Sevenmarks Gallery is hosting a significant exhibition titled Guyurrmirr dhimurru-makarr djalatha gapu bur'nap monuk lik (Going to the Southeast Saltwater), a collaboration with artists from Ramingining, Arnhem Land, Northern Territory.The exhibition runs until 11 October and is the second collaboration between Sevenmarks and Bula’Bula Arts, building off of last year's successful showcase. This year the exhibition is shifting from weaving to traditional and contemporary painted stories and new works by emerging Yolŋu artists from Bula’Bula Arts.One of the Sevenmarks directors, Cobi Cockburn, explains that what makes this exhibition special is the cultural exchange it facilitates. There will be three artists coming over from Arnhem Land as well as the Bula’bula Arts Manager, Mel George, where they will be ‘sharing culture across saltwater and land’.“It's my understanding that two of those people have never even left Arnhem Land," she said.“The works that we have here within the gallery are very indicative of their landscape and their environment.”The gallery has organised an extensive programme of free community events, including workshops for local primary schools, an opening event, a public talk about life in Arnhem Land, and a public hands on workshop.“We wanted to remove finances out of it...from an exchange of knowledge and an exchange of communication and cultural awareness, we really tried hard to make that free for Kiama,” Cobi said.Cobi explains how the exhibition will address a gap in Kiama’s cultural offerings, having raised four children, she stresses the importance of cultural engagement and communication at an early age.“We don't have many offerings, we don't have a cinema…so with arts and culture in here, I kind of go, how can we engage the younger crowd? And how can we also show them about First Nations people,” she said.“If we don't bring those storytellings in and those experiences in, and we don't integrate them at an early level, then I think it probably remains a separate entity. And I'd love it to not be a separate entity.”The exhibition's opening event is being held Saturday 13 September from 5pm-7pm, featuring a Welcome to Country by Gumaraa, artworks by the visiting artists and the artists themselves, and Silica is providing canapés alongside local beers and wines.A public talk ‘Life in Arnhem Land’, with Bula'Bula Arts Manager Mel George is being held on Sunday 14 September from 11am-12pm, followed by a hands-on public workshop on Tuesday 16 September from 2pm-3:30pm.More information and tickets for the events can be found on Sevenmarks Gallery website.SEVENMARKS Gallery is open to the public each Friday 10am-5pm and Saturday 10am-3pm, or by appointment. Exhibition entry is free.

There’s a quiet revolution sweeping across the country. People from all walks of life, young and old, male and female are picking up knitting needles, crochet hooks - creating all kinds of garments, toys, home accessories, and even art pieces from yarn. They are joining online and local groups or just working on their own, becoming totally engrossed in a creative yarn journey.Knitting, crochet and spinning and weaving are so distinctively removed from our uber-digital, technological 21st century world that this journey could be seen as anti-consumerism and even subversive when yarn-bombing activities are involved. But it has been well established that the involvement in these old traditional yarn crafts reduces stress and anxiety, improves dexterity and fine motor skills, and encourages creativity and self expression not always found in the digital world. So, in essence, it’s just the right kind of revolution.To help save the planet, eco-friendly yarns can be sourced and old patterns redesigned. As added bonuses, yarn can be recycled and old garments can be easily up-cycled. Finally, joining a yarn craft group - whether local or online - can foster community cohesion (you get to share your fun with your neighbours) and put a smile on the faces of the recipients of your wonderful creations. If you are not already a part of this revolution, there are a number of groups in around Kiama to consider. Kiama and Gerringong libraries have monthly Knit and Chat groups (contact Boni Maywald 0424 641 663) and a weekly Creative Crafts group meets at the Uniting Church on Monday mornings, as well as a monthly craft group run by Jamberoo Red Cross (contact Barb Adams 0422 206 555). A Spinners and Weavers group is also held at The Coachhouse on Tuesday mornings (contact Marie Carr 0408 977 414). If crochet is your thing and you are prepared to travel a little further afield, there is a very active Wollongong Crochet Club.

A compelling new exhibition, Between Dreams and Truth, featuring work from four local artists, will be on display at the Old Fire Station from September 5-10 - and it’s one not to miss.Artists Jenny Albanis, Claire Donaghy, Christina Murphy, and Hannah Gray of Hub Ceramics have come together to present a diverse and inspiring body of work.“I've always loved painting, ever since I was a kid,” said Albanis. “But it wasn’t until I retired that I was able to take it up more seriously.”She describes each artist's unique style and contribution to the exhibition.“Claire Donaghy has a very painterly style. She’s been painting for quite a while, and her work is vibrant and colourful - ranging from still lifes and landscapes to portraits of beautiful women with gorgeous floral headdresses.“Christina Murphy, also a Kiama local, paints in a realistic style. She often focuses on landscapes and flowers, inspired by her incredible garden.”“And then there's Hannah Gray of Hub Ceramics, who creates stunning, practical ceramics - the kind of pieces you’d love to use in your home every day.”Albanis explains that the exhibition brings together both realistic and dreamlike works, offering a rich mix of artistic approaches.“I tend to paint quite realistically, with fine detail. Claire, on the other hand, takes a reference and transforms it - her work is looser, more expressive,” said Albanis.“Christina explores contrasts, like edible fruits alongside poisonous plants, highlighting how both can be beautiful in different ways. She also paints fantasy-inspired scenes - like women in metal plate armour with wings.”Despite the realism in her own work, Albanis says her creative process is deeply meditative - another layer in the contrast suggested by the exhibition’s title.“For me, painting is something immersive. I’ll look at the same object for weeks, painting and thinking I know it - then suddenly, I’ll notice something new I hadn’t seen before.”“I go into quite a dreamy state. It’s almost meditative. I paint a lot of reflections - especially silver reflections - where a flower, for example, is echoed subtly in the surface. It’s those little discoveries that keep me going.”The exhibition will be at the Old Fire Station from September 5-10.

The Land, Ocean and Home art exhibition at The Old Fire Station wraps up on Thursday, offering visitors a rich, international celebration of art, nature, and personal storytelling.The exhibition featured the works of three artists: Arja Välimäki from Finland, Magdalena Pillai, and Brigita Hammell from what was formerly Czechoslovakia. Though their styles and mediums were vastly different, each artist brought a unique interpretation to the themes of land, ocean, and home.Arja Välimäki explored the theme of ocean through vibrant, dreamlike seascapes. Her relationship with the sea is deeply personal - and rooted in both trauma and transformation.“I come from Finland, which has 100,000 lakes, so I learned to swim quite young,” she said.“But I actually had an accident in the ocean where I stepped on a stingray. It went right through my big toe tendon - I was in a lot of pain.“After that, I decided to put my energy into art, and over time I transformed that painful, strange experience into something positive - a love for the ocean through painting.”Her seascapes resonated strongly with local surfers and scuba divers who saw their own connections to the ocean reflected in her work.Brigita Hammell focused on the idea of home, drawing inspiration from her roots in Czechoslovakia. Her paintings and sculptures delve into the meaning of family, belonging, and the safety of familiar surroundings.“I've called the exhibition Home because it’s all about appreciation - of home, family, your surroundings, and the feeling of safety,” said Hammell.She added that she prefers to let her artwork speak for itself.“They have strong images - they talk for themselves,” she said.“I do love naming them; they’ve got quite distinctive titles. I like to paint in a surrealist sort of way, and I think the images say what I’m trying to express better than I can explain in words.”Magdalena Pillai represented land with her handcrafted jewellery, inspired by the fluid, asymmetrical forms found in nature.“I’ve been doing this for about 23 years now,” said Pillai. “I moved to Kiama 15 years ago, and most of my work is inspired by the variety of natural landscapes on the South Coast.”Her jewellery pieces, made from sustainably recycled sterling silver and mixed metals, reflect a deep connection with the environment - both in design and practice.The exhibition ran from 7–13 August, and while it may have ended, the work of these three talented artists continues online. You can explore more through their websites: Arja Välimäki, Magdalena Pillai, Brigita Hammell.

As the buzz begins to settle following the Orry-Kelly: Dressing Hollywood Gala on the evening of July 26 at The Sebel Kiama, one unforgettable highlight stands out - a special virtual appearance from Oscar-winning designer Catherine Martin.While it’s well known that Orry-Kelly held the record for the most Academy Awards won by an Australian for decades (three Oscars for costume design), that title was surpassed in 2013 by none other than Catherine Martin, who now holds four.Martin - the long-time collaborator and wife of renowned Australian director Baz Luhrmann - has earned international acclaim for her work on films such as Strictly Ballroom, Moulin Rouge!, Australia, The Great Gatsby, and Elvis, with both production and costume design credits to her name. She also served as production designer on Luhrmann’s Romeo + Juliet.In a pre-recorded video message played during the gala, Martin expressed her regret at not being able to attend in person.“I'm very disappointed not to be in Kiama tonight with you to celebrate the extraordinary life and work of Orry-Kelly,” she began.She went on to share how she and Luhrmann first discovered Orry-Kelly’s story while guest-editing an early 1990s issue of Australian Vogue.“One of the central stories tracked his life from Kiama to the glittering lights of Hollywood. He was well known for being able to handle the biggest of divas - even one of my all-time favourite actresses, Bette Davis. He was her favourite costumier,” she said.“He fits into a wonderful performing arts pantheon of greats that we have here in Australia, and it's wonderful to see him being celebrated in his own hometown.”Joining Martin in paying tribute on the night were director Gillian Armstrong, producer Damien Parer, playwright Catherine Thomson, and costume designer Wendy Cork.The evening was a heartfelt celebration of Australian film, honouring the legends - past and present - who have shaped its identity on the world stage.

Folk By The Sea organisers have added a charity preview concert at Kiama Leagues Club auditorium on September 11 to launch this year’s festival.Folk By The Sea officially kicks off on Friday, September 12 at Kiama Showground Pavilion with a line-up including some of Australia’s leading Folk, Country, Celtic and Bluegrass artists.But music fans will be able to get a taste of what’s to come over the weekend at the Thursday night charity preview show featuring Bluegrass bands Charley Castles and The Boys in the Well, Kiama’s own The Water Runners, local folk duo Square Pegs and South Coast Indie-Folk artist Kane Calcite, as well as a performance from Kiama High School students to start the night at 7pm.Entry is by donation, with all proceeds going to Lifeline South Coast.Festival director Neil McCann said the preview show was a chance for people who hadn’t attended Folk By The Sea in previous years to come along to a free night of music and get an idea of what Folk By The Sea is all about.“We’re hoping this show will really ‘sell’ the festival to people who may not have been to a folk festival before,” he said. “They’ll see three of the festival’s main acts, as well as a performance from Kiama High School students, and hopefully they will want to come along to the main festival over the weekend.”The Folk By The Sea program has been finalised, with 40 acts and 100 concerts over the weekend. The main festival program gets underway at 5pm on Friday with the Kiama Sea Shanty Club performing on the Pavilion verandah, then at 6pm The Humbuckin’ Pickups take to the main stage in The Pavilion.Things really start to warm up after the official opening and Welcome to Country, with Victorian multi-Golden Guitar-winning Americana duo The Weeping Willows taking to the stage at 7.30pm.They will be followed by celebrated Indigenous performer Jessie Lloyd at 8.25pm and Solomon Islands singer Charles Maimarosia at 9.20pm. Charley Castles and her Boys In The Well will round out the night with some foot-stomping Bluegrass from 10.20pm.There will be two other venues operating with multiple performances at the Showground Pavilion throughout Friday night, while the nearby Kiama Uniting Church Hall will feature a Bush Dance at 8pm with the Southern Cross Bush Band.Kane Calcite.Saturday’s packed program kicks off at 9am, with headliner Darren Coggan sure to attract a big crowd at his only show at 9pm, which will wind up the day on the main stage.A multiple Golden Guitar winner from Tamworth’s Country Music Festival with a large catalogue of original songs, Coggan has also famously toured shows in which he performs the songs of some of the late 20th century’s most popular singer-songwriters, including John Lennon & Paul McCartney, Cat Stevens, James Taylor, Glen Campbell and John Denver.A popular Folk By The Sea tradition, Sirens of the Sea which features acoustic performances by many of the festival’s main female acts, will be held on Saturday afternoon at 2.45pm at the Anglican Hall. This year’s Sirens concert will feature Ally Row, Charley Castles, Chloe Roweth, Fly Little Sparrow, Jessie Lloyd, Karen Law, Oceanique and The Weeping Willows.Sunday’s program again gets underway early, featuring acts like The Weeping Willows (9.30am), The Water Runners (12.05pm) and Jessie Lloyd (1pm).The festival will wrap with another free concert on Sunday night at Kiama Bowling Club from 5.30pm featuring the Kiama Blowhole Buskers, Graeme “The Scotsman” McColgan, Marco and Rusty, Rhys Crimmin and Slippery John Sausage and The Swamper Domper Bayou Boys.The full program and ticket information is available on the festival website folkbythesea.com.au.FOLK BY THE SEA ARTISTS LIST: Alex Randles (ACT), Ally Row (VIC), Balkan Boogie, Charles Maimarosia (VIC), Charley Castles and the Boys In The Well, Chloe and Jason Roweth, Darren Coggan, Fly Little Sparrow (QLD/NSW), Grace Barr, Graeme ‘The Scotsman’ McColgan, Hand Over Hammer (VIC), Good Tunes, Humbuckin' Pickups, Jessie Lloyd’s Sing on Country, Kane Calcite, Karen Law (QLD), Kiama Blowhole Buskers, Kiama Pipe Band, Kiama Sea Shanty, Louzco Fouzco, Marco and Rusty, Noel Gardner and Alex Bridge (QLD), Oceanique (VIC), Oliver Roweth, Robyn Sykes, Rhys Crimmin (VIC), Russell Hannah, Sam Fletcher Trio, Scupriri, Slippery John Sausage and his Bayou Boys, Southern Cross Bush Band, Square Pegs, Stonybroke, The Butter Trackers, The Con Artists, The Lofty Mountain Band (SA), The Water Runners, The Weeping Willows (VIC), Whistle, Wood n' Hide.

At the conclusion of her speech during the unveiling of the NSW Blue Plaque commemorating Orry-Kelly, Australian director Gillian Armstrong turned to Kiama Mayor Cameron McDonald and said with a smile, “And Mr Mayor, Orry-Kelly Boulevard has a nice ring to it, doesn’t it?”The mood at The Sebel’s Assembly Room this morning was one of celebration and long-overdue recognition. Armstrong was joined by Sarah Kaine, Labor representative for Kiama, along with Kiama Historical Society President Sue Eggins, to unveil the plaque honouring one of Australia’s most accomplished yet often overlooked talents.The ceremony began with a Welcome to Country delivered by Councillor Stuart Larkins. Kaine then addressed the audience, offering insight into the NSW Government’s Blue Plaque program.“First of all, I don’t know what’s happening in Kiama, but this is the second Blue Plaque we’ve unveiled in two years,” Kaine said. “I think there’s something special going on here - Kiama punches above its weight. And of course, there’s a fabulous and very active historical society.”“The Blue Plaque program recognises people, events and stories of significance that have had an impact on New South Wales. That’s why we’ve already acknowledged Charmian Clift, and today, it’s only fitting we honour Orry-Kelly.”Kaine then welcomed Gillian Armstrong to speak. A film icon in her own right, Armstrong directed My Brilliant Career, Little Women, and the documentary on Orry-Kelly titled Women He’s Undressed.“When he died, Jack Warner of Warner Bros. read the eulogy at Forest Lawn Cemetery in Beverly Hills,” Armstrong recalled. “The funeral was attended by Hollywood stars like Cary Grant, Tony Curtis and George Cukor. In the U.S., his death mattered - covered by the LA Times, New York Times, Variety, and The Hollywood Reporter.”Orry-Kelly's Blue Plaque“But in Australia, when we went searching, we found just a couple of lines - one in one paper, one in another - under the headline, ‘Costume Designer Dies of Cancer.’ So why has it taken so long for his home country to recognise his talent and achievements? Perhaps it’s because we celebrate fast runners, golfers, tennis players... but not costume designers?”Armstrong closed her speech by referencing the final lines in Orry-Kelly’s memoir, where he imagines skipping a stone across the water all the way back to his hometown of Kiama.It feels especially poetic, then, that Kiama has finally honoured one of its own - with a Blue Plaque placed outside his former school, which could aptly be described as being “round as a stone.”For today only, an exhibition located just behind the new Blue Plaque in The Sebel Assembly Room showcases some of Orry-Kelly’s work and details about his life. Entry is $10 and it is magnificent!

It’s been 10 years since acclaimed Australian director Gillian Armstrong released Women He’s Undressed, the documentary about Kiama-born, three-time Oscar-winning costume designer Orry-Kelly. And she still admits it was shame that motivated her to make it.“I’ll admit it - I made the film out of shame,” Gillian said. “I’d never heard of Orry-Kelly. And when I Googled him and saw the films he’d worked on - Casablanca, Some Like It Hot, An American in Paris - I was stunned.“Here was a man who won three Academy Awards, and we didn’t even know he was one of ours. "We know the names of all our great cricketers, but not one of the most influential costume designers in film history? That felt wrong. So yes, I made the film because I was ashamed we’d let someone like Orry-Kelly be forgotten.”The idea for the film came from producer Damien Parer, the son of Australia’s first Oscar winner, also named Damien Parer. While researching other Australian Academy Award recipients, Orry-Kelly’s name surfaced - along with the fact that he held the record for the most Oscars won by an Australian at the time.“Damien had never heard of him either,” Gillian recalled. “So he started digging, and soon thought, ‘This would make a great documentary.’ He approached me because I’d just made a film about Florence Broadhurst, the wallpaper designer, and thought I might be interested.”Since the film’s release, Orry-Kelly’s profile has risen sharply. On Saturday (26 July), Kiama Icons and Artists will host the Orry-Kelly: Dressing Hollywood Gala, as well as an exhibition of his work. That same day, the NSW Government will unveil a Blue Plaque in his honour - milestones the documentary helped make possible.“After the film came out, ACMI in Melbourne staged a major exhibition of his costumes - original pieces sourced from collectors around the world,” Armstrong added. “And the memoir we kept hearing about but couldn’t find? It finally got published.”In fact, the discovery of Orry-Kelly’s long-lost memoir is one of the most remarkable stories behind the film.A promotional poster for Women He's Undressed. Photo: Damien Parer“I happened to be at a small indie film event in Newcastle and agreed to do a quick interview on local radio,” Armstrong explained.“The next day, my agent got a call from a woman who said she’d heard me mention Orry, and that her friend - Orry’s great-niece - had his memoir.“It had been sitting in a laundry cupboard, in a bag. Her mother had given it to her with the words, ‘Whatever you do, don’t lose this.’ She had no idea how significant it was.”A still from Women He's Undressed. Photo: Damien Parer ProductionsThe memoir, Women I’ve Undressed, became the basis for much of the film - offering Orry’s own voice in a story where few people who knew him personally were still alive. It also confirmed something else for Gillian: only an Australian could tell this story properly.“He had this wicked sense of humour - and I don’t think Americans always got it,” she said. “People said he was difficult or dramatic, but half the time, I think, they just just weren’t in on the joke.”She also related to his creative battles with studio executives - something she experienced firsthand.“He’d design a beautiful costume that an actor like Bette Davis loved, and then Jack Warner would say, ‘No, no, we want something plainer,’” she said.“I laughed because I’ve had those same arguments. I once got a note from a studio exec about Diane Keaton’s earrings. Just the earrings! And I thought, yep - I know exactly how Orry felt.”Despite often being remembered for glamour and glitz, Gillian insists that Orry-Kelly was a character-first designer.“He wasn’t designing for vanity. He was designing for the character. He had an amazing understanding of how clothes tell a story,” she said.“Think about Casablanca. That trenchcoat on Humphrey Bogart - it became iconic. At the time, it was just a raincoat. Orry saw what it could be, and people are still wearing them today.“He also had a real understanding of the human body. He knew how to make actors look taller, slimmer, more powerful - whatever the role demanded.”A still of Darren Gilshenan who plays Orry-Kelly in Women He's Undressed. Photo: Damien Parer ProductionsWomen He’s Undressed blends traditional documentary with stylised drama to bring Orry’s life to screen in an unforgettable way. Armstrong believes it resonated because it felt personal - both to audiences and to herself.“I didn’t make the film to win awards,” she says. “I made it because it felt wrong that he’d been forgotten - especially by his own country. And I really believe we don’t celebrate our own enough in Australia. We’re humble by nature, but we need to be proud, too.”If you’d like to learn more about Orry-Kelly, the exhibition opens on 26 July at 11am at the Sebel Assembly Room, showcasing original costumes and designs. The Gala later that night has sold out - but the legacy of Australia’s greatest costume designer is now impossible to miss.

Chris Pitman’s solo show Shore Break - a powerful monologue about a lone surfer staring out at the ocean and reflecting on his life - was, perhaps unsurprisingly, written during the COVID lockdowns.After 30 years of acting, Chris had often scribbled down ideas and fragments but had never completed a full piece. That changed during lockdown. “I wrote it during COVID when obviously there wasn't a lot going on,” he said. “I had this idea about a guy living in the desert, trying to re-enter the world - and how difficult that might be if all those bridges had been broken.What started as a deeply personal writing project unexpectedly evolved into something much bigger. A small company in Adelaide picked up Shore Break, leading to several local seasons before it premiered at the Festival Centre in Adelaide as part of the State Theatre Company’s umbrella season.Now, Shore Break comes to the Shoalhaven Entertainment Centre for one night only - August 5 at 8pm.“I was just writing a story I’d been living with for a while, something I could see clearly in my head,” Chris said. Chris Pitman looking out at the ocean in Shore Break. Photos supplied.“I honestly didn’t know what to expect. But somehow it struck a chord - people saw their own lives, or their friends’ and family’s lives, reflected in it. It became more universal than I’d imagined.”At its heart, the show explores themes of toxic masculinity and emotional isolation - particularly in Australian men. Chris draws from his own observations, especially of men who retreat from connection because they lack the emotional tools to sustain it.“My theory is that some men go out on their own because they don’t have the tools for connection,” he explained. “Generations of Australian men - not all, but many - have grown up with emotional illiteracy. Without a language for feelings and emotions, it’s hard to sustain relationships. And I think that’s why many find themselves on the outer.”For Chris, the inspiration for Shore Break is rooted in both personal experience and decades of quiet observation. “I guess being a surfer myself and then growing up in South Australia, surfing was always like a mission - driving four or five or three or even eight hours sometimes to get to a break. And often these places were isolated,” he said.Shore Break will play one night at the Shoalhaven Entertainment Centre - August 5 at 8pm. Photos supplied.“Ever since my twenties and even earlier, I’ve come across these men living in far-flung campgrounds. I’ve always wondered how they got there and why they were there - whether they could ever live in the world again. “They didn’t seem to be reading books or doing much - just stuck with their eyes fixed on the ocean, clearly dealing with a whole bunch of damage in their lives. Over the years, I kept wondering about them. Eventually I found the space to go, this is a story I want to tell.”All the while, the show's central character waits alone for the perfect wave - a metaphor that acts as a foil to his inner struggles. “Well, the ocean can’t help but make you softer, can it?” Chris said. “It calms you, takes the hard edges off. It’s almost a natural meditation. When you’re out there waiting for a wave, your focus is on the water - but you're also in a softer place. That’s how this guy begins to see himself more clearly. To forgive himself.”While Shore Break is poetic in nature, it’s also grounded in everyday Australian language. Chris deliberately blended lyrical writing with Aussie vernacular to make the show feel accessible - not just to seasoned theatre-goers, but also to those who might not typically set foot in a theatre.For Shoalhaven audiences, especially those who live by the sea, Shore Break promises a poignant and relatable night of theatre.Catch it at the Shoalhaven Entertainment Centre on Monday, August 5 at 8pm, you can buy tickets here: https://www.shoalhavenentertainment.com.au/Home.

We’re two months out from the 12th annual Kiama Folk by the Sea Festival - and with over 35 bands and artists already confirmed, this year’s event is shaping up to be one of the biggest on the Kiama calendar.Running from 12-14 September across 10 local venues, Festival director Neil McCann says he’s excited for what 2025 has in store.“Folk festivals are a significant part of the Australian music landscape now - they’re happening all over the country,” McCann said.“Kiama’s festival has been going for over a decade and it gives a great platform to musicians who aren’t necessarily mainstream - artists playing folk music in all its forms, from bluegrass and country to acoustic and beyond.”This year’s program includes award-winning acts like Darren Coggan, recipient of multiple Golden Guitars and Independent Country Music Awards, The Weeping Willows, currently touring Europe and the UK, and The Water Runners, who have played at festivals across the country.“Another standout is Charley Castle and the Boys in the Well - a young band that recently won the Tamworth Busking Competition,” McCann said.The Water Runners (from left) James Turk, John Littrich, Danita Harris and Neil McCann. Photo supplied.“That’s no small feat. Tamworth draws in everyone trying to make it in country music. They won purely on the strength of their musicianship and performance. They’re seriously impressive.”McCann, a longtime attendee of folk festivals nationwide, says the real magic lies in the atmosphere.“People are just there to enjoy the music - there's rarely any angst. Folk festivals have this beautiful community vibe. They’re almost always volunteer-run, not-for-profit events,” he said.“We’ve got between 35 and 40 acts this year, offering a huge variety. Folk festival crowds want to hear a bit of everything - and that’s exactly what we aim to deliver.”A key element of most folk festivals is the camping culture - artists and audiences mingling on-site. But in Kiama, that’s been a logistical hurdle.“Camping is a huge part of the experience. A lot of our audience are older folk who don’t want to fork out for motels - many have caravans and follow the folk festival trail,” said McCann.“Unfortunately, we don’t have access to enough campgrounds. That’s been one of our biggest challenges, and it’s definitely impacted attendance. “We’re doing everything we can to keep ticket prices low so it’s still affordable for people.”One way to save? Grab an early bird ticket - on sale now until 31 July before prices go up.Head to folkbythesea.com.au/tickets to secure your spot at the 2025 Folk by the Sea Festival in Kiama.

Chick Butcher doesn’t particularly enjoy talking about his art. As co-owner of Kiama’s SEVENMARKS Gallery with his wife Cobi, and good friends Nina and Cesar, he’s had to become more comfortable speaking about his work - but even now, he admits he’d still prefer to let the pieces speak for themselves. His upcoming solo exhibition, Where Thoughts Settle, opens on Saturday (12 July) as a highlight of the Kiama Winter Festival, and you’ll likely find him quietly hiding out somewhere away from the crowd. It’s not shyness so much as a firm belief: the material is the language. For Chick, if words could carry what he wanted to express, he wouldn’t be in the studio at all. “Why would I make the work if I could express it in words? I’d be writing poetry or theses on art. But my language is my material,” he says. That material is constantly shifting, though Chick’s thematic compass has remained steady for over 20 years: mortality, memory, deterioration. His practice evolves, but the undercurrent remains the same. “You could throw a blanket over my themes for the last two decades. The work changes, but the ideas are always there.” In Where Thoughts Settle, Chick reintroduces timber to his work - an early love from his time at the Sturt School for Wood - blending it with his now-signature use of glass and steel.  The timber in these new works is burned, marked, and handled piece by piece, hinting at decay, memory, and repetition. This new work is also inspired by Australian artists like, in particular Sidney Nolan ‘Drought Series’ and Rosalie Gascoigne sculptural assemblages.The opening night of Where Thoughts Settle will be a highlight of the Kiama Winter Festival. “The work I used to make could have come from anywhere in the world. But this work feels rooted in this place. It carries my understanding of here.” Among the centrepieces of the show are slabs of dense black kiln-formed glass, some weighing over 45 kilograms and taking more than two months to complete.  Chick uses glass not for its shine or clarity, but for its depth - black glass, so dark it almost absorbs light. “You don’t get that depth of black in painting. Not many materials can hold that. Glass carries something else and the polishing - it’s cerebral, physical,” he explains.One major wall piece features dozens of blackened timber pillars, each one slightly different, disrupted by fragments of that polished black glass.  The work seems to chart a lifetime: days marked by repetition, punctuated by flashing moments of clarity or reflection or perfection. That may be this writer’s reading - but that’s the point. “I don’t like to explain the work too much. I want people to see what they need to see,” says Chick. “The people who spend time with it usually get something. And that’s enough.” Where Thoughts Settle runs from 12 July to 23 August 2025 at SEVENMARKS Gallery in Kiama. Drop in on opening night and if you do happen to catch him, maybe talk to him about the process - not the meaning.

The inaugural Orry-Kelly Dressing Hollywood Gala will take over Kiama on 26 July with a night of celebration, drinks, food - as well as a one-of-a-kind exhibition honouring one of Kiama’s most iconic exports.Organised by Kiama Icons and Artists, the event celebrates Orry-Kelly, the legendary Hollywood costume designer who was born and raised in Kiama and went on to dress some of the biggest stars of the golden age of cinema.Curator of the exhibition part of the day, Michelle Springett said the goal is to highlight both his extraordinary life and his artistic achievements.“We wanted to host both a celebration and a museum-style exhibition to show off Orry's amazing work,” she said. “His legacy deserves to be seen and remembered.”The exhibition will showcase original Hollywood costumes, replicas of Orry-Kelly’s three Academy Awards, rare sketches, and a selection of his original paintings. While the collection features multiple standout pieces, Springett says a few in particular are sure to draw attention.Orry-Kelly's Les Girls design. Photo supplied.“We’ve secured some incredible costumes, including a beautiful gown worn by Olivia de Havilland, which will really be our centrepiece."There’s also a leotard from Les Girls and a jacket worn by Errol Flynn. They’re just stunning.”Springett said the exhibition aims to tell the full story of Orry’s life through his work, with plenty of background on his career, artistry and the man himself.“The costumes are just stunning - even his costume sketches are beautiful works of art in their own right. The exhibition will share details about Orry the artist, the designer, and the man."His life had a bit of scandal and intrigue too, especially around the relationships he had, so it’s a fascinating story,” she said.Though Orry was best known for designing for more than 300 films, he also had a strong passion for painting. Sue Eggins, President of the Kiama Historical Society and member of Kiama Icons and Artists, said he began giving paintings as gifts as a young man in Kiama.“Orry’s father was a tailor and made wedding suits for local couples. Orry would often give the newlyweds a painting. He must’ve done quite a few because many older families in Kiama still have original Orry-Kelly artworks. We’ll have one in the exhibition that dates back to 1915.”That painting practice followed him overseas and even played a role in his survival when he was unemployed.“When Orry and Cary Grant - then known as Archie Leach - were living in New York, Orry would paint murals in cafés and he and Archie would sell hand-painted white ties and shawls,” Eggins said.“Orry would paint when he was short on cash. Even in Hollywood, many of his friends owned his artwork. At one stage, he opened a studio in Sydney just to save up enough money to get back to America.”A ticket to the gala includes admission to the exhibition, but for those who only wish to attend the exhibition, it will be open to the public from 11am to 4pm on Saturday, July 26, at The Sebel Kiama Assembly Hall.Tickets are $10 and children under 15 are free. You can purchase tickets at the door or online here: https://www.trybooking.com/events/landing/1430156“Orry was born in Kiama at the end of the 19th century and made it all the way to Hollywood in its golden age,” said Springett.“He was a gay man who didn’t let anything stop him, and he left a huge mark on film history. Somehow, he’s been forgotten in his own home town."This is our chance to change that. Come celebrate a part of our town’s story.”

Shoalhaven Entertainment Centre will present Rodgers and Hammerstein’s Cinderella with a dash of humour and an entirely new storyline, audiences can expect Cinderella like they’ve never seen before.Brought to life by the Albatross Musical Theatre Company - celebrating its 50th year - this enchanting production promises something for all ages. Vocal Musical Director Merrin Ross, who has been with the company for over 30 years, says it’s a show not to be missed during its run from 4-13 July.“I was a child of the 50s, so I would have seen Cinderella as the very early movie,” Ross said. “But this version is quite different. It has some fun twists, and it’s done with a lot of humour, which wasn’t really present in the original.”This modern retelling includes a new romantic subplot between a stepsister and a revolutionary character named Jean-Michel. The storyline has also been updated to reflect contemporary values, with subtle political themes woven into the fairytale.“In this story, the peasants have a voice,” Ross explained. “The Prince actually listens to what the people are saying and introduces something as simple - but powerful - as an election. It’s a break from the traditional idea of hereditary rule.”Photo: Dennis RossVisually, the show is a feast for the eyes, blending elaborate costumes with vibrant staging.“The richness of colours and the intricacy of the costuming reflect what modern audiences want - something visually stunning. It’s a far cry from earlier, simpler versions,” Ross said.Despite its modern upgrades, Ross said the essence of the story remained timeless.“It touches on innocence, humility, and what true love really is. It’s not about wealth or status - it’s about character, and that has universal appeal.”As Vocal Musical Director, Ross has been focused on delivering a top-tier musical performance, ensuring that the singing is not just technically strong, but emotionally connected to each character.“It’s not just about singing the notes. I look at the character and make sure the voice matches the story they’re telling,” she said.Photo: Dennis Ross“And this show is very choral. There are lots of harmonies - four- or five-part harmonies in the ensemble numbers. It’s been a big task.”The production also features pit singers to strengthen vocal performances and a live orchestra, offering audiences a truly immersive experience.“It’s a full production - with talent from Wollongong to Ulladulla. This isn’t just a Nowra show. I think people will be blown away by what they see on stage.”Rodgers and Hammerstein’s Cinderella runs 4–13 July at Shoalhaven Entertainment Centre. Book your tickets at shoalhavenentertainment.com.au.

For the first time in his 20-year career, furniture and object designer Trent Jansen can see all the threads of his work coming together in one exhibition.The University of NSW lecturer is showcasing ‘Two Decades of Design Anthropology’ at Collingwood gallery Useful Objects, reflecting on a journey that began in his hometown, Kiama.“It's nice to, for the first time, see all of those works from so many years and so many projects in one space and to be able to kind of connect the dots,” said Trent.“To better understand my practice, to better understand the consistent elements, the things that are kind of coming up again and again, or maybe the things that have died away”.Trent Jansen: Two Decades of Design Anthropology exhibition at Useful Objects. Photo: Tobias Titz. Courtesy of Useful Objects, Melbourne.Some of these dots trace back to Kiama High School, where pivotal experiences helped shape the trajectory that would make him one of Australia’s most innovative designers. It was here, in John Shoebridge and Cathy Russell’s Aboriginal studies class, that Trent encountered the Indigenous stories that would become central to his practice.“I got a really strong foundation in Indigenous history and politics from that course,” he said.“That was the starting point for me to come to know more about that history and politics, but also to stoke a bit of a fire of interest in those subjects, those cultures, those ways of living and ways of being”.Now based in Thirroul, Trent has built an international reputation in design; creating objects that embody cultural narratives and stories, with his work being an intersection of art, design and storytelling.Central to his practice are multi-year collaborations with First Nations artists including Johnny Nargoodah, Vicki West, Errol Evans, and Tanya Singer. Trent highlights that these collaborations can take two to four years to develop, often spending time in each other's communities and with families.“These become important personal relationships too, so the integrity of the approach is crucial,” said Trent.“My intention is always to sort of generate this true kind of cultural exchange, so that there's a sharing of everything."One piece in the Melbourne exhibition that is particularly notable is the Briggs Family Tea Service, created in collaboration with Vicky West. The porcelain and copper tea set, covered in native materials such as wallaby pelt, now sits in the National Gallery of Victoria’s collection.“That one has a really kind of special place for me,” Trent said. “It was a real kind of shift into working with First Nations narratives and working collaboratively with First Nations artists”.Trent Jansen , Briggs Family Tea Service, from the Broached Colonial collection, 2011. Photo: Scottie Cameron. Courtesy of Useful Objects, Melbourne.For local audiences who missed the Melbourne exhibition, there is good news, Trent is finalising agreements to bring the exhibition to Studio ALM in Potts Point, Sydney this August.The Melbourne exhibition was special for Trent as it was the first opening his daughter had ever attended.“She has this real interest in design now, and she was really excited to go”.Having been celebrated as part of Melbourne Design Week 2025, Trent’s work continues to cement his design reputation both nationally and internationally.

Aboriginal and Torres Strait Islander songkeeper Jessie Lloyd is bringing her Sing On Country show to Kiama’s Folk By The Sea festival in September, hoping to create a “pub-choir vibe” for audiences to embrace the chance to learn songs that tell Aboriginal stories in Aboriginal languages.Lloyd, who describes herself as a “hunter and gatherer” of her peoples’ stories and songs, developed the Sing On Country concept after being left disheartened by the failure of the 2023 referendum to enshrine an Indigenous Voice to Parliament in the Australian Constitution.“I took the ‘NO’ vote (in the referendum) personally,” Lloyd admits. “I made the commitment to stop singing in English as my own protest at the result."Then I was convinced by music teachers to teach songs suitable for Australian classrooms because they were struggling to include Indigenous content.”“Music is a powerful way to connect people and find commonality.” she says.Sing On Country is a collection of songs Lloyd has either written herself or collaborated on from around the country that seek to share First Nations culture and stories.Jessie describes one of her songs as a “modern songline of Australia”.“These songs are safe, not over-complicated, and a beautiful way to approach difficult subjects,” Lloyd says.Topics range from explanations of the colours of the Aboriginal flag and Acknowledgements of Country to the title song that takes its audience on a musical journey around Australia singing the Indigenous names of the places where Australia’s state capitals are located, in the original languages of the people of those places.Sing On Country also includes a song with deep family connections, from Lloyd’s Mission Songs Project from 2017, which revived the folksongs of Aboriginal Australians forcibly removed from their land onto state-run reserves and Christian missions in the early 20th century.That project was inspired by Lloyd’s paternal grandmother, Alma Geia, who had been taken as an eight-year-old from her family in Cooktown and sent to live in a children’s dormitory on Palm Island, the notorious mission settlement off the North Queensland coast.Lloyd used her grandmother’s composition Down In The Kitchen, about the mission children surviving on rations of damper and tea, in the Mission Songs Project and in Sing On Country. Having originally developed her Aboriginal and Torres Strait Islander songbook for schools, her Sing On Country is a live show of the songbook. Lloyd is currently road-testing the songs as a show for audiences of all ages.“It is a good chance for people to learn basic facts and words from Aboriginal languages from around Australia."I am looking forward to bringing the show to Kiama – hoping we can create a pub-choir kind of vibe at the festival, with people singing and dancing along and learning new words from our Indigenous languages,” she says.You can hear all the Sing On Country songs on her website at www.jessiesclassroom.com.Lloyd is part of a line-up of 40 acts from around Australia at Folk By The Sea, organised by the Illawarra Folk Club.Other acts include multi-Golden Guitar winner Darren Coggan, Americana/bluegrass duo The Weeping Willows, Indi-folk band Hand Over Hammer and Triple j Unearthed-winning folk rock/alt country duo Ally Row from Victoria, folk-country actthe Sam Fletcher Trio from NSW and Kiama’s own The Water Runners.Early Bird ticket and volunteering information is available on the festival website folkbythesea.com.au.Folk By The Sea artists listAlex Randles (ACT), Ally Row (VIC), Balkan Boogie, Charles Maimarosia (VIC), Chloe and Jason Roweth, Darren Coggan, Fly Little Sparrow (QLD/NSW), Grace Barr, Graeme The Scotsman McColgan, Hand Over Hammer (VIC), Good Tunes, Humbuckin; Pickups, Jessie Lloyd’s Sing on Country, Kane Calcite, Karen Law (QLD), Kiama Blowhole Buskers, Kiama Pipe Band, Kiama Sea Shanty, Louzco Fouzco, Marco and Rusty, Noel Gardner and Alex Bridge (QLD), Oceanique (VIC), Oliver Roweth, Robyn Sykes, Rhys Crimmin (VIC), Russell Hannah, Sam Fletcher Trio, Scupriri, Slippery John Sausage and his Bayou Boys, Southern Cross Band, Square Pegs, Stonybroke, The Butter Trackers, The Con Artists, The LoftyMountain Band (SA), The Water Runners, The Weeping Willows (VIC), Whistle, Wood n' Hide.

Kiama artist Helen Pain paints with a sense of rhythm - as though the music within her spills out onto the canvas.Her artworks are filled with fluidity and movement, a natural extension of her musical background.Before picking up a paintbrush, Helen had an extensive career as a professional singer in musical theatre and opera, followed by a series of influential roles in regional and state music education - including Choral Director and later Associate Director of the Schools Spectacular.After retiring, she needed a new outlet for the creative energy that had always defined her. That’s when painting entered her life.“My dad was an artist, and my mum was a china decorator,” Helen said.“So I grew up with a lot of art around me, but I was so busy performing and enjoying music that I didn’t really explore art until I retired.”Over time, Helen began to realise just how deeply music had shaped her approach to art.“I never paint anything that doesn’t have movement or flow,” she said.“I don’t listen to music while I paint, but I find myself painting musically anyway - thinking about rhythm and timing, repetition and contrast. There’s always that sense of motion.”Some of Helen's works. Photos supplied.Now, Helen is preparing to launch her new solo exhibition Light Up My World, on display at Kiama’s Old Fire Station gallery from Friday 27 June to Wednesday 2 July.The opening event on Friday promises to be extra special, with a live performance from the Bonaira Ukulele Group at 3pm - a group Helen herself plays with.“We’ve been playing together for a couple of years now - there are 14 of us - and we have such a great time,” she said. “We’ve done a few performances, mostly in retirement villages, and I thought, what better way to open my exhibition than to bring together my two great passions: music and art.”Helen is also a former president of the Kiama Arts Society, a role she held for seven years. She credits the group with helping her grow as a painter.“It’s a fantastic community for ideas, encouragement, and friendship,” she said. “Some of the most valuable lessons came from informal interactions with other members.”Though she often paints landscapes, Helen’s works are far from literal. She approaches scenes with an impressionistic eye - and a unique creative process.“I don’t like to paint places I haven’t been,” she said. “I take lots of photos when I’m out, then I put the photos away and ask myself: what do I actually remember about that place?"What drew me to it? What was the feeling? Then I try to paint that - the memory, not the photo.”Now, she’s excited to share her latest work with the local community - in a space she holds dear.“It’s just lovely to hear people’s reactions, to connect, and to be part of such a vibrant local arts scene. Kiama has so many incredible artists - it’s amazing how it’s growing."We’re really lucky to have a public space like the Fire Station for exhibitions that’s right in the heart of town.”Make sure to stop by the Old Fire Station from 3pm on Friday to enjoy Helen Pain’s colourful blend of visual art and live music - a celebration of a life lived in creativity.

Kiama was recently featured in an episode of the SBS series Who Do You Think You Are?, which explored the ancestry of Alone Australia winner Gina Chick.The episode revealed that Chick is the granddaughter of renowned Kiama-born literary icon Charmian Clift, and the great-granddaughter of Clift’s father, who worked at Bombo Quarry as an engineer.The episode shows Chick, known for her deep connection with First Nations culture, finding the discovery confronting. “That was one of the most devastating moments for me in the whole journey,” Chick told SBS during the episode, reflecting on her visit to Bombo Quarry. “The moment where I saw the quarry where my great-grandfather had been working as an engineer, designing the systems that would take stone away from Wadi Wadi land.“There were people living there, and my great-grandfather was directly responsible, along with hundreds of others, for the removal of that stone. "When I got to that quarry, it was like a sledgehammer hit me - when I saw and viscerally understood that there were people living here,” she said.Kiama Historical Society President Sue Eggins was consulted regarding the episode. She said she enjoyed it, though she noted that several filmed scenes didn’t make the final cut.“Not that much of Kiama was shown, except Bombo Quarry,” Eggins explained. “There was filming at the Pilot’s Cottage Museum, but it didn’t make it into the episode. “Nadia Wheatley, who is Charmian Clift’s official biographer, was filmed there and also at Bellevue Guest House.”Eggins hopes the episode, now available to stream on SBS On Demand, inspires viewers to explore their own roots and visit Kiama’s local heritage sites.“I hope the show encourages people to take an interest in local history and visit the Pilot’s Cottage, which currently features an exhibition on Charmian Clift,” she said.“The Kiama Family History Centre, located beneath the library, is an excellent place to begin researching your family history. We’re incredibly fortunate to have this facility - it’s the only one of its kind outside of Sydney, established by the State Government.”The Pilot’s Cottage is a community-run museum managed by the Kiama Historical Society. Eggins emphasised the importance of community involvement in preserving and sharing local stories.“I think community involvement is essential in telling our history through stories. The Pilot’s Cottage has been run by volunteers since 1988.”The Pilot’s Cottage is open Saturdays from 11am to 3pm. Visitors are encouraged to stop in and explore the current Charmian Clift exhibition.

Berry was transformed into a living artwork over the weekend as the 2025 OpenField Arts Festival brought the town to life with a vibrant mix of art, music, parades, parties, and community spirit.Now in its second edition, following its debut in 2023, the festival featured 24 artist projects, including installations, sculptures, video works, performance art, workshops, and events held across a variety of local venues.The idea for the festival was born during the COVID pandemic, according to founding member and Artistic Director Lenka Kripac.“It was COVID and I'm actually a musician but at that time I couldn't tour or anything so I was a bit restless creatively,” said Kripac.“But it was also about looking around our town in Berry and seeing that there were lots of artists, lots of creatively engaged people, but no arts infrastructure. We don't have a gallery, we don't have a music venue, we don't have a cinema.“And we thought, you know what? We need to have something in this town where creatives can meet and collaborate and show one another their work and celebrate. So we chose a festival model, partly because we have such fabulous buildings and spaces in Berry that are available to hire.”Photos from the First Nations exhibition. Photo: SuppliedIn addition to the exhibitions and art installations, the festival featured lively evening events such as a cabaret night and a DJ-led discotheque.“Then we had parties at night, like a cabaret night and a DJ night and everything was great. It was really well attended,” said Kripac.“There was a really warm vibe, people were really friendly and there was a feeling of connection and authenticity on the streets. We don’t have the exact number of people who attended yet, but I’d say it was in the thousands.”One of the standout features of the 2025 festival was the inclusion and celebration of First Nations artists, including what Kripac believes may have been a world first.“There was a First Nations hub in the rural youth hall which was amazing. They turned it into a skill sharing, yarning space and there were workshops going all the time, as well as some very talented up and coming First Nations artists showing and selling works,” said Kripac.“And then there was also a panel and a beautiful performance by a violinist from Sydney called Eric Avery, who performs his ancestral songs, but with a classical violin style. We even had Gadhungal Marring performing didge and dance and song at our burlesque cabaret night, which was possibly a world first.Photos from the burlesque cabaret night. Photo: Supplied.“Definitely nothing I've ever seen before to have that combo of local First Nations plus classic French burlesque.”Another festival highlight was the colourful street parade, which saw the main street of Berry shut down as costumed participants and musicians marched with signs and energy.“We shut down the main street of Berry and made a lot of noise with a brass band from Wollongong called the Femme Fatales. People labelled it soft activism. Everyone has the intention of trying to get word out about issues of the day, but it didn't feel like a protest. It felt like a celebration of our artistry and creativity and passion,” said Kripac.Photos from the street parade. Photos supplied.Kripac is optimistic that the festival will return in 2026, especially after this year’s success.“It will be back again, but it's going to be a constantly evolving umbrella brand. We know that this works, but it is really challenging to put on as a non-profit volunteer-run arts organisation,” said Kripac.“We may need to evolve it into something slightly different in the future. But so far for the first two festivals, this has worked, but really because of the blood, sweat and tears of the entire town making it happen. I don't know if that's sustainable forever, but there's so much joy and energy behind it.”

Sneaky Sound System headlined a sold-out Fine Wine Festival at The Pavilion in Kiama for the second year running on Saturday, cementing the event’s status as one of the South Coast’s rising cultural highlights.The second annual Fine Wine Festival was a blend of the best local wineries with live music and quality food - and both events were sold out.“It was fantastic. We brought back Sneaky Sound System because so many people asked for them after last year’s sell-out,” said festival co-founder Joseph Felice.“They’re an incredible live act. Connie’s vocals are as strong as ever - maybe even better than ever. The energy in the room was unbelievable.”The event’s popularity has already pushed the limits of The Pavilion’s capacity. Felice confirmed the team is planning an expansion for 2026.“This year’s support was even stronger than last year. Around 30% of ticket holders were return attendees, which is really exciting,” Felice said.“We had strong representation from Kiama, Gerringong, Gerroa, and Shellharbour, plus visitors from interstate - South Australia, Victoria, Queensland, and Tasmania. It’s clearly becoming a destination event.”The team originally hoped to expand last weekend’s event to the Kiama Showground, aiming for a 5000-person capacity. But the timing - mid-winter and peak rugby season - meant the plan had to be shelved.“We had high-profile artists lined up,” said Felice. “But the Council and local rugby club were understandably cautious about the grounds being damaged. We get it - it’s not the right time of year for that venue.”The Festival is gearing up for its biggest year yet in 2026, with new venues under consideration and Council providing assistance behind the scenes.“We’ve already pencilled in some alternative venues for next year,” Felice said. “Council has been supportive, which is great. They recognise how much local and regional support we have, and they know this event is here to stay.”With its growing fan base, strong community backing, and plans to expand, the 2026 Fine Wine Festival promises to be one of the biggest local events on the calendar.