5 Questions with Dog Fight

The 2095'ers introduction to DogFight was reminiscent of that with BlackCat and given that they are inextricably linked it is not at all surprising.

There was something about this style that caught the 2095'ers eye but what really struck her was how these stickers seemed to double in population on each of her streetart expeditions.

Always up for a bit of discussion with herself, the 2095'er reasoned thus: "he's obviously very tall and has no sleep OR he has a following of millions like the Pied Piper who simply drown in delight in slapping these babies up OR it's a combination of both" (and yes, the 2095 chick did in fact make silent self-talk to external "she's bonkers" talk on many such occasions)

From lightposts to handrails, doorways, street signs...this guy was EVERYWHERE!

Who is this dude she wondered.  

Then, as if stepping in to a brave new world, the 2095'er made what she fondly refers to as 'a cold call for cowards'. 

Why is it when not having a friend request accepted on social media it seems to be a less confronting or upsetting rejection than if by leaving endless, almost stalkingly like, voicemails sounding like an hysterical female who needs a life, which ultimately never get returned.

Fortunately the 2095'ers request was received positively and regular communicado began photographer and artist.

One of the 2095'ers observations was that whilst from a more city locale end of the Inner West was saturated with these dogs (as was the city itself), there didn't seem to be any on the other side of Edgeware Road and beyond.

And with that, here are my 5 questions with Dogfight

Who exactly is Dogfight

Well Dogfight isn't really anything.  The name "Dogfight" is just there as I needed some kind of name otherwise it's got to be over explained in conversation.  The amount of times I've tried to explain "Lil white dog character"!  It's just easier this way.

I use the name Dogfight regarding anything I do, whether it's graphic design, clothing, stickers or whatever...it's just a name.  I thought it sounded cool, I liked the idea of taking something that already meant something and giving it my own spin.

To me, I'm not even thinking about actual dog fighting, which is totally rank: I like dogs!  It's more about the "fight in the under dog", like saying "it's not the dog in the fight but the fight in the dog".

The underdog will rise kind of thing.

I came up with the dog character in its current form around 2001-2002.  I originally paired the dog with a pig character named Bacon and was gonna do a comic on the two of them named "Bacon Bones", but instead chucked em on some stickers and went about sticking them about the place.

After a while I scrapped the pig, stuck with the dog and came up with the name "Dog Fight".

I had gone under a few different names before then as well.  The actual dog character doesn't have a name or if it does it's just "dog" (like the Dog out of Footrot Flats).  It's just an every day dog, no particular breed or gender...purely a dog.

I wanted to create a character that could kind of exist in its own right.  I always have a Dot & The Kangaroo type thing in my head where I wanted the dog to live and exist in our world, but as a cartoon, where people could see and enjoy him without it really belonging to anyone except the viewer at that time, so obviously graffiti and streetart were the perfect outlet for that, as the dog could pop up overnight to inhabit an area without all the non-sense of who put it there or why, simply that it's here, you live here, it lives here, now play nice! 

I've never had the plan to be known myself.  In fact I often do things especially to reflect this.  I wanted the dog to be known: hopefully by the time I go the dog will just be known as an iconic trait of Sydney and my friends, family and son can continue it as a permanent fixture of Sydney's landscape....like pigeons and cockroaches (LOL).

From insanely HUGE paste ups to slap ups that fit nicely in the palm of the hand. How much planning time is needed for these enormously impressive pieces and do you choose the location prior to print, or is it more of a "print done, location will present itself when I'm out and about"

For larger posters/jobs, I will often have a location in mind and I'll just work out how big I can go, how many hands are required (if required), what the weather is like etc. Other times, I'll just load up with paint or a bucket and handful of posters and see what I come across.

For the most part, things aren't overly planned but when they are planned, I like to go all out and turn it into some Mission Impossible style venture but that's more to make an event of it and have a bit of fun; or if we are filming, gotta be extra careful. The only thing I know for sure is it will be The Dog.

You recently did a collab for a video with Big Dave.  How did that come about

Me and Dave work together on a hell of a lot of projects and will continue to do so for a long time.  We built a friendship after I had a quick prison visit.  He was basically saying what I was thinking which is what drew me to him plus he had design work, I had designs and we share the same work ethic.

A lot of people are just trying to get something out of something, whereas me and Dave built a bond over wanting to create something valuable from nothing with the understanding that it was the journey and the experiences we would take from it (which mattered most).

With that in mind, we both have priceless experiences, opportunities to meet people neither of us thought we'd ever meet and basically rip it up!

As far as this particular video project goes, he created the song for me back in 2011 so I could use it as music in one of my sticker videos.  He always liked the song as it's pretty rough and fun for him to rap and he wanted to do something new with it. He came up with the idea for the video and I was cool with that and the rest is history!

warning: if easily offended this ain't for you!

We have worked on a million things together in the past.  I did his debut album artwork as well as art for other acts on the KP Label, posters for festivals and other concerts for him: all sorts of jobs for things.  It's good!

Collab or solo

Solo is always good as after a few years you have so much experience under your belt: you know how you going to do things, the approach you take, the plan of attack etc.  And anytime I'm doing anything risky I prefer to be on my own.  I'm often a little over daring or perhaps even cocky in what I think I can get away with, so doing things on my own eliminates taking anyone down with me due to my risk taking.

If I'm with other people I choose to keep it pretty tame for the most part, although I choose what tasks I will attempt depending on who I am with.

I've got a very close circle of people that I can count on one hand, who are what I consider "the wrecking crew" (not an actual crew and not all artists themselves!), and they are the people I plan bigger riskier stuff with that often requires more eyes, more hands and a genuine trust and care for each other: resulting in everyone being hyper-vigilant to ensure the job gets done, done well and everyone stays safe, out of meddling hands and gets home.

photo courtesy of AWOL Monk

With that being said, I do enjoy good company on long walks and there's nothing like seeing you and your peoples art up in one spot with a united front.

Then there's the Cat of course (check out the 2095 chick's blog done with BlackCat "here").  Me and the Cat, well we just get the job done.  Often our stickers are done in the same format whether it's screen printed, Lino cut, digital print, hand drawn, square or circle.

That's because we sit there and make them together on whatever materials we have at hand and often experiment with and discover new techniques.  If I print stickers, I print hers too and she does the same.  So ours are often the same but different!

What does the world hold for DogFight or is it limited only by our own imagination

I'm not sure.  We play arts & crafts every day.  There will always be more Dog in all shapes and forms.

I also do a fair bit of airbrushing and other stuff so who knows.  No use saying something like "there will be exhibitions" or things like that.  Just take a walk down the street...the exhibition is on, it's free and damned colourful!

**********

Thank god for the universal gallery is all the 2095 chick can say.  

DogFight has also started a doco which so far has taken 2 years and in his words "it probably won't be out for another 2 years!" so here's a trailer of things to come

And you can buy some of this dude's amazing work (t-shirts, stickers etc) on his website.  So just click "here" and the 2095 chick reckons there just might be something for everyone!

5 Questions with Melinda Vassallo

Life at times can be curious and it was quite a while ago that the 2095'er accepted that whatever path you find your feet on should be embraced and if you hit a wall or stumbling block then don't push it, cause somewhere along the way it will re-present and take you where you were ultimately meant to be.

During the 2095'ers initial meet/greet with Konsumterra, one of his sentences during their conversation was "you've got to meet my friend Melinda.  You two would really get on".  "Sure!" came the 2095 chick's somewhat confuddled reply,  as she was still in the haze of "I can't believe I didn't have a crippling shyness attack and finally plucked up the courage to speak to a much admired artist" mode.

A few months later having bumped in to Konsumterra where a solo hunting expedition became a duo, he again said "you've really got to meet Melinda.  You two would seriously get on".

Whilst there actually was to be an actual face to face meet and greet planned, the forces of the universe must have deemed it simply wasn't the right time . Yet through the magic of the fibre optic world, the 2095'er not only became acquainted with Melinda, but found they do have many things (apart from the mutual love and admiration of all things street) in common.

One is zero tolerance for complete time wasters.  The second being a love of words on walls.

Welcome to my 5 questions with Melinda Vassallo

Your passion for street art is no secret.  When, how and why did this love affair begin

I have lived in the city for most of my life.  I have always loved seeing the writing on the walls; Bugger-up, political statements and the graff for as long as I can remember.  It was also so interesting to follow, like reading an uncensored paper.

Your book "Street Art of Sydney's Inner West": was this a spontaneous decision?

I used to watch what was happening on the walls around Redfern and Newtown in the 90's.  I enjoyed it, but took it all for granted.

When I moved to Erskinville I had a love affair with two major pieces.  Marchai's Got a Gun on Erskinville Road

and The Skippy Girls on Wilson Street.

In a matter of months it seemed The Skippy Girls were badly vandalised and house where Marchia's Got a Gun was being renovated and the mural destroyed.

I was unprepared for the amount of distress it caused me.  I was devastated to say the least.  It was a sign.

Some time after The Skippy Girls were restored by residents it make me realise there were more people out there, just like me, that loved these Murals and Graff.

I started thinking "someone has to document all this before it's gone!"

From planning to print: can you explain the process, duration and your sense of achievement upon seeing the final product as a bona fide publication to be held physically in hand rather than within the confines of "brain space"

I think if I had to really thought about the whole thing properly, I might never have done it.  I knew nothing about Graffiti/Street Art really.  I just knew I liked it and there were heaps of people out there who also appreciate it.

Firstly it was the idea I was responsible for documenting it all and before any notion of what I was setting out to do, I started to take photographs.  It was more like an obsession (and as with many others, the 2095 chick can totally relate to this).

I was mad with driving around and taking photographs.  It was fun, exciting, always changing and something new every day.  I talked, or I should I say bored my family and friends with it all until I thought "hell why not turn it in to a book!  I have the skills and knowledge to do it so why not!".

I applied for an Arts Grant and I was more surprised than anyone when I actually got it! I will always be grateful to Marrickville Council for that; it's what made the whole project a reality for me.

Research was hard in 2008 as most artists preferred to remain anonymous.  The book launch was a blast and it was the first time I  met most of the Street Artists.  I love that I did it and still can't believe it when I sell a book.

As with life, so does the perception and acceptance grows, expands and matures. How have you seen the street-art movement evolve and do you feel it is now being viewed as an "accepted" freedom of expression by the artist, therefore allowing itself to be placed within the politically correct and socially acceptable box of "art", rather than mindless scrawl or paint

Amazingly, the more I find out about the Graff/Street Art scene the more I feel how little I know!  If I had as much knowledge as I do now, I might not have assumed I could successfully write a book.

It was my vision for the book that the artists be heard and recognised for their passion and their art.  I also wanted the general public to recognise and value the walls of the Inner West as a living canvas.  Over the past years I have seen this all evolve with mutual respect from the public, council and artists.  I don't know if my book helped, but I sure feel pleased that is as socially accepted as it is today.

How would you sum up your love of street art in one paragraph

Street Art is the perfect gallery.  It is un-curated, alive, constantly changing and evolving.  It's out there free for those of us who are aware and have our eyes open.

**********

Before signing off this interview, the 2095'er (along with many many MANY people) would like to thank Melinda for her book, her continual and ever growing love for street art and on a personal note, for saying "yes" to be interviewed!

Now if you are interested in buying Melinda's book it's available for purchase at Better Read Than Dead in Newtown, Gleebooks in Glebe, Museum of Contemporary Art, NSW Art Gallery or online at Fineline Designs (click "here" for more info)

PM3

For followers of the 2095'ers ramblings, it would be difficult to not to acknowledge the fact that PM3 had a major impact upon her life as a streetart photographer.

Prior to first visit she had heard various comments by some that it wasn't "their scene" in that it wasn't "street" enough for them.  Being a fairly philosophical person, the 2095 chick did not let this influence her at all: in fact it was the opposite.  And besides, why would you not want to to see something that was street, with its stage being a world heritage listed island in the middle of Sydney Harbour!

Undeterred, the 2095'ers maiden voyage to Cockatoo Island was on the official opening day.  While she had been aware that installations & PM3 starting before the official start date, for some inexplicable reason the chick elected to not go and upon reflection she still is unable to pinpoint exactly why.

No need to dwell or attempt self-analysis (cause this could go on for eternity!) the main point is that she got there.

After exploring the exterior and needing to have a breather, the 2095'er swivelled her head and there it was.  In ya face, drowning with layers, an explosion of colour, HUGE pasteups and in the midst of it all it was.....total silence.  

A complete contradiction of the senses in an almost blissfully suffocating way.

As with most experiences the desire to share via slideshow was a no-brainer. Inspired, feeling incredibly excited and proud that the Aussies were showing the world "how it was done", each sound bite expresses the 2095 chick emotions at time of "production" (or reflection as the case may be).

One must be patient given there are 4 in total and even then they do not cover every frame captured.

Inside came a need to capture as many images of PM3 as humanly possible in an almost obsessive nature.  

Perhaps deep down the 2095'er understood that this may be a one time experience and as it was quasi-street, where things can change daily, such was the desire to capture these changes: hence multiple returns became almost a way of life for the chick.

An intense feeling of sadness and grief overcame the 2095'er at the end of this amazing experience.  Initially excited that the new date had been released the 2095'er could barely contain her excitement at what would be on show at the next Outpost.  Sadly this was not meant to be.  

For reasons that still perplex her, the 2095 chick "got" that the honchos (or those with the moula to fund such an 'exhibition') felt it was time to take away from the artists and transform this "test" to how THEY perceived it should be thus removing entirely what street and art is really all about.

The 2095 chick remains incredibly sad as it seems (or at least in the 2095'ers humble opinion) that the arts are once again left on the side burner by those with the dosh who have some inane feeling of "ownership" and remove the opportunity to educate those who may not fully understand what street art is all about.

On a personal level they have removed the opportunity for the 2095'er (and others) to explore, admire and become hopelessly lost within the world of streetart in a single location.

As such we must thank Ben Frost, Konsumterra and all that contributed to PM3.  The 2095'er must also personally thank each and every artist that she has now become familiar with on a more personal level for without PM3 she may not be able to do her blogs.

As she has a ridiculously high number of images (and even now, they are still not all uploaded) feel free to check out the 2095'ers PM3 set "here" but be mindful that while images remain the property of the 2095'er the actual paste ups remain the property of the artist/s.

Where once a Leagues Club Stood

Once upon a time, in a land far far away, there used to be Rugby League teams that were known for their singularity, easily identifiable club colours, name and home ground.

These teams also had incredibly impressive "Clubs" where $5 got you an enormous plate of food, schooners were $2 (hence many a long night spent getting ever so slightly addled has been known to occur once or twice in the 2095'ers life) and the sound of poker machines "added" to the ambiance.

Somewhere along the line things got a little confused.  Money was nowhere to be found, clubs merged and became totally NOT what they used to be about and some their respective Leagues Clubs closed.

But for one it was a drawcard where some serious serious streetart was to be found.

It was a wet Saturday afternoon (seems most of the 2095'ers initial jaunts to new territories are somehow predicated with rain....must do something about that!) after work and the 2095'er thought just for a lark she would venture up towards Rozelle and meander around in the hope of finding something new and exciting.

Almost at the intersection of the busy highway, she turned left.  Something was telling her there was a building that needed investigating but damned if she could work out where it was.  A few more steps down this road she spied it.

A HUGE carpark from the rear, scaffolding everywhere but way up high on the top level she saw some colour.  Even more importantly that smell...that heavenly smell of fresh paint meant that there HAD to be something somewhere.

For once in the 2095'ers life she elected to walk around to the front entrance.  Bold as brass, on one the busiest highways in Sydney, car yards to one side, carpet worlds to the other, she walked in to the "helmets only" area, slid around the opening in the scaffolding and was rewarded with the singularly most spectacular piece that had not been tagged or capped.

A few more tentative steps and a slight turn to the left presented the 2095 with another amazing "partner" to her beloved Slug.

It was pure gold...and it was at that moment the 2095'er realised the camera battery was somewhat depleted so it was with stealth and diligence that she continued on this exploration.

There was something about this raw beauty that struck the 2095 chick who was determined to capture not only it, but its essence with very little editing (ie. cropping only).  

One thing the 2095 chick can state with absolute clarity is that she doesn't use any software to "touch up" or enhance.  Yes there is a time and place for "air brushing" and maybe HDR, but why ruin what already is beautiful with over processing to the point you can barely recognise it?  Also she doesn't know how...

As such here are a few frames of what may or may no longer be, in a place formerly known as the Tiger's Club.

While there are more to be seen, the 2095'er is always mindful of how many words and photos are appropriate per article.  So if you want to see more of this amazing place (keep in mind that it was pre sexy EOS110D days so tolerance and understanding is always wonderfully received) simply click "here".

The Unknown

Every so often (and at times most likely as the artist had originally intended) there are nameless works - or works that are actually tagged but not in a way that is easily readable or identifiable apart from those already in the "know" - that spring out of seemingly nowhere.

Conundrum therefore abounds.

Admittedly there are times when the 2095'er (and perhaps as with others, although maybe like the 2095'er they have difficulty admitting it to anyone other than themselves) might happen upon a paste up, sculpture or other form of art on the street that may, at the time, make absolutely no sense whatsoever and as such, you continue on your hunting expedition.

Such was the case with the nameless artist. Noticing an evolution or maturation even, of this particular artist's work and the frequency that their pieces "appeared" (or as has been noted in previous blogs once a piece has been spotted it somehow sticks with you and suddenly they appear "everywhere") it became within itself a little treasure hunt.

Despite valiant efforts by the 2095'er asking many of her street-artist friends/colleagues/comrades no one has been able to enlighten nor identify.

Therefore it is with delight that the 2095 chick presents to you an ode to an unknown and unnamed artist whose works she loves "a lot" (once again she cheekily makes a slight reference to her fave Aussie show "Rake"...you need to watch it, live it, learn it and then enjoy the ride!).

Is it Thoif?  Is it...well obviously the 2095'er has no idea so any feedback would be most welcome!

Feedback received!  It's Phool.  Huge thank you to a fellow street-art photographer for this info!  A girl can never have to many pieces of info, specially in the world of street art

A moon licht bricth tonicht

There are times for the 2095 chick where music and compilations of graff must be shared.  She is not quite sure from where this "urge" is derived.  

Is that she is a "frustrated" artist perhaps?

Might it be that it is simply a desire to express using two of her passions: music and streetart photography?

Or is it that a theme simply presents itself and from there everything magically appears to fall in to place.

Who knows (one could debate the idiosyncratic nature of the 2095 until the end of time, and perhaps provide some head doctors with interesting fodder), but whichever way you choose to look at it, there is one constant in the 2095'ers world: passion and that passion needs an outlet and that outlet results in to the little vids below!

Once upon a time the 2095'er was a member of The Sydney Film Festival and went to a most intriguing talk on how music influences our perception of a visual, whether it be tv, film or even a streetart slide show/montage.

Enjoy and make of it what you will....but there is one thing to keep in mind: the theme. Are you able to work it out?

being a fan of a certain series involving a psychopathic serial killer is pretty obvious here

Take note: what the brain hears may influence the viewer's conclusion as to what the 2095'er had intended when creating...which for the hoi polloi might be the definition of "art".

Thanks for watching!

Hello May Lane

Before starting on this particular article it must be noted that all artworks shown remain the property of the artists and cannot be reproduced without their express permission. The 2095 chick is simply showing her photographs in order to share her experience.

The 2095'ers intro to May Lane was day that rained, where her brolly decided NOT to behave itself and her teeny tiny SX20 was somewhat new. 

Add to mix the 2095'er not being completely comfortable or familiar with the area at this particular moment in time, but any reservations or "fear" were abated  the instant her eyes clapped on the most magnificent wall of colour and detail.

The 2095 chick does not nor ever will enhance or over process images using software  

Trim yes, digitally destroy with over processing no

The 3D effect was mind boggling.  No matter what angle, no matter how far down the lane you went to achieve "the shot", it was pure perfection every frame. 

The 2095'er found the intricate detail so hypnotic she found herself thrust in to the "once I'm behind the lens I am completely in my own world" land.  And what a delightful place it is to be.

In an almost robotic manner, the 2095 continued exploring in wonderment, quickly realising that this is not a place where you "rush" through, for you may just miss something.

this piece remains intact for which the 2095'er & many others are most grateful

As with most "landmark" discoveries there are times when the 2095'er must simply shut up and allow emotions, heart palpitations and "oh my god" moments be shown via multimedia (nb: this clip does not comprise 100% Mays but also includes other firsts on her maiden Inner West voyage: thus becoming the impetus for the street-art revolution/obsession of the 2095'er)

It would also be remiss of the 2095 chick not to include her first introduction to the extraordinary world of Vexta.  The day was dark enough (with gloomy rain clouds) for the 2095'er to see exactly what this piece was in that it was designed to glow at night.

kindly reproduced with permission from Vexta

Like most discoveries or "first heart skipping moments", the need to return became unbearable.  Having to wait for another 12 hours was seemingly intolerable.  But given the location of the 2095'ers dwelling deemed it almost impossible to do otherwise.

But return she did and then some.  The beautiful thing about this particular place is that each week there will literally be something new, or a "work in progress" thus keeping it fresh and exciting. 

Nothing smells more beautiful to a photographer than that distinct aroma of paint. Clear indicator of new new new.

On one particular revisit as the 2095 wound her way on the direct route from St Peter's train station she noticed an artist and from a distance she pulled out this teeny tiny camera and got (well to the 2095'ers mind at least) a pretty good shot.

Confidence for once decided to be on the 2095 chick's side.  Walking up slowly and waiting until said artist was having a bit of a breather (literally), the 2095 struck up a conversation albeit it somewhat hesitantly at the start.

It revolved around folk going up at times, hurling abuse at him "why did you paint over what was there, we HATE it", to which the 2095'er replied "hell if they don't like they don't have to look at it" and from there the conversation flowed.  It wasn't until the end that he looked at me and said "we are actually 'connected' on flickr".

Jaw dropped: see the 2095 might know them by the street names rather than the "real world" names so it is always an incredibly humbling experience (and yes..even now the 2095 is always blown away when an artist walks up and introduces themselves then saying "oh your cap gave you away, everyone knows you wear a black cap") when someone whose work you admire from afar not only takes the time to talk to you but then says they already know you albeit by some form or other of social media!  No words can be found to describe that moment.

The piece below again is not strictly Mays and includes the immediate surrounds but hell, it's the 2095'ers blog....

Recently Mays has become Caroline but in an ever changing world there will always be one constant and for that we as photographers and lovers of art, (streetart, graffiti or whatever you wish to call it) are and will always be forever in your debt

May Lane Flickr Set

Ode to The (now defunct) Glebe Tram Shed

The Glebe Tram Shed or, to use its proper name, The Rozelle Tram Depot: known for being the 2nd largest depot to service the Sydney network from 1918 until its closure in 1958, for being a major place of employment and in the latter part of its life the "mecca" for street artists, photographers, music video editors and more.

The 2095 had known about this location for quite a while and started to see more and more photos taken by lovers of adventure, streetart and the "whatevs".

As with most ventures, the 2095'ers first attempt to scout this Tram Shed was a complete failure.  It was raining, there was a boom gate, a bored looking Security dude and to be honest she just was not in to it.

Fast track 2 weeks.  Bus timetable sorted, a windy mid week day, bus driver kindly obliged in telling the 2095'er where to alight and thus the exploration began.

There it was: that boom gate again. BUT the 2095'er noticed some people using what appeared to be a short cut path. So she manoevered around the dreaded gate, walked down said path tentatively towards the somewhat dilapidated Harold Park hoping that she would not hear a "OY! YOU! What do you think you're doing" from a menacing security officer.

Luck was on the 2095's side.  No one around.  She walked up towards the most ENORMOUS building, heart palpitating, mouth dry and desperately trying to not appear on anyone's radar (though for anyone who has been to this amazing place you are somewhat exposed no matter how hard you try) and squeezed through the half-open gigantic door and was greeted thus:

To say it was a breath taking moment would be an understatement.  To say that it felt like a horror movie where the only sound was the wind through the broken glass ceiling and big rusty door opening and closing would be 100% accurate.  To say the 2095 hit the jackpot....indescribable.

Trying not to make a sound, or freak herself out unnecessarily, the 2095'er walked cautiously down the ramp and fell straight in to the enamoured arms of this place.

Rather than prattle on (and one must excuse the quality of this but it was done prior to the 2095'ers imac!) let the little clip demonstrate the Tram Shed's initial impact.

Floating on cloud 9 and feeling "safe and smug and superior" (apologies to those who are not yet acquainted with one of the 2095's other loves "Rake" from which that mini quote was taken), desperate to get back to the confines of the abode to review and relive the experience, the 2095 chick made plans for an immediate return the following day.

Again in order to avoid the long descriptive adjectives this clip is a reflection both emotionally and photographically of this particular visit.

It was around this time that the 2095'er was becoming somewhat impatient with her camera in that she was not able to extend herself as a photographer.  Thus it was on her 3rd visit with new EOS in hand that she returned excitedly.  

Ultimately it would also be her final visit as literally a week later this amazing location, this incredible building that had SO much potential to be anything it wanted to be, was boarded up with 24 hour security as it had been ear-marked  for some "new residential accommodation development" as apparently Sydney simply doesn't have enough.

So beautiful Tram Shed you are missed by so many people and thank you for being in our lives.

Glebe Tramshed Flickr Set