Shaun Tan Somewhere Nowhere: Memories of Imagined Places 19

back cover front cover Shaun Tan Somewhere Nowhere: Memories of imagined places 19 November 2016 – 5 February 2017 Warrnambool Art Gallery 2 Somewhere Nowhere As good a name as any for this place, we there, somewhere in the haze of a far future fences, lawnmowers and language in the think to ourselves as look around for a horizon, a most unlikely thing: the lounge- sharp light of day, with one known thing — Shaun Tan light switch, hands spidering along the rooms and driveways of home, alien, bright pushed up neatly against another, all of wallpapers of childhood. Actually, never with electricity. Passing birds look down that softens again in the evening and the mind the switch – let our eyes adjust to the knowingly. knots of meaning will easily come loose if

pre-dawn grey. Look at how objects and we let them. The outlines of our world are Look at those bulldozers busy making nice masses delineate, bright and dark shapes not so hard after all, look at how they don’t rectangles, concrete canvases that are either draw into focus, separate out, asking to really separate one object from another dull and mediocre or rich with imaginative be named as they are born into existence: but instead run like threads or capillaries, possibility. Just keep walking and you’ll table, floor, chair, door, window, house, sewing all things together, oxygenating the see, just keep your mind as open as your home. It all so quickly cures and hardens landscape. The colour of the sky is the same eyes, look for the interstices, the unplanned into familiar meanings. We move outside, as a bird’s belly as it settles gently along gaps, the unwritten moments. A huge hoping to prolong the pleasant ambiguity rooftops and a tree is little more than an buffalo of some sort lives in the shadow Endgame 1995 Cat 1 of those few bits left unresolved, a fuzzy earthbound cloud, rooted, slowed down, — down by the pumping station. Listen to world we once enjoyed as toddlers. swaying to its brethren. The texture of a it breathing as we pass, it knows things. bedsheet is the texture of the beach and the But here it also delineates too soon as a It knows that if you dig far enough into density of a wall is the density of a shadow, thread of all-too-familiar constellations: the sandy loam of building site, you’ll hit no more or less. It all shifts and moves tree, post box, telephone pole, barking dog, the rooftop of some other forgotten house. like paint on canvas, where everything is clouds that so reliably never stand still yet If you wrap the tips of TV aerials of with only ever made up of pieces of every other so doggedly are always called clouds, a line aluminium foil, you can hear faint signals thing – lines, shapes, textures, colours – of washing that may have been forgotten of the most inarticulate heart, you will so long as the eye stops nagging to know in the night or else conscientiously left notice that the faces of your neighbours otherwise. For as long as it stays like this, to catch the rising sun in east-facing are not their real faces. The cracks in the it can be whatever we care to imagine, backyards. No, maybe it’s not a line of asphalt are, as you always suspected, a somewhere, nowhere, and any place in washing but the spine of some strange scripture we can neither read nor forget; between. Let’s keeping walking and see. basking iguana. We feel the heat prickling a team of immigrant grandmothers along our necks as cool blue shadows in orange overalls have meticulously — contract much sooner than expected. filled them in with tar, emboldening the October 2016 Cicadas cry out to the faint woosh of message under a pretense of ‘roadworks’. freeway traffic – or some other breathing And no, that’s not a busted a car window thing we can’t see – rising over tessellated in the carpark, those are real diamonds, roof-tiles, a prehistoric morning prayer spilt from a fugitive’s briefcase. If only telling us to knuckle down and suck the people looked more carefully, if only they sap of the earth. Do they, any more than us, knew! We keep on walking, our sneakers know where they really are? taped back up as the heat bears down,

the glare atomic, and we count the days Tree, post box, telephone poll, barking before the holidays are over like an ever- dog, all of it held in place by the most diminishing stash. powerful of elementary suburban forces: gravity and habit. We feel them working When we reach our destination, it’s just on our sneakers, the cheap rubber soles as we suspected, an edge that simply goes already flapping at the front where the no further, but bends back upon itself duct tape has come loose. The streets wind like some kind of endless mobius strip. up and around, bend this way and that, the We are back where we started. But the names change, but the constellations, the symmetry is pleasing and comforting, even overall constellations remain the same, we beautiful, to use a word we almost never will never outwalk them. Maybe we are like invoke for anywhere so walkable. No need those sailors in the years before longitude, to feel trapped or lost at sea after all. No looking up at familiar stars and wondering need to worry about how we belong to this if they have strayed too far from their home landscape, if we belong. Maybe the very country or, having been so comfortably act of searching, playing and wondering long at sea, are right in the middle of it? aloud answers well enough this question, Somewhere and nowhere, moving and not as much as it can ever be answered.

moving. Perhaps those sailors were lost in The world turns and things are returning such thoughts as their boughs ran aground to darkness again, but let’s avoid the light on this hard shoreline, breaking their switch for a little while longer, leave our reverie with a tough vista of sand and wind eyes adjusted to the moment. All of that and disappointingly spiky vegetation, and ordinariness, so hard-set by edges, curbs, 3 4 5

Footpath, Fifth Avenue, Mount Lawley 2004 — Cat 7 Backyard, Mount Lawley 2005 — Cat 8 6 from The pipe 1997 — Cat 2 7

Alert but not Alarmed 2007 — Cat 11

from The playground 1998 — Cat 3

7 Morning Religion 2015 — Cat 26 — detail opposite

8 9 10 11

While you sleep 2015 — Cat 31 The new world 2015 — Cat 27 Pelican thinking 2001 — Cat 5 12

We will be here when you go 2015 — Cat 30

Kingdom 2015 — Cat 24

13 Night train, Mount Lawley 1999 — Cat 4 15

The death of a bird 2015 — Cat 21

Empire 2015 — Cat 22

14 16

Dugong 2006 — Cat 9 Dugong shadow 2006 — Cat 10 Dormitory suburb 2002 — Cat 6

17 Kids drawing on a beach, Rabbit Island, NZ 2010 — Cat 16 18

New suburb, Bescancon 2012 — Cat 19 Cloud Street, Brunswick West 2010 — Cat 15 — (detail) 19 21

Jacaranda 2015 — Cat 23 — (detail opposite)

Styx 2015 — Cat 29

20 22 23

The world without us 2015 — Cat 32 Small industrial estate on the back of a sparrow 2015 — Cat 28 25

Night Spirit 2016 — Cat 34

Yellow tree on a windy day, Parkville 2016 — Cat 35

24 26 Memories of imagined places Geographies are not only physical: they symbolically darker. I cite this example Australia. However, the terrain his artwork can also be historical, psychological and because it is indicative of the way Tan’s explores is simultaneously physical and — Paul Venzo cultural. That is, there are terrains both artwork connects different parts of a psychological: it is both a space for memory real and imagined, and these spaces often national storyline, forming a kind of and imagination, object and story. In lead from one to the other. Paintings, prints historical geography that reimagines and essence he provides a map of suburbia in and drawings can, in this fashion, function updates important aspects of collective which memories float about in a space that like small islands of representation into experience and imagination. is at once physical, real and at the same time which the viewer is invited to wander. They imagined, mythical, perhaps even magical. In this exhibition, many of the images connect us to different times, places, events, represent everyday, suburban life familiar Like any good cartographer Tan provides us characters, stories and environments: to many of us: a Californian bungalow, with a key or legend to help us navigate this mirroring both what we know and a washing line, a streetscape. What is creative topos. There are recurring motifs stretching us beyond the borders of our unique about this collection, however, is (the paper cut-out birds, pieces of bizarre everyday world. the way in which it calls attention to the industrial technology, hybrid animal Vey occasionally an artist who is both alien and uncanny nature of this kind of figures, clouds that sometimes cumulate wrriter and illustrator comes along, environment, by infusing it with surreal blithely and sometimes menace) and a engaging in this important work. Think elements that blur distinctions between cast of human characters that consistently of William Blake and his Songs of Inno- the real and imagined. In an interview embody and evoke feelings of loss, solitude, cence and of Experience (1794): Blake’s book with Karen Haber in Locus magazine in alienation, curiosity and hope. While in this is an early form of children’s literature, 2004, Tan observed that: Everything is exhibition the grey-scale and sepia tones a technical masterpiece of colour and really fundamentally mysterious. In learning to we have come to associate with his picture form and a complex landscape of myth, recognize meaning and familiarize ourselves with books are replaced by more coloured and religion and ideas. It is a work of poetry and our everyday world – to make sense of it all, and painterly images, many of the qualities I printmaking that connects the transition manage our lives – we tend to overlook this basic have described above are still evident, and from childhood into adulthood with fact. Things become familiar, obvious, self-evident. function as recognisable signposts in the questions about the relationship between For me, the practice of drawing and writing is real-but-imagined world that Tan depicts. the individual, church and state: ideas an opportunity to consider what is otherwise, to If there is a single artwork that ‘unlocks important to his contemporary audiences. look at certain objects, qualities, and situations the door’ to this realm, it is the image of at length and interrogate them to the point where Shaun Tan is an author, illustrator and two boys sitting at the end of a suburban you can appreciate their fundamental strangeness, artist, and in this exhibition we are invited street, their legs dangling over the precipice or uniqueness. Art is about getting to that point to consider and interact with his artworks of what appears to be the edge of the of stopping and examining something for long beyond the genre-specific framework of known world. Their faces are bathed in enough that you actually see how unique and the picture book, for which he is renowned. sunlight – the pre-dawn of adolescence weird it is. And yet, in many respects what we see and later adulthood, or a sunset on the before us in this collection of artworks It is now nearly a century since Russian period of childhood? – as they look out into follows in the footsteps of William Blake literary theoretician Viktor Shklovsky a pastel abyss, where clouds are floating and others like him, in so far as Tan wrote his seminal essay ‘Art as technique’ in suspended animation. A single, black produces work that is deeply connected (1917), in which he proposed the idea of bird flies out into this space, linking the with culture and memory, synchronous defamiliarisation, sometimes referred to seen and the unseen, known and unknown with his work as a multi-modal creative as ‘estrangement. Shklovsky believed that worlds. The viewer is positioned above practitioner across different artistic forms poetic representation (for example, writing this space, looking back at the boys, as if and media. or language or painting that is outside of we already inhabit the unseen world upon the usual way of depicting things) could which they gaze. Take, for example, his acclaimed picture render objects and experiences of daily book The Arrival (2006) in which he re- This image refers back to the time in Our expedition 2007 Cat 13 life in new and interesting ways, revealing — images/reimagines Tom Robert’s iconic which the earth was thought to be flat and the hitherto unseen, yet compelling, painting Coming South (1886). This a type its edge, its very boundary, reachable. It strangeness of the otherwise domestic and of artistic ghosting that relocates stories of re-imagines that naïve history with a soft, unremarkable. migration to Australia from one moment almost nostalgic vision of what it means to to another. Tan substitutes Roberts’ subtle, In its own way, this exhibition exemplifies look out into the unknown, but imagined, warm palette with shades of black, white that technique: Tan acts as a translator possibilities of the future. This work, titled and grey. The ship’s funnels and masts of the seemingly mundane, revealing its Our xpedition (2007), reminds us of the now have an almost artillery-like quality, absurdity and, often, a quiet beauty. His invitation that these artworks, collectively, and the figures ‘travelling south’ are artwork guides us between the familiar offer: the opportunity to test the traditional huddled under shawls and blankets as if visual language of the built environment divide between the real and the surreal, to against the cold. While Roberts’ picture and the dreamscape, between the highly immerse ourselves, at least for a short time, associates arrival in Australia with open- subjective and the archetypal. At first glance in the memories of imagined places. ness, warmth and relief, Tan’s image of it is tempting to read this exhibition as a migration – involving an aesthetic of physical map of Tan’s childhood locale in — post-war industrialism – is literally and the northern suburbs of Perth, Western 27 28 A note from the Director Shaun Tan’s work follows a path, perhaps perched on top of a city, or in Our expedition Because Tan’s diverse practice is in a suburban cement path past a gum tree, two boys sit at the edge of the known keeping with much of our own legacy in — Vanessa Gerrans a brick fence and then trips into a magical suburban world peering down onto to Warrnambool to experiment and propagate dimension where whimsy and fabulous spiggots spouting water and low flying new approaches to living, WAG will acquire creatures combine to herald and hum a clouds below. In Alert But Not Alarmed a the drawing Ball of poetry floating above a quirky world. There lies the rub between typical suburban scene has colourful suburb for the Collection. This striking the idea of somewhere and nowhere that towers rising up from amidst the uniform monochromatic work depicts a giant permeates Australia as a never never tiled rooves, looking like they belong in a spherical shape hovering over suburban place – caught between a vast dreamtime fairy tale... or are they missiles? rooftopsovershadowing the streets and landscape and the perfunctory order of houses below. This conception of the Ball of Poetry floating above a Suburb2007 Cat 12 Tan’s work has won many national and Australian suburbia. It is this notion that sphere and the beginning of new things is international awards including an Acad- Tan captures so masterfully in his work, the omnipresent in Warrnambool where the emy Award in 2011 for the animation of his extraordinary overlaying the ordinary from futurist sculpture of Fletcher Jones still book The Lost Thing, which he directed. The above, below and sideways. towers as a visual catalyst, reminding us Lost Thing is the story of a boy who finds an that by shifting perspective things can be Somewhere Nowhere pulls us into Tan’s unusual creature at the beach, and realising remade anew. sensibilities and his memories of real it is lost, tries to find out where it belongs. and imagined places. In his paintings he The making of the film was later turned — captures landscapes redolent of his growing into a national touring exhibition at the 1. up in suburban Perth, West Australia; as Australian Centre for the Moving Image Peter Robb, ‘The view from outside’, The Sydney author and book illustrator, painter and (ACMI) and this enabled Tan to show all Morning Herald, 14 September 2013. filmmaker, his worlds have an otherness the thinking and playfulness that goes where helmets have an oversized cycloptic into his work. view, where creatures are conglomerates of In his stories, Tan sees himself as a trans- animal and machine, riveted together and lator of ideas for children and young adults piping with googly eyes. who, he feels, respond well to both issues of Warrnambool Art Gallery is delighted to social justice and an exploration of loss and present the diverse works of this inter- alienation. His characters, and where they nationally acclaimed artist, illustrator, find themselves, remind us of the essence of author and filmmaker. His expression childhood, transfigure from the humdrum of the Australian vernacular is modestly into the mysterious. remarkable, and was described by Peter His worlds are places of possibility where Robb in The Sydney Morning Herald in 2013, there is always something larger or smaller as ‘uncanny, familiar and strange, local and Black object in an evening sky 2016 — Cat 33 going on. In the same way a country town universal, reassuring and scary, intimate may appear, on the surface, as mundane, and remote, guttersnipe and sprezzatura; there are other layers where the streets no rhetoric, no straining for effect. Never and the people carry rich memories and other than itself’.1 a legacy of the dreams and imaginings of Somewhere Nowhere surveys Tan’s paintings, the pioneers, futurists and founders and illustrations and his literary oeuvre, and their lives amidst nature. There are strong is a rare opportunity to dive more deeply synergies between Shaun Tan’s work and into his worlds and revel in his imaginings the spirit of Warrnambool with its ley lines of perspective and place. Tan tongue-in- of innovation, creativity and histories. cheek, describes himself as always being the This exhibition reminds us of the shortest in class at school, so as to explain power of literature; connected as it is to the idea of perspective as ever present in the discipline-leading study and research his work. Be it that street rising steeply up in Child and Young Adult Literature at a hill by native trees in a suburb, or a small Deakin University and, as a consequence, character standing on a chair on the back the use of literary and artistic resources in of a fabulous beast in one of his illustra- the education practices of our local schools. tions. He shows us the fabulous and the mundane from both a condensed and Somewhere Nowhere is part of WAG’s commit- expanded point of view. ment to provide opportunities for artists to show deeper and broader aspects of their The contrast between his drawings and practice, to test new ideas in their work, and illustrations in ink and his paintings deep give them time and space to develop shows in colour and technique are profound, in ways that may not be available to them in yet the ideas of otherness remain. In metropolitan galleries. his painting Kingdom we see a large bird 29 List of works Shaun Tan

1 Endgame, 1995 16 Kids drawing on a beach, Rabbit 30 We will be here when you go, 2015 Shaun Tan grew up in Perth and works as an artist, writer and film-maker acrylic, oil and plaster on board, Island, NZ, 2010, acrylic, beeswax and oil on canvas, based in Melbourne. He is best known for illustrated books that deal with social, 120 x 110 cm oil on board, 150 x 210 cm political and historical subjects through dream-like imagery: The Rabbits, The Red 15 x 21 cm Tree, Tales from Outer Suburbia and the graphic novel The Arrival have been widely 2 from The pipe, 1997 31 While you sleep, 2105 translated throughout the world and enjoyed by readers of all ages. Shaun has scraperboard, 17 Morning, Union Street, Brunswick, acrylic and oil on canvas also worked as a theatre designer, a concept artist for Pixar and won an Academy 18 x 12 cm 201o, oil on board, 150 x 210 cm Award for the short animated film The Lost Thing. In 2011 he received the presti- 30 x 40 cm 3 from The playground, 1998 32 The world without us, 2015 gious Astrid Lindgren Memorial Award in Sweden, in recognition of his services pencil on paper, 18 Hotel corridor, Tokyo, 2012 pastel on paper to literature for young people. 30 x 20 cm oil on board, 42 x 59.4 cm 20 x 15 cm Illustrated Books 4 Night train, Mount Lawley, 1999 33 Black object in an evening sky, 2016 2015 The Singing Bones, Allen & Unwin acrylic, oil and collage on canvas, 19 New suburb, Besancon, 2012 oil on board, 2013 Rules of Summer, Lothian Books 110 x 120 cm oil on board, 15 x 20 cm 2010 Sketches from a Nameless Land: the Art of the Arrival, Lothian 20 x 15 cm The Bird King and Other Sketches, Windy Hollow Books 5 Pelican thinking, 2001 34 Night spirit, 2016 Eric, Allen & Unwin acrylic, oil, paper, beeswax, and 20 Whisper, 2012 oil on board, 2008 Tales from Outer Suburbia, Allen & Unwin feathers on board, oil on canvas, 15 x 20 cm 2006 The Arrival, Lothian Books, 2006 1o0 x 110 cm 50 x 130 cm 35 Yellow tree on a windy day, Parkville, 2016 2001 The Red Tree, Lothian 6 Dormitory suburb, 2002 21 The death of a bird, 2015 oil on board, 2000 The Lost Thing, Lothian acrylic, oil and collage on board acrylic and oil on canvas, 20 x 15 cm 1999 Memorial, with Gary Crew, Lothian triptych, overall 120 x 300 cm 150 x 210 cm 1998 The Rabbits, with John Marsden, Lothian — 1997 The Viewer, with Gary Crew, Lothian

7 Footpath, Fifth Avenue Mount 22 Empire, 2015 Dimensions are Lawley, 2004 acrylic and oil on canvas, Films height before width Photographer Credit? oil on canvas, 180 x 150 cm 2008 WALL-E, Pixar Animation Studios, concept artist 120 x 110 cm Horton Hears a Who, Blue Sky Studios, concept artist 23 Jacaranda, 2015 2010 The Lost Thing, Passion Pictures Australia, director 8 Backyard, Mt Lawley, 2005 acrylic and oil on canvas, oil on board, 150 x 210 cm Theatre and Stage Adaptations 60 x 80 cm 2015 The Rabbits, Barking Gecko Theatre, Perth 24 Kingdom, 2015 2013 Tales from Outer Suburbia, Spare Parts Puppet Theatre, Perth 9 Dugong, 2006 150 x 180 cm 2009 The Arrival, Red Leap Theatre, Auckland oil on board, acrylic and oil on canvas 2008 The Red Tree, Australian Chamber Orchestra, Sydney 15 x 15 cm 25 Magpie meeting itself under a 2006 The Arrival, Spare Parts Puppet Theatre, Perth 10 Dugong shadow, 2006 jacaranda tree, 2015 2005 Aquasapiens, Spare Parts Puppet Theatre, Perth oil on board, oil on board, 2004 The Lost Thing, Jigsaw Theatre Company, Canberra 15 x 15 cm 15 x 20 cm The Red Tree, Queensland Performing Arts Centre, Brisbane

11 Alert but not alarmed, 2007 26 Morning religion, 2015 Selected Awards acrylic, gouache and coloured pencil, 150 x 180 cm 2013 CBCA Picture Book of the Year for Rules of Summer, Australia 38 x 56 cm acrylic, oil, paper and fabric collage, 2011 Academy Award, Short Animation, for The Lost Thing (Director) wax on canvas Dromkeen medal for Children’s Literature, Australia 12 Ball of poetry floating above a suburb, 2007 Passion Pictures Australia and Screen Australia pencil on paper, 27 The new world, 2015 Astrid Lindgren Memorial Award, Sweden 42 x 60 cm acrylic and oil on board 2010 Adelaide Festival Literature Awards Premier’s Prize for Tales from Outer Suburbia 150 x 180 cm 2009 Deutscher Jugendliteraturpreis for Tales from Outer Suburbia, Germany 13 Our expedition, 2007 2008 Special Citation, Boston Globe-Horn Book Awards for The Arrival, USA acrylic and pastel crayon, 28 Small industrial estate on the back 2007 Angoulême Festival, “Best Album” award for The Arrival (Ou vont nos peres), France 40 x 60 cm of a sparrow, 2015, oil on board 2002 International Centre for Youth Literature Prize for The Red Tree, Paris 15 x 20 cm 14 The amnesia machine, 2007 2001 World Fantasy Best Artist Award, Montreal, Canada pencil on paper, 29 Styx, 2015 Honourable Mention for The Lost Thing at the Bologna Children’s Book Fair, Italy 30 x 40 cm 150 x 210 cm acrylic and oil on canvas Website: www.shauntan.net 15 Cloud Street, Brunswick West, 2010 Blog: thebirdking.blogspot.com oil on board, 20 x 15 cm 30 31 Shaun Tan: Somewhere Nowhere Memories of imagined places 19 November 2016 – 5 February 2017 Warrnambool Art Gallery

Acknowledgements Warrnambool Art Gallery Inside front cover: We extend our warm thanks to Shaun Tan who, 26 Liebig Street Warrnambool While you sleep 2015 (detail) — Cat 31 along with his representatives, has been both Victoria 3280 Australia Inside back cover: generous and enthusiastic in presenting this t +61 3 5559 4949 Our expedition 2007 (detail) — Cat 13 exhibition; thanks also go to Inari Kiuru, Allen & e [email protected] Back cover: Unwin, Hachette Australia, Matt Stanton, Tinning www.thewag.com.au Yellow tree on a windy day, Parkville 2016 Street Presents, Nick Blackmore and Pea Green (detail) Cat 35 Director: Vanessa Gerrans — Boat Studios. In conjunction with the exhibition, Curator, Collections: Murray Bowes curator Gareth Colliton, graphic designer Ian Curator, Exhibitions & Outreach: Gareth Colliton Robertson, Pollyanna Sutton, and Dr Paul Venzo Education Officer: Agostina Hawkins of Deakin University have been integral to the Front of House Coordinator: Oksana Khaidurova production of this catalogue. Customer Service Officer: Aimee Board We wish to acknowledge the Traditional People Administration Assistant: Phillip Ward of the Maar Nation. We recognise the cultural and Installation: Gareth Colliton, Murray Bowes, historical significance of this land to them, and we Francis van der Mark, Phillip Ward pay our respects to Elders past and present. Volunteers: Yvonne Ciric, Ricky Palmer, Margaret Punch, Phillip Ward Catalogue published November 2016 by Warrnambool Art Gallery Edition 500 Hours: Monday–Friday 10am–5pm Editor: Vanessa Gerrans Weekends + Public Holidays 10am–3pm Editorial advice: Pollyanna Sutton Closed Christmas Day, Good Friday Design, layout, production: Ian Robertson Check website for regular updates on public Photography: Courtesy of the artist programs, special events and news Typefaces: Lexicon No.1, Monotype Grotesk Like Warrnambool Art Gallery on Facebook Paper stock: Earl Ivory, 250gsm, 140gsm Warrnambool Art Gallery is owned and Printing, binding: Bambra Press, Melbourne operated by Warrnambool City Council as a Copyright © 2016 Warrnambool Art Gallery, memorial to Sir David Fletcher Jones OBE. the artist and writers All rights reserved The support of Creative Victoria, the Victorian National Library of Australia State Government Department of Education and Cataloguing-in-Publication entry Training and the Catholic Education Office, Creator: Tan, Shaun, artist. Diocese of Ballarat is gratefully acknowledged. Title: Shaun Tan : somewhere nowhere : memories of imagined places / Shaun Tan, Dr Paul Venzo, Vanessa Gerrans. ISBN: 9780994222671 (paperback) Subjects: Tan, Shaun–Exhibitions. Art, Australian–Exhibitions Art, Modern–Exhibitions Imaginary places–In art–Exhibitions. Other Creators/Contributors: Venzo, Paul, author. Gerrans, Vanessa, author. Warrnambool Art Gallery, issuing body.

CATHOLIC DIOCESE of BALLARAT E d u c a t i o n