The Oran Park library has a number of public artworks that commemorate the former Oran Park motorway that was on the site. These wonderful public art installations celebrate the memories of the Oran Park Raceway which closed in 2010.
The commissioning of the artworks was a collaboration between Guppy Art Management & Camden Council.
Moto Caelifera Eclectica by James Corbett
James Corbett describes himself as a car part sculptor and is based in Brisbane, Queensland.
James Corbett created these works in 2018 and he describes this installation as a ‘challenging commission’ on his blog. He writes
to create two large racing grasshoppers in double quick time for the new Oran Park library near Camden in western Sydney. This used to be a rural area, but was known to me since I was a child for just one reason. It had a car racing track. All the big names raced there, and I used to rabidly read all about their exploits in my eagerly awaited, latest copy of ‘Racing Car News.’ I couldn’t get enough of that stuff when I was twelve years old.
The track is gone and the pastures are disappearing under houses, but there are still just enough paddocks of dry yellow grass about to give a feel for the history of the district. I wanted to pay tribute to both, that soon to be gone rural feel, and the rich racing history. Those dry grassy areas make me think of grasshoppers, flies, locusts and Hereford cattle. And Insects seem sort of mechanical, and built for a purpose. Form following function, like racing cars. Well the ones I like anyway.
Corbett created two works as part of the installation. He calls one ‘The Green Kawasaki Grasshopper’ and it is attached to the wall. In constructing the works he writes
The Formula cars of the era had riveted aluminium sheet chassis, and I wanted to reflect that. Hence the riveted abdomens. I wanted them to look like they could work like machines. I cut up a yellow Hyundai and found a green I liked on a Daihatsu. When I found a Kawasaki engine for the green one, it had to be given the late Greg Handsford’s race number 2.
The second hanging artwork Corbett calls ‘Beechy Grasshopper’ and it has a 4.8-metre wingspan with wings made of ‘glass car windows’. More information about the installation can be found on Corbett’s website.
Freya Jobbins is a Sydney-based contemporary Australian multidisciplinary artist based whose art practice includes assemblage, installation, video, collage and printmaking.
Speedster by Justin Sayarath
Sydney-based artist Justin Sayarath has a number of installations around the metropolitan area where he ‘combines both his technical skill of visual arts and graphic design to create and collaborate in the public and commercial domains’.
A landscape of memorials and memories of the Cowpastures.
Many memorials, monuments, historic sites, and other public facilities commemorate, celebrate and just generally remind us about the landscape of the Cowpastures.
In recent decades there has been a nostalgia turn around recovering the memory of the Cowpastures landscape. This is cast in terms of the pioneers and the legacy of the European settlement.
Memorials and monuments can be controversial in some quarters, especially in the eyes of those interested in Australia’s dark history.
Apart from monuments and memorials to the Cowpastures landscape, the most ubiquitous form of memorialisation across the Macarthur region are war memorials. Most Macarthur regional communities possess a monument of some kind, dating to the early 20th century commemorating the memory of those killed in action in the First and Second World Wars and the Vietnam War.
The heyday of building monuments in Australia was in the late 19th century and early 20th century, when the new and emerging nation searched for national heroes. These heroes were overwhelmingly blokes – pale males.
Some of the most significant memorials to the Cowpastures landscape are historical sites, the built environment, and cultural heritage. Many of these are scattered across the Cowpastures region dating from the time of European settlement.
Most of the monuments and memorials to the Cowpastures in the local area date from the mid-20th century. Several have been commissioned by developers trying to cast their housing developments in nostalgia for the colonial past. Only one of these memorials was commissioned by women.
The monuments and memorials can be considered part of the public art of the local area and have contributed to the construction of place and community identity.
The memories evoked by the monuments, memorials, murals, historical sites, celebrations, and other items mean different things to different people.
The Cowpastures Landscape
So what exactly has been referred to by the Cowpastures landscape? In this discussion, there are these interpretations:
Utilitarian – the economic benefit – the protection of the cows and the herd
Picturesque – the presentation of the Cowpastures as a result of the burning of the environment by the Aborigines –fire stick farming – the reports of the area being a little England from the 1820s – Hawdon.
Regulatory – banning of movement into the Cowpastures to protect the cows
The political and philosophical – evils of the governors and transportation were the true corruptors of the countryside.
Natural history – collecting specimens and describing fauna and flora – Darwin’s visit to Sydney – the curiosity of the early officers.
‘New natures’ – the environmental impact of flooding along the Nepean River and clear felling of trees across the countryside.
Emotional response – how the European viscerally experienced the countryside – sights, smells, hearing – and its expression in words and pictures. (after Karskins 2009, The Colony)
7. Campbelltown-born architect William Hardy Wilson wrote The Cow Pasture Road in 1920, a whimsical fictional account of the sights and sounds along the road from Prospect to the Cow Pastures.
1. The Cowpasture Road was the original access route to the colonial Cowpastures Reserve in the early 19th century, starting at Prospect and ending at the Nepean River crossing.
2. The historic site at Belgenny Farm is one of Australia’s earliest European farming complexes in the Cowpastures. The farm was part of the Macarthur family’s Camden Park Estate and is an example of living history.
3. Camden Park House and Garden is the site of John Macarthur’s historic Regency mansion and was part of the Macarthur family’s Camden Park Estate.
4. Other colonial properties across the Cowpastures region (in private hands)
Updated 13 September 2022. Originally posted 22 August 2022.
I was walking through the Narellan Library Elyard Street Plaza recently and noticed a Cowpastures Monument.
On investigation, I have found that the artwork was jointly commissioned in 2006 by Camden Council and Narellan Rotary Club.
The artwork is called Cowpasture Story and was created by Blue Mountains artists and sculptors Philippa Johnson and Henryk Topolnicki from Art Is An Option. The artist’s website describes the artwork as ‘Sculptural Mobiles & Screen’.
Artist Philippa Johnson trained at the East Sydney Technical College and the University of Sydney and describes herself as an installation artist, sculptor and painter. Sculptor and artist Henryk Topolnicki are described as ‘a sculptor, furniture maker and public artist who works principally in metals’.
The artwork is a series of leaves forming an arch over the path that leads to the front of the Narellan Library. The leaves have a variety of figures representing the settlement of the Cowpastures in early colonial New South Wales. There are depictions of the settler society with cows, settler housing and farms.
The artworks were part of the 2006 Narellan Library development that was designed by Sydney architect GSA, and built by Richard Crookes Construction with art consultants Guppy & Associates.
On the rear of the artwork panels, there are stories about the Cowpastures and the history of the Narellan Rotary Club.
The story is located on the back of one of the panels.
A Brief History of the Cowpastures and its importance to the Narellan/Camden Area
The history of the Cowpastures shows the importance to this area of the straying colonial cattle as their discovery led to the early surveying and settlement of the area by the Macarthurs and other colonial landholders. The Cowpastures was ‘discovered’ in 1795, just 7 years after the foundation of the colony.
The Narellan/Camden area was penetrated by white men as far back as 1795. The loss of the early colony’s cattle forms part of the history of New South Wales. These beasts that strayed from Farm Cover led to the discovery and settlement of the Narellan/Camden area. Seven years elapsed after the report of the loss of the cattle before rumours came to Sydney Cove’s settlement of the whereabouts of the missing stock. Governor Hunter dispatched a party under Henry Hacking to confirm or deny the reports of the rumoured cattle.
The results of this party’s investigation so impressed Governor Hunter that he determined to visit the locality to see the cattle and country for himself. With a small party he left Parramatta on the 18th November 1795. After travelling a few days they crossed the Nepean River at a spot where the Camden Cowpasture Bridge now stands and there came across this fine herd.
The name ‘Cowpastures’ by which the locality became known is due to Governor Hunter, for he marked it on a map drawn by himself and dated the 20th August 1796.
In 1802 explorer Barallier journeyed through the area noting the country the cattle had settled in and on the 7th November 1802 passed a swamp called ‘Manhangle’ by the aboriginals. It was this locality that John Macarthur selected land for his future home and for rearing sheep.
In December 1803 Governor King and Mrs King visited the Cowpastures and viewed the straying cattle. The governor instructed that the cattle were to be preserved after attempts were made to cull some of the wild bulls. To bring about the preservation of the cattle a hut was built at Elderslie near the ford of the Nepean River on the southern side. This was the first house in the district and was officially feferred [sic] to as ‘Cowpastures House’. Constables Warby and Jackson were installed there making this not only the first house, but the first police station in the Macarthur District.
Several of the colonial gentry took excursions to see the country so attractive to the cattle and this lead them to acquire property and settle in the area.
The track to the Cowpastures led from Prospect. On the 17th September 1805 James Meehan, under the instruction from the Governor, surveyed the track from Prospect to the Nepean Crossing and a rough road followed. This became the Cowpasture Road, some of which formed part of the old Hume Highway to Camden.
What is Rotary?
Brief History of the Rotary Club of Narellan Inc.
The Rotary Club of Narellan Inc in District 9750, was chartered on the 27th October 1992.
This enabled local business and professional leaders to join a worldwide service organisation to provide social, financial and physical support to the local and international community.
The Rotary Club of Narellan focuses on the Four Avenues of Service in Club, Community, Vocational and International Service and gained recognition within the community as an excellent service club. It has been involved in fundraising for charitable organisations, support of local youth in educational and development program, fostering high ethical standards in business and professions and supporting other charitable organisations.
In fundraising the club raised in excess of $1,000,000 for charities, medical research (in particular Rett Syndrome), international programs and local causes such as Lifeline, Kids of Macarthur Health Foundation and the Salvation Army.
Rotary International has been responsible for the eradication of Polio through a worldwide campaign to which the club has been a major contributor. The Rotary Foundation supports vocational visits between countries and scholars throughout the world, of which the club has regularly hosted.
Hidden out of the way in the back streets of Mount Annan is a memorial to Governor Hunter.
This memorial is located in the reserve called Governors Green in Baragil Mews, Mount Annan.
This is another hidden, and largely forgotten, memorial to the Cowpastures in the local area.
There is a bronze statue of Governor Hunter is at the centre of a circular colonnade with artworks celebrating the Cowpastures.
The land developer AV Jennings commissioned Lithgow sculptor and artist Antony Symons (1942-2018) in 1995 to construct the work.
Governor Hunter and the Cow Pastures
The story of the Cowpastures begins in 1787 with the First Fleet and HMS Sirius which collected 4 cows and 2 bulls at the Cape of Good Hope on the way out to New South Wales. After their arrival in the new colony, the stock escapes within 5 months of being landed and disappears.
In 1795 the story of the cattle is told to a convict hunter by an Aboriginal, who then tells an officer and informs Governor Hunter. Hunter sends Henry Hacking, an old seaman, to check out the story. After confirmation Governor John Hunter and Captain Waterhouse, George Bass and David Collins head off from Parramatta, crossing the Nepean River on 17 November 1795. They find good farming land covered with good pasture and lagoons with birds. After climbing a hill (Mt Taurus) they spotted the cattle and named the Cowpastures.
Governor John Hunter marked area on maps ‘Cow Pasture Plains’ in the region of Menangle and elsewhere on maps south of Nepean. The breed was the Cape cattle from the First Fleet and the district was declared out of bounds to all by 1806 the herd had grown to 3,000.
British colonialism and a settler society
Governor Hunter was part of the settler society project and the country’s dispossession of First Nations people. Hunter was a representative of British imperialism and how it implemented its policies on the colonial frontier of New South Wales.
The Cowpastures was a site of frontier violence and the displacement and dispossession of Indigenous land in the early 19th century.
Governor Hunter Statue
Plaques below the Governor Hunter statue
Governor’s Green Heritage Park was presented to the people of Camden by AV Jennings and was officially opened by the Mayor of Camden Councillor FH Brooking on the 6th April 1995 in celebration of the centenary year of the discovery of the herd in 1795 at Cowpastures Camden.
Camden Mayor Frank Brooking
Frank Brooking served as Camden mayor from 1993 to 1997. Mr Brooking was a motor dealer whose business was located on the corner of Cawdor Road and Murray Streets and sold Morris and Volkswagon brands. Frank was a community-minded person who volunteered for the Rural Fire Service, Camden Rotary Club, Camden Show Society, Camden Area Youth Service and other organisations. He died in 2013 aged 74.
Plaque Governor Hunter statue
Governor John Hunter (1737-1821), Governor of New South Wales September 1795 – November 1799.
‘On the evening of my arrival…, I was directed to the place where the herd was feeding,… we ascended a hill, from which we observed an herd…feeding in a beautiful pasture in the valley I was now anxious to ascertain of what breed they were, whether natives… or the descendants of those we had so long lost, but in this attempt we were disappointed by being discovered and attached most furiously by a large and very fierce bull, which rendered it necessary for our own safety, to fire at him. Such as his violence and strength, that six balls were fired through, before any person dared approach him. I was now satisfied that they were the Cape of Good Hope breed…. offspring of these we had lost in 1788, at this time we counted sixty-one in number, young and old. They have chosen a beautiful part of the country to graze in…
Historical Records of Australia, Governor Hunter to the Duke of Portland, 21st December 1795.
As you wander around the administration-library-shopping precinct at Oran Park, there is a sense of anticipation that you are being watched. If you look around, several bronze bovine statues are guarding the site. They are a representation of the Cowpastures Wild Cattle of the 1790s.
The bronze herd of horned cattle consists of six adult beasts and one calf wandering in a line across the manicured parkland landscape. The bovine art connoisseur can engage with the animals and walk among them to immerse themselves in a recreated moment from the past – a form of living history.
The bronze cattle dramatically contrasts with the striking contemporary architecture of the council building across the road. Opening in 2016, the cantilevered glass-boxed and concrete Camden Council administration building was designed by Sydney architects GroupGSA.
This bovine-style art installation is the second memorial to the Cowpastures, the fourth location of European settlement in the New South Wales colony. The artwork is found in Perich Park, named after the family that endowed the community with the open space.
The story of the Cowpastures is told on the storyboard located adjacent to the artwork. It states:
The Wild Cattle of the Cowpastures
There are several versions of this story. There seems to be a consensus that two bulls (one bull calf) and five cows were purchased at the Cape of Good Hope and landed at Sydney Cove with the First Fleet in January 1788. The cattle were black and the mature bull was of the Afikander [sic – Afrikander] breed.
Shortly after the arrival of the First Fleet the two bulls and five cows could not be found and it was not until seven years later in 1795 that a convict reported sighting a herd of cattle in the bush.
Governor Hunter dispatched Henry Hacking to report on the cattle. Hunter resolved to inspect them himself and in November 1795 with a party of mainly Naval officers he found a herd of sixty-one cattle near the Nepean River near what is now known as Menangle.
Governor Hunter named the area The Cowpastures Plains. He wrote ‘They have chosen a beautiful part of the country to graze in…and they may become…a very great advantage resource to this Colony’. They were rather wild and inferior but bred rapidly.
By 1801 the herd had increased naturally to an estimated five or six hundred head. In 1811 they were estimated to be in their thousands.
The bronze cattle here have been kindly donated to the Community by the Perich Family.
The bronzed-bovines in Perich Park on Central Ave were installed in 2016 to coincide with the opening of the new council building.
The Perich Park art installation is preceded by an earlier artwork that depicted more bovines just up the street. The other animal sculptures were a set of concrete cows that were represented wandering around in a small reserve opposite the Oran Park development sales office in Peter Brock Drive.
The reserve is located between Peter Brock Drive and Moffat Street, and this batch-of-bovines were installed around 2010. The reserve and open space is not designated parkland, and signage indicates that it is destined for housing development.
The use of public art is one approach to placemaking that is employed by urban planners and designers, architects, and others. The authorities responsible for creating the Oran Park community and the new suburbs within it have used public art for placemaking.
What is placemaking?
Placemaking is a multi-faceted approach to the planning, design and management of public spaces. Placemaking capitalizes on a local community’s assets, inspiration, and potential, with the intention of creating public spaces that promote people’s health, happiness, and well-being.
integrates arts, culture, and design activities into efforts that strengthen communities. Creative placemaking requires partnership across sectors, deeply engages the community, involves artists, designers and culture bearers, and helps to advance local economic, physical, and/or social change, ultimately laying the groundwork for systems change.
Storytelling promotes the concept of place and the process of placemaking. One of those stories is the Cowpastures and the Wild Cattle history from the days of colonial New South Wales.
Understanding the past through storytelling contributes to the construction of community identity and builds resilience in new communities. The cultural heritage of an area is the traditions, ceremonies, stories, events and personalities of a place. There are also dark and hidden stories of the Cowpastures that need telling, such as the frontier violence of the Appin Massacre.
The Cowpasture art installation uses a living history approach to tell the story of the European occupation of the local area that is part of the history of colonialism and the settler society project in New South Wales.
The information plaque, with the wrong date, has an explanation of the Cowpastures story by the artist and reads:
This mural commemorates the early history of our land and pristine waterways, from the Dreamtime beginnings, to the 1895 [sic] discovery of the escaped First Fleet wild cattle in this area. These cattle were later destroyed to make way for the pioneering of the district, the introduction of dairy and beef breeds that formed the basis of a wealthy agricultural industry. The spirit of our early setters lives on through the recording of visual history in this beautiful valley.
By Gifted/Talented History Students from Picton, Camden South, and Mawarra Schools.
M Armstrong, E Bristow, T Clipsham, H Eriksson, S Esposito, L Greco, M Gordon, L Harley, L Mulley, K Parker, P Reynolds, E Savage, C Wotton, N Young.
Bronze Sculptor Joan Brown 2012
Terry O’Toole reports that after representations to Wollondilly Shire Council, the date error on the plaque above was corrected in February 2022. A new plaque has been placed in position, replacing the old one in the photograph above. (Terry O’Toole. Facebook Messenger, 7 March 2022)
Sculptor Joan Brown
Sculptor Joan Brown is a fifth-generation member of a ‘local pioneer family’ growing up on her family property of Abbotsford at Picton. She was surrounded by ‘grazing and dairying properties in the valleys of the Razorback Range’.
Joan is ‘passionate about the preservation of the ethos and heritage of the local area’ and has developed an understanding of the local landscape. She has used local landscapes, historic sites and heritage buildings as subjects of her artworks. (Brown 2021)
Joan was part of the community that initiated the Picton Bicentennial Village Square, where the mural is located, and the restoration of St Mark’s Church and Pioneer Cemetery. (Brown 2021)
Joan has an ongoing passion for the ‘preservation and heritage of the local area’, including the ‘unique heritage village’ of Picton. (Brown 2021)
The Picton Cowpastures Memorial is one part of the public art scene of the Macarthur region. Other public art installations across the area include:
The Picton Cowpastures Memorial is a metaphor for the settler society and represents the past. The artwork depicts four-horned cows of the Cowpastures Wild Cattle grazing on the steep country around the Razorback Range.
The depiction of the Wild Cattle on Dharawal country hints at the arrival of the colonial frontier in the Cowpastures, the fourth locality of European occupation in the New South Wales colony.(Willis 2018) The horned cattle represent the possession of territory by the Europeans and their settler-colonial project.
The landscape illustrated by the mural is devoid of vegetation, hinting at the environmental desolation caused by European occupation and the dispossession of the Dharawal people. The dead tree depicted in the mural landscape is a sad reminder of European exploitation of the natural resources of the Cowpastures and threats to Cumberland Plain Woodland and other ecological types across the Macarthur region.
The story the mural tells is full of meaning with many layers that can be peeled back to reveal many hidden corners in the narrative of the local area. The stark outline of a dead tree might be regarded as a metaphor for the frontier violence of the early colonial period and symbolic of the Appin Massacre, which took place in the Cowpastures in 1816. (Karskens 2015)
Prowling crazy colourful koalas are on the loose in the Australian Botanic Gardens in Mount Annan and other notable spots in Campbelltown.
The cute one-metre-high fibreglass sculptures, called Hello Koalas, are loose across the garden landscape. They are a sight to behold after being a hit at the Royal Botanic Gardens in Sydney in 2019.
The artworks are part of the Hello Koalas Sculpture Trail, jointly hosted by The Australian Botanic Garden (ABG), Mount Annan and Campbelltown City Council. Running from April 1 to April 30, the art installation is on loan from the Port Macquarie area.
Engaging public art installation
On a visit to the ABG this week, I watched how the sculptures touched the hearts of everyone who walked past them.
The Hello Koalas seemed to immediately grab the attention of everyone who walked past them, from the very young to the very young at heart. The koala characters appeared to melt the coldest heart with their bright colours and crazy artwork.
There is an element of surprise to the sculptures, and there is an immediately identifiable joy in people’s reactions. Young and old pose for selfies and family pics with the koala characters.
Families sought out the elusive koala characters across the ABG after picking up the free trail map. The kids were making sure that they found all of the 22 koalas in the garden.
According to the trail map, families can be helped in the koala hunt by downloading the ‘Agents of Discovery’ by using the ABG QR code and then seeking out the koala characters.
A public art trail
The outdoor art installation trail is strategically placed across the garden landscape to ensure an exciting and wonderful experience of these ‘living sculptures’.
Each of the Hello Koalas has a name and is themed around culture, heritage and environmental issues. There is Captain Koala, Bushby, Flying Fire, Topiary and a host of others.
The trail map provides a host of information about the Hello Koalas location, their names, and the artist who created them.
The ABG art installation was ‘conceived and created in Port Macquarie by Arts and Health Australia’, which aims ‘to promote and develop the application of creativity and the arts for health and quality of life’.
Project director Margaret Meagher described the Hello Koalas as Wildlife Warriors and said, ‘The project aims to spread the message that we must care for our koalas and all native fauna and flora’.
Director Margaret Meagher was inspired to create the Hello Koalas by an animal trail that was part of the 2010 Hull arts festival in England. The trail celebrated the life and times of local poet Philip Larkin and his poem Toads. Festival organisers created the Larkin with Toads sculpture trail. After initial scepticism, the toads have been a huge hit winning tourist awards, gaining national press coverage and increased local tourism.
Public art is an opportunity to showcase artist talent differently and generate broader community interest. This type of art installation can ferment interest in issues and engage the media, the public and the creative sector. Public art appeals to the imagination of adults and children and can bring the community together.
Successful public art encourages public engagement with art and can create a sense of ownership within the community. There can be increased visitation increase tourism that brings money into the area. It can contribute to placemaking, shaping community identity and a sense of belonging.
Not a balmy idea
The Hello Koalas Sculpture Trail, at first glance, may be considered a balmy idea. In reality, it is a clever idea that on initial observations seems to have engaged people’s interest and imagination and created a unique art experience.
The ABG Hello Koalas brochure states:
Effectively, each Hello Koalas sculpture provides a blank canvas to convey evocative messages that celebrate the existence of native plants and animals and raise public awareness, across generations, of the importance of caring and preserving our natural world.
One of the most important pieces of public art In the Macarthur region is the Camden Pioneer Mural. The mural is located on the corner of the Old Hume Highway and Menangle Road, adjacent to Camden Hospital. Thousands of people pass-by the mural and few know its story.
Public art is an important part of a vibrant community and adds to its cultural, aesthetic and economic vitality. Public art promotes
‘a sense of identity, belonging, attachment, welcoming and openness, and strengthen community identification to place. [It creates] a tangible sense of place and destination’.
The pioneer mural does all these and more. The mural makes a public statement about Camden and the stories that created the community we all live in today.
reflect the social fabric of communities past and present – visual representations of their dreams and aspirations, social change, the cultural protests of an era, of emerging cultures and disappearing ones.
Public murals have recently gone through a revival in Australia and have turned into tourist attractions. Murals have become an important part of the urban landscape of many cities including Melbourne, Brisbane, Sydney, Launceston and other cities around the world. Mural art in the bush has been used to promote regional tourism with the development of the Australian Silo Art Trail.
The Camden pioneer mural is visual representation of the dreams and aspirations of its creators.
The mural was originally the idea of the town elders from the Camden Rotary Club. The club was formed in halcyon days of the post-war period (1947) when the club members were driven by a desire for community development and progress. Part of that vision was for a tourist attraction on the town’s Hume Highway approaches, combined with a wishing well that would benefit the hospital. (Clowes, 1970, 2012)
The next incarnation of the vision was a mural with a ram with a ‘golden fleece’ to ‘commemorate the development of the wool industry by the Macarthurs’. The credit for this idea has been given to foundation Rotary president Ern Britton, a local pharmacist. (Clowes 1970, 2012)
Club members were influenced by the mythology around the exploits of colonial identity and pastoralist John Macarthur of Camden Park and the centenary of his death in 1934. Macarthur was a convenient figure in the search for national pioneering heroes. The ‘golden fleece’ was a Greek legend about the adventures of a young man who returned with the prize, and the prize Macarthur possessed were merino sheep.
The scope of the mural project had now expanded and included a number of themes: the local Aboriginal tribe; local blackbirds – magpies; First Fleet arriving from England; merino sheep brought by the Macarthur family establishing Australia’s first wool industry; grapes for a wine making industry; dairy farming and fruit growing; and development of the coal industry. (Clowes, 2012)
Mansell created a concept drawing using these historic themes. (Clowes, 2012) The club accepted Mansell’s concept drawings and he was commissioned to complete the mural, creating the ceramic tiles and firing them at his studio. (Clowes, 2012)
The mural concept seems to have been an evolving feast, with Mansell refusing to supply the Rotary Club with his interpretation of his artwork. (Clowes, 1970)
The artist and the meaning of the mural
To understand the meaning what the artist intended with the design this researcher has had to go directly to Mansell’s own words at the 1962 dedication ceremony.
Mr Mansell said,
‘I was happy to execute the work for Camden and Australia. We are a great land, but we do not always remember the early pioneers. But when I commenced this work there came to me some influence and I think this was the influence of the pioneers.
Mr Mansell said,
‘The stone gardens at the base is the symbol of the hardships of the pioneers and the flowers set in the crannies denote their success.’
‘The line around the mural, represents the sea which surrounds Australia.
‘To the fore is Capt Cook’s ship Endeavour and the wheel in the symbol of advancement. The Coat-of-Arms of the Macarthur-Onslows, pioneered sheep, corn, wheat, etc are all depicted as are the sheep which were first brought to this colony and Camden by John Macarthur.
‘Aboriginals hunting kangaroos are all depicted and so on right through to the discovery of coal which has been to us the ‘flame of industry’. Incorporated in the central panel is the Camden Coat-of-Arms, and the Rotary insignia of the wheel highlights the panel on the left.
‘Colours from the earth have been used to produce the unusual colouring of the mural. (Camden News, 20 June 1962)
According to Monuments Australia the mural ‘commemorates the European pioneers of Camden’ and the Australian Museums and Galleries Online database described the three panels:
There is a decorative border of blue and yellow tiles creating a grape vine pattern. The border helps define the triptych. The three panels depict the early history of Camden. The large central panel shows a rural setting with sheep and a gum tree in the top section. Below is a sailing ship with the southern cross marked on the sky above. Beside is a cart wheel and a wheat farm. There are three crests included on this panel, the centre is the Camden coat of arms bearing the date 1795, on the proper right is a crest with a ram’s head and the date 1797, and on the proper left is a crest with a bunch of grapes and the date 1805. The proper right panel of the triptych, in the top section depicts an Aboriginal hunting scene. Below this is an image miner’s and sheafs of wheat. The proper left panel depicts an ornate crest in the in the top section with various rural industries shown below. (AMOL, 2001)
The mural has three panels is described as a ‘triptych’ constructed from glazed ceramic tiles (150mm square). The tiles were attached to wall of sandstone blocks supported by two side columns. The monument is 9.6 metres wide and 3 metres high and around 500mm deep. There is a paved area in front of the mural 3×12 metres, associated landscaping works and a wishing well. (AMOL, 2001; Clowes, 1970)
Tourists visit mural
Tourists would stop in front of the mural and have their picture taken as they travel along the Hume Highway.
One active gardener maintains that this garden provides
therapy time, social interaction with other like-minded people and the satisfaction of growing your own produce. It is very peaceful down there and there is something about digging in the earth. It is fulfilling and a sense of joy seeing something grow from seed. There’s nothing like being able to pick and eat your own produce. The wide variety of colours of the flowers and vegetables in the garden builds mindfulness.
This is a park with varied places to wander through and enjoy, roses in abundance, opportunities for parties, weddings or friends, and 2 palm trees at one of the gates planted by Elizabeth Macarthur to add to the history!! Very pleasurable. (Val S, Camden)
A two minute stroll from the gorgeous township of Camden and you’ll find this little hidden gem. Beautifully maintained gardens in a tranquil setting make this spot just perfect for a short retreat from the rest of the world. no bustle, no shops no noise (except the occasional church bells), just peace and tranquility. (PThommo101, Camden)
I just loved the park with its wonderful rose garden and beautiful arbor. I was there to do a photo shoot and this park never fails to impress with its beautiful shadows and views (CamdenNSW)
A beautiful, restful place to take a Sunday stroll. Any time of the year there is always something on offer, but spring time is especially lovely. (Sue H, Sydney)
It was wonderful to spend time here at the beginning of spring, (Matt H, Penang, Malaysia)
What a beautiful place for a picnic….the grounds are extensive and have an impressive display of Australian native plants….wattles, grevillea ,bottlebrush and eucalypts, to name but a few. (Lynpatch29, Sydney)
I was very impressed it is beautiful (Camden NSW)
A tranquil space for a walk among native plants. Your head is back in a good space. (Susie994, Canberra)
Maybe it is the walking around the picturesque landscape provided by the WSU grounds staff and gardeners. Maybe it is the landscape gardening and native vegetation set off by the water features. Maybe it is the quiet and solitude in the middle of a busy Campbelltown.
Whatever it is in the sculpture garden, whether provided by the permanent WSU sculpture collection or the exhibition works, the site has a positive serenity that is hard to escape. It certainly attracts the staff and students.