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Fo shizzle, Dunbizzle. Measurements 38 inches long x 18 deep x 30 inches tall. 72.5 inches long fully extended.
Interactive digital sign, self-service terminal, retail kiosk and trade show display for banks, shops, museums, art galleries and the corporate/ hotel lobby. Full HD multi-touch display, multimedia - design by www.brand-touch.eu
As you may have noticed, since my son was born, I've been pretty irregular with posting here on Flickr. It complicates things to add a baby into the mix and, for me, family time isn't what I'm going to sacrifice when things get busy, Flickr is.
I want to post more here. I want to take more time to be creative for myself. In this past year, I've done a lot of client work (all things considered). Maybe a bit too much. My goal for 2014 is to further tweak this balancing act of a life. Creativity is therapy and creativity on my own terms is rejuvenating.
Thanks for your support!
This 9-image panorama was taken from the tallest point in the Smoky Mountains.
"ADDA DADA in Leah Garchik 's DATEBOOK column in the San Francisco Chronicle !
"This year's winner of Hunky Jesus Contest was 'CHEER JESUS' who wore a cheerleader outfit and roused the crowd to their feet with a great pep cheer.", reported ADDA DADA !
Among the other standouts were RIPPED JESUS, RETRO JESUS, ZOMBIE JESUS , 'OVERDOSE JESUS' and BURNING MAN JESUS.
"TV REALITY SHOW FOXY MARY with her pregnant tummy, bottle of booze, & pills easily won the FOXY MARY CONTEST. "
I'm having trouble getting her name, but it is said that she returned the prize money to the Sisters thereby providing eternal holiness."
ps: "J" is used in the title because apparently ADDA has been reported several times over posting HUNKY JESUS CONTEST photos...some people do not have a sense of humor. the photos are marked correctly : SAFE !
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ADDA DADA's VIEW COUNT is over ONE HUNDRED TWENTY-FIVE MILLION (128,000,000+) VIEWS with over 6,500 FOLLOWERS !
THANK YOU for visiting my virtual art gallery! Enjoy my social documentary photos of various events !
ADDA DADA's photography represent a variety of people. All photos are 'raw' (no photoshop, no airbrushing, nor convoluted poses).
NOTE: The photos are from different public events with many different people from around the world attending. These photos do NOT imply the person's sexual orientation in any way. Everyone was asked and they consented to be photographed.
Photos are properly marked SAFE or RESTRICTED which is for 18+ only & contains nudity. There is NO porn, nor, NO stolen photos on my site!
NOTE: Viewers should be aware that these photos are viewed by a wide variety of folks and inappropriate RUDE, 'X' or 'R' rated comments shall be removed forthwith.
NOTE: MY photos are NOT to be reproduced, COPIED, BLOGGED, USED in any way shape or form. Use of them by anyone is an infringement of copyright ! © All rights reserved. Use without permission is illegal !
Set the Dunbar real high. Beautiful mahogany finish with sculptural details. Cocktails are for ballers.
The purple one is just the opposite site of the green leaves. But how just one leaf stands out is something quite interesting!
A standout feature at the Ultra Sports Clinic in London, this bespoke reception desk is fully clad in aged copper, designed to elevate the luxury healthcare setting. With its rich patina and sharp modern lines, it balances warmth and professionalism in the welcome area.
🔨 Installed in 2019 — a project we’re still proud of.
This traffic sign stood out one morning it called for me to take it
Olympus Infinity Stylus Zoom 140 on Fuji Superia 800.
Baseball standout Babe Ruth has just arrived at St. Petersburg's ACL depot in 1930. Also in the back seat (straw hat) is the popular mayor, Al Lang, who was instrumental in bringing spring training to St. Petersburg. The city's primary training stadium was eventually named after Lang. Mike Davenport collection
This impressive Miss Havisham style champagne glass fountain was one of the standout installations of the Rone "Empire" exhibition. Long after the champagne, and the love, has dried up, the glasses remain as a reminder of what once was.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
Lafayette, Colorado. Feeding frenzy. I imagine the llama (or is that an alpaca?) thinking "I don't belong here."
A version of Sandia National Laboratories’ advanced sensor, called Icarus, is displayed separate from its ultra-high-speed, burst-mode camera. An Albuquerque-based startup plans to make the highly sought tech available to new markets.
Learn more at bit.ly/3yB6UCq
Photo by Craig Fritz
ADDA DADA in Leah Garchik 's DATEBOOK column in the San Francisco Chronicle !
This year's winner of Hunky Jesus Contest was 'CHEER JESUS' who wore a cheerleader outfit and roused the crowd to their feet with a great pep cheer.", reported ADDA DADA !
Among the other standouts were RIPPED JESUS, RETRO JESUS, ZOMBIE JESUS , 'OVERDOSE JESUS' and BURNING MAN JESUS.
"TV REALITY SHOW FOXY MARY with her pregnant tummy, bottle of booze, & pills easily won the FOXY MARY CONTEST. "
I'm having trouble getting her name, but it is said that she returned the prize money to the Sisters thereby providing eternal holiness.
-----------------------------------------------------------
ADDA DADA's VIEW COUNT is over ONE HUNDRED TWENTY-FIVE MILLION (125,000,000+) with over 6,500 FOLLOWERS !
THANK YOU for visiting my virtual art gallery! Enjoy my social documentary photos of various events !
ADDA DADA's photography represent a variety of people. All photos are 'raw' (no photoshop, no airbrushing, nor convoluted poses).
NOTE: The photos are from different public events with many different people from around the world attending. These photos do NOT imply the person's sexual orientation in any way. Everyone was asked and they consented to be photographed.
Photos are properly marked SAFE or RESTRICTED which is for 18+ only & contains nudity. There is NO porn, nor, NO stolen photos on my site!
NOTE: Viewers should be aware that these photos are viewed by a wide variety of folks and inappropriate RUDE, 'X' or 'R' rated comments shall be removed forthwith.
NOTE: MY photos are NOT to be reproduced, COPIED, BLOGGED, USED in any way shape or form. Use of them by anyone is an infringement of copyright ! © All rights reserved. Use without permission is illegal
I know... tulips look better in color. This one tulip stood out from the crowd. Shot at Veldheer's tulip farm in Holland, MI
camera Olympus Om2n
lens Zuiko 50mm
film Kentmere 100
dev xtol 1+1 10 min @ 20C
Standout and Deliver Dress from ModCloth
Stir Up Some Fun Heels from ModCloth
Shop this look and more: www.modcloth.com
Walked Ruby down to Horam on the Cuckoo Trail and then back through the fields. Images of flowers blossom leaves birds water and reflections. On the way back I walk past a farmhouse and its only water supply is a well.
Part of NAIDOC audience. NAIDOC stands for National Aborigines and Islanders Day Observance Committee. NAIDOC Week celebrates the history, culture and achievements of Aboriginal and Torres Strait Islander peoples.
NAIDOC in the City, Hyde Park, Sydney, Australia (Monday 6 July 2015)
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Study is one of them. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Study is one. The Dining Room features two long tables covered in a Miss Havisham like feast of a trove of dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
The return of “Glee” is something we’ve been wary about for months. After last year’s tumultuous and often off-point episodes and more Very Special Episodes than musical standouts, it was hard to stay excited about “Glee” by May, or to wish for more. But “Glee,” we just can’t quit you.
Sure, we all spend the better part of the Spring pulling our hair out in frustration over its failings, but then we get a few months off and suddenly we’re hopeful — nostalgic for Terri’s crazy fake pregnancy and humming “Don’t Stop Believing” when no one else is around. We just have to know that Kurt and Blaine will be okay, and what New York will do to Rachel, and if they can still capture that lightning in a bottle of the perfect pop cover. And so we vow to put the past behind us and start afresh with “Glee,” cautious but hopeful, as Season 4 begins.
We open in NYC, where the colors are darker and the Kate Hudsons are meaner. Hudson plays Rachel’s dance instructor, Cassandra July, who after belittling Rachel in front of the whole class, even goes as far to crouch down next to a fallen Rachel and tell her explicitly that she sucks, followed immediately by the “Glee” title card. This is not Sue Sylvester’s absurdist and generally inconsequential bantering — this is real life. If that’s not a way to tell you this is supposed to be a very different “Glee,” we don’t know what is.
Except then we’re suddenly back at McKinley and it’s like nothing has changed stylistically from the first season, with Jacob Ben Israel’s roving camera set up playing catch-up on the summer’s developments — Sam is a stud with the ladies, glee club is popular and Tina has broken off her romance with Mike over the summer (this is also the second year someone’s come back from the summer with a regrettable tattoo — should we be predicting Tina’s tragic car accident now?)
The big question on everyone’s mind, now that Rachel Berry is gone, is, “Who is the new Rachel?” Everyone wants a shot, and since the club is the “most popular” in school even outsiders are angling for their chance.
Our first new recruit is not so new — Vocal Adrenaline star Wade “Unique” Adams has transferred and immediately the glee club bristles at having another powerhouse voice in the midst. Blaine, who is wearing his sassy pants, challenges Wade and the other New Rachel contenders to a sing off, thunderdome style. The serious field has narrowed to four — Tina, Britt, Wade and Blaine — and they perform “Call Me Maybe” for Artie to judge. Now, there’s no possible way “Glee” could have ignored “Call Me Maybe” but we really wish they had — covering that song is a meme, but the original is simply so iconic that such a straightforward cover has no chance to break out and shine. Everyone tries to show each other up, but we also get flashes of the fun they’re having with each other that’s the essence of a “Glee” group numbers. Artie holds back on his decision making as a the group holds open auditions for new performers.
We get a cameo from Stoner Brett (“You smell homeless, Brett. Homeless” is one of the best Kurt Hummel lines ever) who is a secret rapper. A girl performs a Skirllex EDM style interpretive dance number. We wish the club would adopt these two and use them in every number. We finally get actual talent in the form of “Jake,” a great singer with an attitude problem. When Schue cuts short his performance of The Fray’s “Never Say Never,” he takes it as an offense and throws a music stand before storming out. We later learn that he’s Jake Puckerman, the younger half-brother graduated Noah Puckerman doesn’t know he has. When Mr. Schue offers a place in the club despite his outburst, Jake turns him down, so we’re going to have to wait to see what ultimately gets him involved in the group (our guess is a heartfelt monologue from Puck during their inevitable meeting). Our final newbie singer is Marley Rose, a quiet sophomore that doesn’t have any friends and just wants to sing. She auditions with Billy Joel’s “New York State of Mind,” which the show unfortunately displays as a shared duet with Rachel in New York, singing the same song to her first class with Whoopi Goldberg, who has just mercilessly cut another girl — not from the class, but from all of NYADA. Yikes. This is not to say that new girl Marley isn’t a great singer, but it’s hard to put anyone up against Rachel Berry, especially another girl, and expect your attention to be on them instead of on Rachel. Maybe the big lesson of The New Rachel is there can be no new Rachel?
The Old Rachel is singing her heart out because New York City isn’t really all it’s cracked up to be just yet. Her harsh session with Cassandra is followed up by another rough moment where she confronts an obviously drunk Cassandra in class (she drinks, we can assume, because her TA just quit for a Broadway show and Cassandra is a failed Broadway actress — those who can’t do, teach. It’s Schue all over again.) To prove her star power, Cassandra rips off her skirt and performs Lady Gaga’s “Americano” mashed up with J. Lo’s “Dance Again.”
The gods of “Glee” must be excited that performance school in NYC means they can really let loose with more complex dance numbers for their background cast. Cassandra twirling while being dragged across the floor is a real highlight and something we can’t imagine someone like Emma getting to do back in Lima. Distraught Rachel ends up sad in Washington Square park, where she shows Brody, the dreamy straight boy she met singing in the college dorm bathroom (the third boy on “Glee” to be revealed as a singer in this way) pictures of Finn, who hasn’t called her in two months. Ouch, this New York thing is pretty harsh for our girl Rachel, but Brody is there to remind her to embrace the moment and build new, good memories in NYC. When in doubt, “Glee” will always fall back on a romantic triangle. Welcome to Season 4.
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Dining Room is one. As a well proportioned and elegant space, it runs over half of the original Burnham Beeches floor plan. It features two long tables covered in a Miss Havisham like feast of a trove of found dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I personally found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Dining Room is one. The Study is the other. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.
standout look for this pre-1987 Sanyo AM/FM Cassette player-Personal stereos became even more so -it could be argued they became gender specific with colors such as this.
Un sb26 rebotado en difusor de cartullina en oblicuo a media potencia. Un SB800 rellenando desde la derecha. F16, 250 de velocidad.
Although all the rooms of the Rone - Empire installation exhibition are amazing for many different reasons, there are two major standouts. The Dining Room is one. As a well proportioned and elegant space, it runs over half of the original Burnham Beeches floor plan. It features two long tables covered in a Miss Havisham like feast of a trove of found dinner table objects from silverware and glassware to empty oyster shells and vases of grasses and feathers.
The Dining Room installation I personally found especially confronting. In 1982, I visited Burnham Beeches when it was a smart and select hotel and had Devonshire tea in the dining room at a table alongside the full length windows overlooking the terraces below. I was shocked to see a room I remember appointed with thick carpets and tables covered in gleaming silver and white napery, strewn with dust and leaves, and adorned with Miss Havisham's feast of found dining objects.
Melbourne based street artist Rone (Tyrone Wright) used the decaying glory of the 1933 Harry Norris designed Streamline Moderne mansion, Burnham Beeches in the Dandenong Ranges' Sherbrooke, between March the 6th and April 22nd to create an immersive hybrid art space for his latest installation exhibition; "Empire".
"Empire" combined a mixture of many different elements including art, sound, light, scent, found objects, botanic designs, objects from nature and music especially composed for the project by Nick Batterham. The Burnham Beeches project re-imagines and re-interprets the spirit of one of Victoria’s landmark mansions, seldom seen by the public and not accessed since the mid 1980s. According to Rone - Empire website; "viewers are invited to consider what remains - the unseen cultural, social, artistic and spiritual heritage which produces intangible meaning."
Rone was invited by the current owner of Burnham Beeches, restaurateur Shannon Bennett, to exhibit "Empire" during a six week interim period before renovations commence to convert the heritage listed mansion into a select six star hotel.
Rone initially imagined the mansion to be in a state of dereliction, but found instead that it was a stripped back blank canvas for him to create his own version of how he thought it should look. Therefore, almost all the decay is in fact of Rone's creation from grasses in the Games Room which 'grow' next to a rotting billiards table, to the damp patches, water staining and smoke damage on the ceilings. Nests of leaves fill some spaces, whilst tree branches and in one case an entire avenue of boughs sprout from walls and ceilings. Especially designed Art Deco wallpaper created in Rone's studio has been installed on the walls before being distressed and damaged. The rooms have been adorned with furnishings and objects that might once have graced the twelve original rooms of Burnham Beeches: bulbulous club sofas, half round Art Deco tables, tarnished silverware and their canteen, mirrored smoke stands of chrome and Bakelite, glass lamps, English dinner services, a glass drinks trolley, photos of people long forgotten in time, walnut veneer dressing tables reflecting the installation sometimes in triplicate, old wire beadsteads, luggage, shelves of books, an Underwood typewriter, a John Broadwood and Sons of London grand piano and even a Kriesler radiogramme. All these objects were then covered in a thick sheet or light sprinkling of 'dust' made of many different things including coffee grinds and talcum powder, creating a sensation for the senses. Burnham Beeches resonated with a ghostly sense of its former grandeur, with a whiff of bittersweet romance.
Throughout the twelve rooms, magnificent and beautifully haunting floor-to-ceiling and wall-to-wall portraits of Australian actress Lily Sullivan, star of the Foxtel re-make of Picnic at Hanging Rock, appear. Larger than life, each portrait is created in different colours, helping to create seasonal shifts as you move from room to room.
Although all the rooms are amazing for many different reasons, there are two major standouts. The Dining Room is one. The Study is the other. It features walls of books covered with a portrait of Lily Sullivan, and the entire room is partially submerged in a lake of black water with the occasional red oak leaf floating across its glassy surface.
I feel very honoured and privileged to be amongst the far too few people fortunate enough to have seen Rone's "Empire", as like the seasons, it is ephemeral, and it will already have been dismantled. Rone's idea is that, like his street art, things he creates don't last forever, and that made the project exciting. I hope that my photographs do justice to, and adequately share as much as is possible of this amazing installation with you.