This figure of the pregnant Mary, carved and painted by George Mung Mung (c1920–1991), is a significant work of Christian art and devotion that reflects the merging of Catholic and Aboriginal communities and systems of belief in Australia. Continue reading “MARY OF WARMUN”
I acknowledge the Traditional Owners who have walked and cared for this land for thousands of years and their descendants who maintain these spiritual connections and traditions … Continue reading “THE GIFT OF THE EPHEMERAL”
CLIFTON PUGH (1924-1990) was an Australian landscape and portrait painter. His engagement with the bush, however, stands in sharp contrast to the familiar landscapes of artists such as Arthur Streeton and Frederick McCubbin. Continue reading “CLIFTON PUGH, LANDSCAPE and SUFFERING”
On Monday 11 January 2020, the last of the pieces of furniture were delivered for the refurbishment and reordering of the Rosebank Chapel. These are the primary pieces that will become sacred in the coming years as we, the People of God, do the ritual acts of Continue reading “ST MARY OF THE ANGELS CHAPEL ROSEBANK, FIVE DOCK, NSW”
Melbourne architect GREGORY BURGESS (b. 1945) is known internationally for public architecture which both expresses the spiritual and creates a unifying communal experience. His work has included arts and visitor centres, educational and health facilities. Continue reading “A GOOD PARISH CHURCH OF 1987”
This set of Stations of the Cross was commissioned by the Aboriginal Catholic Ministry of Victoria in 2017 and are arranged along the main wall of their chapel in Thornbury, Melbourne. They were imagined, dreamed and painted by John Dunn, an Olkola/Djabaguy man from Far North Queensland.
Charles Balnaves is Parish Priest at St Joseph’s parish in Meredith, a town 100km by road west of Melbourne. He had been involved with the Aboriginal Catholic Ministry (ACM) in the archdiocese for ten years. He wrote of the vestments designed by the ACM specifically to be placed into his custody on the occasion of his ordination. Continue reading “A PLATYPUS STOLE AND A PELICAN CHASUBLE”
According to ancient tradition in the Church, the Book of Gospels is carried in the entrance procession at Mass, placed on the altar, and then ceremonially taken to the ambo for the proclamation of the Gospel. The Book of Gospels has always been given special respect and dignity in the Church because it is an icon of the presence of Christ to the liturgical assembly. Continue reading “A BOOK OF GOSPELS”
St Patrick’s Cathedral, Melbourne, Victoria
The nineteenth-century Gothic Revival Cathedral of St Patrick’s, Melbourne, Victoria (1858-1899, 1930s, 1970s, 1990s) is a place for Christian worship. It is a house of prayer, a dwelling-place of the Lord among God’s people. St Patrick’s has been part of my life since before I was born. In 1950, my Swiss-Polish parents, new post-WWII immigrants, were married in the cathedral sacristy by a Polish priest. The architect of the cathedral, William Wilkinson Wardell (1823-1899), became the topic of my doctoral research in the 1980s; and in the early 2000s my youngest daughter was married in the cathedral. It was in the 1990s that I began visiting the Ladye Chapel whenever I was in Melbourne. My younger brother was diagnosed with cancer in his mid-twenties and I found great comfort in simply being present with Mary, mother of us all.
The Australian sculptor, Thomas Dwyer Bass am, was born in Lithgow in 1916. After various jobs during the Depression and army service during WWII, he began his career as a sculptor on graduating from the National Art School in 1948. Prior to the war, Bass attended Dattilo Rubbo’s art school; it was here he was initiated into the principles of art. At the National Art School he came under the influence of Lyndon Dadswell whose assistant he became during 1949-1950. This was followed by a three-year stint of teaching there. From 1951-1964 he held various executive positions with the Sculptors’ Society, of which he was a founding member. Continue reading “TOM BASS: in his own words”