Jamberoo Mountain Road

JAMBEROO MOUNTAIN ROAD

JAMBEROO MOUNTAIN ROAD

GALLERY INTRODUCTION
BRIDGET MACLEOD AND FIONA MCFADYEN
There is something special
about artist residency projects,
and the exhibition Jamberoo
Mountain Road draws on that sense
of excitement, wonder and shared
experience. In the late 1970s artist Guy
Warren and sculptor Bert Flugelman
bought adjoining lots at Jamberoo
and the landscape provided a rich and
constant source of inspiration from
that point on. Following the death of
Bert, Guy wanted to share the creative
possibilities of “the rainforest, the
mists and the magic of that particular
piece of lush country,” and his new
neighbour, Caroline Lawrence,
generously opened her home for
artists to stay in, continuing the legacy
and extending the history of the
Flugelman property.
When Steve Lopes approached
Shoalhaven Regional Gallery with
information about the residency, the
creation of works and the desire of
the artists involved to exhibit in a
way that told the story of this special
project, we jumped at the opportunity
to display such incredible works of
our local area.
We were lucky enough to visit the
properties in January 2018, when
photographer Riste Andrievski and
artists Michelle Cawthorn, Steve
Lopes, Euan Macleod, Peter Sharp,
Luke Sciberras and Guy Warren were
in residence. Gina Bruce, Ann Cape,
Euan Macleod, Steve by river, Jamberoo, 2018, pastel on paper, 28 x 36 cm
Paul Ryan and Ann Thomson had
visited earlier, in late 2017. This was a
fantastic experience as we were able
to witness the artists’ engagement with
the property and each other and be a
part of the creation of the show from
the beginning.

Seeing the way that each artist worked
and what element of the landscape
they chose to focus on was incredibly
insightful. Some artists drew off the
company of others, working in close
proximity, talking and even painting
each other. Other artists chose to
venture further afield, explore on their
own and find a unique area of the
property to depict.
The variety of individual interpretations
is notable and makes for a diverse,
interesting and exciting exhibition.
Some sought out vistas, camping out
on the balcony or climbing high for
long views through to the coast. For
others it was the close detail of the
rainforest that captivated – vines, ferns,
trunks and scrub depicted in lush tones.
Others explored the local fauna– birds
and beetles collected and captured in
collage and charcoal. For Ann Thomson
and Guy Warren, landscapes are
intertwined with memories, impressions
and ideas of place.
This project could not have happened
without the generosity of Guy
Warren and Caroline Lawrence. Both
welcomed us as openly and warmly as
they did the artists, and for this we are
very grateful, thank you.
Thank you also to Steve Lopes for
your wonderful organisational skills
and help throughout the exhibition
and catalogue planning, and to all of
Guy Warren, Jamberoo, 1987, ink on paper, 25 x 33 cm
the artists for welcoming us into your
studios to select works and share your
experiences. You were all a joy to
work with and your enthusiasm for the
project was infectious and reflected in
the incredible works produced for this
exhibition.

ESSAY
GUY WARREN am
This exhibition it is not so much
about Jamberoo Mountain
Road itself as it is about the
rainforest, the mists, and the magic of
that particular piece of lush country
which clings to the edge of the
escarpment rising at the western end
of the Jamberoo Valley. The visitor
is first aware of this after leaving the
fertile greenness of the farmlands
in the valley and driving up the
mountain road between walls of tree
ferns and rainforest. The Illawarra
coast was a source of inspiration for
many of our early artists. Eugene
von Guérard, Conrad Martens, WC
Piguenit, A Henry Fullwood, Arthur
Boyd and Lloyd Rees all come to mind
among the many who have journeyed
south of Sydney to experience and
record their impressions of this
area. I feel certain also that, long
before European artists found it, the
indigenous people must have made
artefacts, records, marks of many
kinds which referenced this particular
country.
One is never alone on those hills, in
the gullies, in the forest. The land
is full of memories, spirits, ghosts—
whichever word suits you. Ghosts of
the original inhabitants, of the early
settlers, of the timber cutters. Walk
through the forest on a dark night and
you’ll meet them.
I understand that in the early days
of European settlement Hoddle, the
government surveyor, together with
a few convicts, established a packhorse
track from the early farms on
the highlands down to the coast
which allowed farmers to get their
produce to the Kiama harbour for
onward movement to Sydney. The
evidence of Hoddle’s Line of Road is
still visible today running down the
ridge from Jamberoo Mountain. To
reach Jamberoo Mountain today all
one needs to do is to drive up the
Jamberoo Mountain Road or down
from Robertson.
Apart from the odd childhood
memory of once visiting an uncle
who managed the milk factory at
Gerringong, my close association
with the Jamberoo area began in the
1970s, when I was working at the Tin
Sheds, an informal art workshop at
the University of Sydney. A friend and
close colleague was the sculptor Bert
Flugelman. We were both looking for
a rural nest somewhere out of the city.
I was seduced by the Hill End area but
decided it was too far out of Sydney.
Bert was looking south around the
Illawarra area and found a block at
the head of the Jamberoo valley, half
way up the escarpment. Apparently
a few drinks with the locals in the
pub revealed another available
block next to the one he’d already
been offered. There was no vehicle
access—the tracks established by
the early timber cutters had long
since been eroded and hidden by
rain, fallen timber, massive trees, and
exuberant rainforest. Eventually the
old timber tracks were improved to
the point where they could be used
by a 4WD vehicle. In the meanwhile
the bushwalk into the land was a great
pleasure. Bert bought one block, I
bought another, with neither of us
being quite certain which was whose.
That was decided one day in the
middle of the forest by tossing a coin
to determine who had first choice.

We both ended up happy. Since then
that particular bit of bush has been a
constant source of ideas, imagery and
energy for both of us. For Bert, who
by that time was head of sculpture at
the University of Wollongong, it was
also a permanent and conveniently
situated home.
Bert and his wife Rosemary built a
house on a small ridge in the middle
of the forest. My wife and I together
built a simple shed on our block with
the intention of later building a small
live-in studio nearby capable of being
worked in for short periods. Sadly
this never came about when the local
council announced a ban on any
further building on the escarpment.
Bert and I had often talked of inviting
other artists, even briefly, to share the
creative possibilities offered there.
Sadly again, this didn’t happen until
this year when the present owner
of the Flugelman house, Caroline
Lawrence, herself a sculptor and an
enthusiastic lover of that area, offered
to make her house available for that
purpose. In several groups of four
or five they came, they worked, and
with this exhibition they present the
results of their vision and reaction
to the rainforest escarpment.
While my own works are inevitably
influenced by 40-odd years of close
association with the land and with
memories, many of these artists had
not previously experienced this kind
of country. Despite the long and
still thriving tradition of landscape
painting in Australia there is not a
long history of artists working with
the rainforest, with a few notable
exceptions. The romance of the red
heart and the gumtree have seduced
the majority of artists and sent them
inland or to the coast. Maybe they
found it difficult to cope with leeches.
This indeed might be the first time
that a disparate group of artists have
set out deliberately to capture what
they see as the essence of this area.
Now in this exhibition a group of
artists of different ages and interests
and backgrounds, having wound
their way through the tree ferns of
the Jamberoo Mountain Road (or
reached it via Robertson), offer their
reactions to this very beautiful part of
the very beautiful Illawarra coast. A
vote of thanks must be given to all the
artists for their contributions, to Steve
Lopes for his help and organisational
skills and to the Shoalhaven Regional
Gallery for offering to mount the
exhibition. And a very special thunder
of thanks should be given to Caroline
Lawrence for her generous help with
accommodation and her warm and
enthusiastic co-operation.
April 2018

RISTE ANDRIEVSKI
A
reconnection from 20 years
past. As an art student we
visited Guy Warrens and Bert
Flugelman’s property as an art project
to inspire us with our future art. 20
Years later having the opportunity to
revisit and reinvigorate the creative
spirit. It was an inspiring opportunity
to have that creative energy
surrounded by artists that drew
from an environment and land that
provided a creative feed for artists.
Photographing each artist that I met
at the property was to document the
process and energy that was present.
Robert Malherbe, Riste, 2017, ink on paper

GINA BRUCE
Painting outside in the landscape
involves managing the elements
as well as the painting process.
The sudden gust of wind, or an
approaching storm, and the race
against the fading light, adds to the
excitement. The moving clouds are
so beautiful, but you have to be quick
to capture them; the subject you are
looking at is forever changing.
Working alongside other artists on
this Jamberoo Mountain Road project,
was a great experience.
I had never met many of the other
artists before. I found the whole
group to be inspiring in their stamina,
work ethic, and generous spirit;
both genders, across a broad age
range from 39 - 95 years old. The
conversations at mealtimes, enhanced
by sketching each other, was lively.
The hospitality of Caroline, the owner
of the property was so generous.
Walking through the forest, Caroline
introduced me to the wide variety of
fungi that she explained holds the
whole rainforest eco-system together.
The rainforest reminded me of up
near Minyon Falls in the Northern
Rivers area NSW where I lived for a
while. The colours, smells, sounds,
light, filling all your senses. One
morning I enjoyed working up at Guys
studio, a higher vantage point looking
out and down into the valley through
the trees.
I started with drawings in my
sketchbook, then moved to
watercolours on paper, looking to
capture the light, the colours, the
space and feeling of this special
place. I then moved to acrylic on
pieces of cut polyester, then to
larger boards. The 2 larger boards
I continued on back at home in my
studio.
I would like to thank; Guy Warren and
Steve Lopes for including me in this
project, Caroline Lawrence for hosting
me at her house, and the Shoalhaven
Regional Gallery for their efforts in
curating this exhibition. It was such
a great pleasure and honour to work
with all the artists on this project.

Green-Grey-Blue, watercolour, 50 x 34 cm
Green Light, acrylic on polyester, 60 x 27 cm

Rainforest-tree-cloud, acrylic on board, 150 x 60 cm
Tree-trunks and hut, watercolour, 50 x 17 cm

ANN CAPE
When I visited Jamberoo it
was in autumn, the weather
was mild, but the rain
continuous. We were mostly confined
to painting from Caroline’s house on
the vast veranda surrounding the
structure created by Bert Flugelman.
I was confronted by a wall of verdant
green, looking down the steep slope
to the valley and the base of massive
trees that towered up above us. Mist
clung to the hillsides and wafted past
a hardly discernible distant view of the
ocean and coastal plain below.
This was an unfamiliar landscape for
me, having mostly worked with an
earthy palette of open spaces, or with
the figure. This was up close, dense
and textured with lots of leeches!

Mountain in the morning mist, 2018, oil on linen, 76 x 76 cm

From the verandah in the rain 1, 2018, oil on canvas, 76 x 76 cm
Into the rainforest, 2018, oil on canvas, 76 x 76 cm
Guy in his shed, Jamberoo, 2018, oil on canvas, 76 x 76 cm
From the verandah in the rain 2, 2018, Oil on Canvas, 76 x 76 cm

MICHELLE CAWTHORN
CAROLINE’S BIRDS
When I was 10, my parents
moved us from Sydney’s
Sutherland Shire to Nowra
on the South Coast of NSW. We
lived in Cambewarra where we were
skirted by the Shoalhaven River to
one side and Cambewarra Mountain
on the other. I travelled over this
mountain each day to attend high
school, winding up and down through
rainforest undergrowth.
Sometime before we made our way to
our host Caroline Lawrence’s home on
Jamberoo Mountain for this project, I
began to consider the approach that
I would take when responding to the
landscape, a place I suspected might
seem very familiar to me because of
my childhood experience, and yet not.
My practice is concerned with memory
and how it might be expressed visually,
so my first thought was drawing. I
reminisced on the experience of
being in the bush and rainforest, which
always echoed with bird song, and I
decided that birds should somehow
feature in my response.
As serendipity would have it,
when I was discussing my ideas
with Caroline and enquiring as to
whether she had any information
on the birds in her locale, she
pointed me towards her library
where there were a number of
relevant books. Tucked away on
one of her shelves was a beautiful
set of cloth bound books titled, ‘A
History of British Birds’ by Rev F O
Morris, published sometime in the
1850’s or 1860’s. Caroline was born
and raised in England and settled
in Australia in her late 20’s. When
her father passed she inherited the
entire 8 volumes, each filled with
detailed engravings of the birds
of her homeland. Immediately I
knew I had my project. I decided
to weave Caroline into the history
of the former property of the late
Bert Flugelman, a place she now
considers herself ‘caretaker’ of; and
combine her birds with Australian
birds, both those found in the area
and ones she may have encountered
on her travels around Australia.
I asked Caroline to go through all 8
volumes and to choose 20 images
that she particularly remembered from
her childhood. I combined those with
watercolour images of Australian birds
that I had collected over time. The
result is Caroline’s Birds.

Caroline’s Birds (1), 2018, watercolour and collage on Hahnemühle paper, 34 x 34 cm

Caroline’s Birds (2), 2018, watercolour and collage
on Hahnemühle paper, 30 x 25.5 cm
Caroline’s Birds (4), 2018, Watercolour and collage on Hahnemühle paper, 21 x 15 cm
Caroline’s Birds (5), 2018, watercolour, collage and acrylic
on Hahnemühle paper, 36 x 35.5 cm

STEVE LOPES
Jamberoo is such a unique place
for an artist. At first glance it can
seem visually inhibiting with such
an envelopment of trees. On closer
inspection and investigation, I came
away with a real excitement about the
area and a better understanding of
the rainforest and its hidden beauty.
On my first painting trip there, 5
days of pouring rain wasn’t enough
to dampen our creative energies, in
fact we were all hemmed in painting
together and had to really search
hard to make good pictures. This
allowed us to analyse the depth of
colours and points of interest in the
surrounding rainforest at a slow pace.
On my second trip it was completely
different with days of sunshine
and the chance to really explore
outdoors and paint the prehistoric
plant life, and unfamiliar precious
landscape that one can easily take
for granted. It felt special to be in that
undergrowth, painting with friends,
especially amongst the hospitality of
its caretakers Caroline Lawrence and
Guy Warren.

Creek Bed Study, 2018, oil on canvas, 90 x 90cm

Undergrowth Study, 2018, oil on board, 50 x 90cm
Coast View and Rainforest, oil on board, 45 x 45cm
Rainforest Study - afternoon south view, 2017, oil on board 50 x 50 cm

EUAN MACLEOD
Landscape artists seem to be
attracted to a certain type of
landscape. Possibly it reflects
something of their inner world,
or maybe they love the visual
possibilities. When I think of Guy’s
work I think of rainforest and his
mastery of an environment I would
find the hardest to try and paint. I
love the bare hills that expose their
structure. I find vegetation hides what
it is that I love to paint.
Guy has talked about his shack in the
Jamberoo bush for ages and about
getting people up to the place that
has meant so much to him for so long.
I see this sharing of your ‘special
place’ as an incredibly generous act
and the camaraderie is what attracted
me to be one of the artists involved,
rather than the actual landscape.
It’s always fascinating to see how
different people respond to the same
place - what they bring, and what they
take away.
Thank you Guy and also thank you to
Caroline who put us all up and was
so hospitable when we were there.

Jamberoo Mountain Road Study, 2018,
oil on polyester, 38 x 51 cm
Jamberoo Bush (with rock), 2018, oil on
polyester, 53 x 66 cm
Steve Painting, Jamberoo (with red hat),
2018, oil on polyester, 53 x 66 cm

Jamberoo Mountain Road, 2018, oil on polyester, 53 x 66 cm

ROBERT MALHERBE
“ Mind the leeches.” This was
one of the first things said
to me by Master printer Tom
Goulder as we drove into Caroline
Lawrence’s property built within a
beautiful rain forest in Jamberoo.
I was to stay there for four days to
paint in the open air with fellow artists
Guy Warren, Steve Lopes, Gina Bruce,
Anne Cape, Ann Thompson and Paul
Ryan to name a few. Unfortunately
it rained most of the four days and I
had to do my best with painting still
lives and when the clouds eventually
broke the magnificent view from
the veranda. I became somewhat
obsessed with the view from the
veranda and feel I could still paint it
over and over again.
I have fond memories of Caroline’s
elegance and generous hospitality,
her wonderful dinners and delicious
coffees. Not to mention Guy Warren’s
dinner table wit and art world banter
that kept us all entertained.

Untitled 3, 2017, mixed
media on card, 28 x 21.5 cm
Untitled 4, 2017, mixed media
on card, 28 x 21.5 cm
Jamberoo Landscape 2, 2017, oil on board, 50 x 40 cm

Jamberoo Landscape 4, 2017, oil on linen, 61 x 51 cm
Jamberoo Landscape 3, 2017, oil on board, 50 x 40 cm

MAX MILLER
themselves - even rocks, trees and
all things.
I was told in an art lecture, long ago,
that glass is a liquid and moves slowly
as do all things, even earth and rocks
are always changing.
Nothing is more moving than to camp
under the stars and watch trees
moving. Hear the activity of night
noises and observe the Milky Way and
see shooting stars etc.
One has to have a respect for all life
forms.
Max Miller 2009
I
love the detail of the microcosm
and its intrinsic relationship with the
universe and life’s spirituality therein.
Also its relationship to human kind,
which I consider is no more important
than life forms around it.
The aboriginal people understand
everything as having life and spirit,
in as far as seeing themselves
related as totems and dreamings of
While Max Miller attended the 2017
residency, the works included in Jamberoo
Mountain Road were produced between
1993 and 2013. Miller has lived in the
Southern Highlands and had a close
relationship with the surrounding rainforest
for a number of years. He has always been
drawn to more intimate subjects, and while
in the highlands tended to shy away from
vistas and views and gravitate to the local
rainforest, where he would often sit all day
painting under the trees.

Native Figtree and Vines, 1993, watercolour on handmade paper, 51 x 66 cm
Kangaroo Valley Escarpment, 1987, egg tempera on linen, 51 x 36.5 cm

Rainforest - Untitled, 1987, egg tempera on linen, 46.5 x 36 cm
Landscape of special Environment of Significance - Southern Highlands, 2013, Diptych - watercolour on handmade paper, 61 x 103 cm

LUKE SCIBERRAS
There are some studios in
Australia that are unique in
their genius loci - the spirit of
place. The eyries perched on the
escarpments of Jamberoo are two of
them. Two studios constructed within
a stones throw of each other, tended
by kindred spirits and devotees of
nature have held a magnetism for
decades. An environment in which
countless artworks, quiet thoughts
and raucous dinners have floated
through the trunks and vines.
Perched between the footsteps of the
southern highlands and the hinterland
of the NSW south coast, Jamberoo is
a floating, twisting, growing, decaying
rainforest teaming with life. It seems
to grow and crumble before ones
very eyes, all the while the massive
old growth tree trunks frame views
glimpsed to the sparkling ocean in
the hazy distance. It is no wonder that
Guy Warren has been drawn to dream
this place up in his own songlines for
so many decades.
The camaraderie among friends there
now spans generations and crafts,
and is bound by a shared love of the
natural environment and a tremendous
respect for each other’s work.

Along the jungle floor, Jamberoo, 2018, oil on board, 120 x 160 cm

Jungle boulder, Jamberoo, 2018, oil on board, 120 x 160 cm
The competition for sunlight , Jamberoo, 2018, oil on board, 120 x 160 cm

PAUL RYAN
In 1987 I commenced the Bachelor
of Creative Arts at Wollongong
University. My painting teacher was
Bert Flugelman and meeting him was
my first encounter with a professional
practicing artist.
Burt employed me and another
student to work on his property in the
rainforest on Jamberoo Mountain. He
was in the process of building his new
house and studio on site. We cut logs,
dug holes and built a no dig veggie
garden. I felt like a pioneer. A settler.
Going back to the site more than
thirty years later brought back
vivid memories. This time I had the
pleasure of meeting the new owner
of the property and all the artists who
had come to make works there.
In the first week an east coast low
descended on the coast. When I
arrived in the morning there was
brilliant sunshine and a few clouds
building from the south. Within a few
hours the rain was pelting down and
did so for days.
I managed to do a couple of small
paint sketches. Months later I made
the big painting in my studio. I painted
it from memory. It is large dark and
green with a muddy bush road
winding out of the forest. It is painted
with big brushes in crude raw brush
strokes, more a painting of a memory
of the place than an actual section of
road.

The Road to Berts, 2018, oil on linen, 280 x 220 cm

Jamberoo Mountain Study, 2017, oil on linen, 81 x 71 cm

PETER SHARP
I
was lucky enough to have been
taught by Guy Warren in 1987 at City
Art Institute which is now the Faculty
of Art and Design at UNSW, where I
now teach.
Guy was wonderful in that he didn’t
tell me what to do but talked about
life as an artist and what a wonderful
example he still is.
I was thrilled to be invited to the
‘Jamberoo’ property that he shared
with Bert Flugelman and spend time
with him immersed in that rainforest
escarpment.
I just drew everything without any
preconceptions and then made
paintings from the fern drawings as if
they were open ended plans.
The paintings often end up abstracted
but they come from real observation
and recognition that is central to my
practice.
The drawings are never wasted as
they end up as a visual catalogue of
where I have been and the details that
I have seen and this I believe gives
a poetic summation of that specific
rainforest area.

Fern Painting 3, oil and acrylic on
linen board, 46 x 35 cm
Fern Painting 2, oil and acrylic on
linen board, 46 x 35 cm
Fern Painting 1, oil and acrylic on linen board, 46 x 35 cm

Installation view of 48 rainforest drawings, charcoal on A4 and A5 paper

ANN THOMSON
Filled with his drawings and works
on paper, Guy Warren’s hut in the
Jamberoo Rainforest is a living,
moving thing, just as the vines fungi
and leeches of the forest are moving
around it.
What a privilege for we artists to be
invited there to paint and pay homage
to Guy and his landscape.
When I was there it rained and
it rained. I loved working with
water based paints in that watery
atmosphere.

Water and Air Series Vase 2018, painting on on ceramic vase, 17 x 15 x 15 cm
Water and Air Series Bowl 2018, painting
on on ceramic bowl, 10 x 21.5 x 21.5 cm
Rainforest II, 2017, acrylic on canvas, 56 x 71 cm
Rainforest III, 2017, acrylic on canvas, 76 x 76 cm

GUY WARREN
The paintings of mine in this
exhibition all have their
genesis in my long association
with Jamberoo Mountain and the
rainforest, and in particular with that
small parcel of land which I own and
on which my late wife and I built a
small shed 40 years ago. On the
eastern side of all the ridges and
gullies of the escarpment which
runs down the Illawarra coast, the
clouds which roll in from the ocean
are captured by the escarpment,
drop as rain and form a perfect
environment for rainforest. I happen
to love rainforest -- I fell in love with
it many years ago in Queensland
and in New Guinea during the war.
Mountains and rainforest have
fascinated me ever since. I also have
childhood memories of uncles who
lived in Gerringong and Austinmer
and of surfing with my brother at
Austinmer and of a crazy journey by
canoe down the Shoalhaven River
from near Goulburn to the coast at
Nowra almost eighty years ago. And
of course fond memories of working
for several years with the University
of Wollongong. So it does seem that
the Illawarra Coast satisfies all my
fantasies. These works of mine are
about the shed (the so-called hut on
the hill) and the memories and the
fantasies and the good times.

Through the Mist to the Hut on the Hill, mixed media on canvas, 90 x 122 cm

Along the Track in the Mist, 2018, oil on acrylic on canvas, 90 x 120 cm

Hut on the Hill, with Memories, 2018, acrylic on canvas, 91 x 122 cm

ACKNOWLEDGMENTS
Jamberoo Mountain Road was exhibited at Shoalhaven Regional Gallery Nowra from June 9 – August 4 2018.
SRGN would like to thank the artists’
representing galleries
Art Atrium – Max Miller
Defiance Gallery – Ann Thomson
King Street Gallery on William –
Guy Warren, Luke Sciberras
Liverpool Street Gallery – Peter Sharp
Michael Reid Gallery –
Robert Malherbe
.M Contemporary – Michelle Cawthorn
Nanda\Hobbs – Paul Ryan
Robin Gibson Gallery – Gina Bruce
Stella Downer Fine Art – Steve Lopes
Watters Gallery – Euan Macleod
All images c. the artists
Artwork Photography by
Michel Brouet
Sophie Cape
Colin Husband
Dana Rayson
Peter Solness
Tony Lopes
Portrait Photography by
Riste Andrevski
Peter Sharp
Michelle Cawthorn
Design
Kim Gregory
Printing
Hero Print
Cover image Max Miller, Native Figtree
and Vines, 1993, watercolour on
handmade paper, 51 x 66 cm
Shoalhaven Regional Gallery Nowra
12 Berry Street, Nowra
02 4429 5443
www.shoalhavenregionalgallery.com.au
ISBN 978-0-6483014-1-7

Featuring
RISTE ANDRIEVSKI
GINA BRUCE
ANN CAPE
MICHELLE CAWTHORN
STEVE LOPES
EUAN MACLEOD
ROBERT MALHERBE
MAX MILLER
PAUL RYAN
LUKE SCIBERRAS
PETER SHARP
ANN THOMSON
GUY WARREN
ISBN 978-0-6483014-1-7