Luke had just arrived home from basketball practice and had to shower because he was so dirty, said his mum Emily. This was encouraging; the eleven-year-old Award winner was sounding like a normal boy. But […]
“It was a great life. It stood me in good stead. ” – With these words Vern Williams sums up his years at Burwood Boys’ Home in the 1940s – sentiments that may surprise some used to hearing horror stories of institutional life.
The Victorian Senior of the Year Awards recognises older Victorians, who volunteer to assist, support and encourage others in their communities. Burwood’s own Cheryl Webster does us all proud as one of this year’s recipients. Long-time Manager of Burwood Neighbourhood House and a Breast Cancer survivor herself, Cheryl has first-hand knowledge and understanding of the plight of those she helps.
EVA de Jong-Duldig is a person of diverging interests, many of which were inherited from her parents. Eva’s father Karl was an eminent sculptor as well as a sportsman, and from him she took his sporting prowess (he played international soccer for Hakoah Wien in the 1920s and was later one of Austria’s top tennis players). Her mother Slawa, who invented the modern foldable umbrella in 1929, often formed a bedrock in the family’s sometimes fraught journey from Vienna to Australia.
Pat Palmer rises to greet me as I enter her comfortable, spacious room at Camberwell Green. The dresser is crowded with family photos and, as she tells me, despite her 93 years and a recent stroke she has no intention of shuffling off this mortal coil yet; she has too much still to experience.
WHEN I had a Malvern Star bicycle as a boy I never considered it anything more than just “my bike”. It was there so I could ride with my friends; we all learnt by experience of gears, clusters, chains, brakes, derailleurs etc., and helping each other through various breakdowns was part of growing up.
Glenn Loughrey describe his art as coming out of the Aboriginal style. There are patterns that go down eons into the ground and they come up and show themselves; it’s not so much a geographical map, but a map of the patterns of the stories that sit underneath. of the patterns of the stories that sit underneath. So I use that to some degree, but I also use perspective, and while I will have that pattern look, there will still be sky. The process shifts backwards and forwards; that’s been a part of the process of learning about myself as an Aboriginal person and painting out of that.