The name

I am researching the history of a nineteenth century row of houses in Sydney’s inner west. It’s not my usual kind of writing gig but it has been interesting following the money. Wealth accumulated in good times by an enterprising immigrant from Yorkshire, shared with his son as a business partner, lost when the son’s extravagant ventures are caught out by a national financial depression.  What’s left is a smattering of properties that have been salvaged for heritage listing by repurposing – gentlemen’s residences divided into flatettes, a wool store fitted out as university outpost campus, a private mansion transformed into a Catholic educational institution.  

The buildings are notable for the need these colonial nouveau capitalists had to monogram their possessions. The firm’s name is embossed on the wool store – an understandable commercial imperative. But on the gateposts of the father’s 1860s villa his initials AH are stuccoed in botanical calligraphy so elaborate that they are barely legible.

 

The son’s entwined initials JH in more restrained but authoritative capitals decorate the interior of his opulent 1880s mansion. I can imagine the thrill of self-satisfaction this sleek young mayor experiences as he glimpses the stained glass panel on his way upstairs from the expansive vestibule of his domicile.

 

Fast forward to the late twentieth century and an upsurge of the monogram for marking property – though more likely someone else’s property or else a piece of public infrastructure. Taggers appropriate territory with marks that are generally illegible except to themselves or to cohorts that matter.

 I came across a graffiti supplies website recently, and this comment from a user:  ‘ I wrote the name test when i was in high school. I liked it cause every time i  saw the word test in a context totally unrelated to graff i creamed a little’.

 Here is the thrill of self-affirmation. This graffitist has gone for ordinariness over illegibility for his tag, and finds satisfaction when he sees,  not only the property he has marked,  but every single item where his moniker ‘test’ happens to appear – books, advertisements, notices, school whiteboards. His mind (and his member) believe that all these base are belong to him.

 At least what you don’t really own and have not mortgaged will not send you bankrupt.

Images by meganix, taken in 2017 in Sydney: Stanmore, Circular Quay, Newtown and Strathfield.

Overpainting: order vs chaos

On this often-overpainted wall in Enmore the graffitists currently have the upper hand. I am inclined to think their tastefully colour co-ordinated composition is more interesting than the layers of creamish-fawn paint that preceded it.

 The subject of overpainting is fraught. Everyone has something to say on the matter – wall owners, local councils, concerned citizens, hip and tolerant inner city dwellers, and of course wall artists and graffitists themselves. And as far as people making their opinions known, in this case actions often speak louder than words.

 In his blog post on the aesthetics of anti-graffiti interventions, Kurt Iveson categorises the patches of overpainting in not-quite-matching colours as ‘the new urban swatchwork’. This swatchwork does not produce any aesthetic integrity of its own, he says, and is just a visible indicator of the desperation of authorities to assert their authority. They’re not actually too fussed what the wall looks like, so long as it doesn’t have graffiti.

 

In the decades-long war against graffiti, overpainting can evolve into an entertaining competition between graffitist and the paintbrush-wielding authority. A series of photos of a wall in Mt Druitt is still funny, although it has been around for some while. Eventually one or other of the competitors gives up, which is, of course, the aim of this type of anti-graffiti measure – to wear the graffitists down.

 And of course it is not only wall owners and local authorities who paint over graffiti. Taggers and spray-can artists also paint over each other’s work. Sometimes this is a display of disrespect and an assertion of territory. Sometimes it is simply a natural progression in the world of informal street art, where the art is necessarily ephemeral.

 

But disfigurement of street art, and in particular legal street art, can also be a political act perpetrated by graffiti activists who regard street artists as the complicit foot soldiers of gentrification. Such street artworks, as people like academic Stephen Pritchard maintain, have a role in what is called ‘creative placemaking’, and as such are ‘the harbingers of redundancy, displacement, social cleansing, colonialism and racism’.

 In 2009 the daubing of a Banksy mural with red paint caused something of a public uproar in Bristol, UK, but a group called Appropriate Media claimed responsibility, declaring on its website that ‘graffiti artists are the performing spray-can monkeys for gentrification’. Perhaps it was similar – although unarticulated – sentiments that saw a genuine Banksy stencil in Enmore defaced with tags around 2008. Or maybe it was just ignorance.

 

So, in the light of all this, what is to be made of French artist Mathieu Tremblin’s street installations, which he called ‘Tag Clouds’? This series of artworks was executed in 2010, but in 2016 Tremblin’s photographs went viral, often reposted under one reblogger’s heading ‘Guy Paints Over Shit Graffiti and Makes It Legible’. For me they touched a chord and I happily shared the images on my Facebook page, commenting that the work reminds me of the process of writing. The original wall is like my first draft of an article, the ‘legible’ wall is my final version. It still doesn’t make sense but at least it looks neat and is kind of approachable

 

 

Some Facebook friends found them playful and funny, but I was surprised when some friends of friends appeared incensed. “Why digitise expressive arty jottings?” wrote one. Without anything but the photographs to go on, another declared, “The point of the art is to cover up the unwanted, messy, illegal graffiti and take away their meaning to discourage it”.

 I was inclined to dismiss these kinds of comment as the try-hard opinions of would-be ‘tolerant’ middle-class, middle-aged inner city dwellers. But then I decided to find out more about Tremblin’s work and I discovered an interview with him on The Creators Project site. It turns out that Tremblin’s work referenced tag clouds (remember them?), those visual representations of text data, typically used to depict keyword metadata (tags) on websites.

 As Tremblin says, tag clouds were still the main way to draw personal paths through contents, websites and blogs in 2010. In the early 2000s street writers used to share their work on homemade websites and CMS blogs that used tag clouds.

 But these days the big search engines and social media sites use algorithms to dictate the kind of content we see. Tag clouds are to a large extent a thing of the past, and the original meaning of Tremblin’s work became lost. Then in mid-2016 his images went viral when the website Design You Trust, reproduced them with their own interpretation, ‘Guy Paints Over Shit Graffiti and Makes It Legible’.

 Tremblin sadly reflects, “They made me look like the emissary of a solution against graffiti, whereas my intent was actually totally the opposite—I’m pro-name writing as I’m a former writer … They transformed my simple gesture of ‘turning a hall of fame of tags into tag clouds’ into an anti-graffiti hygienist lampoon”.

 Comments on the Design You Trust post ranged, as you might expect, from abusive to cynical, and were more about graffitists (artists vs vandals) than about Tremblin’s work itself.  Those that did comment on his interventions generally found them condescending and disrespectful, with the ‘corrected typeface’ turning organic graffiti into something that is ugly and tacky.  Much like the small sample of commentators on my Facebook page, they somehow missed the point.

 But even though I now know Tremblin’s original intentions, I still think his Tag Clouds are funny and clever. Maybe my interpretation was not so far distant from Tremblin’s intent because he proposes that “Tag Clouds is just a default aesthetic generated by computers where graffiti is expressing individual alterity; man vs computer; order vs chaos… Chaos is life!”

 Postscript. It has taken me a while to draft this blog post and during that time the wall pictured at the top of the page has once again been thinly overpainted with a shade of creamish-fawn. One up for the wall owner.

 

Apart from the images of the Tag Clouds installation, taken by the artist Mathieu Tremblin (2010), all images are by meganix and were taken in Enmore and Newtown in 2008 (Banksy stencil) and 2016.

Rainbow politics

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“The removal of the Taylor Square rainbow crossing created an even bigger stir than its original installation. To mark its passing, people attached unofficial rainbow flags to poles in Taylor Square and tied rainbow ribbons to safety fences. But performer and activist James Brechney had a fresh idea for an alternate location that somehow captured the zeitgeist.”

My exquisitely objective article on the history of the DIY Rainbow Crossing is now available to read in the Dictionary of Sydney.

Some time ago I wrote a blog post on the symbolism of pedestrian crossings. It’s here.

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(Photos by meganix, taken in Darlinghurst in 2013 and Summer Hill 2015)

Back lanes

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In the inner suburbs of a city that is undergoing renewal and gentrification, some of the last remaining places of grotty charm are the back lanes. This is despite the fact that corrugated iron fences have long since been replaced by roller doors and high brick walls, and showy bougainvilleas hang where once there were vines laden with chokos free for the taking.

In the main street old-style hairdressing salons run by one lady for over fifty years are transformed into dinky diners, but round the back leaky pipes still ooze a permanently green and greasy trickle into the gutter of the rear lane. In side streets, tiny terrace houses are supersized with architect-designed extensions upwards and outwards, but outside the back fence the garbage bins, now made of colour-coded plastic rather than galvanized iron, smell much the same as they always did.

Close to the city centre, civic planners reinvent laneways as pseudo-hipster destinations. Their surfaces are recobbled, their spaces commercialised with coffee cart umbrellas, and their walls redecorated with commissioned art pieces. In suburbs on the urban fringe, some back lanes that were once the rat runs of the dunny man have been spruced up to match the tidy rear ends of new apartment blocks and town houses.

But beyond the reach of the pre-dawn street-washing truck, there are still lanes that resist trendification or homogenisation. Morning strolls down such insalubrious urban remnants reveal evidence of unsanitary night-time activities – broken bottles, a clump of cat fur, a limp condom, a squashed rat, a syringe, a rivulet of piss, a splatter of curry or sweet and sour – fresh or regurgitated, it’s hard to tell the difference.

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 Amongst this pure grunge though, such lanes can also yield up visual surprises and take-away treasures. There are accidental artworks to admire, in the form of paint spills and rubbish stacks. There are unpotted pot plants with concrete root balls, and illegally dumped junk piles to pick through or kick through for additions to your domestic decor. Or you might collect a milk crate for standing on as you pass through on your way to the Mardi Gras parade. And in old industrial precincts, where owners allow their businesses to run down in the hope of getting rich when the area is rezoned for residential development, there is always the possibility of finding a replica of Duchamp’s Bottle Rack.

The side walls of little old factories and those new brick fortifications on residential properties are perfect canvases for real graffiti and spontaneous wall art. Some pieces stay in place for decades, others are subject to constant renewal in keeping with the revolving door of current issues and social media topics.

 What all this means is that within our evolving cities there are still recalcitrant places that resist the facadism of new civic planning and design. Behind the scenes, the messiness of back lanes contributes to the urban/suburban landscape in ways that reflect the actual complexity of human lives.

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(Photos by meganix, taken in Marrickville and Enmore, 2016)

 

The blog ‘Pavement Graffiti’ was created in 2009. In March 2016 I changed its appearance. Posts written before March 2016 did not handle the change well and so may look a little peculiar.

 

 

 

 

 

Recapturing the magic

Parking space fly, Darlington, 2002.

Parking space fly, Darlington, 2002.

In my so-called office at home I am attempting to regain control. The room has been overtaken by stuff and progress is slow because I have neglected the fundamental rule: DON’T READ.

Amongst things that I have sinfully paused to read while culling superseded files, I found notes I took at the orientation day for new PhD students in the Division of Society, Culture, Media and Philosophy at Macquarie University in 2008. It was on that day, by the way, that I discovered I was not the oldest PhD student in the world, and that there were many other culmination-of-career candidates. Anyway, here’s one piece of advice I dutifully noted:

At the beginning, keep a journal of what you read and what you think about it. Your notes will be like Ariadne’s thread leading you through the maze. They will help you to solidify your thesis topic or even change your mind about what that might be.

"Suck shit up". Stanmore, 2003.

“Suck shit up”. Stanmore, 2003.

Well, I did start a journal, which became a series of A5 notebooks. The PhD has since been completed but, many volumes later, I still keep this journal, with notes on what I have read, seen, heard, talked about, and thought about. It is quite separate from my daily diary of appointments and humdrum domestic events. As a diversion from room-tidying I hunted out Volume 1 to re-read the first thing I had written in the journal. Here it is (slightly edited):

If I am going to do this project I am going to have to re-find my belief in the magical properties of the pavement. These last few years my writing and thinking have become prosaic. I have lost fun and wonder – beaten out of me by [my workplace]. When I first started photographing footpaths eight years ago, suddenly I could write poetry.

Over the next few years I did manage to recapture the magic as I enjoyed the luxury of exploring, photographing, reading, thinking and writing without the need to churn out memos, attend interminable meetings, play office politics, carry the dead weight of work-shy colleagues and endure the hysterics of others, attend to bureaucratic niceties and write formulaic justifications for every decision – and that was in what many (including myself) would have considered a dream job.

Once I left that job, how lovely it was on a nice sunny day to admire the sparkles in the asphalt and concrete, on a nice rainy day to enjoy the wavering reflections of the world on the ground, and on any day to seek out the messages people leave on the pavement and speculate why they leave them. And, in imaginary dialogue with scholars past and present, to discuss both the enchanting and the disheartening aspects of public places, and to consider what’s so special about the pavement.

"Bread is making birds sick". Enmore, 2010.

“Bread is making birds sick”. Enmore, 2010.

These days I’m a bit more relaxed about the pavement. I don’t feel I have to look at the ground all the time in case I miss something, but I’m still interested in what’s so special about other places in the urban landscape that are so obvious they’re invisible.

Poster history book. Petersham, 2014. All photos by meganix.

Poster history book. Petersham, 2014. All photos by meganix.

Roadside greetings

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By early November you know that Christmas is coming. As the weeks roll on the decorations become thicker and more splendiferous. More glitter. More greetings. More Barbie heads.

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I’m talking about Maurice’s decorations on the streetside furniture in Annandale, an inner west suburb of Sydney. Maurice Jappanarid Ponza is a Sydney character always in seasonally adjusted costume complete with appropriate head gear. He is often a pirate, sometimes a cowboy, an academic or a wizard, and at this time of year his daily choices include variations on Santa, elf or Christmas tree.

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For years he has been darting into the traffic to wash windscreens, initially at Johnson Street and Parramatta Road, more recently at City West Link. This year there seems to be some problem with the windscreen washing but he’s still there intermittently, taking donations in exchange for his photocopied Christmas card. Sydney loves its personalities and Maurice has appeared in student short films like Adam Rosenberg’s award-winning ‘Maurice’ and Sam Barnes, Bek Hawkey and Laura Cosgrove’s ‘Window man’. He even featured this year in an ABC TV Lateline segment ‘Behind the squeegee’.

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Happy Christmas or Happy Whatever-You-Choose-to-Celebrate from me to you, the people who look at the Pavement Graffiti blogsite and the Pavement Appreciation Facebook page. Thank you for your friendship and support. Special cheerio to Mark McLean who has his own way of noting the beginning of Christmas as he traverses the stormwater drains of Hamilton North (in Newcastle, Australia). May the road ahead be filled with little surprises for all of you.

And thanks to Maurice for providing the festive scenery for this blog post. Best wishes to him and all the city’s fringe entrepreneurs.

It's a sign. It's a sign. All photos by meganix.

It’s a sign. It’s a sign.
All photos by meganix.

Parramatta Girls Home

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Writing graffiti can be a way of claiming or re-claiming territory. That is what has happened at the former Parramatta Girls Home, as I found when I visited the site this week. I did not go with the intention of photographing pavement graffiti, but I unexpectedly came across the letters ILWA and the silhouettes of children sprayed on footpaths and concrete verandahs there.

The former girls’ home is part of the Parramatta Female Factory Precinct whose history of incarceration and ‘care’ of women and children extends from 1821 to 2008. Numbers of inmates at the Parramatta Girls Home peaked in the 1950s, 60s and 70s, as courts committed hundreds of girls every year to spend months or years in the facility.

Sent to this institution at the age of 15 for being ‘in moral danger’, Bonney Djuric is now an artist, activist and historian. In 2006 she founded the support group Parragirls and was inundated by responses from women still living with memories of the physical, sexual and psychological abuse they suffered there. Now the Director of the Parramatta Female Factory Memory Project, Bonney has been instrumental in the campaign to preserve and dedicate the Parramatta Girls Home and the adjacent Female Factory as a Living Memorial to the Forgotten Australians and others who have been marginalised by society.

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One of the buildings, renamed Kamballa in the 1970s, is now the centre of the Parramatta Female Factory Precinct Memory Project, and it was Bonney who sprayed the ghostly silhouettes on the concrete in 2013 as a way of reasserting the presence of those forgotten children who passed through the institutions on this site.

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More puzzling is the symbol ILWA, also sprayed by Bonney at the same time. It mimics graffiti scratched into the woodwork at the Parramatta Girls Home, she tells me, and stands for ‘I Love Worship and Adore’. Bonney showed me examples of the original graffiti, some of it dating to the 1940s, on doors that have been preserved. Not only a message of affection, it also represented solidarity and resilience amongst the girls. It was a way of asserting ‘I am here’.

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In a blog post several years ago I wrote that all inscription is about the politics of turf. Back in the days of the Parramatta Girls Home, the girls who scraped their messages into the woodwork would have understood that theirs were assertive acts of defiance, but they could not possibly have imagined that years later their marks would be regarded as significant documents that offer an interpretation of the site that is as important as official archival material. Nor would they have imagined that their marks would be deliberately copied as a way of reclaiming territory on their behalf.

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The gendered underground

I cannot help liking manhole covers. In fact they feature in quite a few of my blog posts. In October 2010 I wrote: They are reminders that the pavement is not only a floor but a roof – the roof of a busy world of tunnels, tubes, chambers and canals; of light, electricity, water and workers. Manhole covers are shutters on the skylights in this roof.

Manhole cover holding together a dilapidated road in Camperdown (Sydney). Photo: meganix 2013.

Manhole cover holding together a dilapidated road in Camperdown (Sydney). Photo: meganix 2013.

 

But why do I persist in calling them manhole covers? I am usually careful about using gender-neutral language, and there are alternative terms available – service cover, access hatch, maintenance hole, for instance.

Although part of the answer is inertia – that’s what I’ve always called them – there is also the desire to align myself with a loose but international oddball fraternity of people who find aesthetic satisfaction in manhole covers. They admire the dull sheen of worn cast iron, remark upon the distinctive municipal manhole embellishments in Japan, take rubbings from old street covers and reproduce them in knitted bedcovers, and photograph tiny weed gardens growing in the patterned indentations.

If ‘manhole’ had not been part of my vocabulary I might have missed Mimi and Robert Selnick’s lovely book of black and white photographs, Manhole Covers. I certainly would not have found one of my all-time favourite websites, Tim Pitman’s Misplaced Manhole Covers. Worse still, people interested in manhole covers would never find my site.

LOOK RIG, Sydney. Photo: meganix 2010.

LOOK RIG, Sydney. Photo: meganix 2010.

 

Anyway, does it really matter that we call them manhole covers? It’s an established term in the English language. My copy of the Macquarie Dictionary (Revised edition 1985) defines ‘manhole’ as a hole, usu. with a cover, through which a man may enter a sewer, drain, steam boiler, etc. And there you have it. Why does their name need to be gender inclusive? It’s men who use manholes because it’s men who do the dirty work underground.

That was the entrenched opinion of many people when Andy Mitchell, the chief executive at Thames Tideway Tunnel, recently announced that he wanted to achieve gender parity by the time construction of London’s ‘super sewer’ was finished in 2023. There was a response of disbelief because, after all, this is a distinctly unglamorous construction project in a ‘man’s world’.

Andy Mitchell, chief executive of Thames Tideway Photo: Matthew Joseph/Thames Tideway in The Guardian 10 December 2014.

Andy Mitchell, chief executive of Thames Tideway Photo: Matthew Joseph/Thames Tideway in The Guardian 10 December 2014.

 

Browsing around a bit more I found a string on Yahoo! Answers/Social Science/Gender studies in response to the question ‘Why don’t women often choose jobs such as coal miner sewer worker etc. are these jobs unfeminine?’. While most replies were ill-informed, anti-woman and/or anti-feminist rants, there were some interesting thoughts amongst them.

One person wrote that those dirty, dangerous, unhealthy, jobs are called ‘glass cellar’ jobs. Feminists, he maintained, are only concerned with the ‘glass ceiling’, and look to the top in an attempt to shame society into giving women ‘positions of power’. They should also be looking at getting equal positions for women at the bottom. Men choose those jobs because they pay well as a trade-off for safety and comfort.

In reply to others who insisted that women won’t do dirty jobs, one man wrote, “In my former metropolitan area, the Labor Council and many of the individual unions sponsor a program to recruit and train more women for labor jobs. With no exceptions, whenever they open the books, every single available spot is grabbed by a woman looking to get in”.

A couple of years ago, the Daily Mail reported that two young women were to become the first females in Britain to start an apprenticeship in waste. The newspaper’s headline read ‘The pay’s OK but the hours stink’. Looking for an alternative to office work, these women applied for a position with South West Water where their jobs would involve visiting sewerage works, hand-raking raw sewage, taking samples for testing and using rods to clear blockages.

Change, of course, isn’t always easy. A New York Daily News article sub-headed ‘They work in the sewers all day, but they say the really nasty stuff wasn’t in the pipes – it was in the locker rooms’ tells the story of two woman laborers for the city’s Department of Environmental Protection, who have withstood years of threats and insults from male colleagues treating the agency as ‘a man’s world’. The pair claim that they were denied overtime and promotions, and that the few other women in the agency were driven out by constant harassment.

But, as Andy Mitchell continues in the Thames Tideway article, ” From my first day in the job, I knew this was a place where we could achieve something different which would leave a legacy for generations about how good the construction world can be. This is not really a man’s world: we need women, and we need diversity […] We are working to create a culture that finds out from women themselves what they want and how they think we can attract their counterparts. It’s not a bunch of blokes sat around a table making assumptions on why we think women don’t want to work in construction. We are finding out the true obstacles so that we can we try to overcome them”.

Cellar grate under front doorstep, Antwerp. Photo: meganix 2013.

Cellar grate under front doorstep, Antwerp. Photo: meganix 2013.

 

Back to manhole covers, then. Baden Eunson tells us that ‘manhole’ is a restricting name that reinforces traditional gender roles. Such terms are examples of the ways in which the English language reinforces patriarchy. Other examples include spotlighting (male nurse, career woman); dimunitivisation (actress, waitress); differential naming (Mr Smith and the girls from Accounting); and featurism (Prime Minister Julia Gillard wore a little black dress and a collarless blazer with olive green sleeves when she gave her farewell speech). Eunson’s article on ‘Gender-neutral communication: how to do it’ was published in a recent issue of The Conversation.

Amongst speakers (or writers) who persist with masculinely-loaded language, some do so because they are openly opposed to all this feminist nonsense and what they think it stands for. As for the rest, some are fuddy-duddies who do not want to put effort into changing old habits. Others do not want to sound conspicuous amongst peers who normally use non-inclusive language. Of course, even amongst these people, I think there are those whose resistance to gender-neutral language is really an indicator of their resistance to gender equality, even if they won’t admit it to themselves.

Where does that leave me and manhole covers? Down amongst the fuddy-duddies, I suppose. Since I intend to go on photographing these enduring items of street furniture, it is up to me to find a term for them that I can use consistently and comfortably – ‘cast iron street covers’, perhaps. But I will probably still include ‘manhole covers’ in the list of tags and keywords for relevant posts, in the needy hope that this will bring some extra hits and likes.

Last resting place for cast iron service covers -- Sydney Water's Movable Heritage Store, Potts Hill (Sydney). Photo: meganix 2015.

Last resting place for cast iron service covers — Sydney Water’s Movable Heritage Store, Potts Hill (Sydney). Photo: meganix 2015.

Reference

Melnick, Mimi & Robert Melnick, Manhole covers, Massachusetts Institute of Technology, 1994.

Asphalt rules

Man in the moon, Broadway Shopping Centre car park (Sydney), April 2015 (photo: meganix)

Man in the moon, Broadway Shopping Centre car park (Sydney), April 2015 (photo: meganix)

Today is the anniversary of the launch of this blog. It was on 3 May 2009 that I wrote the first post and welcomed readers to Pavement Graffiti, “where asphalt rules and grey is good. The focus is on roadways and footpaths, and ‘graffiti’ means anything written, drawn, scrawled or stencilled on them”.

Centennial Park labyrinth (Sydney), November 2014 (photo: meganix)

Centennial Park labyrinth (Sydney), November 2014 (photo: meganix)

Back then I had embarked on a PhD at Macquarie University, also titled Pavement Graffiti. Six years on, the PhD has been achieved, there is a gallery of images on-line at Pavement Appreciation and a Facebook page of the same name, academic articles have been published, magazine articles too. From time to time journalists stumble upon the blog and ask my opinion about graffiti, Eternity or, as happened this week, walkable cities. The blog does not have a huge following but I am grateful to those who have given long-standing support or have simply shown a fleeting interest.

'Happy BDay Lolz Grace', Watsons Bay (Sydney), December 2014 (photo: meganix)

‘Happy BDay Lolz Grace’, Watsons Bay (Sydney), December 2014 (photo: meganix)

My interests have broadened to encompass a concern for the disappearance of strange spaces, areas of decay, and layered sites under the pressure of urban renewal (or urban homogenization). I am now an Adjunct Fellow of the Urban Research Centre at the University of Western Sydney.

'Go vegan', Queen Victoria Building (Sydney), October 2014 (photo: meganix)

‘Go vegan’, Queen Victoria Building (Sydney), October 2014 (photo: meganix)

But I still retain my fascination for the pavement and am currently waiting to hear if my article on ‘Imagining the pavement: a search through everyday texts for the symbolism of an everyday artefact’ has been accepted for publication. Watch this space.

'I love same sex love', Sydney Park, St Peters, February 2015 (photo: meganix)

‘I love same sex love’, Sydney Park, St Peters, February 2015 (photo: meganix)

And do, please, continue to enjoy the literary adventure of reading the street beneath your feet.

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Tributes outside site of Martin Place siege (Sydney), December 2014 (photo: meganix)

 

Roadworks retrospective

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Pothole marked for repair, Newtown, 2008. Photo by meganix.

 

Comedian Dave O’Neil has been to see the Jean Paul Gaultier exhibition, From the sidewalk to the catwalk, at the National Gallery of Victoria. He liked it because he’s into seeing what one person can achieve in a lifetime. But as Dave says in his newspaper column:

“It’s kind of sad that it’s mostly famous people who get exhibitions and accolades.

“Gautier rightfully gets his time in the sun, but what about other people who have contributed to society in some of the less glamorous fields? Wouldn’t you love to see an exhibition tracking the life of a road worker?

“Someone who goes around fixing potholes and other structural problems in the roads.

“Imagine the before and after shots of carefully repaired roads, a map pinpointing all the achievements and major works over the years.

“I can see a Next Wave Festival highlight already. I’m putting in for funding as soon as I finish writing this column.”

Yes please, Dave.

Glebe (Sydney), 2004. Photo by meganix.

Glebe (Sydney), 2004. Photo by meganix.

Dave O’Neil, ‘Man about town: celebrities are not the only ones who deserve an exhibition about their life’, Sydney Morning Herald, 13 February 2015, The Shortlist, p.2.

 

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