View allAll Photos Tagged StandOut
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.
Heavy Scandinavian influence here.... Sculpted finger pulls, cubby storage, and great interior space behind a cabinet door. Good times.
This early blooming volunteer Oriental Cherry Tree, Prunus serrulata, is always a standout against the bare woods behind it, including the white-barked Platanus occidentalis at top left.
Marie Curie is certainly a standout female in the #science community! She became the first woman to win a Nobel Prize, and the only woman to win the award in two different fields (#physics and #chemistry). Curie's efforts, with her husband Pierre Curie, led to the discovery of polonium and radium and, after Pierre's death, the development of #X-rays. Happy Birthday to this extraordinary woman and Happy Marie Curie Day! © Dana Keller
27 Likes on Instagram
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.
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.
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.
A few simple shots from our snowshoe hike. I bought a canon RP but have no native lenses. Using my old primes and enjoying them again.
saw this car so many times on Sloane St. strange angle but i like it.
please check out my YouTube channel for a video of this car and more:
www.youtube.com/user/sl0ng0?feature=mhee
Check out - CR7 - 's photostream:
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.
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.
© All rights reserved. Use without permission is illegal. Best seen in LARGE format. © All rights reserved
Q and A with Alyse Shayer
Former Stockdale cross country and track standout now running at South Carolina remains positive as she battles bad injuries
Batch Data Processor | Monday, Sep 3 2007 9:40 PM
Last Updated: Monday, Sep 3 2007 9:46 PM
Alyse Shayer lettered in cross country and track each year at Stockdale High School. She advanced to the state cross country meet as a freshman and qualified for the state track meet all four years, the 4x400 relay she was a member of finishing sixth in her freshman campaign.
Photos:
Photo by Jason Ayer / Special to the Californian
Former Stockdale cross country and track standout Alyse Shayer runs for South Carolina at a cross country meet in the fall of 2005.
Recruited to the University of South Carolina, Shayer had high expections. But Shayer has been slowed by injuries.
Shayer said the change from the harder running surfaces of cross country courses in California to the grass courses in the southeast, and the resultant change in footwear, might be the primary factor contributing to her shin splints.
After competing as a freshman for the Gamecocks cross country team, Shayer red-shirted her freshman season of indoor track, then red-shirted her sophomore season of outdoor track. Now, she'll likely be red-shirting her junior cross country season, due to a broken toe suffered in a beach soccer game this summer.
During her freshman outdoor track season, Shayer competed in the 800 meters. Her best showing was a third-place finish at the Gamecocks' home meet.
Do you feel like you're jinxed?
I do. I just feel like something always ends up going wrong. ... It's frustrating, that I don't have as many opportunities to race. At the same time, I try to take the better side of it, that if I'm red-shirting, I'm not competing year-round and I'm not wearing myself out.
The broken toe, what happened exactly?
I was in San Diego for the weekend, and some of my friends and I decided to play a little 3-vs.-1 soccer while we were on the beach (barefoot, of course). As I kicked for the ball, my foot caught one of the boys' shins. My foot went to the right, but my pinky toe got caught and went left.
At first, it felt like I just stubbed my toe, but the throbbing got worse after a few seconds. When I looked down, my toe was sticking out perpendicular to my foot -- I almost passed out in the sand.
I had to push my toe back into place, which was really gross. The x-rays showed that I had broken the bone clean across, but apparently I did a really good job of re-aligning the bone because the doctor didn't have to re-set it.
What were your expectations for this cross country season, before the injury?
Before I broke my toe, I felt like I was in the best shape I'd been in since high school. So needless to say, my expectations until the injury were quite high; I am really eager to get back to traveling every weekend to the various meets we have all over the east coast.
How disappointing is it to not be able to compete?
It is driving me crazy to not be able to run at all! It's been about a month and a half. (There isn't anything you can do to hurry up a healing bone, especially in a toe.) It's hard for me to not compete because that's the fun part, the reward, to all the hours put in to the practices and required team meetings and functions, etc.
How did you end up at South Carolina?
I guess it was a little random that I chose to come here. Out of the eight colleges I applied to only two (that) were out of state, here (only because I was being recruited) and Oregon. I really liked the campus and the team when I flew out for my recruiting trip, so I figured I would try it for a year at least.
I'm really glad I did, because everything is so different here -- people on campus and around the city are much friendlier and the pace of life is so much slower than at home.
It's actually funny; people from South Carolina and some surrounding states seem to think that Columbia is a huge, bustling city; it is smaller than Bakersfield, and I'm used to the L.A. area traffic and having people say that Bakersfield is small! It's definitely an experience I would never have a chance to get again if I had stayed in-state for college.
You're starting your third year there; what do you think of the university?
I really like USC -- it's big enough to not know everybody you walk by, but small enough that you always end up knowing at least one or two people in your classes, either through athletics, previous classes, or friends of friends.
It seems like about half of my friends are also from out-of-state -- either all over the U.S. or from other countries around the world, which has given me a chance to learn what more areas of the U.S. are like, as opposed to only the South (which alone is quite an experience).
What's your plan for cross country and track?
I only have one year left after this current season. My goal is to get healthy by track season, and then, by this time next year, be able to compete for the whole cross country season. I want to be in top form my senior year and make it better than my freshman year.
What's the plan after you graduate?
I'm actually still not too sure. I am on track to becoming an actuary, and am planning on registering to take my first actuarial test in November. But I'm still open to other ideas if any catch my interest. I'll be attending job and career fairs all year to see what other opportunities present themselves.
Why do you like to run?
It's relaxing. When I've had a bad day, I can stick on my headphones and just run until I calm myself or think through my problem. Also, I love my teammates and other fellow athletes; most of us have a close bond, since we can all relate to the crazy practice schedules and various demands our teams require of us.
What do you really like to do when you're not running?
Academics are really important to me, so when I am not at practice or another track function, homework is my biggest priority. My friends here are a huge part of my life also, so just hanging out with them is what I tend to do with my free time. I also like to read a lot for my own pleasure.
-- Bob Varmette
Standout basketball player Gladys Wanyama (33) has been chosen to join The Trailblazers 2015 Hall of Fame. Photo by S. Paige Allen, Lewis and Clark Community College photographer
Gran Canaria, Canary Islands (Thursday, May 12, 2011) – The Asp 3-Star Islas Canarias Santa Pro Junior, Event nº3 of 7 on the Asp Europe Men’s Pro Junior Series ran through to complete Round Two with standout surfers Dimitri Ouvre (BRB) 19, and Tom Cloarec (FRA) 17, leading the remaining Top Seeds through stormy on-shore conditions in peaky 3-4ft waves at La Cicer.
Surfers competing at the Islas Canarias Santa Pro Junior are out to claim the valuable ranking points on offer at this 3-Star rated event and place themselves in the race for the overall European Pro Junior title and the chance to compete in the Asp World Junior Series starting in Bali, Indonesia on October 3, 2011.
Ouvre, who won last week’s Somo Pro Junior, continued his run of form opening his account with a solid ride to control the heat. With minutes remaining Ouvre tore apart a peeling left wall with three critical snaps in the pocket to lock in an 8.57 out of 10, the highest single-wave score of the event.
“It is really hard out there today. There are some fun set waves but you have to wait for the good ones and sometimes it is difficult because you see so many waves coming through. You have to wait for the bigger ones to get the good scores but at the same time it is hard too.”
Ouvre’s surfing and his relaxed approach to competitive surfing has shown positive results so far this year and the current leader on the Asp European Men’s Pro Junior series looks set to put in a big performance on the Pro Junior rankings in 2011.
“I have no pressure on me and I want to take it heat after heat. It is ok if I lose but I want to win for sure another Pro Junior. I want to surf and I am feeling confident but not too much which is good.”
“This is a good place to make a contest,” explained Ouvre about La Cicer. “Sure there are waves in Canarias which are better but here is good for a contest because there are many waves and you are not going to lose because you can’t get any waves. You take your waves for sure and you are going to have your two scores.”
Tom Cloarec (FRA) 17, ignited in his early morning heat as he destroyed a long left with fully committed fins-free forehand snaps to claim an 8.43 out of 10. Cloarec showed loads of speed and flow to highlight his performance in the tough conditions on offer to advance through to Round Three ahead of Ethan Egiguren (EUK) who placed second.
“In the beginning of the heat I didn’t get any good waves but then that left came in and I surfed it well and I got an 8. It is a fun wave to surf if you can catch the good one.”
“I prefer to surf the lefts,” continued Cloarec. “I saw that they would be better during my heat so my plan was to try and find them. I want to get a result here but I am trying not to think about it too much and just concentrate on my surfing.”
Kieren Bulard (REU) 19, impressed in the tricky conditions with flowing rail turns despite the battering winds and face chop on the shifting peaks. Building on his initial scores, Bulard finished with the modest total of 9.17 out of 20 to take out a low scoring encounter.
“It is smaller today and I caught a couple of mushy waves but I am happy because in the end I got through my heat. I got a 5-point ride and then after that I tried to catch a good wave to build on my scores but I didn’t find a better wave. It was ok because no one else found another good wave either. I wasn’t nervous because I saw that the others were scoring low, getting 2 or 3 point rides.”
Bulard, ranked nº17 on the Asp European rankings, is concentrating on the higher rated Pro Junior events for his 2011 campaign and made his first appearance after his 9th place finish on home soil in Reunion Island last month.
“This is my second event after the Reunion Island Pro Junior. I arrived in France one month ago to do my practical studies as a coach and I have been surfing and training in Seignosse.”
Pierre-Valentin Laborde (Hossegor, FRA) 19, one of Europe’s most experience campaigners, showed his talents on the moving peaks with a powerful display of forehand gouges and committed close-out turns to cruise through to the next Round.
“When you get a wave you don’t know if it will be a good one or not so I tried to do at least one big turn to try and build up some scores. I have some good boards here with me but it is so difficult to surf out there because it is so mushy so I used a normal board and it went good in today’s conditions.”
“This is my last year as a junior,” stated Laborde. “I did the Reunion Pro Junior and came fifth there so I am pretty confident at the moment and I want to be in the race for the European title.”
Charly Termeau (Hossegor, FRA) 14, one of the youngest competitors in the Islas Canarias Santa Pro Junior, advanced in second place behind Laborde in a tight battle over Pedro Berasaluce (EUK) and local Kai Garcia (CNY). Termeau clinched his place in the next Round with a series of flowing forehand snaps to secure a 5.17 out of 10.
“I am happy with the result because I was against guys who are older than me and it is not easy for me to pass heats. The right I caught was probably the best of the heat but it was not the perfect wave so it is difficult to surf out there. I got through to Round Three in Somo last week and I want to do better here again.”
For all results, videos, daily highlights, photos and news log-on to www.aspeurope.com
Upcoming Islas Canarias Santa Pro Junior Round Three Matchups
Heat 1: Gaspard Larsonneur (FRA), Ander Mendiguren (EUK), Vasco Ribeiro (PRT), Joao Kopke (PRT)
Heat 2: Ramzi Boukhiam (MAR), Diodo Appleton (PRT), Jose Ferreira (PRT), Hugo Debosc (REU)
Heat 3: Medi Veminardi (REU), Alex Gironi (EUK), Tristan Guilbaud (FRA) , Pablo Pola (FRA)
Heat 4: Leonardo Fioravanti (ITA), Miguel Blanco (PRT), Nelson Cloarec (FRA), Ian Fontaine (FRA)
Heat 5: Tom Cloarec (FRA), Kieren Bulard (REU), Remi Petersen (NLD), Borja Agote (EUK)
Heat 6: Ethan Egiguren (EUK), Francisco Alves (PRT), Dimitri Ouvre (BRB), Jules Thomet (FRA)
Heat 7: William Aliotti (FRA), Angelo Bonomelli (ITA), Charly Termeau (FRA), Luis Eyre (GBR)
Heat 8: Stuart Campbell (GBR), Hugo Palmarini (REU), Pierre-Valentin Laborde (FRA), Frederico Morais (PRT)
Remaining Islas Canarias Santa Pro Junior Round Two Results
Heat 9: Tom Cloarec (FRA) 13.03, Ethan Egiguren (EUK) 9.84, Imanol Yeregi (EUK) 6.16, Jose De Armas (CNY) 3.37
Heat 10: Kieren Bulard (REU) 9.17, Francisco Alves (PRT) 7.23, Pedro Correia (PRT) 6.73, Tim Latte (SWE) 6.63
Heat 11: Dimitri Ouvre (BRB) 14.64, Remi Petersen (NLD) 8.20, Ugo Robin (FRA) 7.30, Manix Bikuna (EUK) 6.43
Heat 12: Jules Thomet (FRA) 11.17, Borja Agote (EUK) 10.16, Gil Keren (ISR) 8.43, Luca Dioguardi (CYN) 4.50
Heat 13: William Aliotti (FRA) 8.17, Stuart Campbell (GBR) 7.63, Roberto Letemendia (EUK) 7.30, Juan Fernandez (ESP) 6.10
Heat 14: Angelo Bonomelli (ITA) 9.67, Hugo Palmarini (REU) 9.56, Miguel Villalba (ESP) 4.27, Lewis Leadbetter (CNY) 3.83
Heat 15: Pierre-Valentin Laborde (FRA) 11.00, Charly Termeau (FRA) 8.74, Pedro Berasaluce (EUK) 7.80, Kai Garcia (CNY) 3.47
Heat 16: Frederico Morais (PRT) 13.73, Luis Eyre (GBR) 10.00, Ivan Gonzalez (ESP) 6.00, Nico Aguirre (CNY) 4.56
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.
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.
***UPDATE*** 5/5/13 Scott and Katherine came in yesterday on a tightly focused mission to find a desk chair, a coffee table, and also a lounge chair.
Measurements 56 inches long x 19 inches deep x 14.75 inches tall. You can reach me 24/7 at kinzco@domain900.net. Kenny K
Gran Canaria, Canary Islands (Thursday, May 12, 2011) – The Asp 3-Star Islas Canarias Santa Pro Junior, Event nº3 of 7 on the Asp Europe Men’s Pro Junior Series ran through to complete Round Two with standout surfers Dimitri Ouvre (BRB) 19, and Tom Cloarec (FRA) 17, leading the remaining Top Seeds through stormy on-shore conditions in peaky 3-4ft waves at La Cicer.
Surfers competing at the Islas Canarias Santa Pro Junior are out to claim the valuable ranking points on offer at this 3-Star rated event and place themselves in the race for the overall European Pro Junior title and the chance to compete in the Asp World Junior Series starting in Bali, Indonesia on October 3, 2011.
Ouvre, who won last week’s Somo Pro Junior, continued his run of form opening his account with a solid ride to control the heat. With minutes remaining Ouvre tore apart a peeling left wall with three critical snaps in the pocket to lock in an 8.57 out of 10, the highest single-wave score of the event.
“It is really hard out there today. There are some fun set waves but you have to wait for the good ones and sometimes it is difficult because you see so many waves coming through. You have to wait for the bigger ones to get the good scores but at the same time it is hard too.”
Ouvre’s surfing and his relaxed approach to competitive surfing has shown positive results so far this year and the current leader on the Asp European Men’s Pro Junior series looks set to put in a big performance on the Pro Junior rankings in 2011.
“I have no pressure on me and I want to take it heat after heat. It is ok if I lose but I want to win for sure another Pro Junior. I want to surf and I am feeling confident but not too much which is good.”
“This is a good place to make a contest,” explained Ouvre about La Cicer. “Sure there are waves in Canarias which are better but here is good for a contest because there are many waves and you are not going to lose because you can’t get any waves. You take your waves for sure and you are going to have your two scores.”
Tom Cloarec (FRA) 17, ignited in his early morning heat as he destroyed a long left with fully committed fins-free forehand snaps to claim an 8.43 out of 10. Cloarec showed loads of speed and flow to highlight his performance in the tough conditions on offer to advance through to Round Three ahead of Ethan Egiguren (EUK) who placed second.
“In the beginning of the heat I didn’t get any good waves but then that left came in and I surfed it well and I got an 8. It is a fun wave to surf if you can catch the good one.”
“I prefer to surf the lefts,” continued Cloarec. “I saw that they would be better during my heat so my plan was to try and find them. I want to get a result here but I am trying not to think about it too much and just concentrate on my surfing.”
Kieren Bulard (REU) 19, impressed in the tricky conditions with flowing rail turns despite the battering winds and face chop on the shifting peaks. Building on his initial scores, Bulard finished with the modest total of 9.17 out of 20 to take out a low scoring encounter.
“It is smaller today and I caught a couple of mushy waves but I am happy because in the end I got through my heat. I got a 5-point ride and then after that I tried to catch a good wave to build on my scores but I didn’t find a better wave. It was ok because no one else found another good wave either. I wasn’t nervous because I saw that the others were scoring low, getting 2 or 3 point rides.”
Bulard, ranked nº17 on the Asp European rankings, is concentrating on the higher rated Pro Junior events for his 2011 campaign and made his first appearance after his 9th place finish on home soil in Reunion Island last month.
“This is my second event after the Reunion Island Pro Junior. I arrived in France one month ago to do my practical studies as a coach and I have been surfing and training in Seignosse.”
Pierre-Valentin Laborde (Hossegor, FRA) 19, one of Europe’s most experience campaigners, showed his talents on the moving peaks with a powerful display of forehand gouges and committed close-out turns to cruise through to the next Round.
“When you get a wave you don’t know if it will be a good one or not so I tried to do at least one big turn to try and build up some scores. I have some good boards here with me but it is so difficult to surf out there because it is so mushy so I used a normal board and it went good in today’s conditions.”
“This is my last year as a junior,” stated Laborde. “I did the Reunion Pro Junior and came fifth there so I am pretty confident at the moment and I want to be in the race for the European title.”
Charly Termeau (Hossegor, FRA) 14, one of the youngest competitors in the Islas Canarias Santa Pro Junior, advanced in second place behind Laborde in a tight battle over Pedro Berasaluce (EUK) and local Kai Garcia (CNY). Termeau clinched his place in the next Round with a series of flowing forehand snaps to secure a 5.17 out of 10.
“I am happy with the result because I was against guys who are older than me and it is not easy for me to pass heats. The right I caught was probably the best of the heat but it was not the perfect wave so it is difficult to surf out there. I got through to Round Three in Somo last week and I want to do better here again.”
For all results, videos, daily highlights, photos and news log-on to www.aspeurope.com
Upcoming Islas Canarias Santa Pro Junior Round Three Matchups
Heat 1: Gaspard Larsonneur (FRA), Ander Mendiguren (EUK), Vasco Ribeiro (PRT), Joao Kopke (PRT)
Heat 2: Ramzi Boukhiam (MAR), Diodo Appleton (PRT), Jose Ferreira (PRT), Hugo Debosc (REU)
Heat 3: Medi Veminardi (REU), Alex Gironi (EUK), Tristan Guilbaud (FRA) , Pablo Pola (FRA)
Heat 4: Leonardo Fioravanti (ITA), Miguel Blanco (PRT), Nelson Cloarec (FRA), Ian Fontaine (FRA)
Heat 5: Tom Cloarec (FRA), Kieren Bulard (REU), Remi Petersen (NLD), Borja Agote (EUK)
Heat 6: Ethan Egiguren (EUK), Francisco Alves (PRT), Dimitri Ouvre (BRB), Jules Thomet (FRA)
Heat 7: William Aliotti (FRA), Angelo Bonomelli (ITA), Charly Termeau (FRA), Luis Eyre (GBR)
Heat 8: Stuart Campbell (GBR), Hugo Palmarini (REU), Pierre-Valentin Laborde (FRA), Frederico Morais (PRT)
Remaining Islas Canarias Santa Pro Junior Round Two Results
Heat 9: Tom Cloarec (FRA) 13.03, Ethan Egiguren (EUK) 9.84, Imanol Yeregi (EUK) 6.16, Jose De Armas (CNY) 3.37
Heat 10: Kieren Bulard (REU) 9.17, Francisco Alves (PRT) 7.23, Pedro Correia (PRT) 6.73, Tim Latte (SWE) 6.63
Heat 11: Dimitri Ouvre (BRB) 14.64, Remi Petersen (NLD) 8.20, Ugo Robin (FRA) 7.30, Manix Bikuna (EUK) 6.43
Heat 12: Jules Thomet (FRA) 11.17, Borja Agote (EUK) 10.16, Gil Keren (ISR) 8.43, Luca Dioguardi (CYN) 4.50
Heat 13: William Aliotti (FRA) 8.17, Stuart Campbell (GBR) 7.63, Roberto Letemendia (EUK) 7.30, Juan Fernandez (ESP) 6.10
Heat 14: Angelo Bonomelli (ITA) 9.67, Hugo Palmarini (REU) 9.56, Miguel Villalba (ESP) 4.27, Lewis Leadbetter (CNY) 3.83
Heat 15: Pierre-Valentin Laborde (FRA) 11.00, Charly Termeau (FRA) 8.74, Pedro Berasaluce (EUK) 7.80, Kai Garcia (CNY) 3.47
Heat 16: Frederico Morais (PRT) 13.73, Luis Eyre (GBR) 10.00, Ivan Gonzalez (ESP) 6.00, Nico Aguirre (CNY) 4.56
Gran Canaria, Canary Islands (Thursday, May 12, 2011) – The Asp 3-Star Islas Canarias Santa Pro Junior, Event nº3 of 7 on the Asp Europe Men’s Pro Junior Series ran through to complete Round Two with standout surfers Dimitri Ouvre (BRB) 19, and Tom Cloarec (FRA) 17, leading the remaining Top Seeds through stormy on-shore conditions in peaky 3-4ft waves at La Cicer.
Surfers competing at the Islas Canarias Santa Pro Junior are out to claim the valuable ranking points on offer at this 3-Star rated event and place themselves in the race for the overall European Pro Junior title and the chance to compete in the Asp World Junior Series starting in Bali, Indonesia on October 3, 2011.
Ouvre, who won last week’s Somo Pro Junior, continued his run of form opening his account with a solid ride to control the heat. With minutes remaining Ouvre tore apart a peeling left wall with three critical snaps in the pocket to lock in an 8.57 out of 10, the highest single-wave score of the event.
“It is really hard out there today. There are some fun set waves but you have to wait for the good ones and sometimes it is difficult because you see so many waves coming through. You have to wait for the bigger ones to get the good scores but at the same time it is hard too.”
Ouvre’s surfing and his relaxed approach to competitive surfing has shown positive results so far this year and the current leader on the Asp European Men’s Pro Junior series looks set to put in a big performance on the Pro Junior rankings in 2011.
“I have no pressure on me and I want to take it heat after heat. It is ok if I lose but I want to win for sure another Pro Junior. I want to surf and I am feeling confident but not too much which is good.”
“This is a good place to make a contest,” explained Ouvre about La Cicer. “Sure there are waves in Canarias which are better but here is good for a contest because there are many waves and you are not going to lose because you can’t get any waves. You take your waves for sure and you are going to have your two scores.”
Tom Cloarec (FRA) 17, ignited in his early morning heat as he destroyed a long left with fully committed fins-free forehand snaps to claim an 8.43 out of 10. Cloarec showed loads of speed and flow to highlight his performance in the tough conditions on offer to advance through to Round Three ahead of Ethan Egiguren (EUK) who placed second.
“In the beginning of the heat I didn’t get any good waves but then that left came in and I surfed it well and I got an 8. It is a fun wave to surf if you can catch the good one.”
“I prefer to surf the lefts,” continued Cloarec. “I saw that they would be better during my heat so my plan was to try and find them. I want to get a result here but I am trying not to think about it too much and just concentrate on my surfing.”
Kieren Bulard (REU) 19, impressed in the tricky conditions with flowing rail turns despite the battering winds and face chop on the shifting peaks. Building on his initial scores, Bulard finished with the modest total of 9.17 out of 20 to take out a low scoring encounter.
“It is smaller today and I caught a couple of mushy waves but I am happy because in the end I got through my heat. I got a 5-point ride and then after that I tried to catch a good wave to build on my scores but I didn’t find a better wave. It was ok because no one else found another good wave either. I wasn’t nervous because I saw that the others were scoring low, getting 2 or 3 point rides.”
Bulard, ranked nº17 on the Asp European rankings, is concentrating on the higher rated Pro Junior events for his 2011 campaign and made his first appearance after his 9th place finish on home soil in Reunion Island last month.
“This is my second event after the Reunion Island Pro Junior. I arrived in France one month ago to do my practical studies as a coach and I have been surfing and training in Seignosse.”
Pierre-Valentin Laborde (Hossegor, FRA) 19, one of Europe’s most experience campaigners, showed his talents on the moving peaks with a powerful display of forehand gouges and committed close-out turns to cruise through to the next Round.
“When you get a wave you don’t know if it will be a good one or not so I tried to do at least one big turn to try and build up some scores. I have some good boards here with me but it is so difficult to surf out there because it is so mushy so I used a normal board and it went good in today’s conditions.”
“This is my last year as a junior,” stated Laborde. “I did the Reunion Pro Junior and came fifth there so I am pretty confident at the moment and I want to be in the race for the European title.”
Charly Termeau (Hossegor, FRA) 14, one of the youngest competitors in the Islas Canarias Santa Pro Junior, advanced in second place behind Laborde in a tight battle over Pedro Berasaluce (EUK) and local Kai Garcia (CNY). Termeau clinched his place in the next Round with a series of flowing forehand snaps to secure a 5.17 out of 10.
“I am happy with the result because I was against guys who are older than me and it is not easy for me to pass heats. The right I caught was probably the best of the heat but it was not the perfect wave so it is difficult to surf out there. I got through to Round Three in Somo last week and I want to do better here again.”
For all results, videos, daily highlights, photos and news log-on to www.aspeurope.com
Upcoming Islas Canarias Santa Pro Junior Round Three Matchups
Heat 1: Gaspard Larsonneur (FRA), Ander Mendiguren (EUK), Vasco Ribeiro (PRT), Joao Kopke (PRT)
Heat 2: Ramzi Boukhiam (MAR), Diodo Appleton (PRT), Jose Ferreira (PRT), Hugo Debosc (REU)
Heat 3: Medi Veminardi (REU), Alex Gironi (EUK), Tristan Guilbaud (FRA) , Pablo Pola (FRA)
Heat 4: Leonardo Fioravanti (ITA), Miguel Blanco (PRT), Nelson Cloarec (FRA), Ian Fontaine (FRA)
Heat 5: Tom Cloarec (FRA), Kieren Bulard (REU), Remi Petersen (NLD), Borja Agote (EUK)
Heat 6: Ethan Egiguren (EUK), Francisco Alves (PRT), Dimitri Ouvre (BRB), Jules Thomet (FRA)
Heat 7: William Aliotti (FRA), Angelo Bonomelli (ITA), Charly Termeau (FRA), Luis Eyre (GBR)
Heat 8: Stuart Campbell (GBR), Hugo Palmarini (REU), Pierre-Valentin Laborde (FRA), Frederico Morais (PRT)
Remaining Islas Canarias Santa Pro Junior Round Two Results
Heat 9: Tom Cloarec (FRA) 13.03, Ethan Egiguren (EUK) 9.84, Imanol Yeregi (EUK) 6.16, Jose De Armas (CNY) 3.37
Heat 10: Kieren Bulard (REU) 9.17, Francisco Alves (PRT) 7.23, Pedro Correia (PRT) 6.73, Tim Latte (SWE) 6.63
Heat 11: Dimitri Ouvre (BRB) 14.64, Remi Petersen (NLD) 8.20, Ugo Robin (FRA) 7.30, Manix Bikuna (EUK) 6.43
Heat 12: Jules Thomet (FRA) 11.17, Borja Agote (EUK) 10.16, Gil Keren (ISR) 8.43, Luca Dioguardi (CYN) 4.50
Heat 13: William Aliotti (FRA) 8.17, Stuart Campbell (GBR) 7.63, Roberto Letemendia (EUK) 7.30, Juan Fernandez (ESP) 6.10
Heat 14: Angelo Bonomelli (ITA) 9.67, Hugo Palmarini (REU) 9.56, Miguel Villalba (ESP) 4.27, Lewis Leadbetter (CNY) 3.83
Heat 15: Pierre-Valentin Laborde (FRA) 11.00, Charly Termeau (FRA) 8.74, Pedro Berasaluce (EUK) 7.80, Kai Garcia (CNY) 3.47
Heat 16: Frederico Morais (PRT) 13.73, Luis Eyre (GBR) 10.00, Ivan Gonzalez (ESP) 6.00, Nico Aguirre (CNY) 4.56