ACT and Snowy pictures
Over the years we have spent quite a bit of time in Canberra, the ACT generally, and the Snowy Mountains.
Our first visit must have been way back in 1992 and our last visit in 2011.It was on these last visits that we discovered the area around Tumbarumba, Rosewood and Batlow.
Here are some of my sketches and photos gathered over the years. The earlier photos have been captured from my extensive but now deteriorating collection of slides. My art critique and fellow chess player Elliot Renzies had this to say about my sketches
ACT and the Snowy Part One Paddy’s Falls.
A critique By Elliot Renzies
That’s Banjo Paterson subject matter country and as it stands today, nothing much has changed since the early settlers adopted the aboriginal name and begun cultivating the area. What a contradiction in terms though since of what I was told when decades ago camped there with a bunch of unruly characters from Sydney Tambarumba means something like thunderous land! Looking at Captain’s drawings (don’t be fooled by his claiming that there isn’t any philosophy behind his work) the first antithesis is created by first taking you to relaxed, sleepy hollow type of peaceful countryside settlements and then hits you with this; Arguably, one of the loveliest and more impressive waterfall settings in Australia (I am in two minds when it comes to chose between Paddy’s and Wentworth Falls) has obviously stimulated Gerrit’s imagination and the final product is a very sunny, colourful and inviting picture which as you can easily observe, captures the real Australian soul of the area as seen with the eyes of the first European explorers like Hume and Hovell and the settlers who followed them in the 1820s and 1830s. Gerrit, as he usually does in his artistic approach regardless if he depicts peaceful country towns or places where the greatest revolutions, political upheavals and/or artistic events took place will not touch much of it; simply will not be a part of it. He is happy to give you the establishing shots before and after the events. He is interested about the terrain and not the cries and whispers of the protagonists be it gold prospectors, escapee urban outlaws, ruthless bushrangers and industrialisation (that didn’t last long) through the railways. “The draw (he says when he talks about parings of the chess tournaments he directs) is a living thing”! I strongly suspect that he feels and acts the same way about the forms of nature, angles, colours and light, and maybe a couple of indifferent grazing animals when he decides to put his work on a drawing pad. If you like to be profound, just go ahead and do the search. He simply won’t bother. His dialectically antithetical approach I spoke of at the beginning, combined with his austerity in depiction, (I‘ve spoken in length about this aspect in other notes which have already been published on his websites) is just a matter of changing (sometimes to the extreme) of the various forms of landscape.