Pain­ful­heel?

Heel pain is a “Catch all term” for any con­di­tion that can oc­cur around the heel. The most com­mon of these con­di­tions is known as Plan­tar Fasci­itis. Th La er te st ap y

North East Living Magazine - - News -

Each piece was cre­ated by artists from all over Aus­tralia in­clud­ing the re­gions of Cape York and Arn­hem Land in the North­ern Ter­ri­tory, Palm Is­land in Queens­land, the Kim­ber­ley and Fitzroy River in West­ern Aus­tralia, the cen­tral and west­ern deserts, Tiwi Is­lands, South Aus­tralia and Vic­to­ria.

Marc came back, showed his team the art he had seen and they were im­me­di­ately on board, and once Hans had seen the new venue which would show­case his col­lec­tion, he was sold.

“Jamie was pleased it was go­ing to be in our re­gion, rather than hid­den in a gallery in Mel­bourne, which would hope­fully at­tract more peo­ple to the area,” said Marc.

“It’s some­thing a lit­tle bit dif­fer­ent but it’s also a sub­stan­tial and im­por­tant col­lec­tion that peo­ple seem to be pre­pared to travel to see, from as far away as Syd­ney and Mel­bourne.”

The first of an ex­hi­bi­tion se­ries chang­ing quar­terly at the gallery, all drawn from the col­lec­tion of Hans Sip, is “Dhungala” fea­tur­ing Latje Latje and Yorta Yorta artists, Trevor “Turbo” Brown and Craig Charles.

It cel­e­brates the artists’ close, per­sonal con­nec­tion to the Murray River as well as the friend­ship they shared.

Jamie Dur­rant has de­scribed the artists’ spir­i­tual con­nec­tion to Coun­try and its an­i­mals as be­ing ev­i­dent in the paint­ings, show­cas­ing some of the finest ex­am­ples of story-telling works pro­duced by both painters.

And as both have passed on, the ex­hi­bi­tion also marked a fit­ting trib­ute in mem­ory of Turbo and Craig.

Dhungala fea­tures over 40 paint­ings se­lected from 50 of the pair’s works in the Hans Sip col­lec­tion and is no­table as one of the largest Abo­rig­i­nal group ex­hi­bi­tions ever to be ex­hib­ited in re­gional Vic­to­ria.

Marc said vis­i­tors to the new gallery have ex­pressed gen­uine sur­prise when they walk through the doors.

“We are show­cas­ing con­tem­po­rary Abo­rig­i­nal art­work, rather than the more tra­di­tional styles, such as dot paint­ings, many are used to see­ing,” he said.

“And it was im­por­tant to us to make sure it wasn’t a pre­ten­tious space or in any way over­whelm­ing – we wanted even those peo­ple who are camp­ing on the Murray, or just pass­ing through town, to feel free to come in.

“I was very keen to em­pha­sise (to the builders) that peo­ple have to feel com­fort­able stand­ing there and I think that has worked.”

Trans­form­ing an his­toric build­ing took time, with a num­ber of chal­lenges en­coun­tered along the way, but Marc said he al­ways be­lieved that work­ing with what was al­ready there, rather than re­build­ing, would achieve a bet­ter re­sult.

“It’s been a long process but it has been an ex­cit­ing one and we’re re­ally happy with the way it has come to­gether,” he said.

The cel­lar door has been re­con­fig­ured to stretch back from grand dou­ble doors to­ward the rear of the build­ing where the for­mer stor­age space has been con­verted into a size­able, pur­pose-built gallery space which will have bench seat­ing.

It was a con­scious de­ci­sion to pre­serve the char­ac­ter of the old build­ing, tidy­ing it up, patch­ing and paint­ing the walls white but keep­ing the chunky and rus­tic fea­ture tim­ber. >>

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