It’s November! My self-imposed month of blogging in verse has arrived. To see previous years’ mixed bag of efforts, click here, or you can buy the vanity publication of all 28 sonnets, plus my versification of Alan Jones’s epic ‘apology’ press conference, ‘The Apology, or Manning Up’, here:
I may not stick to sonnets this year, but for tradition’s sake, I’m still calling it Local Sonnet Rhyming Month – LoSoRhyMo (as distinct from the much more demanding NaNoWriMo.)
Because it’s the start November, it’s also the last days of Sculpture by the Sea at Bondi. First some snaps:
Sonnet 1: Sculpture by the Sea again
We hear of artists living hand
to mouth, yet paying vast commissions
if they exhibit on the sand
or rocks near Bondi. Yet their visions –
moulded, cast, carved, planted, hung –
transcend commerce. They give tongue
to joys and sorrow, shape to fear
and hope and meaning year by year.
Cord and bamboo help us grieve.
Plastic cutlery cries, ‘Think!’
Glass, stone and steel forms bid us drink
their beauty, help us to perceive
what lies around us, and within.
To rip them off must be a sin.
The handful of sculptures specifically alluded to are:
- Cave Urban (NSW), Mengenang (Memory), an installation of 222 Balinese-style bird scarers, whose sound hung over the park midway along the exhibition walk
- Roh Singh (Victoria), Spatial Memorial, a white cord strung at the height of the 11 March tsunami
- Jane Gillings, Midden (photo above)
- Too many pieces of stone, steel and glass to mention.
One last note: my companion pointed out to me that where it was indicated in the catalogue that an artist was trained at TAFE, the skill level was manifestly superior. Despite whatever the government’s advisers have been saying, there is a need for the skills taught in fine arts at TAFE.