas and nine of his fingers would need amputation.


And so, out of the original party of five, it was only Mr Macartney-Snape and Mr Mortimer who summitted about 8pm on October 3, 1984.


The first Australian to climb all 14 of the world's 8,000-metre peaks, Andrew Lock, said the 1984 feat "pushed the boundaries of what even veteran Himalayan ascensionists had thought reasonable. Being an oxygenless ascent of a new route on a massive, extremely threatening face on the highest peak in the world, completed in spite of the loss of key equipment, was truly extraordinary".


Four decades later, the climbers say Everest has changed from what it used to be.


"Everest has become a place to stand on the top of and you do that by the most expedient way. That's the norm," Mr Mortimer said.


"It's approached completely differently. It's commodified.


"It's become a high-altitude gymnasium. It's more about getting to the top rather than the way in which you do that."


Mr Mortimer thinks no one will ever repeat the Australian Route to the top because the drive to grind for days up a tough route is gone.


The magic of conquering the untouched is gone.


Mr Bartram agrees.


"Why would they come and repeat our route?" he said.


"Now, at Everest, the focus has been on guaranteed success on the standard route.


"If I go and climb the Australian Route, I'll be second — what for? If I just want to get to the top of Everest I might as well do a route that's going to give me a better chance and not be as dangerous.


"If you want to do something new, it always gets progressively harder. On Everest, I don't think there'd be many new routes left."


How likely are climbers to summit?


Successful summits on Mt Everest have increased from less than 10 per cent of attempts in the 1980s to a record 78 per cent in 2018.


The next generation of adventurous climbers, inspired by the Australian expedition, are less interested in Everest where fixed ropes now extend right to the peak. They instead focus on summitting lesser-known mountains, or summits that require cheaper permits and more technical climbing ability.


Mr Macartney-Snape and Mr Mortimer were the 159th and 160th people to summit Mt Everest.


As of December 2024, 7,136 people have now reached the top.


Mr Balderstone said the numbers swarming Everest each year were "crazy big".


"Nowadays you can't climb when you want because of the crowds and with two small windows pre and post monsoon," Mr Balderstone said.


Such narrow windows force many climbers to try to summit at the same time.


In May 2019, this photo of what appeared to be a queue to the summit went viral.


250 people were attempting to summit that day.


Mr Balderstone, who became the founding chairman of the Australian Himalayan Foundation, has noticed a change in the type of person attempting the feat.


"There are tonnes more non-climbers — not experienced people — attempting the mountain now — people going for trophies or wanting it on their CV," he said.


"They're up there, and they're up there too long, because of the queues and they're often very slow."


It's a reflection that gets to the heart of the philosophy and ethics of mountaineering.


Why does anyone climb?


"We sat around for hours discussing whether we were selfish or not. Are we selfish for doing what we do?" Mr Balderstone said.


"Would you still climb if you were the last person on earth? It's about people's egos and their motives.


"I don't think any of our guys wouldn't. I don't think most of the people who climb the mountain now would. Our group had the purest of motives."


Last year, a video went viral claiming to show the first backflip on the summit.


Just last week, a Polish skier made history by becoming the first person to climb up and ski down Mt Everest without the use of additional oxygen.


"No other mountain in the world has the same attention as Everest," Mr Bartram said.


He said Mr Henderson turned the Order of Australia he was awarded for the expedition into earrings.


"None of us did it for that stuff," he said.


In the memories of those who participated in that very first successful Australian ascent, Everest still evokes magical memories.


But that's all they were interested in — an adventure with some mates attempting something borderline ridiculous.


The Everest of their expedition, big and uncharted and expansive and empty — still exists, if you step away from the crowds.


"I don't even have my slides anymore," Mr Bartram said.


"I threw them in the bin. Maybe five or six years ago. I did a slide show for some friends … and the colours all fade and it doesn't look like your memory and I thought, 'My daughter doesn't want to look at all that shit. Who wants to look at all this stuff. Ah, I don't need all these old bloody slides.'


"My memories are there, still, but that's about it."


Credits: Reporting: James Tugwell

Graphics: Phil Jalyawong


First published at ABC News, October 3, 2025




Thursday, 2 October 2025

Julie Andrews at 90: the magical nanny with a sideline in the sly, sexy and subversive



Julie Andrews with Liam Neeson in Duet for One (1986). Photograph: Everett Collection Inc/Alamy

By Pamela Hutchinson

Britain’s practically perfect star enters her 10th decade today. To celebrate we look back over the remarkably rich, radical – and sometimes risqué – career of an actor best known for tucking up children in the mid 1960s


Dame Julie Andrews, so crisply accented, sweetly tuneful and girlish in her most famous movie musicals, has always had a sense of humour about her angelic image.


She won the 1965 Oscar for playing a “practically perfect” English nanny for Walt Disney, but that didn’t stop her from driving around Los Angeles with a “Mary Poppins Was a Junkie” bumper sticker on her car. Or telling journalists that “I hate the word wholesome”, and her Hollywood nickname was “the nun with the switchblade”. Andrews turns 90 today, one of the most beloved of Hollywood stars, with one of cinema’s most astonishing voices. She can look back on a fascinating film career that includes such sweet spoonfuls of sugar as Mary Poppins (1964) and The Sound of Music (1965) to The Princess Diaries (2001), but just as many films that are explicit, dark, or just plain surprising.


Andrews grew up in the blitz. She was born in Surrey in 1935, but moved to London. As a little girl she warbled to her neighbours during air raids, but it was when her stepfather gave her singing lessons that the full extent of her talent was discovered. At the age of eight, Andrews had an adult larynx, and a clear soprano voice with a four-octave range. She later joked that “dogs would come from miles around”, but she was a phenomenon, with a voice of impeccable musicality and clarity. Andrews started out in music hall, and did the Royal Variety Performance when she was only 13, before getting regular work at the BBC. Broadway called while she was still a teenager, first in The Boy Friend, then she was the original Eliza Doolittle in Lerner and Loewe’s musical take on Pygmalion, My Fair Lady. 


She was a showstopper, and an even bigger hit once she toned down the cockney for American ears. Andrews would always be known for her immaculate diction as much as her euphony, the kind of singer who enjoyed the lyrics as much as the melody – which showed in her delivery.


‘Dogs would come from miles around’ … Julie Andrews in Mary Poppins (1964), for which she won an Oscar. Photograph: Disney/Kobal/Shutterstock


The tale is well worn that Jack Warner rejected Andrews for the movie version of My Fair Lady in favour of a bigger star, Audrey Hepburn, who had to be dubbed for the songs. It’s forever to Andrews’ credit that she was cheeky enough to thank him on stage at the Golden Globes for freeing her up to do Mary Poppins. World domination fell neatly into place after Andrews embodied Maria, the sweetly rebellious nun in megahit musical The Sound of Music. But in between, Andrews tried to shake off typecasting before it began, by starring in D-day comedy-drama The Americanization of Emily (1964). No songs, lots of love scenes – and she slaps James Garner round the face. A precedent was set. Andrews was as keen on edgy material as much as the next 1960s film star – albeit one with cut-glass vocals and perfect pitch.


After working with Hitchcock on Torn Curtain (1966) and a couple of musical flops, Andrews spent most of the 1970s working in TV. But she continued to expand her range with her second husband, director Blake Edwards: The Tamarind Seed (1974) is a romantic spy thriller and 10 (1979), a sex comedy that has her married to a lascivious Dudley Moore. The pair of films they made at the outset of the 1980s really proved Andrews was willing to push the boundaries of her persona. She was brave to play a squeaky-clean film star sexing up her image in S.O.B. (1981), but she’s really, really good, making the most of her androgynous looks, in Victor/Victoria (1982), a queer musical farce about a singer who masquerades as a man, a remake of a German film from the 1930s. Andrews, it turned out, was game for on-screen nudity, and looked exceptionally hot in drag. Plus, she could still make a hit: Victor/Victoria was a runaway success and remains a cult favourite.


Cult favourite … Julie Andrews in Victor/Victoria (1982), directed by Blake Edwards. Photograph: Cinetext/Mgm/Allstar

There was a shock ahead of her, prefigured by two of her dramatic films from the 1980s. In That’s Life! (1986) she plays a singer waiting to find out whether she has throat cancer. In the terrific Duet for One (1986) she is a concert violinist with a philandering husband who is thrown into a breakdown by her career-ending MS diagnosis – and distracts herself by hopping into bed with Liam Neeson’s rag-and-bone man. As she baldly tells her psychologist Max von Sydow, “I’m fucking a totter!” In real life, in 1997, botched surgery on her vocal cords more or less ended Andrews’ singing voice, and she would rarely sing on screen again.


The indefatigable Andrews, made a dame in 2000, made another fresh start in her 60s. Playing the sassy regal grandmother in The Princess Diaries was both a valid comeback vehicle – she even sang in the sequel – and the perfect comic outlet for her refined pronunciation. She followed this up with more PG voiceover work in the Shrek and Despicable Me films.


A generation of 60s kids grew up with Mary and Maria, and hung around to embrace the risque kicks of the Edwards years. Yet again Andrews has carried a new cohort of gen Z fans with her, as she now slyly narrates Netflix’s raunchy regency drama Bridgerton – every consonant of Lady Whistledown’s wicked whispers impeccably articulated. The most formidable voice in the movies, still as sweet, but also as sharp, as ever.


First published at The Guardian, October 1, 2025





Monday, 29 September 2025

Martha Argerich - A portrait of the great pianist



Photo courtesy Berliner Philharmoniker

By Nicole Restle


Pianist Martha Argerich is often called the grande dame of the piano. Right from the start, she was heralded as an exceptional talent, and was said to be able to “play everything” at the age of twelve. But it’s lonely in the limelight, and Argerich prefers to share the stage with long-time associates like Barenboim.


“Speaking is more difficult than playing,” Martha Argerich explained in one of her rare interviews. The pianist prefers to express what she has to say in music – with playing that has variously been described as spirited, vigorous, energetic, poetic, and sensitive. Her combination of ferocious intensity and technical brilliance have earned her titles like “tigress”, “tiger at the keyboard” or simply “Bella Martha”. Argerich herself has been described as headstrong, capricious, and unpredictable; she describes herself as “chaotic”. But she can also be shy, vulnerable, or reflective, as her daughter’s documentary film Bloody Daughter poignantly reveals.


From child prodigy to once-in-a-century musician 


Argerich’s exceptional promise was already apparent in nursery school, when she is reported to have played melodies flawlessly on the piano at the age of three. Born in Buenos Aries to a mathematics professor and a mother who had Jewish ancestry from the Russian empire, Argerich was soon acclaimed as a child prodigy. She made her public debut at the age of seven as the soloist in Beethoven’s First Piano Concerto. In the mid-1950s, Juan Perón, then president of Argentina, granted Martha Argerich’s father diplomatic status to enable him to take up a post at the embassy in Vienna, so that his daughter could study with the equally brilliant and unconventional Austrian pianist Friedrich Gulda. He hardly knew what to teach the twelve-year-old, he later said, “because the girl could do everything”. Although she did not enjoy the early limelight and attention, Argerich managed to shed her child prodigy image and launch an international career. 


With the Berliner Philharmoniker 


When Martha Argerich made her debut with the Berliner Philharmoniker in March 1968, playing Bartók’s Third Piano Concerto, the then 27-year-old had not only won the prestigious International Chopin Piano Competition but had also gone through a serious life crisis. After the birth of her first daughter, she saw herself as little more than a piano-playing housewife, and withdrew completely from the stage in the early 1960s. It was only at the urging of her teacher Stefan Askenase that she returned to the limelight in 1964.


Her first appearance with the Berliner Philharmoniker was – according to the Tagesspiegel – “the kind of debut that you don’t experience every day”. She played the Bartók Concerto, wrote the critic, “in a breathtaking new way. Finally, someone comes along and shows how much chamber music there is in the score, exposes the magnificent dynamic shadings of the score and articulates its impressionistic wealth of colour.” This performance was only the first of many celebrated collaborations. Argerich, who has an impressively broad repertoire, brought piano concertos by Tchaikovsky, Ravel, Chopin and Prokofiev to the Berliner Philharmoniker’s demonstratively enthusiastic public, along with several performances of Beethoven’s Second and the A minor Concerto by Robert Schumann, a composer with whom she claims a special affinity, not least because of the turbulence of his contrasting emotional worlds.


As a team player 


Martha Argerich appeared with the Berliner Philharmoniker particularly often during Claudio Abbado’s tenure as chief conductor, travelling to Salzburg to perform with them several times, and appearing as a guest at the New Year’s concert in 1992. A particular highlight of that time: during Abbado’s Prometheus cycle, she played the highly virtuosic piano part in Alexander Scriabin’s Prometheus: The Poem of Fire. A concert recording in the Digital Concert Hall conveys an impression of this explosive performance. 


After the Abbado era, her appearances became less frequent; she was a guest of the Berliner Philharmoniker only twice, in 2007 and 2014. She returned to the orchestra in 2023, however – on this occasion, for the first time together with her childhood friend Daniel Barenboim. It was, according to German national weekly newspaper Die Zeit, a goosebump moment: when they step onto the podium, wrote the newspaper, “they fill the room – even before a single note is heard. With beauty, love, memory.“


From then on, she performed with Barenboim repeatedly. Martha Argerich, an enthusiastic supporter of young artists, enjoys making music together with others. Orchestral concerts and, even more so, chamber music concerts are her passion, unlike solo recitals. She dislikes being alone on the stage, “naked”; the feeling of loneliness is too overwhelming, she says. She finds collaboration with others much more satisfying. “Music is a wonderful communication tool for me,” she says. And so she remains true to her nature: she would rather play than speak.


First published at Berliner Philharmoniker.





Fixable 20th-century gadgets stand test of time in era of disposable tech


By Paul Cook, Andrew Collins, and Rosemary Murphy

Ron Coald with a camera used to record 3D footage. (ABC Great Southern: Rosemary Murphy)

Ron Coald has loved film since he was young and has amassed a significant collection since then.

"I used to collect old movie film from the projector box in the Katanning cinema," he said.

"It built up from that; I bought my first camera when I was a schoolboy."

The community's love of old appliances is keeping an Albany repairer busy. (ABC Great Southern: Rosemary Murphy)

At his home in Albany on WA's south coast, his collection of all things film contains cameras, film and players from throughout the ages.

"I've still got a H16 16-millimetre … it's a magic looking camera and I used to cover the Avon Descent with that,"  he said.


"I've also got the first video camera that came in; you had the camera in your hand, and on your shoulder you had the recording part of it."

The equipment, however, requires some upkeep.

And that's where Neil Harrison comes in.

Sentimental value

Neil Harrison says televisions are a common items for repair. (ABC Great Southern: Rosemary Murphy)

The Albany repairer is kept busy with jobs from people like Mr Coald who are choosing to get their older electrical appliances fixed rather than throwing them out and buying new.

"We mainly used to concentrate on audio-visual gear, but we're finding there's a lot of other stuff out there that does require repair," Mr Harrison said.

"Sometimes it's sentimental value, sometimes it used to work well and people want it to work well again." 

Neil Harrison says older electrical equipment was made to be fixed. (ABC Great Southern: Rosemary Murphy)

He has worked on some interesting audio systems.

"The old radiograms from the 40s, perhaps 50s, 60s and so forth — a lot that's been handed down and it was their parents or grandparents,"  Mr Harrison said.

 

" Vinyl … records have made a miraculous comeback, so we're doing a lot of that repair."

Made for repair

Mr Harrison said there was a difference between older electrical gear and more modern equipment.

"The older stuff was always designed to be repaired and designed to be repaired at component level,"  he said.


"Modern electronics, sometimes that can be done, but most of the time it's almost like replacing circuit boards.

"Everything has become very miniaturised, surface mounted, and it can be a little bit tricky to actually repair at component level." 

Elaine Johnson continues to use a mixer she bought in the 1970s. (Supplied: Rebecca Johnson)

At Quairading in WA's Wheatbelt, Elaine Johnson's kitchen holds evidence that old electronics were made to last.

She still uses the electric mixer she purchased shortly after she was married in 1972.

"I was a young police woman on duty in the Hay Street Mall and I saw it being demonstrated," Ms Johnson said. 

"It's still going strong and I've used it for lots of catering for CWA."


First published at ABC News, September 28, 2025





Saturday, 27 September 2025

Eurovision body to hold vote on Israel's participation



By Steven McIntosh


Yuval Raphael represented Israel in the most recent Eurovision Song Contest, finishing in second place


The organisation behind the Eurovision Song Contest has confirmed it will hold a vote on whether or not Israel should be allowed to participate next year.


The European Broadcasting Union (EBU) confirmed it will invite 68 member countries to give their view at a general assembly meeting in early November.


A decision will be taken by a simple majority, meaning that if more than 50% of members vote to exclude Israel, the country would not take part in 2026.


Israel's continued participation in Eurovision has been controversial due to the ongoing war in Gaza, and several countries had already called for their exclusion.


The EBU confirmed all 68 member countries would be invited to vote, including broadcasters who don't take part in Eurovision such as Tunisia, Egypt, Turkey, Algeria, Jordan and Lebanon.


Israel came second in the the most recent Eurovision Song Contest in May, with its act Yuval Raphael receiving the largest combined public vote.


However, the inclusion of jury votes led to Austria being declared the overall winner, and the next contest is scheduled to take place in Vienna.


In recent weeks, countries including Ireland, the Netherlands, Slovenia, Iceland and Spain have all said they would consider dropping out of Eurovision if Israel's involvement continued.


The Irish broadcaster, RTÉ, said that Ireland's participation in the event "would be unconscionable given the ongoing and appalling loss of lives in Gaza".


The Dutch public broadcaster, Avrotros, said it too could no longer justify Israel's inclusion "given the ongoing and severe human suffering in Gaza".


However, Israel's public broadcaster Kan said it should be allowed to take part, adding it was "one of the contest's longstanding, popular and successful participants".


"The potential disqualification of Israel's public broadcaster Kan would be especially troubling ahead of the 70th edition of the song contest, which was founded as a symbol of unity, solidarity and fellowship," a spokesman for the network said.


Austria's foreign minister also previously wrote to colleagues in six of the countries threatening a boycott, urging them to reconsider, saying that Eurovision and the arts in general are "not the appropriate arenas for sanctions".


"Excluding Israel from the Eurovision Song Contest or boycotting the event would neither ease the humanitarian crisis in Gaza nor contribute to finding a sustainable political solution," Beate Meinl-Reisinger said.


In the UK, Eurovision is broadcast by the BBC. Last week, the corporation's director-general Tim Davie said he was "aware of the concerns" around Israel taking part.


The Israeli military launched a campaign in Gaza in response to the Hamas-led attack on southern Israel on 7 October 2023, in which about 1,200 people were killed and 251 others were taken hostage.


At least 65,419 people have been killed in Israeli attacks in Gaza since then, according to the territory's Hamas-run health ministry.


First published at BBC News, September 26, 2025




Springtime jaunt reveals art by ‘passionate individuals’



By
Helen Musa

A public mural by Katherine Nelson, on the Oddfellows’ building in Yass,  reflecting art by her late uncle, Kim Nelson. Photo: Helen Musa

Our best art emirates from passionate individuals.

First up was a visit to Tuggeranong Arts Centre, where long-time Canberra artist, Bev Wood, has an exhibition in memory of her late husband Bill, one of Canberra’s most popular arts ministers, who died last year.

The son of a former Queensland opposition leader (and like his identical twin brother, Peter) Bill was a politician in his birth state before moving to Canberra. He left an indelible mark on the Canberra arts scene through his successful fight to have funds from the Canberra Casino Premium diverted to Canberra Museum and Gallery, Tuggeranong Arts Centre and the Street Theatre.

Bev Wood with a selection of the artworks, including a mask by Bev Hogg. Photo: Helen Musa

Wood was also an avid collector of art, as can be seen from the selection of the collected works, images and memorabilia in this exhibition – some items on sale and will go to amenities in the centre.

Next up in my mini-arts tour was a visit to the Tyger Gallery in Yass for the commemorative exhibition of artworks by the late painter Kim Nelson, curated by his daughter Caitlin and the gallery‘s owner Martyn Pearce.

Formerly manager/curator of historic house museums such as Cooma Cottage and acting senior curator at Lanyon Homestead and  Calthorpe’s House, Nelson was represented in Perth and Sydney galleries, and became the driving force behind YASSarts and Sculpture in the Paddock. He was named Yass Valley Shire Citizen of the Year in 2013 but died unexpectedly in 2015.

Caitlin Nelson at Tyger Gallery with a portrait of her late father, Kim. Photo: Helen Musa

More than 300 people had turned up to the opening of this huge exhibition of Nelson’s life works, attracting red sales stickers in the dozens.

Yass’ Oddfellows Hall had been the late artist’s chosen exhibiting location and Caitlin took me across the road to show me a publicly approved mural-in-progress being painted by her cousin Katherine, which highlighted some of Nelson‘s key artistic motifs – The Red Shawl and The Sienna Woman.

My spring arts trip next took me to an opening in Bungendore, where locals Carole and Benjamin Van Eldik had joined artist Margaret Hadfield, of the Artists’ Shed, in setting up a small shop  just along from the sadly-missed Bungendore Woodworks Gallery.

A local crowd welcomes the new mini-gallery in Bungendore.. Photo: Helen Musa

While Hadfield will show selected landscapes, artist Ben, who has also been collecting vintage toys for years, can now display and sell them on. Carole, who has a history of working at craft markets in Brisbane, will manage the store.

Bill Wood: Recollect At Tuggeranong Arts Centre until October 11; Kim Nelson Retrospective, Tyger Gallery, Comur Street, Yass, until September 27;  Artists Shed Nostalgia, Gibraltar Street, Bungendore, open Thursday-Sundays.

First published at Canberra City News, September 27, 2025