The Fyansford Silo first piqued my interest in silo art. I drove passed it most days to work. The silo stood high atop the hill at the railway sidings by the old cement works. They were painted by Rone, a globally recognised Geelong-born street artist. The silo depicted three members of the Geelong community, including Corrina Eccles, a Wadawurrung Traditional Owner, Cor Horsten, a former Geelong Cement worker, and Kelly Cartwright, an athlete in two Paralympics. The silos were all that remained after the cement works were abandoned. It was the fourteenth to be painted in Australia. Sadly, Fyansford was the first to be demolished. I think for a new housing estate.

Coffee House Writers / Jo Curtain

Silo Art has increasingly become popular in regional Victoria. Brim was the first painted in 2016; twenty more silo art locations have emerged in mainly two regions, Wimmera-Mallee and North East Victoria. I have enjoyed seeing seventeen of them on three separate road trips.

There are several things I love about silo art. Firstly, the massive scale. The sizes of the subjects are majestic, dwarfing those looking up at them in wonder. I imagine, like myself, wanting to know and see more. Oh, and the sense of adventure they trigger in me, like travelling to places I never considered destinations. Furthermore, I am enticed by the treasure-like-hunt feeling to find more artworks painted on water towers and buildings.

Lastly, I like the local focus, whether it is people, flora, or fauna. In other words, when the artist has spent time in the community, consulting and reimagining community words into a magnificent image. I’ve also found it a fantastic way to experience the natural environment. For instance, after seeing the Picola Silo, we visited the Barmah National Park, featured in the background of the painting.

Big Mallee Sky

We visited the Wimmera-Mallee region in spring over four days. We based ourselves in an old farmhouse near the town of Sea Lake. It was fabulous. We could self-cater and sit around a fire pit each evening under a brilliantly clear sky. There are eight silos in the region, Rupanyup, Sheep Hills, Brim, Rosebery, Lascelles, Sea Lake, Patchewollock, and Nullawil; dotted along the sparsely populated sun-baked landscape, cloaked in rich golden and brown hues.

As you follow gravel roads into tiny, rural towns, the silos shimmer on the horizon. Moreover, these ghostly tower-like structures are surrounded by crops of mainly wheat but also sheep and legumes. Silos were once the centre of seasonal business, but changing farming practices and abandoned train lines led to silos closing, resulting in dwindling town populations. However, silo art locations are going toward assisting the local economies of these quiet farming communities. The media love a new silo. Their heavy promotion of the sites and, consequently, the town attracts growing art tourism to the regions.

Rupanyup

I felt my excitement build as we approached Rupanyup, the first silo we visited on the trip. Painted by Russian mural artist Julia Volchkova, she has depicted two young community members in a realistic greyscale. She captures the importance of sport in connecting the community in rural Australia—in a young netballer and footballer.

Coffee House Writers / Jo Curtain

Sheep Hills

The next silo was Sheep Hills, painted by Adnate. The richly painted purple night sky popped on the horizon. Adnate celebrates Aboriginal culture in many of his artworks. This piece depicts four lifelike portraits of Wergaia elder Ron Marks, Wotjobaluk elder Regina Hood and two young children. Sheep Hills silo is, most importantly, an example of successful community consultation over several weeks. Adnate’s remarkable art piece reflects the Aboriginal community’s deep connection to the land and ongoing generational knowledge.

Coffee House Writers / Jo Curtain

Brim

I love the next silo. Brim depicts four anonymous farmers (three men and one woman). There is so much to like. Firstly, the Australian street artist Guido van Helten represents the community’s sense of strength and resilience after years of harsh conditions, low rainfall, and struggling/failed crops. Secondly, he uses a simple palette similar to Rosebery and Lascelles silos, incorporating the silo surface to build tone and depth to the faces. The simplicity of the palette draws the viewer’s eye to the farmer’s faces. Lastly, he explores identity and captures the community spirit in these portraits. Brim, above all, showcases the continual presence and determination within the generations.

Coffee House Writers / Jo Curtain

Rosebery

Another favourite of mine is the Rosebery silo; because, up close, it has a powerful presence. For instance, the artist used minimum colour, but the enormous figures pop from the concrete. Furthermore, she draws the spectators’ eye with the specks of red throughout. Kaff-eine, an internationally famous street artist, has successfully portrayed both strength and compassion in these portraits. Moreover, she creates a narrative for visitors to read without turning a page. Rosebery silo is another magnificent accomplishment and a satisfactory conclusion to Part One of the series.

Coffee House Writers / Jo Curtain