jump to navigation

Kiteboarding at Woodman Point Photos Bohdan Warchomij March 24, 2021

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Airborne Folkert Bosma Woodman Point West Australia Photo Bohdan Warchomij

Bran Bieleny Slovakia heads to the beach at Woodman Point Photo Bohdan Warchomij

Kiteboarding or kitesurfing, is an extreme sport where the kiteboarder harnesses the power of the wind with a large controllable power kite to be propelled across the water, land, or snow. It combines aspects of sailingsurfingwindsurfingskateboardingsnowboardingwakeboarding and


Airborne Folkert Bosma Woodman Point West Australia Photo Bohdan Warchomij

Photo Bohdan Warchomij

Had an opportunity to photograph Bran Bieleny from Slovakia and Folkert Bosma from Holland showing

Bran Bieleny Slovakia Photo Bohdan Warchomij

off their incredible skills at Woodman Point, Indian Ocean.

Bran Bieleny Slovakia Photo Bohdan Warchomij


Shadows of Hope March 17, 2021

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Robert Hoey Leader Shadows of Hope

Shadows of Hope is an officially registered 501(c)(3) charity currently operating in 4 global theatres spanning more than a dozen countries.

It  is also suddenly in the mainstream over news of the arrest of a Perth man over  a sniper murder of biker chief Nick Martin at the Kwinana Multiplex. The uncharged sniper engaged with Shadows of Hope in Myanmar and  with organiser Robert Hoey working on an ethnic operation. The organisation labels itself as the ‘world’s most dangerous and fearless charity.’

In a Facebook post, the former SAS soldier said of the meeting: “It was love at first sight. I tracked them down and offered my skills. They accepted me into my ranks. And now here I am, surrounded by sacred kin, those willing to put everything on the line for others.

Robert Hoey, leader of Shadows of Hope, defended the alleged killer, and claimed that he had “suffered and bled for those who were most vulnerable.”

“The actions of one of our members who is being questioned for the alleged murder of an Australian gang leader was not a Shadows of Hope operation, ” the American said.

“we have no knowledge of the alleged crime and offer no support or judgement of this crime.”

“Our members have earned their right to privacy and their actions off duty do not reflect our organisation,”

Shadows of Hope

With a uniquely skilled core of volunteers that fluctuates between just a few to over a hundred members, Shadows of Hope draws its labor pool not from overseas specialists, but from local experts. This allows for rapid deployment and a broader view for the past, present, and future impact of operations. This also helps cut down massively on costs as well as communication times.

Using local resources and expertise allows for the continuation of operations beyond what any one organization could hope to accomplish using so few people in such an austere environment. It also grants Shadows of Hope unheard of connections, from authorities in the highest government office to lowly pirates and thieves, securing friendships for prospective operations in the future and a way to avoid red-tape when lives are hanging in the balance.

Shadows of Hope currently has more than 500+ contacts in almost 30 countries employed in countless professions, ready to act when an official field operative hits the ground.  Shadows of Hope is nevertheless in the limelight because of the arrest and a household word in West Australia.

Catching the Light JACK LOVEL: The architecture of Iwan Iwanoff March 16, 2021

Posted by bohdan.warchomij in : Jack Lovel Photographer, Metaphor Online , comments closed
“Catching the Light” Jack Lovel Photo Bohdan Warchomij

Jack Lovel’s book launch, namely “Catching The Light” at the Mobilia Studio in 888 Hay Street Perth was a special occasion.

Jack Lovel Photo Bohdan Warchomij

Featuring the work of Bulgarian architect Iwan Iwanoff in Perth it captured more than light. It captured the genesis and the spirit of and the technology of Iwanoff’s powerful work. And sensitively it showed respect for the landscape in which these works were made. The light in Perth is astonishing and Jack’s work through his lens has made the work stand out palpably. It attracted architects. Neil Appleton from Lyons Architecture,  Adrian Iredale from Iredale Pedersen Hook, who gave the keynote opening address,  and Kayisha Iwanoff, the niece of Iwanoff, who is an interior designer.

Kayisha Iwanoff Photo Bohdan Warchomij

Kayisha Iwanoff Interior Designer

There were numerous other guests revelling in the work and the beautiful backdrop of the Mobilia showroom. Miles Openshaw from the Globetown Project with his wife Amanda and son Xavier. Owner of Mobilia Sam Fazzari was at the opening although owner Mirella Scaramella was unable to attend.

Owners of  Iwanoff properties Matthew and Merja Shield, Mark Baxter and Karen Featherby were in attendance.

Neil Appleton and Adrian Iredale Architects Photo Bohdan Warchomij

Adrian Iredale in his address mentioned Jack Lovel from a recent conversation
and ‘his obsession with the work of Iwanoff’.
“This is a healthy obsession, it is productive and focused. Over the last decade I have
heard of numerous attempts to produce dedicated books or catalogues on Iwan’s
work. Such attempts to create a meaningful focus fail to materialise in the intended
manner, we are generally left with project articles in magazines or more recently,
detailed descriptions and photographic portrayals on real estate agents websites.
Here the ‘weight’ of Iwanoff seems to manifest as a curse.
As noted earlier, the Iwan Iwanoff catalogue from 1991 focused on the art of
architecture. Here Jack has adopted a specific and focused approach, the title
‘Catching Light’ immediately identifies his approach. The front cover embraces the
scale of the block, the block texture can be seen and almost felt, reinforced by the
textured paper. The back cover contrasts the grey natural block front cover with
painted block, here the texture is reduced and the shadow pronounced (Iwanoff was
critical of owners later painting his blocks). There is an honesty and authenticity in
these photos, Jack captures qualities of light against an evolving approach of Iwan
Iwanoff from the Californian modernists inspired houses of the 50’s to the very
personal approach with the concrete block. What remains consistent is Jack’s
approach to capturing the diversity of approach of Iwanoff to light.”

Jack Lovel is an architectural photographer based in Melbourne, Australia. With ten years worth of experience, Jack has worked with some of the leading architects and design practices in the field including Splinter Society, Carr Design, Christopher Elliott and Biasol. His editorial work has featured in global publications like Dwell, Elle Decoration, Houses and Habitus.

Alongside his freelance practice, Jack has spent the past three years documenting Iwan Iwannoff’s architectural legacy in Western Australia, culminating in a 2019 exhibition entitled The Architecture of Iwan Iwanoff – Through the lens of Jack Lovel at Perth’s There Is Studio. This body of work was initially inspired by the Iwanoff-designed Jordanoff house that Jack grew up in, and is a testament to his long fascination with – and passion for – contemporary architecture.

The closing words by Adrian Iredale at the opening  were from a well known quote by Iwan Iwanoff: “Architecture without Art is like life without a pulse .”Here Jack Lovel maitains the pulse through the frozen art of capturing light.” Adrian Iredale Architect.



Jack Lovel Photo Bohdan Warchomij

The Beeple has landed: A digital work by digital artist Mike Winkelmann has been sold by Christies New York for a record price March 15, 2021

Posted by bohdan.warchomij in : Metaphor Online , comments closed

A frame from 5000 Days artist Mike Winkelmann BEEPLE

People have really just scratched the surface when it comes to non-fungible tokens, or NFTs, Mike Winkelmann, a digital artist who goes by the name Beeple and recently sold a piece for $69 million, told CNBC on Friday.

“I really think this is a technology that has just so many use cases,” Winkelmann said in a “Squawk Alley” interview. “I look at NFTs as being such a blank slate, even beyond digital art.”

 People could start minting NFTs for things as common as buying a car, replacing the deed to a house or even a college diploma, Winkelmann said. Ownership of these assets is recorded on a blockchain — a digital ledger similar to the networks that underpin bitcoin and other cryptocurrencies. Each NFT is unique and can’t be duplicated, making them rare by design.

“There’s so many different things,” he added. “Anytime you want to prove ownership, I think there’s a use case there.”

The bulk of the focus around NFTs so far has centered on things like digital art, sports plays, memes and music. Several high-profile pieces have been sold recently or are in the works to be auctioned off. Twitter CEO Jack Dorsey is on track to sell an NFT of his very first tweet for $2.5 million and said he will donate the proceeds to charity. Musician and artist Grimes has sold more than $6 million in videos and music. Winkelmann’s latest NFT, titled “Everydays: The First 5,000 days,” sold at Christie’s for $69,346,250 on Thursday. The price propelled it to become the most expensive NFT ever sold at auction.

The record-breaking deal comes amid a surge in popularity of the digital collectible over the past few weeks.

Some believe that the craze around NFTs will die down, making the assets less desirable and causing valuations to plummet. That could be the case for some works, Winkelmann said. But he’s confident in the technology overall, believing it isn’t going anywhere.

Consumers of internet culture will already be familiar with the South Carolina-based graphic designer and motion artist known as Beeple.

His visionary and often irreverent digital pictures have propelled him to the top of the digital art world, winning him 1.8 million followers on Instagram and high-profile collaborations with global brands ranging from Louis Vuitton to Nike, as well as performing artists from Katy Perry to Childish Gambino.

Beeple Image CHRISTIES

In EVERYDAYS: THE FIRST 5000 DAYS, the artist has stitched together recurring themes and colour schemes into an aesthetic whole. The individual pieces are organised in loose chronological order: zooming in reveals pictures by turn abstract, fantastical, grotesque or absurd, deeply personal or representative of current events. Recurring themes include society’s obsession with and fear of technology; the desire for and resentment of wealth; and America’s recent political turbulence.

‘Beeple is looking at his whole body of work as it’s presented on Instagram as a kind of Duchampian readymade’ — specialist Noah Davis

The notable differences between the early and later pictures reveal Beeple’s enormous evolution as an artist. At the project’s inception, ‘everydays’ were basic drawings. When Beeple started working in 3D, however, they took on abstract themes, colour, form and repetition. Over the past five years, they have became increasingly timely, reacting to current events.

‘I almost look at it now as though I’m a political cartoonist,’ Beeple explains. ‘Except instead of doing sketches, I’m using the most advanced 3D tools to make comments on current events, almost in real time.’

A frame from 5000 Days artist Mike Winkelmann BEEPLE

The WA Election shapes as the status quo repeated. ALP Premier Mark McGowan set to control the agenda for four years March 12, 2021

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Photo Bohdan Warchomij

The 2017 state election saw Labor win one of the most comprehensive victories on record at the state or territory level in Australia. Labor won 41 of the 59 seats in the Legislative Assembly—a 23-seat majority—both WA Labor’s strongest result ever, and the largest government seat tally and largest government majority in Western Australian parliamentary history. Additionally, Labor exceeded all published opinion polling, winning 55.5 percent of the two-party-preferred vote from a state record landslide 12.8 percent two-party swing.The Liberals were hit by a 15.8% swing against them on the primary vote and lost 18 seats to Labor, finishing with just 13 seats, the lowest share of seats the party has won in any election. The Nationals won the remaining five seats. Labor also became the largest party in the Legislative Council with 14 of the 36 seats, ensuring it required at least five additional votes from non-government members to pass legislation.

Two by-elections were held during the term of parliament, both in 2018. The Liberal Party held the seat of Cottesloe and picked up the seat Darling Range, increasing the Liberal/National bloc in the Assembly to 19 and decreasing the Labor Party to 40. In July/August 2019, Liberal MP Ian Blayney resigned from the party and joined the Nationals, thus returning the Liberal vote bloc to 13 and increasing the National vote block to 6.

On February 25, 2021, Leader of the Opposition Zak Kirkup admitted that he could not win the election 16 days before election day.

The imbalance between the major parties has led to a string of minor parties and independents coming from the woodwork.

Premier Mark McGowan’s popularity rating following his handling of the covid pandemic assures him another four years at the helm.


Commemoration of Edith Cowan’s Achievements: 100 Years since her Election to Parliament Photos Bohdan Warchomij March 11, 2021

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Story: Hilary Silbert

Now why would a memorial committee fight for two years to commemorate someone, and even face litigation and court to achieve their goal? Well, the answer is, that they thought that the person at the centre of the controversy was amazing, worthwhile and had a lifetime of achievement. That person was the woman on the $50 banknote……….Edith Dircksey Cowan.

The memorial that caused such division is the Edith Cowan Clock Tower, at the entrance to King’s Park, West Perth. It is the most significant memorial to a woman in Australia and was unveiled two years after Edith died, on June 9th, 1934.

March 12th, 1921 was the day Edith changed the face of society,  forever. A hundred years ago, she stood for election along with three other women. It was the first election women could legally stand, and twenty two years after women had the vote. For Edith it was entirely natural: you achieve the right to vote, so, of course you stand for parliament. Edith Dircksey Cowan, OBE., JP., became Australia’s first woman parliamentarian, and was right up there, in the early days of woman in Parliament, in the world. She only decided to stand four weeks before Election Day, she stood against another member of her own party, and to the shock of everyone, she was successful. She knew it was a tough nut to crack, so she even designed a brooch that she gave to her supporters. It was made of a cracked gum nut, and two gum leaves, with the words ‘the nut’ written on the leaves.


Edith,  who came from a property outside Geraldton and was an orphan by aged 15, managed to quietly build a track record of achievements that few could hope to emulate. She was founding organisations such as Women’s Service Guild, RSPCA, Karrakatta Club, Ngala, to fight for our first maternity hospitals with trained midwives, advocate for women officers in court and become one of the first women justices. She wanted married and unmarried mothers treated equally, sex education be taught in schools, and believed men and women could work collaboratively.


At 59 years of age, married and with five adult children, Edith rewrote history. As Australia’s first woman in any parliament, she just happened to live across the road from the West Australian Parliament. She was the elected member for West Perth, and even beat the Attorney General. She walked across the road to attend. Fortunate that, because there were no female facilities, so she came home to use the bathroom. That did not stop her having the Speaker’s Gallery open to women for the first time, and achieving two private members bills. Quite an achievement for a first term parliamentarian. Society changed again, thanks to Edith being responsible for the Women’s Legal Status Bill, in 1923. Only ninety eight years ago, could women enter the professions, for the very first time. This affected all the society of the day: men, women, daughters, sons, husbands, wives.


Edith came from pioneering background: one grandfather was the first Colonial Chaplain, Reverend John Wittenoom. Her belief in the necessity for education for all was inherited from family. She was well read, well travelled and believed that organisations were greater than the individual. She was an excellent speaker, and served her community all her life. Her home in Malcolm Street, was the location of many meetings, and was a place to gather. She and her daughter, Dircksey, were founders of the Royal WA Historical Society.


If you visit the Edith Cowan Clock Tower, it is a short walk to see the tree Edith planted because she was on the 1929 Centenary Committee, when WA celebrated one hundred years. Down the hill, in Malcolm Street , is the site of her two homes: number 31 and 71.


So, here is to Edith Dircksey Cowan , née Brown. Thank you for changing our lives in a thoughtful and positive way. May we all recognise and acknowledge your contribution.


Hilary Silbert


Edith Dircksey Cowan Commemoration

Immediately after World War 1 women’s organizations renewed their efforts for civic rights, as part of ‘the full democratic re-generation of the world’, and in 1920 legislation ended the legal bar to women entering parliament. In the 1921 elections Cowan was one of four women candidates. As an endorsed Nationalist for the Legislative Assembly seat of West Perth, she opposed an independent Nationalist and T. P. Draper, the sitting Nationalist attorney-general in Sir James Mitchell‘s government. The electorate had a majority of women on the roll, but was solidly wealthy with a few potential Labor voters. She campaigned on her community service record, the need for law and order, and for women in parliament ‘to nag a little’ on social issues. She narrowly defeated Draper to become the first woman member of an Australian parliament.

There are tributes to her achievement in  Australian politics. Cowan was a founder of the (Royal) Western Australian Historical Society in 1926 and contributed to its journal—her daughter Dircksey was its first keeper of records. She was active in planning the State’s 1929 centenary celebrations. Until her last illness she maintained her committee and social work. Survived by her husband (d.18 October 1937), she died on 9 June 1932 and was buried in the Anglican section of Karrakatta cemetery. She left an estate of £161. Colleagues erected a clock tower memorial at the King’s Park gates to indicate her place as ‘one of Australia’s greatest women’.

She had led a group of forceful articulate women who made the Western Australian women’s movement a model; while she shared its concern with purity, temperance and ameliorative social work, she gave it her own rational analysis of issues and an austere dedication. Her portrait is in Parliament House, and her likeness adorns the Australian 50 dollar note. Edith Cowan University, Western Australia’s fourth, gained the status in 1991 with the amalgamation of various teachers’ colleges and colleges of advanced education.


Sculpture by the Sea 2021 Photos Bohdan Warchomij March 8, 2021

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Sculpture by the Sea has returned to Cottesloe Beach despite uncertainty surrounding  the exhibition that has survived 17 years of success and crisis.

The exhibition is open all hours for 18 days between Mar 5-22, which leaves plenty of opportunity to visit, especially alongside a casual swim or fish & chips down by the beach. Artworks from previous exhibitions have ranged from the quirky, to the quizzical, the bold and the beautiful: there’s something for everyone to enjoy.

Founding Director of Sculpture by the Sea, David Handley said, “The support of the people of Perth and WA saved the exhibition last year, with 20,000 people making a $5 donation – even though only 80,000 people visited because of concerns over COVID. This year it’s just as important for everyone to donate to save the exhibition and to cover much of the artists’ installation costs, which used to be funded by the Australia Council. If, like last year, one in four visitors donates $5 we will reach the goal.”

This years Bendat Family Foundation WA Invited Artists Program Recipients are Paul Caporn, Jennifer Cochrane and Tarryn Gill.

Ross Drinnan Chairman of Sculpture by the Sea Inc expressed gratitude for the private donors, especially the Bendat Family Foundation and Crown Resorts Foundations, Tourism Western Australia and Alcoa. and the Packer Family Foundation.


Perth Festival takes over the Perth Zoo on Sunday 28 February 2021 February 26, 2021

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Perth Festival is taking over Perth Zoo this Sunday.

The program will include the Perth Symphony Orchestra performing songs for Tricia, so the grand old dame got a special preview this morning. She gave it a jumbo endorsement.

Rottnest Channel Swim 2021 Photos Bohdan Warchomij February 20, 2021

Posted by bohdan.warchomij in : Metaphor Online , comments closed

Early morning Cottesloe Beach.

Andrew Donaldson was the first to finish today’s Rottnest Channel Swim — less than a year after his return to Perth in the middle of the coronavirus pandemic.

Donaldson crossed the line in a time of 04:04:30, more than six minutes in front of second finisher William Rollo.

Donaldson, who came out of retirement to take part in the challenge, started training for the swim 10 months ago upon his return to Perth.

“This time a year ago I was backpacking on the other side of the world, running away from life. I came back to Perth in the height of COVID and was lucky to have some phenomenal people around me who encouraged me to get back into the water…and that’s where the idea to have a go at the solo came from,” he said.

The record for fastest crossing in the event’s 31-year history was set by Solomon Wright in 2018 with a time of 3:59:28.


Posted by bohdan.warchomij in : Metaphor Online , comments closed

The PHmuseum Photography Grant is an annual initiative that recognises the importance of photography and visual storytelling.

Over the years it has grown into a leading photography prize, with previous editions having awarded work by photographers like Jacob Aue Sobol, Diana Markosian, Max Pinckers, Poulomi Basu, and Tomas van Houtryve, among many others. Now in its 9th edition, the initiative is designed to support the production and promotion of visual projects through cash prizes, educational activities and exposure across international festivals, and online media.

To participate, you are invited to submit one or more projects centered around a specific theme, narrative or concept. All approaches are welcomed, from classic narratives to innovative and experimental projects. Our independent jury will then review all the submissions and gather together to decide what is most relevant according to their personal criteria. As usual, you retain full copyright at all times and you can manage your submissions and uploads privacy from your PHmuseum’s personal menu.

Trent Parke is one of the most innovative photographers of his generation and a judge for the PH Photography Award. He is known for his poetic, often darkly humorous photography that offers an emotional and psychological portrait of his home country of Australia – from the southern outback to its busy beaches. Though rooted in documentary, his works sit between fiction and reality, exploring themes of identity, place, and family life.

Parke was born in 1971 and raised in Newcastle, New South Wales. Using his mother’s Pentax Spotmatic and the family laundry as a darkroom, he began taking pictures when he was around 12 years old. He began his career as a press photojournalist and in 2007 became the first Australian to become a Full Member of Magnum Photos.

His work has been exhibited widely and is held in major institutional collections, including the National Gallery of Australia, Museum of Contemporary Art, National Gallery of Victoria, Art Gallery of New South Wales, Art Gallery of South Australia, Artbank, Magnum London and Magnum Paris. In 2015, solo exhibition The Black Rose, premiered at the Art Gallery of South Australia, featuring photographs, light boxes, video, written texts and books.

Parke has published four monographs, Dream/Life in 1999, The Seventh Wave with Narelle Autio in 2000, Minutes to Midnight and The Christmas Tree Bucket in 2014.