View the Wooden Boat Exchange catalogue

Partnerships
Martin Corbin (wood worker)
with
Randal Cooper (Goolwa Masts and Welding)
Chris De Rosa (printmaker)
with
Armfield Slip & Boatshed and
Friends of the P.S. Oscar W
James Edwards (ceramicist)
with
Armfield Slip & Boatshed
Juju Haifawi (jeweller)
with
Ben Smith (New Growth Surfboards)
Gerry Wedd (ceramicist)
with
Nick Brauer (Nick Brauer Wooden Surfboards)
FOREWORD
The Wooden Boat Exchange is a project linking visual arts, crafts and
design practitioners with wooden boat builders based in the Goolwa
region and other traditional tradespeople closely associated with
the boat building ‘fraternity’. Developed and delivered regionally in
partnership with Country Arts SA as part of the Just Add Water Regional
Centre of Culture program, the project facilitated working partnerships
between five arts practitioners and five tradespeople from the boat
building industry, the creative outcomes of which are being exhibited
during the 2013 South Australian Wooden Boat Festival.
Following a developmental approach, The Wooden
Boat Exchange provided both creative practitioners
and wooden boat builders mutual benefits through the
exchange of skills and expertise. Participation introduced
those involved to concepts and processes that they
may not ordinarily encounter as part of their day-today professional practice, providing the opportunity for
experimentation and collaboration while presenting
alternative perspectives and deepening knowledge
and understanding between the arts and boat building
community. The creative outcomes reflect the diversity of
those involved and range from prototypes of new designs
through to finished works.
Craftsouth values trade expertise and through this
project aimed to support and promote wooden boat
building and associated trades skills and expertise to
both the local and wider South Australia community
while raising awareness of the significant role that
craft plays in all working practices. We recognise the
importance of facilitating diverse creative projects,
and by bridging the gap between our programs, regional
communities and other work practices, we aim to bring
the work of creative professionals to new audiences.
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Acknowledgements
Rae O’Connell • Jo Pike
This is a wonderful project to launch 2013 and Craftsouth
thanks our project funding partners Arts SA and Country
Arts SA. Thank you to our project partners the Alexandrina
Council and Goolwa Regional Centre of Culture – Just Add
Water for supporting the Wooden Boat Exchange and
collaborating with us throughout its development.
We would also like to thank the participating artists and
the Goolwa wooden boat fraternity for working with us
over the past two years; your generosity with Craftsouth
and with each other has brought this project to fruition.
Acknowledgement and thanks go to Janet Alexander
Events Coordinator, Alexandrina Council; Nick Brauer Nick
Brauer Wooden Surfboards; Randal Cooper Goolwa Masts
and Welding; Martin Corbin Artist; Ollie Delvecchio Film
Maker; Chris De Rosa Artist; James Edwards Artist; Rick
Eylward Chair, Armfield Slip and Boatshed; Di Gordon and
Ollie Black Project Officers, Just Add Water, Alexandrina
Council; Leah Grace Arts and Cultural Development Officer,
Alexandrina Council; Juju Haifawi Artist; Grant Hancock
Photographer; Jane Hylton Writer; Mike Mosely Chair, SA
Wooden Boat Festival/Club; Graham Pratt President,
P.S. Oscar W and former President Roley Bartlett; Edwin Relf
former Craftsouth Finance Officer; Ben Smith New Growth
Surfboards; Niki Vouis former Craftsouth Membership
Services and Project Manager; Gerry Wedd Artist; Drew Joyce
and Kieran Wallis Working Images graphic design; and all of
the Craftsouth staff who have contributed to this project.
A very special thank you must go to Jo Pike Executive
Producer, Regional Centre of Culture, Country Arts SA,
who is a fantastic collaborator and was instrumental
to the success of this project.
Rae O’Connell
Executive Director
Craftsouth
Country Arts SA’s Regional Centre of Culture program,
which has manifested as Just Add Water in Goolwa, is
at its best when it not only brings disparate groups of
people together in a common purpose, but also when the
specific heritage, knowledge, and skills that exist within
that community are showcased and acknowledged. The
Wooden Boat Exchange has achieved both, and is just
another example of Goolwa’s extraordinary willingness to
dive in and embrace Just Add Water in all its shapes and
colours. Just Add Water will continue in Alexandrina for
as long as the enthusiasm for it continues. And it doesn’t
show any signs of waning any time soon.
Jo Pike
Executive Producer
Regional Centre of Culture, Country Arts SA
THE WOODEN BOAT EXCHANGE
WOODEN BOAT
EXCHANGE GOOLWA
Jane Hylton • Clayton Bay • January 2013
Artists are often entranced by boats, especially wooden
ones. They are tactile, beautiful objects and their makers
or restorers have worked on them with a passion and
focus similar to that with which an artist might create
an artwork. Aesthetics meet workability in all forms of
water-borne transport. The satisfying nature of shapes,
construction methods and materials are brought together
in a unified whole that can take us across water under sail,
oar, paddle or motor, or soaring on the crest of a wave.
The River Port of Goolwa is a town steeped in the history
of wooden boats. In its heyday it was a vital trade link
between the fertile Murray-Darling basin and the world
via Port Elliot on the coast some twelve kilometres
away. It is located in the heart of one of the most
geographically diverse areas of South Australia, on a
sharp river bend in a region of waterways and wetlands.
On a clear, quiet night the Southern Ocean can be heard
thundering against the coast where it meets the sea
mouth of the Murray River, and the canopy of stars awes
and astonishes. Goolwa Beach is one of the State’s most
popular surfing beaches and the fresh-waterways are
popular for all forms of boating. From Goolwa a bridge
arcs across to Hindmarsh Island, which is bound on one
side by fresh water and on the other by the salt waters of
the Coorong.
Today Goolwa and the neighbouring townships of Port
Elliot and Middleton are hubs of creative and cultural
activity that celebrate their Indigenous, natural and
historic heritage. The region is home to a multitude of
artists as well as builders and designers of all forms
of watercraft and their rigging. Tradition combines with
modern technology to produce wooden boats bonded with
fibreglass resin; masts, spars and rigging manufactured
in wood, aluminium, carbon fibre and stainless steel;
surfboards made from recycled and ecologically
sustainable materials.
The town of Goolwa is resilient, a survivor of one of
Australia’s most recent natural disasters, a drought
which saw vast mud flats either side of a trickle of
Murray River water under the Hindmarsh Island bridge.
This environmental catastrophe caused unprecedented
salinity levels and the sheer lack of water brought the
boating and allied industries, significant to the economic
well-being of the region to a virtual standstill. Recovery is
a slow process and such events are not easily forgotten.
Locally, art played a part in helping sustain the spirit of
various affected communities. In 2012, two years after
the drought broke, Goolwa was nominated as South
Australia’s third Regional Centre for Culture. The Wooden
Boat Exchange has been part of this extensive, year-long
program called Just Add Water. Such projects can prompt
artists to reflect on previous work or make shifts that
create all kinds of new directions.
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Given the recent drought and the ongoing national
discussions concerning the Murray-Darling system, it is
not surprising that at least one of the collaborations
between artist and maker would reflect on the
environmental, ecological and economic impacts of this
disaster. Artist Martin Corbin, working with Randal Cooper
of Goolwa Masts and Welding, an expert in yacht rigging
and working with stainless steel, has addressed the issue
of balance between these three needs. Corbin has an
innate understanding of the shape of boat hulls, and a
love for the natural world. His delicate wooden boat forms
teeter precariously on stands made from various found
materials such as old timbers from the Goolwa Barrage
or water pipes, the reclaimed elements contrasting with
the shining newness of stainless steel cables. Some of
the boats are weighted on either side by objects that
represent aspects of the arguments that engulfed the
region during the drought (and still do): a sprinkler head
for instance, or shells, or a rock. These weights and the
various kinds of sticks they are attached to look a bit
like oars, a reference to the difficulties of continuing to
maintain momentum under impossible circumstances.
Another boat is filled with salt, a poignant comment
on the fragile nature of the environment and our
dependence on its health.
While working with Armfield Slip and Boatshed, and the
Oscar W crew, Chris De Rosa was shown an Armfield
Slip-built replica of a twenty-one foot canvas-and-timber
rowing boat, Forerunner III. The original Forerunner was
used by Francis Cadell to explore the Murray River while
he awaited the completion in 1853 of his paddle-steamer
Lady Augusta. Having obtained the patterns from Scotland,
De Rosa has produced a “soft” Forerunner. The canvas
hull, cut and stitched by South Lakes Marine Upholstery,
hangs suspended like a skin, readily able to be folded and
transported. Nearby is the internal armature necessary to
give the canvas rigidity. Various images bear testimony to
the complex stories surrounding this boat as well as the
early European history of the River. Fluttering across the
Chris De Rosa, November 2012.
James Edwards and Rick Eylward, November 2012.
THE WOODEN BOAT EXCHANGE
canvas are printed images of lace. These are allusions to
the remarkable Eliza Arbuckle, considered the first European
woman to travel up the Murray River, which she did as part
of an expedition in 1830. The lace is itself a shadowy
reference to the Indigenous presence on the Murray, and
the gift Arkbuckle made to them of cut pieces of her
petticoats. Words from poems by Thomas Moore, read with
enthusiasm by Arbuckle on her journey, are printed on the
boat’s exterior. The whole installation offers tantalising
glimpses into Forerunner’s and the River’s story, and raises
questions about the ways histories are written.
Ceramist James Edwards is interested in exploring shapes
that translate from their given purpose into functional
table items. His Speedboats series, boat-shaped ceramic
vessels that can sit on a table or bench, had already
come into existence before he commenced working with
Armfield Slip and Boatshed as part of the Wooden Boat
Exchange. In collaboration with Rick Eylward and other
Armfield volunteers Edwards has worked to incorporate
the intrinsic dynamics of boat hull design, and the need
for particular relationships between various aspects of
the hull – the transom and skeg, chines, the curve of the
sides towards the bow, the size of the stern – into his
designs. As a result Edwards’ slip cast ceramic boats are
well-proportioned and balanced, satisfying to the eye of
both boat builder and artist. One of the new pieces made
by Edwards as a part of this collaboration is a Standing
lamp. While he has made lamps along similar lines before,
this is the first in which he has used the boat hull form.
Placed on its end and lit from inside, the result highlights
not just the form itself, but the delicate translucency of
the porcelain from which it is made.
The other potter selected for the project, Gerry Wedd,
has combined aspects of his life on the south coast near
Goolwa into an installation ambiguously reminiscent of a
nineteenth-century anthropological display. Working with
wooden surfboard maker Nick Brauer, Wedd has drawn
together his passion for surfing and the sea, his interest in
recycling, ecological values, love of mark making,
and his respect for the local Indigenous culture and keen
interest in the region’s European history. On a simplyshaped wooden board, beautifully made by Brauer, Wedd
has poker-worked one of the lithographed images from
nineteenth-century South Australian artist George
French Angas’s immense mid 1840s volume South
Australia Illustrated. The image to which Wedd was
particularly drawn shows a local Indigenous group at their
encampment at Rapid Bay, a place which features in the
stories of both the Kaurna and Ramindjeri peoples. Struck
by the strange parallels between the relaxed attitude of
the figures on the beach and the poses of modern-day
beach-goers, Wedd has taken minor liberties with Angas’s
image in order to reflect on Indigenous custodianship
and traditions. The board shape is reminiscent of that
of an Aboriginal bark canoe drawn by Angas in another
of the lithographed plates. And the board has also been
used, just once: before delivering it to Wedd so he could
commence his work, Brauer surf-tested his design,
a carefully formed curve which “grabs” the surf on its
concave side. It functioned beautifully.
Ben Smith of New Growth Surfboards is another innovative
surfboard maker with a difference. He is conscious of the
heavy environmental impact of many of the manufacturing
techniques of modern board production. He recycles and
uses low-impact materials to make boards that are used
right around Australia, as well as at the nearby Southern
Ocean beaches at Goolwa, Middleton and beyond. Industrial
designer and contemporary jeweller Juju Haifawi shares
Smith’s environmental concerns and is also interested in
the design potential of aspects of the boards. For the
Exchange project her interest in innovation led her to
collaborate with Smith on the design and production of
surfboard fins that are both functional and beautiful.
Using resin and timber, Haifawi and Smith have created
objects that are part jewellery, part “super fin”. Stylised
lines and forms adapted from the immense dorsal fin of
the Pacific and Atlantic sailfish – with an ability to travel
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at nearly seventy kilometres an hour it is considered the
fastest fish in the world – these board fins appear delicate
yet are dependably strong and rigid. The timber that
forms the main part of the two larger fins’ construction
is paulownia, a sustainable-growth material that is
buoyant, lightweight and salt-water resistant. Cut away
sections allow various coloured and translucent layers
to show through the resin. In a smaller fin the rich glow
of Australian jarrah, beautifully inset with silver, shines
through. While they exist as individual pieces, these fins
can be applied to surfboards and their design anticipates
a supercharged surfing experience.
***
Martin Corbin and Randal Cooper, November 2012.
Projects such as the Wooden Boat Exchange can draw
together unlikely partners, and bring unanticipated
results. The artists who have participated in the Exchange
have taken the opportunity to open discussions with a
range of wooden boat builders, steel workers, surfboard
makers and canvas workers with whom they may not
have otherwise had contact, and have thereby willingly
introduced new visual and material elements and ways
of thinking into their work. Some have stepped away
completely from their usual media in order to create new
work. For both industry and artists the experience has
been satisfying and engaging. The results are illuminating,
thought-provoking and exciting.
Gerry Wedd, November 2012.
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Graham Pratt and Chris De Rosa, November 2012.
Juju Haifawi, November 2012.
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Martin Corbin, Beth, 2013, mixed
media on old water pipe,
2005 x 800 x 230mm (variable).
THE WOODEN BOAT EXCHANGE
Martin Corbin (wood worker)
+ Randal Cooper
(goolwa masts and welding)
As a resident of Goolwa with a background in Community
Cultural Development and a love of working with timber,
Martin Corbin’s interest in the Wooden Boat Exchange was
two-fold. His studio practice is timber orientated with an
emphasis on reusing material with significant embodied
histories. Of particular interest, at least initially, was the
opportunity to learn more about the approach to heritage
conservation with regards to older timber vessels…but in
the end Martin aligned himself with rigging over restoration.
Randal Cooper is a man’s man with a big shed. He’s
always worked with his hands, undertaking a building
apprenticeship after leaving school and moving on to work
as a roofing and sheet metal contractor before taking up
rigging. He claims the circumstances around his decision
to start Goolwa Masts and Welding twenty years ago were
more happenstance than intent and his irreverent attitude
makes this easy to believe. Yet his work with the Goolwa
Needs Water Now campaign in 2009 betrays his passion
for his craft as well as his community.
Randal Cooper and Martin Corbin, November 2012.
I have really enjoyed the opportunity to work with Randal,
not only for the experience of the rigging trade, but also for
the introduction to the broader culture that is, at its most
basic, messing around with boats. At times I’ve felt like a
tourist in my own town, totally absorbed by the richness of
this culture, its ancient roots and its vibrant and innovative
expression. -Martin Corbin
For Martin, not only was Randal’s skill with materials
quite unlike but complementary to the old timber he
works with on a regular basis appealing but so too was his
one-eyed passion for sailing and the river itself. Exploring
the delicate process of navigating conflicting issues, their
collaborative work incorporates both reclaimed timber
and stainless steel and is informed by the circumstances
surrounding the recent drought.
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Chris De Rosa (printmaker)
with the Friends of the P.S. Oscar W +
Armfield Slip & Boatshed
Since moving to the South Coast over 10 years ago the
local marine flora and fauna have been a recurring theme
in Chris De Rosa’s work. Although ostensibly a printmaker,
she works in a variety of ways according to the particular
project. Extending on previous work, which drew from the
journals of Lesueur, the botanical artist who sailed the
coast of Southern Australia with Nicolas Baudin in the
1800s and an interest in the psychological phenomenon
called calenture, where sailors jumped into the ocean
believing it to be the field of home, the Wooden Boat
Exchange prompted Chris to explore the social history
of boat building in the Goolwa region.
Thanks to the wealth of knowledge among the volunteers
who spend their Tuesdays and Friday afternoons working
down at the Armfield Slip and Boatshed as well as those
who pass their Wednesdays maintaining the P.S. Oscar
W, she had no shortage of resources. In fact, her interest
in the Forerunner III, a replica of explorer Francis Cadell’s
canvas covered canoe, currently hanging from the roof of
the Goolwa Riverboat Centre has led her on a trajectory
through the local community to Scotland and back. It turns
out a Scottish sculptor / boat builder is partly responsible
for the construction of the Forerunner III after developing
a similar interest in Cadell’s canvas boat and his historic
journey down the Murray. After being acquainted with the
Armfield Slip Committee through a couple of tenacious
locals, the replica was built and Cadell’s journey re-enacted.
Although the canvas sides of the Forerunner III were
waterproofed rather than replenished and repaired with
the fat from mutton chops eaten on the original journey,
the somewhat poetic nature of these materials – one
visceral, the other manufactured – have been a constant
source of intrigue to Chris and inform the results of her
work in the Wooden Boat Exchange.
Rick Eylward and Chris De Rosa, November 2012.
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Chris De Rosa, Aftrunner, 2013, printed and punched canvas with sticks, 610 x 6450 x 1220 mm.
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James Edwards, TableBoat TB1315 (prototype), MFQ and
China paint, 130 x 580 x 280mm, TableBoat TB1079
(prototype), MFQ and China paint, 90 x 440 x 190mm,
Stations TableBoat (prototype), 100 x 650 x 270mm,
MFQ and China paint, 2013.
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James Edwards (ceramicist) +
Armfield Slip & Boatshed
James Edwards’ grew up on a hill, six hours from the coast
yet he’s always felt more at home by the sea. He also has
a long standing appreciation for boats. Both themes have
manifested themselves in various ways through his work.
A recent investigation into the geometry of aerodynamic
forms and a desire to find a shape that easily translated
into a functional object resulted in a series of ceramic
tableware entitled Speedboats and an interest in learning
more about the shapes, lines and profiles of watercraft.
The Armfield Slip and Boatshed is a boat building
and restoration facility run by a group of dedicated
volunteers. Although most have only come to boat
building in retirement, they have a wealth of knowledge
between them and are recognised for their contribution
to preserving local history and maintaining the skills of
wooden boat building and restoration.
Rick Eylward and James Edwards, November 2012.
Working with the Armfield Slip community of volunteers
has been amazing! Throughout, I’ve gained both theoretical
and technical knowledge of watercraft, but also how to
utilise and extend previous and new skills, opening up a
whole new world for my making practice to explore.
-James Edwards
The Chair of the committee that manages the slipway
and boatshed, Rick Eylward, worked closely with James,
as did a number of the other volunteers. Although initially
dubious of his plan to produce a series of small-scale
models using traditional boat building techniques, they
remained open-minded and generously offered their
expertise. The results, a series of ceramic homewares,
include a number of TableBoats designed to rock and roll
just like a boat in water.
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Juju Haifawi (JEWELLER) + Ben Smith
(New Growth Surfboards)
When she studied Industrial Design, Juju Haifawi’s favourite
subjects were model making, furniture design and
jewellery. In her final year she proposed to her lecturers
that she design and build a small amphibious vessel.
It was agreed that the project would be too intensive
for the time frame so she was advised to decide on
something slightly less ambitious. Juju is now a practicing
contemporary jeweller but she never lost interest in the
idea and the Wooden Boat Exchange offered the perfect
opportunity to revisit the possibilities.
Together Juju and Ben explored the origins of the surfboard
and the evolution of surfboard design. They were particularly
keen to combine their skills in wood, metal and resin
and it soon became clear that fin-design would do just
that. Taking inspiration from the elaborate dorsal fin of
the aptly named ‘Sail Fish’, widely regarded the fastest
fish in the sea, Juju drew on Ben’s expertise to create an
intricate yet functional design.
Ben Smith began building surfboards from recycled
and renewable resources after coming across a high
performance board constructed solely out of wood and
oil. Having grown tired of the disposable and wasteful
polyurethane surfboard scene, he was inspired to create
a board that would leave a less destructive legacy in
its wake. Through research and experimentation he was
surprised to discover that today’s technology could
produce an environmentally friendly board that far
surpasses the industry standard in terms of performance,
durability and aesthetic.
Juju Haifawi and Ben Smith, November 2012.
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Working with Ben Smith from New Growth Surfboards has
been a fantastic learning curve and has inspired me to try
new things in my own jewellery practice. His knowledge
in the field of surfboard functionality and construction
techniques using wood, resin and fibreglass is amazing,
especially considering he is a self taught board-maker.
My own practice is already moving in the direction of wood
carving and cold construction for which I have the Wooden
Boat Exchange to thank. -Juju Haifawi
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Juju Haifawi, Finus Maximus (prototype),
Paulownia wood, resin and fibreglass,
255 x 250 x 10mm, Finus Minimus (prototype),
Jarrah wood, blue resin and 925 silver wire,
190 x 225 x 10mm, Finus Medius (prototype),
Paulownia wood, resin and fibreglass,
260 x 215 x 5mm, 2013.
Collaborating in the Wooden Boat Exchange with Gerry has
renewed my passion for developing simply designed water
craft for use in the ocean. -Nick Brauer
Gerry Wedd and Nick Brauer, December 2012.
Above: Gerry Wedd and Nick Brauer, Surfing board #1, 2013,
Paulownia wood and pokerwork, 430 x 1710 x 20 mm.
Right: Gerry Wedd and Nick Brauer, Surfing board #3, 2013,
Paulownia wood and pokerwork, 1050 x 530 x 40mm.
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Gerry Wedd (CERAMICIST) + Nick Brauer
(Nick Brauer Wooden Surfboards)
When he’s not in his studio, Gerry Wedd spends a lot of time
staring out to sea while surfing near Goolwa. Metaphorical and
symbolic motifs associated with the sea figure largely in his
work, which is predominantly of a narrative nature. His output is
diverse, including public art and jewellery, but Gerry is primarily
known for his practice in ceramics as well as his work as a
designer for Mambo Graphics between 1991 and 2006.
Nick Brauer makes wooden surfboards and it would be
reasonable to assume their shared love of the sea explains
their interest in working together. Yet Gerry claims the
fact Nick makes surfboards was irrelevant. Rather, it is
Nick’s approach to materials and problem solving and his
commitment to using recycled and ecologically considered
materials and technologies that were of most appeal.
Nick’s practice making wooden surfboards is aesthetically
and ecologically driven. Having worked in all areas of
surfboard production he was drawn to sustainable and recycled
materials and finishes with the desire to create a board for
his son with a lighter footprint than the more traditional foam
model. His approach to the crafting of the boards is governed by
the function of the object in that, whether it be solid timber or
hollow chambered construction, his process is driven by the way
he wants the craft (surfboard) to feel and perform in the water.
Inspired by evidence of ancient cultures surfing wooden
planks and woven reed crafts, Gerry and Nick combined their
various skills and shared interests to imagine an alternative
history of surfing in their very own backyard.
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The Wooden Boat Exchange was developed and delivered
Craftsouth: backing creative professionals
regionally in partnership with Country Arts SA as part of the Just
Craftsouth facilitates professional development opportunities
Add Water Regional Centre of Culture program, and with the
for contemporary practitioners working in the visual arts, craft
assistance of Arts SA and the South Australian Wooden Boat
and design. Through the delivery of a wide range of services
Festival.
that support professional practice, Craftsouth assists creative
practitioners build sustainable careers.
This catalogue accompanies the exhibition
The Wooden Boat Exchange
Through the initiation and development of projects such as
The Wooden Boat Exchange, Craftsouth aims to raise awareness
16 February – 31 March 2013
of the significant role that creative practitioners contribute to
South Coast Arts Centre (Old Goolwa Police Station)
innovation and excellence in our community.
Goolwa, South Australia
Craftsouth staff
Photography: Grant Hancock
Rae O’Connell – Executive Director
Catalogue design: Working Images
Cover Image: ‘Lower Murray & Lakes’ © Government of South
Australia Department of Planning, Transport & Infrastructure
Copyright © 2013. All rights reserved. Copyright for all completed
works of art in this publication resides with the artist. Copyright
for the photographic images is held by the photographer.
Copyright for written content resides with the individual authors
or Craftsouth. No part of this publication my be reproduced,
stored in retrieval system or transmitted in any form or by any
means without the prior permission of the publisher, Craftsouth.
ISBN: 978-0-9875163-0-5
Peta Mount – Membership Services & Project Manager
Victoria Bowes – Communications Manager
Christine Cholewa – Administrator
Stephanie James-Manttan – Administrator
Craftsouth: Centre for Contemporary Craft and Design
Level 1, 38 Hindley Street Adelaide, South Australia 5000
T +618 8410 1822 E [email protected]
W www.craftsouth.org.au
Craftsouth is supported by the Government of South Australia
through Arts SA, the Australian Government through the Australia
Council for the Arts, its funding and advisory body, and the Visual
Arts and Crafts Strategy, an initiative of the Australian, State and
Territory Governments.
THE WOODEN BOAT EXCHANGE