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Phare Ponleu Selpak – Pigment making class

work-title-Studio_journal

Phare Ponleu Selpak
Pigment making workshop

Whenever I have the opportunity to return to Battambang, my former home in Cambodia, I always enjoy visiting and teaching at Phare Ponleu Selpak, an art school with around 1,000 students.

One of my favourite workshops to teach is pigment making. We begin with a short talk about pigments, how they are created and a little of their history. There is always a rather smelly story involving egg yolk, which adds a bit of humour to the afternoon.

This year, I was joined by Professor Robyn Clark, whom I had met through The Pinnaroo Project, which explored the effects of art on a community. It was wonderful having Robyn there. She brought a scientific perspective to the workshop, explaining how art can affect both individuals and the wider community.

After our introduction, I sent the students outside to collect rocks, soil, vegetation and anything else they thought might produce a colour.

When they returned with their discoveries, I showed them how to turn these materials into pigments and create their own paints. An important part of the process was learning to record their recipes, noting the materials, quantities and methods they had used.

These notes allow the students to reproduce a successful pigment, but perhaps more importantly, they help them learn from the ones that don’t last. If a painting fades after a few years, they will know which recipe not to repeat.

Finally, with our freshly made paints, everyone created a painting or two. There is something wonderful about seeing students discover colour in the most ordinary materials, then turn those discoveries into art.

It is always such a fun and rewarding day, full of experimentation, surprises and laughter.

I’m looking forward to returning to Phare to teach again in July 2027.

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Woven History of Murrayville

Woven History of Murrayville

Over a six month period, I worked with about 40 locals to create a body of artwork for Murrayville. The exhibition opened on 6 November.
 – Morrison Polkinghorne

Murrayville’s history woven into new exhibition in Red Cliffs
 
Murrayville’s photographs, memories and stories have been given new life in A Woven History of Murrayville, a community exhibition opening at Workspace 3496 + Gallery in Red Cliffs on Sunday 6 September.
 
Opening from 9am to coincide with The Red Cliffs Country Market, the exhibition transforms historical photographs of Murrayville and the surrounding district into intricate contemporary artworks.
 
Photographs have been reprinted, cut into strips and carefully woven back together, creating new interpretations of familiar people, places and landscapes.
 
Workspace 3496 + Gallery Director Rohan Morris said bringing the exhibition to Red Cliffs reflected the gallery’s commitment to supporting and providing opportunities for creatives from across the Mallee.
 
“Some really exciting creative work is happening in our smaller communities across the Mallee, and I want Workspace to be a place where that work can be seen, shared and celebrated,” Mr Morris said.
 
“This is a great community arts project. It brings together creativity, local history, storytelling and community participation, and I’ve loved being able to bring it from Murrayville to Red Cliffs and share it with a new audience.”
 
At the heart of the project is the idea that a single strand has little strength or structure on its own, but when woven together with others it becomes something stronger. The same can be said of community.
 
Local residents were invited to contribute photographs from Murrayville’s past. As the images were gathered, so too were stories and memories about people, families, farming and life in the district.
 
Historical skies, paddocks, buildings and faces are interrupted by the patterns of the weave. Rather than simply reproducing the past, the works encourage viewers to look at familiar images differently and consider how memories and stories are carried from one generation to the next.
The exhibition also includes audio recordings of old sayings and expressions once commonly heard across remote Victoria, adding another layer of memory and storytelling.
 
Mr Morris said Murrayville Neighbourhood House Coordinator and most recent Elliott Award recipient Morrison Polkinghorne was demonstrating what could be achieved through ambitious community based creative projects.
 
“Morrison is doing amazing things in Murrayville. There is a real energy around the work coming out of the Neighbourhood House and a willingness to think creatively about how arts, history and community can come together,” Mr Morris said.
 
“Projects like this show that geography doesn’t need to be a barrier to making interesting and meaningful creative work. There are extraordinary stories and creative people right across the Mallee, and we should be finding more ways to connect them with audiences across our region.”
The project has been supported by Murrayville Neighbourhood House and Mallee Track Health and Community Service.
 
A Woven History of Murrayville will be on display at Workspace 3496 + Gallery from 6 to 26 September 2026.
 
The exhibition will open from 9am on Sunday 6 September during The Red Cliffs Country Market, with the official opening at 1pm. The community is warmly invited to attend.
 
EVENT DETAILS
A Woven History of Murrayville
Workspace 3496 + Gallery
2/38 Indi Avenue, Red Cliffs
6 to 26 September 2026
 
Sunday 6 September
Open from 9am during the Red Cliffs Country Market
Official Opening at 1pm

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Elliott Award 2025

Elliott Award 2025

In the far reaches of Victoria’s Mallee, where vast horizons stretch, one artist has been quietly reshaping the role of creativity in community life.

Those who have worked alongside Murrayville resident Morrison Polkinghorne describe him as a figure deeply invested in people and place, generous with his time, ideas, and energy. His approach to art is not confined to galleries or studios, but extends into lived experience, connection, and wellbeing.  

It is this combination of artistry and community contribution that led to this week’s (26 April) recognition through the Elliott Award in Mildura, an honour celebrating rural Victorian individuals whose significant impact on the arts might otherwise go unacknowledged. Established in 2004, the Elliott Award acknowledges those who have strengthened cultural life through dedication, leadership, and the nurturing of creative practice across generations. Past recipients have been recognised not only for their artistic achievements, but for their role in building a lasting community legacy.

Morrison Polkinghorne’s journey to Murrayville is anything but conventional. Born in Tasmania and raised in Alice Springs, his path led him across continents, from Sydney to Battambang Cambodia, where he spent a decade living and working. It was there that his artistic practice took on its most distinctive form, grounded not just in aesthetics, but in ritual, material, and spiritual meaning.

Working almost exclusively in black ink that he produces himself, distilled from charred lotus petals collected at Cambodian temples, Polkinghorne’s art explores a space between simplicity and depth. His work is defined by restraint, yet carries a quiet intensity that has seen his works exhibited both internationally and locally, Alongside his artistic career, he previously built another creative businesses, looming historic decorative passementier (tassels) for Historic Houses Trust,  with feature articles in publications including Vogue Living Australia, Belle, and Country Living

But it is his Mallee contributions since arriving back in Australia in 2021 that most lately defines his legacy.

Settling in Murrayville, along the Vic-SA border and neighbouring Pinnaroo, Polkinghorne transformed the town’s century-old  Anglican Church into both home and studio, a symbolic merging of place, creativity, and purpose. From that base he has become a central figure in arts-led community wellbeing across the border community and further afield.

For the past four years, Morrison played a pivotal role in the Pinnaroo Project, delivering arts and crafts programs supporting mental health in rural communities. These studies collaborated with Flinders University to demonstrate the tangible benefits of creative practice on community wellbeing.

“Working with the community gives me great joy. From teaching pigment making at Phare school with its thousand students in Cambodia, to a local lady here who told me these projects have added years to her life.  That is more precious than selling a painting.”

Now serving as Murrayville Neighbourhood House Coordinator with Mallee Track Health & Community Services, Polkinghorne continues to expand access to creativity across the Mallee. Through workshops and community engagement he helps bring artistic opportunity to towns where such access is often limited.

His vision also extends into innovative storytelling. In November 2025, he launched A.R.M. Murrayville, an augmented reality project that reanimates the town’s historic streetscapes, allowing visitors and locals alike to uncover hidden narratives layered within contemporary spaces. It is a project bridging past and present, technology and heritage.

Morrison is currently working with around 30 members of the Murrayville community on a collaborative project titled Woven History Murrayville. The project brings together historic photographs that are reprinted, cut, and finally rewoven by hand. Through this process, fragments of the past are physically interlaced with the present, creating new interpretations of shared history while strengthening community connection through the act of making. He is also leading an ambitious initiative with the Murrayville Liaison Group to transform the town’s historic courthouse into a dedicated art gallery. That project reflects his ongoing commitment to embedding the arts within the fabric of the community.

Polkinghorne’s creative life has long been multifaceted. He is designer and co-author of the award-winning The Burma Cookbook, and during his earlier years in Sydney, his textile company Passementeries received national recognition, winning “Most Innovative Product” at the National Interior Design Show.

Yet accolades alone do not capture the full scope of his impact, and Polkinghorne’s work embodies that very spirit. In a region defined by its remoteness, he has demonstrated how art can become a point of connection between people and legacies. His practice, grounded in a single shade of black ink, continues to reveal unexpected depth, not just on paper, but across an entire community.

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A.R.M. Augmented Reality Murrayville

A.R.M. Augmented Reality Murrayville

There is so much history and beauty in rural Australia. Murrayville, where I live, has the old Reed Street shops. They are a beautiful reminder of the history of the town, with such varied stories of each shop. Nowadays there is no café, no newsagents, no butchers or blacksmiths — nothing. Only a chemist that opens two and a half days a week. It would be really sad to see these buildings go, as I know they are the only things really left for the history of the town I call home. Once they are gone, there is no way of getting them back.

The old hairdresser’s shop has a wonderful display of memorabilia curated by the Yard family. This was my initial inspiration. So I set out to see if it was possible to revamp the other shops, and I was ecstatic that the owners agreed and let me do this.

With items from the old Murrayville hospital, the local theatre director Dr. Finn, and I started by revamping the Chemist window. We got the keys, and we raided it from the local museum — old crates, medicines, pans, syringes, dishes, and crutches. Even an old saw, which I’d hate to ask what it was used for. After completing this store front, that’s when I decided to extend the project to the other shops as well. I do a lot of work in reality for my artwork, for almost a decade, so I knew how to create a 3D reality on a 2D device.

The museum had a lot of photos to choose from, and that was a great place to start to tell the town’s history. At first, the community had no idea what I meant by augmented reality, so I set about making a mock-up. Once they saw what it was about, people started bringing me old photos, letters, even family handwritten stories. Currently, I’m recording some stories about the good old days by the vibrant elderly. It became a shared act of remembering — a collaboration between the past and present. The AR may be digital, but the heart of it is entirely local.

I’ve spent many hours down on this street with my laptop, tweaking and making small changes. One day, a couple pulled up, travelling through from Tasmania to WA. They told me they loved the old architecture and found it sad how many places are going by the wayside. They got stuck peering through the window at the various items in the chemist, joking about possibly needing the 50+ year old snake venom if they wandered into the bush. I asked them if they could try the AR. Mind blown, they wandered up and down the footpath of the shops for another 30 minutes. This was a great encouragement for me to seek even more local input and to continue the project.

History and restoration are an important part of my life. I previously worked with Historic Houses in Sydney, creating historical soft furnishings, so I know how important it is to document one’s surroundings, stories, and techniques. Now Murrayville is documented with one of the latest technologies, AR. It was a way to preserve what was once here, to let people see and feel the stories behind these façades.

Murrayville now has three AR start points — the Reed Street Shops, the Old Post Office, and opposite the Murrayville Pub on the Mallee Highway. Make your way and search for the QR codes to start your AR historical Murrayville journey. All you need is a charged smartphone.

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The Rhythm of Repetition — where devotion becomes form

The Rhythm of Repetition — where devotion becomes form

There’s joy in repetition. In my inked lotus works, each mark becomes a form of meditation — rhythm and stillness intertwined.

It’s the repetition of trees planted in rows, the repetition of boxes of food lined neatly on a shelf, the repetition of patterned wallpaper. All of these ordered forms inspire me.

Before I became a painter, I was a weaver — counting threads, guiding the shuttle’s rhythm across the loom. That instinct remains with me today as I paint. When I would weave a braid, it was the repetition that created its beauty.

The main difference between weaving a braid and creating my lotus artworks is freedom. The braid demands strict consistency — a repeated movement every few seconds or minutes. In my painting, I have the freedom of repetition. A free-hand consistency I could never achieve while weaving. Every impression, every counted gesture, is both structured and free. It is through this repetition that existence takes form.

Each lotus impression I stamp is a thread in a quiet tapestry of time, culture, and devotion. I title each work by the exact number of impressions it holds. Like a woven braid with thousands of threads, my artworks may have 10,000, 15,000, sometimes more — the count recorded in my signature like an intricate brocade.

What begins simply as black inked marks on paper becomes intricate through repartition of freedom and intention. My artworks are, in essence, my latest form of weaving — woven acts of patience.

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Visit by the South Australian Governor General

Meeting the Governor General

In February I taught the South Australian Governor  hand printing at the Mallee Tourist and Heritage Centre in Pinnaroo. As coordinator at The Pinnaroo Project, we’ve been restoring the printing presses in the museum; we now have five back in working order.  Spending half an hour during her busy day schedule to the Mallee, we talked about The Pinnaroo Project, peoples’ health, plus on a more personal shared experience, the rice fields in Yunnan. (Her excellency was former Aussie ambassador to China!)  Then she rushed off to her next appointment.

Read about her visit to the Mallee below.

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Book binding workshop

Book Binding workshop

Books are awfully decorative says Auntie Mame, and a hand bound book is positively ravishing. Books signifies good taste, good reading, and most of all, time effort and aesthetic appreciation.

In my course let me lead you into the world of bibliphilia with three book binding styles. Learn how the Chinese and Japanese stab pages to make a decorative stitched binding. The coptic book binding which dates back to the early Christians in Egypt allows the pages to flow freely and how a simple stitch can make a dramatic statement.

These techniques are ideal for binding your special papers, mementoes, recipes, and diaries, just to name a few.  “Scraps” for the scrapbook now become treasures, bound and preserved.

After this course, even, and especially, your notebooks becomes a work of art.

The attached photos thank you to Bridge Arts in Murrayville Bridge SA.

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Morrison’s art goes full circle

Morrison's art goes full circle.

Morrison Polkinghorne premiers new works this week at Rosewood hotel, Phnom Penh. The exhibition, “Ikhon”, is a collaborative show, along with eight other Khmer and expat artists in Cambodia the kingdom.  

In his earlier works Polkinghorne lived in Battambang, Cambodia for almost a decade, owned and ran an award winning lodging and art space called Bric-a-Brac. While there he collected discarded offered lotus flowers at temples and turned them into an ink. This was  a year’s process even before painting with his elixir. He then printed or stamped etchings using fresh lotus stems. Conversely, now living in Murrayville along the Victoria and South Australia border in Outback Australia he turns local gypsum into a painted gouache., then adorned with pin point, or pin-prick, patterns to create images. Nine of these latest artworks just arrived in Cambodia, turning his artistry full circle. 

Now showing in Phnom Penh, nine new works are impressions of historical maps surveying rivers and cities, cities that nurtured him in his travels and autistic life. Some of the maps date dating back to 1688. Rivers and waterways have long been themes in his pieces. His largest individual lotus artwork of a delta, 1.7m square with 20,184 lotus impressions sold to a private collector in New York. 

“I am a holistic artist, incorporating elements of nature in my pieces,’ says Morrison. “In Cambodia, I made artisanal ink distilled from local lotus; in this exhibition my brush strokes are an Australian outback pigment ground from a local gypsum stone. I crush, grin and mull the stone into a stabilised fine powder gouache brushed onto paper.”

All these three-dimensional maps are formed with a gold tip needle sourced decades ago in Yangon, Myanmar or Burma. For a handle he attaches a whittled branch from Jacaranda that the artist planted some 30 years ago in Sydney. 

Numerology is also an important component in his works, the the stroke or point sums totalled on every piece. His art numerology originates from his weaving, as there is something both sacred and comforting to counting for Morrison – from shuttles going side to side on a loom, to tallying warps and wefts. Conversely, here he pin prick, or point-ilism, to create these 3-D designs. It is his natural for him to mentally count the impressions on these works which are then noted in his artists journal. All the artworks are then both autographed and signed with the total count of pin points in every work.

The works come to life, as the holes are not precisely at right angles to the paper. Standing, say, to the right of a painting one see through the holes and they appear dark, while moving to the left holes disappear to highlights hitting the perforations, appearing bright, light and white.

These nine works in the exhibition have a total of 112,431 pin holes. His work of Phnom Penh dates back to 1885 with 9876 pinholes.

IKHONS exhibition is at The Rosewood Hotel in Phnom Penh, Cambodia. 

Lever 35.  Vattanac Capital Tower, 66 Monivong Boulevard, Sangkat Wat Phnom, Khan Daun Penh, 120211, Phnom Penh, Kingdom of Cambodia
21 December – 20 February 2025

Curated by Nat Di Maggio of TRIBE Gallery, IKHONS features works by Carne Griffiths (UK), Hour Soben (Cambodia), Kanika (Cambodia), Lucas Varro (UK, based in Cambodia), Morrison Polkinghorne (Australia), Ngo Van Sac (Vietnam), Ponleu (Cambodia), Pure Evil (UK), and TUM (Thailand).

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Wallpaper – Studio Printworks

Wallpaper

Three artworks by Morrison Polkinghorne are now available as wallpaper from Studio Printworks in New Your.

Shan Shui

available as paper or grasscloth

Mountains and Rivers, or Shan Shui, are reminiscent of classical Chinese and
Japanese brushed ink landscapes. This work is created not with the stroke of a
brush, rather with an inked impressions of a freshly-cut lotus stalk.

The distant mountains fading into the background, the clouds bringing the waters to the waterfall and the birds are all made with his lotus stalk “brush”.
The repeat has a total of 295 lotus impressions.

Quadrangle Penh

available as paper or grasscloth

Phnom Penh is on the confluence of the mighty Mekong, the Tonle Sap and the
Bassac rivers, merging solely as the Mekong, creating a quadrangle from from where
the capital springs forth.
Each quadrangle has a total of 297 lotus impressions.

Phnom-enal Stripe

available as paper or grasscloth

With a fresh cut lotus stalk and an ink made from sacred lotus petals, artist
Morrison Polkinghorne impresses flowing rivers and deltas.
This stripe is an image from his decades of travels and life in Cambodia.
The repeat has a total of 4737 lotus impressions