Days Out With George

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Category: Road trips

July 10, 2020May 6, 2021 George Handel

Red Rock, Alvie

January 24, 2019May 6, 2021 George Handel

Great Ocean Road, Southwest Victoria

January 2, 2019May 6, 2021 George Handel

The Piccaninny, Grampians National Park

January 1, 2019May 6, 2021 George Handel

Silo Art Trail, Wimmera Region

Hi, I’m George

Former Baroque composer. Rides a bicycle, takes photos, enjoys days out. Has largely given up wigs, clavichords, gluttony etc.

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'Red-blue chair' (designed 1917, manufactured c. 1970), G. A. Van de Groenekan, De Bilt (manufacturer), Gerrit Rietveld (designer), NGV International, Melbourne, Nov 2021. Rietveld first produced his chair in stained wood, but later (under the influence of the De Stijl movement and Piet Mondrian) painted it red, blue and yellow. The plaque tells us that "purged of all ornament and stripped back to its barest structure, the 'Red-blue chair' is a play on verticals and horizontals, an abstract, architectural construction that is now an icon of modernism." Who am I to argue with that?

Henry Moore, 'Reclining figure no. 7' (1979–80, bronze), NGV International, Melbourne, Nov 2021. The National Gallery of Victoria has at least eight Henry Moore sculptures. This one, 'Reclining figure no. 7', is prominently displayed in front of the gallery's most famous work, Picasso's 'Weeping Woman'. According to the plaque, Moore's sculptures, often of reclining figures, reflected his "long-standing interest in the relationship between humanity and the landscape." The figures' "biomorphic undulations and distortions" were inspired by weathered tree trunks and rocks. In addition, many of Moore's female figures have Earth-Mother qualities, as can be seen in 'Reclining figure no. 7'.

Federation Court, NGV International, Melbourne, Nov 2021. The National Gallery of Victoria's Federation Court, located between the foyer and the Great Hall with its famous Leonard French stained-glass ceiling, is used as a space for large-scale installations. The court was empty on the day of my visit – a new exhibition is in store – but the grey, geometric stonework is itself attractive, particularly with the midday sun streaming in through the glass roof. If you look carefully you can see yours truly reflected in the centre window.

Danielle Brustman, 'Coloured in' (2020), NGV International, Melbourne, Nov 2021. Part of the NGV Triennial, designer Danielle Brustman's installation 'Coloured in' explores "the functional and affective qualities of colour to shine light on its omnipresent role in shaping human experience." 'Coloured in' comprises the colourful goat-hair carpet that lines the walkways above the NGV's Great Hall, as well as other pieces.

'Peeing boy (fountain)', Julian Opie (2018), NGV International, Melbourne, Nov 2021. London-born Julian Opie's 'Peeing boy (fountain)' made quite a splash when it first appeared at the NGV International in 2018 as part of a broader Opie exhibition. It still does.

Sunshine Barley Terminal, 2 Wright St, Sunshine. Photographed from Matthews Hill Grassland Oct 2021. The Sunshine Barley Terminal, perhaps best known for the painted political slogan ‘Free West Papua’ on its concrete silos, was built between 1965 and 1977. The terminal has a total capacity of 64,000 tonnes across twenty concrete silos, ten steel silos and a large shed. It stopped receiving grain in 2015 and was sold off by owner GrainCorp in 2020. It remains a local icon.

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