Bundanon - Day One

Guided safely to our destination by two giant wombats, it was a relief soon after 1am to finally reach the end of the long winding dirt road that passes as the link between Bundanon and the world left behind. With the bottom of the car scraping along the last 20-odd metres, Serena and Julian elected to jump out to see if the lighter load would ease the passage.

Danielle had arrived in the middle of Monday, her 30km bicycle ride from Bomaderry to Bundanon occurring with hardly a hitch (although with three enormous dogs in various pursuit), while Rhiannon had survived the epic journey from Canberra through Kangaroo Valley and down past Cambewarra Lookout a few hours earlier.

Waking up this morning it was exciting to realise that there was essentially nothing we had to do but what we wanted. After cups of tea, some breakfast and coffees, we elected to begin our stay by exploring the vast Bundanon property. Setting out from our 1870s cottage, we passed the cluster of studios presently housing photographers, writers and visual artists, visiting from England and Germany. Some have been here for weeks, with Margaret clearly sad to be heading off in a few days.

A little confusion over which side of the fence we should be on – and a pulse-quickening crash course in the difference between a cow and a bull – and we were soon on the sandy banks of the Shoalhaven River. Peering through the gentle water we saw small schools of fish going about their lessons, with balled up snow-white clouds tumbling overhead. A gentle breeze or jumping fish would occasionally ruffle the water, but it was mostly a clear sheen reflecting back grey-green gums and sandy boulders.

Across the river and perched loftily over an upstream bend loomed the unmistakable figure of Pulpit Rock. Pulpit Rock features in countless Arthur Boyd works and it’s easy to see what drew him to it time after time, what spurred that silent, see-sawing tussle to capture its ever-shifting pinkish orange form. A meander back through the Homestead gardens, fingers teasing smells from well-kept beds of herbs, was followed by a peek through Arthur Boyd’s studio windows before it was time for lunch.

After lunch came the serious business of mapping out our next two weeks. We’ve come to Bundanon for the opportunity it affords for a creative escape from the daily routine. A few familariar chores follow us along of course – the need to eat, tidy and occasionally sleep – but the emphasis is on freeing your mind and creative spirit in an inspirational environment; Arthur’s idea of a living arts centre.

Interaction with the environment is impossible to avoid – like nesting birds we each accumulated various leaves, barks and flowers that caught our eye, along with an all-but spent balloon that must have blown in over the trees and fields, a refugee from the distant clutches of a child’s grasping hand.

We’re all here to collaborate on our artworks, and the question of collaboration and what it involves seems to bring as many definitions as there are contributors to this collective. There is a spectrum of views as to what constitutes a collaborative model of art and the best way to get the most out of our time here. Also interesting is the range of views as to goals and hoped for outcomes – while some prefer to see this as an opportunity to learn more about ‘process’ and the act of creatively working together is an ends in itself, others are drawn more to an ‘outcomes’ based model whereby the success of the project will depend upon the measurable output of creative work and its ongoing appeal.

There’s still much to be worked out along these lines, but the immediate plan is to roll up our sleeves and simply jump into it; to soak up the beautiful environs of Bundanon, to take advantage of the rare opportunity to think and feel without a thousand other things – work, family, friends, Big Brother – vying for our attention.

-Benjamin