A tale of artistic persistence and vandalism.
When, 30 years ago, an enlightened Newcastle City Council chose to combat a
graffiti epidemic with sanctioned murals, they called
Birgitte Hansen. The local artist had built an international reputation for visual
storytelling and her elaborate designs were already a common sight around town.
The infamous tunnel under Shortland Esplanade that joins Pacific Park to
Newcastle Beach. Since construction, despite decades of murals, it remains a
graffiti target and considered territorial by youth.
Upon arriving in Carrington from Purfleet in 1976, Birgitte had been
assimilating the heavily industrialised surrounds and absorbing the union ethic
of a city built upon coal, ships, and steel.
I had arrived as a fresh eyed outsider, astonished and also feeling I was back
to what I’d grown up with. As a migrant I was blessed and cursed with the
outsider inner eyes, and this duality of wanting to belong but standing
outside was my companion during these years.
Within a decade Birgitte’s reputation was established as a high-profile trade
union banner designer and nascent muralist. When she left Newcastle 22 years
after arriving, the city was deeply affected by her legacy of public art: Civic
Playhouse in 1980; Newcastle “Out of Workers Cottage” at Fort Scratchley in
1982; International Youth Year (1987) on the former Dairy Farmers building at
Hunter Street West, which survived for 12 years. And, most famously, that Time
Tunnel Mural in 1990 in our notorious Newcastle Beach pedestrian tunnel linking
the ocean to Pacific Park.
Above ~ The old pavilion changing booths and a posing 'Belle' vandalised.
Photo taken 19th February 2005.
Birgitte's website holds the original clean photo. Below is a digitally
'cleaned' version of that above, via a deftly-wielded clone brush.
The tunnel mural was commissioned by Newcastle City Council’s
Sunset Town Art Committee that sought to familiarise
Novocastrians with street art – something that, whatever its quality, to our
provincial tastes was generally still mere “graffiti.”
Painting this mural the first time was a nightmare with constant harassment,
vandalism, howling wind through the tunnel, thievery, and being so close to
the public. After just 2 years it had been graffiti and vandalized and I was
asked to come back and repair the mural,” said Birgitte. Young boys… thought
it would be fun to throw large live crackers at my back while I was lost in
concentration and they rode by on their bikes. And more crackers thrown at me
from the road above the tunnel. Each morning I went to the site to with
apprehension – was it still there? My paintings were urinated and spat on
scratched out or spray canned, my purse with a substantial amount of money was
stolen. It seemed to be a conducted effort to stop the mural existing. The
youth were saying “our space”.
In 1998 Birgitte moved to the Blue Mountains and her elaborately illustrated
home became a local icon. But Newcastle is as Newcastle does, and the now
matured city has called its favourite artist home. Birgitte Hansen became a
resident Novocastrian again in 2018. We are all the richer for it. Welcome home.
lass.
Interactive panoramas
While Throsby was photographing the murals – a far more difficult task than it
might seem – he experience a faint taste of the angst and cajoling that plagued
Ms Hansen’s months, well, her years, of effort, both creating and repairing the
murals. Apart from poor, uneven light - and unable to use a flash due to
reflection - passers by were far too interested in a shy photographer.
Eventually, inevitably, an old lady chaperoned in a wheelchair brandished her
umbrella passionately, admonishing the entire tunnel and its illustrations by
shouting – at me, in a thick European accent - “What!! Is this art? Is it??!
This is NOT ART!” Her words were more apocryphal than she imagined.
South wall
If you click either image below, an interactive panorama opens in a new
window. Use mouse or gestures to pan, drag, and zoom.
North wall
Gallery
Panels below are on the south wall, and are from right to left (west to east)
Panels below are on the north wall and viewed left to right (west to east)
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