Friday, 9 September 2022

Friday Five: Cross-stitch quotes from Our Country's Good

Tonight is opening night of Our Country's Good by Timberlake Wertenbaker at Canberra Repertory Theatre. As I am in it, I have listened to the wonderful words night after night in rehearsal and, as is my wont, in my down time I have created cross-stitch patterns based on the text to make into cards for the cast. 

The colours I have used are based on the plumage of Australian birds (mainly parrots). I remember when I first moved here myself, how taken I was with the avian vibrancy, and so the line, "You have been made Governor-in-Chief of a paradise of birds" (spoken to Captain Arthur Phillip by Captain David Collins) resonates particularly strongly. 

Said by Arthur Philip (played by Amy Crawford) in the colours of a Bald-eyed corella (Cacatua sanguinea)
Said by 'Shitty' Meg Long (played by Meaghan Stewart) in the colours of a Rainbow lorikeet (Trichoglossus moluccanus
Said by Robert Sideway (played by Isabelle Gurney) in the colours of a Sulphur-crested cockatoo (Cacatua galerita)
Said by Liz Morden (played by Alexandra Pelvin) in the colours of a Yellow-tailed black cockatoo (Zanda funerea)
Said by Mary Brenham (played by Rosy Fasano) in the colours of a Galah (Eolophus roseicapilla)

Wednesday, 7 September 2022

Paddock to Plate: Orange Regional Museum

On a trip to Orange, when Him Outdoors was busy competing in a cycling race, I went to the regional art gallery and museum. Their exhibition was Paddock to Plate: a history of food and wine in Orange and the district.


While it did pretty much what you would expect - using historic objects and photographs to illustrate how growing, processing, distribution and consumption of food has changed over time - it was curated in an interesting and interactive fashion, encouraging visitors to learn more about the stories of the people of the region. The exhibition starts with the mountain, an ancient volcano, which created the soils and climate that attracted indigenous people, then others from across the world. 

Stories about producing, processing and forces of change run around the perimeter walls, giving space for large farming objects and showcases containing smaller artefacts. A range of farming tools is mounted on simple white backing boards, so the timelessly beautiful shapes of these objects can be clearly seen. 


Curator Sandra McEwan and the museum team assembled an impressive trove of over 200 historic from around the Orange region with enormous variety of size and scale. Ploughs, refrigerators and a rare wheat flail join whisks, butter pats and dainty mementos of dining in a bygone era. 


Central to the exhibition was the concept of food in the home, and this was represented through a stylised 'kitchen' displaying utensils in a pigeonhole format that echoes kitchen cupboards. Some of these cupboards are see-through, and others have solid doors. Each door has a single word printed on the face giving a clue to the use of the object inside, such as grind, whip, cut, beat, squeeze, shape, lift, protect and hold, which sounds either like cookery, cosmetic surgery or a particularly violent poker game.  


A dining table is covered in a series of projections showing changing styles and tastes of home eating from the 1800s to today. One table features a display of seeds and legumes as in a curiosity cabinet, including wheat, wattle, apple, pumpkin, hazelnut, cucumber, kurrajong and kangaroo grass. 


Paddock to Plate tells the story of food and wine production in this beautiful district through the stories of people, place and a passion for produce. Lists of words always inspire poetry in me, so naturally I took myself to the cafĂ© where I had coffee and cake and thought of my domestic culinary memories.
Pitter patter of kitchen helper;
patty cake with butter pat,
licking clean the whisk and spoon
with mother in the warmest room:
better batter on baking day.