July 23, 2024 • 33 mins
Have you every wondered how the Barossa Sculpture Park came to be? Where the stone or sculptors came from? Who instigated and led the project? In this episode, Rebecca Reynolds sits down with Gerlinde Trappe in her home in Tanunda to discuss her journey and contributions to the Barossa's arts and sculpture community. Gerlinde shares her fascinating story of moving from Germany to Australia with her sculptor husband in the 1960s, their struggles, triumphs the creative life they built in the Barossa.
Discover the origins of the Barossa Sculpture Park, the challenges of sourcing local stone, and the community's support that made it all possible.
Join us as we delve into the rich tapestry of the Barossa's artistic heritage and Gerlinde's enduring legacy in shaping it.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
(00:00):
Welcome to the Barossa Podcast, a 100 Barossa Artist Project,
created by Kirsty Kingsley, Renee de Saxe and myself, Rebecca Reynolds.
We would like to begin by acknowledging the traditional owners of our region,
the Ndjuri, Perimank and Kaurna peoples, and pay our respects to their elders past and present.
They are the custodians of many millennia of stories.
(00:21):
You can't know a place until you know its stories, all of them,
the good, the sad, the awkward and the hilarious ones.
The ones told by people from all walks of life who feel a connection to this
place that we call today Barossa.
The Barossa is a region with a creative story to tell.
100 Barossa Artists was initiated in 2020 to shine a light on arts and creativity
(00:43):
to make visible the breadth of our creative community.
So many exciting things have happened since then. There are new galleries,
new artist studios, emerging artists and events.
This This project has been made possible by the generous support of Country
Arts SA, Foundation Barossa and the Peter Lehman Arts and Education Trust.
Hello, Galinda, and hello, everyone at home, and welcome to Season 3,
(01:08):
Episode 3 of the Barossa Podcast.
I'm sitting here today on Nga Djeri land with Galinda Trapp in her beautiful home in Tanunda,
and we're talking today about some of her many and varied works and involvement
in the community in arts and sculpture and establishing galleries and all sorts
(01:30):
of things. Welcome, Galinda. Thank you, Rebecca.
So, Galinda, tell me a little bit about how you ended up being here in the Barossa.
Were you born in the Barossa? No.
This is a very funny story because my husband was a sculptor.
And in the end 50s, anybody was in minimalism, which he hated because he sculpted carving stone.
(02:00):
Yes. And so he was sort of in between the sticks and feathers.
Others didn't really like him and he didn't like them. So he felt lost.
And he said, let's get out of Ontario. There were lots of things politically
in Germany which were very pleasant.
So he said, let's get out and travel the world and see what's going on later.
(02:24):
And so we ended up in Adelaide.
Paul's mother had a friend here, and he said, oh, it doesn't matter where you
start the world, come down here.
It was all right. So where did you come from in Germany?
I was born in Germany. You were born in Germany. What part of Germany were you
born in? I was born in Bavaria. Yes. But my family are precious.
(02:45):
They come from Sallis. They're like the boss of people. Yes.
That's where there's a very funny connection.
Yeah. And Paul's family comes from the middle of Germany, so near Hanover.
Yes. And we met in Düsseldorf when he was in art school there.
And so finally we left.
(03:07):
In the meantime, we had married and got a baby, and that was a bit more complicated
than we first thought, but it worked.
And then because this friend lived in Adelaide, we got to Adelaide and Paul
got a commission on the Benedict Fisher building to carve all these sort of
little embellishments on it.
(03:29):
It's a quick fake facade.
Yes. And sandstone.
Is that King William Street? No, it's in Curry Street. Curry Street.
And midway through the construction, there was this credit squeeze.
They ran out of money and couldn't continue.
And because arts is always the last one to get paid, we were stuck.
(03:54):
We had delivered the food and didn't get paid for it. Oh, no.
Oh, no. I don't know. I go and find a job.
And then it happened that the neighbor where we lived said, you've got to go to the Barossa.
It's such a beautiful place with all the palm trees along the Zepersfield Road.
(04:17):
And it's marvelous. And we said, all right, we'll take a Sunday drive up there.
And then we got to New York. Yes. The footpaths were all paved in marble gravel.
Yes. We said, they're marble chips. marble is a very precious stone from a European
point of view. If they can,
gather their footpaths with it, there must be quarries around here.
(04:40):
Yes. So we went to look for the quarries, and of course we found them quickly.
Yes. And then Paul said, well, this is the place we've got to live.
Yes. And he found a job, and he moved.
So what kind of year was that then? That was 1960. 1960.
Yeah. And it was quite surprising to me that the old people would talk to me.
(05:03):
They said, oh, you're from Germany, and blah, blah, blah. And they all talked
in the same intonation as my grandmother.
And my still growing old people talk like this.
Yes. Until I've heard that all the Barozov people, most of the Barozov people had come from Silesia.
(05:23):
Which is that where your grandmother was from? That's where my family comes
from. And so my grandmother answered all this old generation.
They were talking the similar way. Right, yes.
And so then we did a bit more research on the family, on the history here,
and then realized how much German descent this whole place is. Yes, yes.
(05:47):
So 1960, and were those older people, were they talking to you in German? Yes. Right.
There were quite a few still around then. Yes. Ah, how interesting. thing.
I know my grandparents actually were born sort of turn of the century and they
all spoke German at home when they were kids.
And I think my grandfather, he went to school up in Niels Vla actually and they
(06:12):
started school in German and then the war came and I think he finished school,
but they closed them or whatever.
But they would still speak German and I didn't realise that they had an accented
English because I'd always heard them speak.
That's just how I thought what they spoke and it was only just in recent years
where I listened to a recording of them that I could like really hear the… The accent.
(06:34):
Yeah, yeah, yeah. It was quite interesting. Yeah, and it's interesting this accent because it goes…,
more pronounced the older you get. Right. I thought I'd nearly lost this very strong accent.
Yes. And now when I hear it now, it's getting worse.
It's getting more pronounced. Yes. Whether good or bad, it doesn't make any difference.
(07:01):
Oh, how interesting. So does your son speak German with you? Yes. Okay.
Yes, he is. And finally, the grandson is wanting to learn it too.
Great. But he's not a talker. He never talks. Yes. I sometimes tease him and
say, you can't talk at all.
(07:21):
All he says is, of course I can.
Ah, 14.
So back to you arriving in the Barossa in 1960 and there's marbles,
You know, and you went, so which was the first mine that you found?
Would it have been the one up in Anguston? ICI. ICI?
(07:42):
Yeah. Yeah. Yeah. And they were always good to us because we could just drive
in and collect a stone and take it out.
Wow. And so did Paul start sculpting as soon as he got here?
Or obviously he found a job and… Well, in between, yes.
Yeah. It was not an easy time because you had to make a living.
(08:04):
And of course, when he got here, he got here from me because we had to find
accommodation first and everything.
There was an art group here who just picked him up and said,
oh, we want lessons in this and we want lessons in this.
So we had sculpture classes in the kitchen and drawing lessons and everything
(08:25):
was happening at the time,
which was really good because that way I knew a lot of the arts community because
they were all hobby artists. But it doesn't matter.
They were very committed. Yes.
And they really wanted to do things. And they wanted to learn.
(08:47):
And they all became good friends. Yes, yeah.
I never met them. I never met them. And so was that kitchen where they were
doing drawing, was that here? That kitchen?
Yeah. No, no, no, that was in Wurri. In Wurri, okay. No, no,
we lived in a rented house down there.
Yeah, yeah, yeah. And it was quite funny because Paul's working with always
(09:09):
tin drums, you know, those big drums.
Yes. Because they're just the right height. Yes, yeah. And they're stable.
Ah, so like for a workbench, sort of the oil drums. Yeah, and put planks on top.
That's it, and that was lining the outside of the kitchen. Yeah,
well, everybody knew where you were then.
(09:30):
So did you draw as well, or was that more Paul? No, that was Paul.
I'm really a photographer, but for a long time I maintained one artist in the
family is more than one. Needed. Yes, okay.
But Paul was always pushing me and saying, the other is just as important as
mine, but that's not quite true. But in any case, I've done more later,
(09:54):
but in the beginning, well, having a household and a kid and then a shop.
Yes, and like moving somewhere new and doing all of that sort of establishing,
that takes a lot of effort for sure.
Yeah, so there wasn't that much creativity, or creativity, yes, but not in doing works.
Yes. Now, just speaking of creating things and establishing things,
(10:17):
So you, I believe, were quite important in establishing a couple of really important
sort of cultural places in the Barossa, the first one being,
and I'm not sure of the order here,
the Soldiers Memorial Hall Gallery or the Sculpture Park. Which one would have
come first? The Sculpture Park was first.
Yes. And then the first sculpture symposium was first.
(10:42):
Yes. And then when that was finished, we worked on the gallery.
Yes. We established the gallery.
Yes. And then that went tandem with the second symposium.
So I'll just take a step back. So for those who are listening at home,
anybody who ever comes to the Barossa will probably go or someone will take
(11:04):
them up to Mengler's Hill and say, if you go up to Mengler's Hill and have a
look at the landscape of the Barossa because you can still You'll sort of see
the patchwork of vines. Oh, yes. Yes.
But it was at 1988, the first symposium.
It used to just be a field with a sort of a car park and people would look out over the valley.
Yeah, it was just a pedal. Yes.
(11:26):
We planted most of the trees. So there are a few old ones in the middle,
but the others we planted in there.
But it belonged to the Ternando District Council and they leased it out for people for cattle.
But really, we are very keen on this thing anyway. right? Yes.
And so when we, I went to the council with the suggestion, how about we have
(11:53):
a symposium here and do some sculptures and where could we have them?
And then Keith Gurr suggested, we've got this pedagogue, go and have a look,
if that works, you can have it.
Okay. And the council who, as such, was very keen on the idea.
So just thinking about the Tanunda District Council, so did you say Keith Gers was?
(12:16):
He was the club. Yes. And nowadays he would be called the CEO and all these big titles.
At that time he was just called the district club.
Yes. But he did all the work.
Yes. But I presented the idea with pictures from the German one at a meeting,
(12:42):
and so the whole council could see what I was talking about.
Ah, great. And they were actually backing it. They said, well, we need something else.
We can't only talk about food and wine, and the Barossa needs a different attraction.
Yes. And that would attract anyone.
Yes. And so they were very supportive. Yes.
So that would have been, so I guess if the symposium was 1987,
(13:04):
are we talking 1986 or 1987?
Oh, I remember. Probably. Yeah, yeah. It takes about 10 years to get this off
the ground. Oh, right. Wow.
So we're talking like late 70s then. Yeah.
Actually, it's, yeah, in 88, yeah, would have been somewhere there.
I might even say when we started, but I'm sure it was about 10 years Yes,
(13:27):
because you had to, and it wasn't like nowadays that you Google it all.
Yes. You had to write the letters, physically send them away.
Yes. And then wait for the replies. Yes. And we had to find the sculptures and
then invite the sculptures, sort out which ones.
And besides all the technical things, what we do, where do we get the power
(13:49):
from, where do we get the stones, who will help us here.
Where will everyone stay. Going to bang, yes. and the staying that was a big thing.
Yes. So it's a massive job. It's a massive job. Yeah.
And how did you fund the sculpture part?
Yeah. We had,
District Council of Anglestone and the District Council of Tsunanda sponsored one each. Yes.
(14:15):
Then we got, oh, we'd have to have a book at Gilday. But there's a long list
of sponsors. Sponsors. Okay, so lots of businesses.
And people put in money and that we got the money together.
So how did it go for me? It's a long time ago.
Actually, I was still at high school. I have a memory of, as I was saying to
(14:36):
you before, One of the boys in my class, I think his parents,
had someone stay with them.
And I have a really vivid memory of, oh, that would be really,
they've got a Japanese sculptor staying with them.
Yeah, and it could have been the one with the sky.
Yes. Yeah. He was a funny guy.
He lay in the grass and looked at the sun. And you think, oh, what a lazy brother.
(15:00):
And then he gets up. And you've heard it fast. And he got more done in about
an hour, but the other people didn't fall. And then he just went home again.
That's his way of working. It's like he just turned on. Yeah. Yeah. Yeah.
And so your husband did a piece up there as well? And which piece is his?
This is the long, slender leg.
(15:24):
It's a tall dragon, one of these. Yes, I do know that one. Yeah.
Oh, wow. And so you did the first symposium, and it was really successful.
I guess people came, you had like an opening and… Oh, yes.
It was actually more during the working time because the Sculptors stayed in the community.
Yes. Their hosts wanted to know what they're doing there. Yes.
(15:46):
So they came on weekends and they came in the evening and asked everything and
our dinner table was discussed and how much more did you get done today.
And so it really sort of made a lot of impact.
Yes. And the business houses, when they delivered food, or actually they didn't
all deliver, most of them we had to go to get it.
(16:07):
But in any case, they knew they were involved, so they wanted to know what they
were involved with. Yes.
And so that's one good thing. And then we had a closing ceremony when the sculptors
handed over the sculptures to the council.
Yes. And they had invited a group of dancers from Handorf, who I knew because
(16:30):
she was an artist, and they danced the forms, which was absolutely amazing.
Sorry, what did they dance? The forms. They looked at what initial form the
sculptures do, and then they danced them. Oh, fantastic.
It was just making them alive. Yeah, how fantastic. Fantastic.
(16:52):
So sort of like contemporary dance? Contemporary dance. Yeah. Yeah.
Oh, wow. Is there a video of that, I wonder?
There are plenty of pictures. Plenty of pictures. There are some pictures in
there. Yeah, I'll have a look at some pictures.
And then we had school groups coming. Yes. And there was one teacher who actually
did some movements with them too.
(17:14):
Somehow the instructors invited them to do movements, especially the one from
Susan Fragman, which is like a sort of a cloth silk that's flowing.
Yes. And around that, they did something with cloth and copied it and got inspired. Yes.
(17:35):
Oh, I just, my mind is ticking over.
Music.
So the first symposium finished and it was obviously a great success.
And so then you moved on to fundraising or looking for some gallery options? Yeah, it may have.
(18:00):
The gallery, it probably started earlier.
It might have been simultaneously.
You were very busy.
But it came about because there weren't any.
But I don't know what happened. I was in a vintage festival at the exhibition with Convina.
(18:24):
Okay. And we never knew where to put the exhibition.
Ah, so it used to move around, did it? For a long time, it was at Angus and Tom Hall.
Yep. And then all of a sudden, Angus decided they wanted to throw an art show instead.
Uh-huh. And so this exhibition was booted out, and we had five other spaces.
(18:45):
We did it at Tananda once and it did not work very well because we didn't have
proper lighting and it was a nightmare and we said it's about time we also get a proper.
Gallery and with facilities and not just anything makes you feel civic two years.
And so we started, we've got a committee together, very strong Angus Council,
(19:10):
what it was Barossa Council by then, the mayor was on the committee,
and Judy Jones, the clerk, Yes.
And as a steering committee, I'm pushing this.
Yes. And we got it as far as getting the drawings done.
Country Arts gave us the money for the architect, and then we kept on pushing,
(19:35):
and finally, we got the money together.
We had to, just before a change of government, the Arts Minister took the money
out of the the budget and put it aside so that if she loses,
if they lose the election, we still get the money because it's there and it
(19:56):
made for us and it was really good. Great.
And then if we got the money together, the other half, because we had to do dollar for dollar. Yes.
And then we could build it. Wow.
And because obviously there was the old Soldiers Memorial Hall,
was there a lot of building that had to be done?
No. We had to, well, Gallery 2 was actually an undercroft, sort of like a big hall.
(20:25):
Yes, underneath the upstairs. Underneath the upstairs. Yes. So we had to wall this in. Yes.
And then line that hall there.
Yes. We had to redo the floor in the front because that had asbestos tiles and
they had to come out. Ah, yes. Yes, yes.
And then they found that there was some, they thought somewhere.
(20:50):
And then, oh, what can we put there? I said, carpet, you know what?
If you stick this, it's done. I said, why don't we just polish the floor?
And they said, that's a good idea.
The guy who did it was not such a good idea, but that's another story. Is that a story?
So how did you, like obviously you had to match dollar for dollar and I heard
(21:14):
a story, I think you may have come and spoken at the Arts Council meeting once
and you were talking about progressive dinners.
Were those part of it? They were part of it, yes.
Yeah. Yeah, we got $10,000 at the progressive dinner.
Yeah, yeah, yeah. And so how many different, did everybody go to the same houses
Houses or the same locations or did they sort of all mix in a couple of different tours, if you like?
(21:37):
I had, I think, 10 in each household.
Yes. And we all started off in the hall for soup. Yes.
Which the committee dished out. Yes, yep. Cooked the dish. Yes.
And then I drove off to the main course somewhere.
And like on a bus, like on buses? No. No, on in-cars. In-cars,
yeah, yeah. You know, the course. Yeah, yeah, yeah, yeah. Fundraising.
(22:02):
And so we had offered to pay the meat, and then the household would do the rest,
but quite a few people did the work. Right.
So that's why it was excellent.
Excellent fundraising, yes. And then they went for dessert somewhere,
(22:22):
the same group somewhere else. Yes.
And then they all came back to the hall for coffee.
Oh, lovely. And that was a long evening. Yes. Yeah.
Did you do a couple of those dinners or you just did it the once?
No, we did all one dinner. Yes. It's the Arts Council as such who organized
(22:47):
that. At that time it was social, very active, wanting to do things together.
Yes. And perhaps I pushed them, I'm not sure.
Inspired them. Yeah, I could actually mock it up. Yeah, yeah.
So then you raised the money that you needed to raise. And so about what year
(23:09):
did that gallery open then?
Exactly 20 years ago. Right. So 2004.
Yeah. Yeah, June. Yeah, I should actually know the date either. But no, June 2004.
That's definitely. Yes, great. And then you, so as I'm sitting in your house
(23:29):
here, obviously in Tanunda, and I'm looking at this awesome photo,
which I think is like a, would you call it a collage or a montage?
Yeah. And sort of like a layered photograph.
And it's actually very cool is that that sort
of time that you were really sort of starting to do some photography
as well no later later still yeah
(23:50):
yeah it's more when i sort of got out of doing all this community stuff so i
had some time for myself again yeah because i ran the gallery for a long time
ah okay yes yeah when i that was in In 2000,
the second symposium was in 2008, was it? 2008, yeah.
(24:15):
Yeah, I got cancer then.
Ah, okay. So up to then, I've worked the gallery. Yes.
And I had to employ three people afterwards. Cowhouse.
No, it's doing well and I'm really pleased that it improved and got to what it was.
(24:38):
There we always miss each other yes and as we're talking here in June 2024,
Brosser Council has just got a big wad of funding to improve it again which
is pretty exciting yeah so yeah who knows and I'm.
I mean, I wonder whether, you know, there might be another, do you think there
(25:00):
could be another sculpture symposium or something along those lines?
Do you think there's, is there room up at Mangus Hill for more? No, it's full up there.
It'll be too full. Yeah. We don't want to chock-a-block it. It's not a gallery.
Yes. It's still a place where you want to walk and contemplate.
Yes, yeah. And was that the idea behind, I mean, I know partly,
probably opportunity as well, like the site presented itself.
(25:23):
And is that sort of what the sculpture park was envisioned to be,
sort of some way that people could just be and contemplate and see where they were?
Yeah, and it happens. One lady told me her husband died and then she felt very sort of lonely.
She took a book up and sat on the sculpture, which is a seat.
(25:44):
Yes. And it's massive woman, the sun is on the stone.
Yes. And she just sits there and reads and talks to the people who come past
and she feels all relaxed and fine.
Ah, that's lovely. Yeah, that's a lovely story. It's sort of the connection to it all. Yes.
Did all of the stone that was used come from like a local? Yeah, it was all local stone.
(26:08):
Yeah, if you consider Black Hill to be local as well. Yes. You know, down the bridge.
Yes. But I think it is because that area, these people have a very strong connection with the water.
Yes. They always came shopping to Walser once a fortnight or so.
Yeah, yeah, absolutely. You mean sort of on the other side of Accommodation
Hill down over there. Yeah. Yeah, actually, she'll go.
(26:32):
Yeah, somewhere. Yeah. In any case, when you go down, down the Sedan Road.
Ah, yes. Okay. Because Black Hill is just before you get to Sedan. Yes.
That's when, and near Sedan is the brownstone and a little bit further towards us in Black Hill.
(26:53):
Yes. Is the blackstone. So it's really.
I think that is of our region though. Yeah.
And I grew up in a time when the Sturt Highway, obviously everybody was going
to the city up and down the Sturt Highway, but it always has fascinated me the
more I found out how many connections went across, you know,
like from the, even think of the people who lived in sort of Dutton St.
(27:13):
Kitts, Neils Flat, and there was so much connection.
People didn't come to Neary and then go over that way. They literally just went
across. And I guess people don't think about that in the same way anymore.
So I do think that they're 100% of the region. Yeah, I think they are,
and it's a sort of, because, I mean, they're intermingled anyway,
(27:34):
and if you look at family histories,
there's so many from Sudan and Kimberley and that area, or Duttonland. Absolutely.
Even in Robertstown and all that area.
Yeah, absolutely. Absolutely, because at that time they were servicing each other.
When the barrow mines were going and people were also supplied the fresh fruit
(28:00):
and vegetables which the people in Robert Stone would transport.
Ah, yeah, okay. And so all these connections were there, much more than they are now.
Yes, absolutely, because we're so city-focused as opposed to sort of,
you know, whole of region-focused, I suppose. Yeah, so no, cool.
So all of the stone is from Barossa, from the local region.
(28:24):
So did you guys source the stone as well?
Pardon? Did you source the stone also? Oh, yes. Yeah.
Sorry, I did say that was something I hadn't really thought about.
If you take stone to a quarry, it's like taking kids to a lolly shop.
Right. So you have to give them a piece of stone and say, it's this one.
(28:46):
Now, we actually got, we went there and had a look, and then directed and said,
we want this, this, this stone, and then it got delivered and put there,
but when they came, they could.
Which one they wanted to carve among themselves. Yes.
But it's definitely somebody had to select it first. Yeah. Otherwise,
(29:09):
six weeks is not long enough.
No. And go in the quarry and look around and find.
For Mukai, that's the guy you were talking about, the Japanese sculptor,
he wanted a different shape.
Right. And so he said, right. And that day we set up, the whole group went to
the quarry to have a look and he could select his.
(29:31):
And then he found this to shake from and said, ah. This was one. Yeah.
And then the quarry people delivered it. Fantastic.
Like the mines or the quarries must have been very, like without their support
would have been very hard to get that off the ground as well, I suppose.
Oh, they were major sponsors, definitely.
Yeah, yeah, yeah. Not only that it supplied the stone, but the power to get
(29:54):
it quarried and put on the track and get the tracks there.
Yes. And then we had to find the crane to get it off. Yes, yeah.
Oh, fantastic. It is actually such a fantastic story and it's such an integrated
part of our region as well.
You know, like it's hard to imagine a time when there wasn't a sculpted park on the top of Mingles.
(30:18):
Which is actually kind of cool, actually. Yeah, I remember Martin Walkworth
was saying we're making history.
To me it seemed, what, we're making a sculpture park? Why are you talking about history?
But no, it is because there are people who've actually not even been born before.
(30:38):
Yes. It was there, so for them it would be there all the time. Absolutely.
Their whole life it's been there. Yeah, absolutely. That is a very cool thing.
Is there something that makes you very hopeful about arts?
You know, like you've seen lots of changes and probably some highs and some
lows and some massive achievements in the region with the arts community.
(31:02):
Where do you think it goes from here? It can only go, especially because there's
so much commitment and it's more accepted.
It's not the weird people who throw art, it's what one wants to see,
(31:23):
what one wants to have around.
I mean, there's a lot of trash around, but it's always happening like this, it doesn't matter. Yes.
But it's, how could I say it?
The people who do art here are not pretentious. Yes.
(31:44):
They just work. Yes. Yeah.
And they don't need this nose up what the academia does.
And they just get on with their job. Just get on with creating,
being creative. Yeah. I love that.
Time will tell then what's good and what's not. That's right.
(32:06):
What's important and what.
That doesn't matter. It's got to be done first. Yes.
But if people come with rules and then it can only be done this and that and
this isn't right for the time and this is not how it's done nowadays,
that is not the way art is created.
(32:28):
No. No, no, absolutely. Absolutely, because it's prescriptive as opposed to
a little bit of freedom in there.
I've asked everybody in this series, and we've maybe touched on it a little
bit, but what does the Barossa mean to you? Home. Home.
It's very amazing when I go to Germany, especially in the early times when we
(32:52):
went out to work there, and I said, are you happy to be home?
They said, no, I'm not home. I said, why are you here?
And they say, yeah, I'm in Germany, but I'm not home.
And this is home.
Yeah, they couldn't have moved away. Yeah, I love it. Thank you.
Thank you so much, Galinda.
(33:13):
Music.
Welcome to the Barossa Podcast, a 100 Barossa Artist Project,
created by Kirsty Kingsley, Renee de Saxe and myself, Rebecca Reynolds.
We would like to begin by acknowledging the traditional owners of our region,
the Ndjuri, Perimank and Kaurna peoples, and pay our respects to their elders past and present.
They are the custodians of many millennia of stories.
(00:21):
You can't know a place until you know its stories, all of them,
the good, the sad, the awkward and the hilarious ones.
The ones told by people from all walks of life who feel a connection to this
place that we call today Barossa.
The Barossa is a region with a creative story to tell.
100 Barossa Artists was initiated in 2020 to shine a light on arts and creativity
(00:43):
to make visible the breadth of our creative community.
So many exciting things have happened since then. There are new galleries,
new artist studios, emerging artists and events.
This This project has been made possible by the generous support of Country
Arts SA, Foundation Barossa and the Peter Lehman Arts and Education Trust.
Hello, Galinda, and hello, everyone at home, and welcome to Season 3,
(01:08):
Episode 3 of the Barossa Podcast.
I'm sitting here today on Nga Djeri land with Galinda Trapp in her beautiful home in Tanunda,
and we're talking today about some of her many and varied works and involvement
in the community in arts and sculpture and establishing galleries and all sorts
(01:30):
of things. Welcome, Galinda. Thank you, Rebecca.
So, Galinda, tell me a little bit about how you ended up being here in the Barossa.
Were you born in the Barossa? No.
This is a very funny story because my husband was a sculptor.
And in the end 50s, anybody was in minimalism, which he hated because he sculpted carving stone.
(02:00):
Yes. And so he was sort of in between the sticks and feathers.
Others didn't really like him and he didn't like them. So he felt lost.
And he said, let's get out of Ontario. There were lots of things politically
in Germany which were very pleasant.
So he said, let's get out and travel the world and see what's going on later.
(02:24):
And so we ended up in Adelaide.
Paul's mother had a friend here, and he said, oh, it doesn't matter where you
start the world, come down here.
It was all right. So where did you come from in Germany?
I was born in Germany. You were born in Germany. What part of Germany were you
born in? I was born in Bavaria. Yes. But my family are precious.
(02:45):
They come from Sallis. They're like the boss of people. Yes.
That's where there's a very funny connection.
Yeah. And Paul's family comes from the middle of Germany, so near Hanover.
Yes. And we met in Düsseldorf when he was in art school there.
And so finally we left.
(03:07):
In the meantime, we had married and got a baby, and that was a bit more complicated
than we first thought, but it worked.
And then because this friend lived in Adelaide, we got to Adelaide and Paul
got a commission on the Benedict Fisher building to carve all these sort of
little embellishments on it.
(03:29):
It's a quick fake facade.
Yes. And sandstone.
Is that King William Street? No, it's in Curry Street. Curry Street.
And midway through the construction, there was this credit squeeze.
They ran out of money and couldn't continue.
And because arts is always the last one to get paid, we were stuck.
(03:54):
We had delivered the food and didn't get paid for it. Oh, no.
Oh, no. I don't know. I go and find a job.
And then it happened that the neighbor where we lived said, you've got to go to the Barossa.
It's such a beautiful place with all the palm trees along the Zepersfield Road.
(04:17):
And it's marvelous. And we said, all right, we'll take a Sunday drive up there.
And then we got to New York. Yes. The footpaths were all paved in marble gravel.
Yes. We said, they're marble chips. marble is a very precious stone from a European
point of view. If they can,
gather their footpaths with it, there must be quarries around here.
(04:40):
Yes. So we went to look for the quarries, and of course we found them quickly.
Yes. And then Paul said, well, this is the place we've got to live.
Yes. And he found a job, and he moved.
So what kind of year was that then? That was 1960. 1960.
Yeah. And it was quite surprising to me that the old people would talk to me.
(05:03):
They said, oh, you're from Germany, and blah, blah, blah. And they all talked
in the same intonation as my grandmother.
And my still growing old people talk like this.
Yes. Until I've heard that all the Barozov people, most of the Barozov people had come from Silesia.
(05:23):
Which is that where your grandmother was from? That's where my family comes
from. And so my grandmother answered all this old generation.
They were talking the similar way. Right, yes.
And so then we did a bit more research on the family, on the history here,
and then realized how much German descent this whole place is. Yes, yes.
(05:47):
So 1960, and were those older people, were they talking to you in German? Yes. Right.
There were quite a few still around then. Yes. Ah, how interesting. thing.
I know my grandparents actually were born sort of turn of the century and they
all spoke German at home when they were kids.
And I think my grandfather, he went to school up in Niels Vla actually and they
(06:12):
started school in German and then the war came and I think he finished school,
but they closed them or whatever.
But they would still speak German and I didn't realise that they had an accented
English because I'd always heard them speak.
That's just how I thought what they spoke and it was only just in recent years
where I listened to a recording of them that I could like really hear the… The accent.
(06:34):
Yeah, yeah, yeah. It was quite interesting. Yeah, and it's interesting this accent because it goes…,
more pronounced the older you get. Right. I thought I'd nearly lost this very strong accent.
Yes. And now when I hear it now, it's getting worse.
It's getting more pronounced. Yes. Whether good or bad, it doesn't make any difference.
(07:01):
Oh, how interesting. So does your son speak German with you? Yes. Okay.
Yes, he is. And finally, the grandson is wanting to learn it too.
Great. But he's not a talker. He never talks. Yes. I sometimes tease him and
say, you can't talk at all.
(07:21):
All he says is, of course I can.
Ah, 14.
So back to you arriving in the Barossa in 1960 and there's marbles,
You know, and you went, so which was the first mine that you found?
Would it have been the one up in Anguston? ICI. ICI?
(07:42):
Yeah. Yeah. Yeah. And they were always good to us because we could just drive
in and collect a stone and take it out.
Wow. And so did Paul start sculpting as soon as he got here?
Or obviously he found a job and… Well, in between, yes.
Yeah. It was not an easy time because you had to make a living.
(08:04):
And of course, when he got here, he got here from me because we had to find
accommodation first and everything.
There was an art group here who just picked him up and said,
oh, we want lessons in this and we want lessons in this.
So we had sculpture classes in the kitchen and drawing lessons and everything
(08:25):
was happening at the time,
which was really good because that way I knew a lot of the arts community because
they were all hobby artists. But it doesn't matter.
They were very committed. Yes.
And they really wanted to do things. And they wanted to learn.
(08:47):
And they all became good friends. Yes, yeah.
I never met them. I never met them. And so was that kitchen where they were
doing drawing, was that here? That kitchen?
Yeah. No, no, no, that was in Wurri. In Wurri, okay. No, no,
we lived in a rented house down there.
Yeah, yeah, yeah. And it was quite funny because Paul's working with always
(09:09):
tin drums, you know, those big drums.
Yes. Because they're just the right height. Yes, yeah. And they're stable.
Ah, so like for a workbench, sort of the oil drums. Yeah, and put planks on top.
That's it, and that was lining the outside of the kitchen. Yeah,
well, everybody knew where you were then.
(09:30):
So did you draw as well, or was that more Paul? No, that was Paul.
I'm really a photographer, but for a long time I maintained one artist in the
family is more than one. Needed. Yes, okay.
But Paul was always pushing me and saying, the other is just as important as
mine, but that's not quite true. But in any case, I've done more later,
(09:54):
but in the beginning, well, having a household and a kid and then a shop.
Yes, and like moving somewhere new and doing all of that sort of establishing,
that takes a lot of effort for sure.
Yeah, so there wasn't that much creativity, or creativity, yes, but not in doing works.
Yes. Now, just speaking of creating things and establishing things,
(10:17):
So you, I believe, were quite important in establishing a couple of really important
sort of cultural places in the Barossa, the first one being,
and I'm not sure of the order here,
the Soldiers Memorial Hall Gallery or the Sculpture Park. Which one would have
come first? The Sculpture Park was first.
Yes. And then the first sculpture symposium was first.
(10:42):
Yes. And then when that was finished, we worked on the gallery.
Yes. We established the gallery.
Yes. And then that went tandem with the second symposium.
So I'll just take a step back. So for those who are listening at home,
anybody who ever comes to the Barossa will probably go or someone will take
(11:04):
them up to Mengler's Hill and say, if you go up to Mengler's Hill and have a
look at the landscape of the Barossa because you can still You'll sort of see
the patchwork of vines. Oh, yes. Yes.
But it was at 1988, the first symposium.
It used to just be a field with a sort of a car park and people would look out over the valley.
Yeah, it was just a pedal. Yes.
(11:26):
We planted most of the trees. So there are a few old ones in the middle,
but the others we planted in there.
But it belonged to the Ternando District Council and they leased it out for people for cattle.
But really, we are very keen on this thing anyway. right? Yes.
And so when we, I went to the council with the suggestion, how about we have
(11:53):
a symposium here and do some sculptures and where could we have them?
And then Keith Gurr suggested, we've got this pedagogue, go and have a look,
if that works, you can have it.
Okay. And the council who, as such, was very keen on the idea.
So just thinking about the Tanunda District Council, so did you say Keith Gers was?
(12:16):
He was the club. Yes. And nowadays he would be called the CEO and all these big titles.
At that time he was just called the district club.
Yes. But he did all the work.
Yes. But I presented the idea with pictures from the German one at a meeting,
(12:42):
and so the whole council could see what I was talking about.
Ah, great. And they were actually backing it. They said, well, we need something else.
We can't only talk about food and wine, and the Barossa needs a different attraction.
Yes. And that would attract anyone.
Yes. And so they were very supportive. Yes.
So that would have been, so I guess if the symposium was 1987,
(13:04):
are we talking 1986 or 1987?
Oh, I remember. Probably. Yeah, yeah. It takes about 10 years to get this off
the ground. Oh, right. Wow.
So we're talking like late 70s then. Yeah.
Actually, it's, yeah, in 88, yeah, would have been somewhere there.
I might even say when we started, but I'm sure it was about 10 years Yes,
(13:27):
because you had to, and it wasn't like nowadays that you Google it all.
Yes. You had to write the letters, physically send them away.
Yes. And then wait for the replies. Yes. And we had to find the sculptures and
then invite the sculptures, sort out which ones.
And besides all the technical things, what we do, where do we get the power
(13:49):
from, where do we get the stones, who will help us here.
Where will everyone stay. Going to bang, yes. and the staying that was a big thing.
Yes. So it's a massive job. It's a massive job. Yeah.
And how did you fund the sculpture part?
Yeah. We had,
District Council of Anglestone and the District Council of Tsunanda sponsored one each. Yes.
(14:15):
Then we got, oh, we'd have to have a book at Gilday. But there's a long list
of sponsors. Sponsors. Okay, so lots of businesses.
And people put in money and that we got the money together.
So how did it go for me? It's a long time ago.
Actually, I was still at high school. I have a memory of, as I was saying to
(14:36):
you before, One of the boys in my class, I think his parents,
had someone stay with them.
And I have a really vivid memory of, oh, that would be really,
they've got a Japanese sculptor staying with them.
Yeah, and it could have been the one with the sky.
Yes. Yeah. He was a funny guy.
He lay in the grass and looked at the sun. And you think, oh, what a lazy brother.
(15:00):
And then he gets up. And you've heard it fast. And he got more done in about
an hour, but the other people didn't fall. And then he just went home again.
That's his way of working. It's like he just turned on. Yeah. Yeah. Yeah.
And so your husband did a piece up there as well? And which piece is his?
This is the long, slender leg.
(15:24):
It's a tall dragon, one of these. Yes, I do know that one. Yeah.
Oh, wow. And so you did the first symposium, and it was really successful.
I guess people came, you had like an opening and… Oh, yes.
It was actually more during the working time because the Sculptors stayed in the community.
Yes. Their hosts wanted to know what they're doing there. Yes.
(15:46):
So they came on weekends and they came in the evening and asked everything and
our dinner table was discussed and how much more did you get done today.
And so it really sort of made a lot of impact.
Yes. And the business houses, when they delivered food, or actually they didn't
all deliver, most of them we had to go to get it.
(16:07):
But in any case, they knew they were involved, so they wanted to know what they
were involved with. Yes.
And so that's one good thing. And then we had a closing ceremony when the sculptors
handed over the sculptures to the council.
Yes. And they had invited a group of dancers from Handorf, who I knew because
(16:30):
she was an artist, and they danced the forms, which was absolutely amazing.
Sorry, what did they dance? The forms. They looked at what initial form the
sculptures do, and then they danced them. Oh, fantastic.
It was just making them alive. Yeah, how fantastic. Fantastic.
(16:52):
So sort of like contemporary dance? Contemporary dance. Yeah. Yeah.
Oh, wow. Is there a video of that, I wonder?
There are plenty of pictures. Plenty of pictures. There are some pictures in
there. Yeah, I'll have a look at some pictures.
And then we had school groups coming. Yes. And there was one teacher who actually
did some movements with them too.
(17:14):
Somehow the instructors invited them to do movements, especially the one from
Susan Fragman, which is like a sort of a cloth silk that's flowing.
Yes. And around that, they did something with cloth and copied it and got inspired. Yes.
(17:35):
Oh, I just, my mind is ticking over.
Music.
So the first symposium finished and it was obviously a great success.
And so then you moved on to fundraising or looking for some gallery options? Yeah, it may have.
(18:00):
The gallery, it probably started earlier.
It might have been simultaneously.
You were very busy.
But it came about because there weren't any.
But I don't know what happened. I was in a vintage festival at the exhibition with Convina.
(18:24):
Okay. And we never knew where to put the exhibition.
Ah, so it used to move around, did it? For a long time, it was at Angus and Tom Hall.
Yep. And then all of a sudden, Angus decided they wanted to throw an art show instead.
Uh-huh. And so this exhibition was booted out, and we had five other spaces.
(18:45):
We did it at Tananda once and it did not work very well because we didn't have
proper lighting and it was a nightmare and we said it's about time we also get a proper.
Gallery and with facilities and not just anything makes you feel civic two years.
And so we started, we've got a committee together, very strong Angus Council,
(19:10):
what it was Barossa Council by then, the mayor was on the committee,
and Judy Jones, the clerk, Yes.
And as a steering committee, I'm pushing this.
Yes. And we got it as far as getting the drawings done.
Country Arts gave us the money for the architect, and then we kept on pushing,
(19:35):
and finally, we got the money together.
We had to, just before a change of government, the Arts Minister took the money
out of the the budget and put it aside so that if she loses,
if they lose the election, we still get the money because it's there and it
(19:56):
made for us and it was really good. Great.
And then if we got the money together, the other half, because we had to do dollar for dollar. Yes.
And then we could build it. Wow.
And because obviously there was the old Soldiers Memorial Hall,
was there a lot of building that had to be done?
No. We had to, well, Gallery 2 was actually an undercroft, sort of like a big hall.
(20:25):
Yes, underneath the upstairs. Underneath the upstairs. Yes. So we had to wall this in. Yes.
And then line that hall there.
Yes. We had to redo the floor in the front because that had asbestos tiles and
they had to come out. Ah, yes. Yes, yes.
And then they found that there was some, they thought somewhere.
(20:50):
And then, oh, what can we put there? I said, carpet, you know what?
If you stick this, it's done. I said, why don't we just polish the floor?
And they said, that's a good idea.
The guy who did it was not such a good idea, but that's another story. Is that a story?
So how did you, like obviously you had to match dollar for dollar and I heard
(21:14):
a story, I think you may have come and spoken at the Arts Council meeting once
and you were talking about progressive dinners.
Were those part of it? They were part of it, yes.
Yeah. Yeah, we got $10,000 at the progressive dinner.
Yeah, yeah, yeah. And so how many different, did everybody go to the same houses
Houses or the same locations or did they sort of all mix in a couple of different tours, if you like?
(21:37):
I had, I think, 10 in each household.
Yes. And we all started off in the hall for soup. Yes.
Which the committee dished out. Yes, yep. Cooked the dish. Yes.
And then I drove off to the main course somewhere.
And like on a bus, like on buses? No. No, on in-cars. In-cars,
yeah, yeah. You know, the course. Yeah, yeah, yeah, yeah. Fundraising.
(22:02):
And so we had offered to pay the meat, and then the household would do the rest,
but quite a few people did the work. Right.
So that's why it was excellent.
Excellent fundraising, yes. And then they went for dessert somewhere,
(22:22):
the same group somewhere else. Yes.
And then they all came back to the hall for coffee.
Oh, lovely. And that was a long evening. Yes. Yeah.
Did you do a couple of those dinners or you just did it the once?
No, we did all one dinner. Yes. It's the Arts Council as such who organized
(22:47):
that. At that time it was social, very active, wanting to do things together.
Yes. And perhaps I pushed them, I'm not sure.
Inspired them. Yeah, I could actually mock it up. Yeah, yeah.
So then you raised the money that you needed to raise. And so about what year
(23:09):
did that gallery open then?
Exactly 20 years ago. Right. So 2004.
Yeah. Yeah, June. Yeah, I should actually know the date either. But no, June 2004.
That's definitely. Yes, great. And then you, so as I'm sitting in your house
(23:29):
here, obviously in Tanunda, and I'm looking at this awesome photo,
which I think is like a, would you call it a collage or a montage?
Yeah. And sort of like a layered photograph.
And it's actually very cool is that that sort
of time that you were really sort of starting to do some photography
as well no later later still yeah
(23:50):
yeah it's more when i sort of got out of doing all this community stuff so i
had some time for myself again yeah because i ran the gallery for a long time
ah okay yes yeah when i that was in In 2000,
the second symposium was in 2008, was it? 2008, yeah.
(24:15):
Yeah, I got cancer then.
Ah, okay. So up to then, I've worked the gallery. Yes.
And I had to employ three people afterwards. Cowhouse.
No, it's doing well and I'm really pleased that it improved and got to what it was.
(24:38):
There we always miss each other yes and as we're talking here in June 2024,
Brosser Council has just got a big wad of funding to improve it again which
is pretty exciting yeah so yeah who knows and I'm.
I mean, I wonder whether, you know, there might be another, do you think there
(25:00):
could be another sculpture symposium or something along those lines?
Do you think there's, is there room up at Mangus Hill for more? No, it's full up there.
It'll be too full. Yeah. We don't want to chock-a-block it. It's not a gallery.
Yes. It's still a place where you want to walk and contemplate.
Yes, yeah. And was that the idea behind, I mean, I know partly,
probably opportunity as well, like the site presented itself.
(25:23):
And is that sort of what the sculpture park was envisioned to be,
sort of some way that people could just be and contemplate and see where they were?
Yeah, and it happens. One lady told me her husband died and then she felt very sort of lonely.
She took a book up and sat on the sculpture, which is a seat.
(25:44):
Yes. And it's massive woman, the sun is on the stone.
Yes. And she just sits there and reads and talks to the people who come past
and she feels all relaxed and fine.
Ah, that's lovely. Yeah, that's a lovely story. It's sort of the connection to it all. Yes.
Did all of the stone that was used come from like a local? Yeah, it was all local stone.
(26:08):
Yeah, if you consider Black Hill to be local as well. Yes. You know, down the bridge.
Yes. But I think it is because that area, these people have a very strong connection with the water.
Yes. They always came shopping to Walser once a fortnight or so.
Yeah, yeah, absolutely. You mean sort of on the other side of Accommodation
Hill down over there. Yeah. Yeah, actually, she'll go.
(26:32):
Yeah, somewhere. Yeah. In any case, when you go down, down the Sedan Road.
Ah, yes. Okay. Because Black Hill is just before you get to Sedan. Yes.
That's when, and near Sedan is the brownstone and a little bit further towards us in Black Hill.
(26:53):
Yes. Is the blackstone. So it's really.
I think that is of our region though. Yeah.
And I grew up in a time when the Sturt Highway, obviously everybody was going
to the city up and down the Sturt Highway, but it always has fascinated me the
more I found out how many connections went across, you know,
like from the, even think of the people who lived in sort of Dutton St.
(27:13):
Kitts, Neils Flat, and there was so much connection.
People didn't come to Neary and then go over that way. They literally just went
across. And I guess people don't think about that in the same way anymore.
So I do think that they're 100% of the region. Yeah, I think they are,
and it's a sort of, because, I mean, they're intermingled anyway,
(27:34):
and if you look at family histories,
there's so many from Sudan and Kimberley and that area, or Duttonland. Absolutely.
Even in Robertstown and all that area.
Yeah, absolutely. Absolutely, because at that time they were servicing each other.
When the barrow mines were going and people were also supplied the fresh fruit
(28:00):
and vegetables which the people in Robert Stone would transport.
Ah, yeah, okay. And so all these connections were there, much more than they are now.
Yes, absolutely, because we're so city-focused as opposed to sort of,
you know, whole of region-focused, I suppose. Yeah, so no, cool.
So all of the stone is from Barossa, from the local region.
(28:24):
So did you guys source the stone as well?
Pardon? Did you source the stone also? Oh, yes. Yeah.
Sorry, I did say that was something I hadn't really thought about.
If you take stone to a quarry, it's like taking kids to a lolly shop.
Right. So you have to give them a piece of stone and say, it's this one.
(28:46):
Now, we actually got, we went there and had a look, and then directed and said,
we want this, this, this stone, and then it got delivered and put there,
but when they came, they could.
Which one they wanted to carve among themselves. Yes.
But it's definitely somebody had to select it first. Yeah. Otherwise,
(29:09):
six weeks is not long enough.
No. And go in the quarry and look around and find.
For Mukai, that's the guy you were talking about, the Japanese sculptor,
he wanted a different shape.
Right. And so he said, right. And that day we set up, the whole group went to
the quarry to have a look and he could select his.
(29:31):
And then he found this to shake from and said, ah. This was one. Yeah.
And then the quarry people delivered it. Fantastic.
Like the mines or the quarries must have been very, like without their support
would have been very hard to get that off the ground as well, I suppose.
Oh, they were major sponsors, definitely.
Yeah, yeah, yeah. Not only that it supplied the stone, but the power to get
(29:54):
it quarried and put on the track and get the tracks there.
Yes. And then we had to find the crane to get it off. Yes, yeah.
Oh, fantastic. It is actually such a fantastic story and it's such an integrated
part of our region as well.
You know, like it's hard to imagine a time when there wasn't a sculpted park on the top of Mingles.
(30:18):
Which is actually kind of cool, actually. Yeah, I remember Martin Walkworth
was saying we're making history.
To me it seemed, what, we're making a sculpture park? Why are you talking about history?
But no, it is because there are people who've actually not even been born before.
(30:38):
Yes. It was there, so for them it would be there all the time. Absolutely.
Their whole life it's been there. Yeah, absolutely. That is a very cool thing.
Is there something that makes you very hopeful about arts?
You know, like you've seen lots of changes and probably some highs and some
lows and some massive achievements in the region with the arts community.
(31:02):
Where do you think it goes from here? It can only go, especially because there's
so much commitment and it's more accepted.
It's not the weird people who throw art, it's what one wants to see,
(31:23):
what one wants to have around.
I mean, there's a lot of trash around, but it's always happening like this, it doesn't matter. Yes.
But it's, how could I say it?
The people who do art here are not pretentious. Yes.
(31:44):
They just work. Yes. Yeah.
And they don't need this nose up what the academia does.
And they just get on with their job. Just get on with creating,
being creative. Yeah. I love that.
Time will tell then what's good and what's not. That's right.
(32:06):
What's important and what.
That doesn't matter. It's got to be done first. Yes.
But if people come with rules and then it can only be done this and that and
this isn't right for the time and this is not how it's done nowadays,
that is not the way art is created.
(32:28):
No. No, no, absolutely. Absolutely, because it's prescriptive as opposed to
a little bit of freedom in there.
I've asked everybody in this series, and we've maybe touched on it a little
bit, but what does the Barossa mean to you? Home. Home.
It's very amazing when I go to Germany, especially in the early times when we
(32:52):
went out to work there, and I said, are you happy to be home?
They said, no, I'm not home. I said, why are you here?
And they say, yeah, I'm in Germany, but I'm not home.
And this is home.
Yeah, they couldn't have moved away. Yeah, I love it. Thank you.
Thank you so much, Galinda.
(33:13):
Music.
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