A large gathering attended the Braidwood Regional Arts Group Convivium at the National Theatre last Sunday. A Convivium is an informal convivial get-together to share food and discussion. Sunday's topic was 'The Arts in Braidwood during the 1970s and 1980s'.
The framework for discussion was a slide presentation by Kirsty Altenburg of her impressions of twenty years of arts and craft in Braidwood. When she and Christoph came to Braidwood in 1974 they were following in the steps of others such as the nineteenth century poets Charles Harpur and his friend Henry Kendall. Elioth Gruner, seven times winner of the Wynne prize for landscape, painted evocative landscapes of the Araluen valley and the land around Manar during the 1920s. So there was a tradition, a continuum of which they and others became a part whilst bringing new skills, ideas and passions.
Why Braidwood? The landscape was a key factor, drawing many. Poet Judith Wright was one of the first to arrive in the 1970s. Landscape painters like John Maudson and Mary Bonds also celebrated the diversity and complexity of. Braidwood landscapes. Painter Tom Thompson's 'The annunciation' was set in an Aussie context with Mount Jillamatong in the background. Also, there were many run down or derelict buildings at that time that were affordable for those with young families. So Braidwood offered opportunities to create and develop artistically and within a community.
Studio Altenburg promoted and celebrated the best work of local and regional craftspeople and artists. It provided the focal point for what became known as the 'Braidwood group'. These - potters John Godfrey and Richard Murray; woodworkers Allen and Robin Geier and weaver Solvig Baas Becking, together with silversmith Christoph Altenburg, debated, collaborated and exhibited. The invitation to their 'Made in Braidwood' Exhibition shows the group with Judith Wright standing in the landscape - the setting symbolising commitment to and celebration of the environment.
Kirsty emphasised, and many others present echoed, Solvig's importance to the group. Solvig was Vice President of the Crafts Council of Australia, a member of the Crafts Board of the Australia Council, with Erica Semmler she had instigated the Fibre Forum and she had established the Canberra Spinners and Weavers. Her professionalism and generosity were inspirational to her younger Braidwood colleagues - as indeed they are today for later arrivals. Solvig was a founder-member of BRAG, is active on its Committee and is now its Patron. She remains one of Australias foremost rug weavers and personifies the threads binding past to present in Braidwood.
Looking backward, looking forward . . Kirsty and others talked of Sue and Richard Murray's successful battle with the Tax Office to have the distinction ended between 'work of art' and 'manufactured item' in the craft context. A victory later cited as precedent by other craftspeople as they challenged Tax rulings. Looking back to Margaret Royds setting up an active craft group, to the Music Club, the beginnings of the Folkmusic Club and Music at the Creek, the beginnings of the Quilt Event. Looking back to the Heritage Day Art Exhibitions; to the 'Braidwood Academy' and the floats it had in the Heritage Day parade. Looking back on many fine exhibitions at Studio Altenburg and looking with pride at Studio Altenburg today where fine exhibitions of work by local artists continue to be held.
Kirsty's presentation ended with a 1993 painting by Helen Geier. This emphasised the continuing challenge and fascination of the Braidwood landscape to its artists and craftspeople. It also emphasised the continuation of artistic passion, skills and sense of artistic community in Braidwood.
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