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(generated from captions) yes, you've been getting more and more exotic with your flowers every nie. Thanks, Mark

our stories tonight. Australian before we go a brief recap of

race walker Jared Tallent won his second medal a silver

to his bronze in the 20 in the 50 kilometre walk toed a

kilometre event. Ford Australia has resigned on the day the company cut jobs in Victoria. And the day the company cut 350

ABC News. Stay with us now for 'Stateline' and Catherine Garratt coming up next. You can find the latest headlines hurs dayen at ABC online. Have find the latest headlines 24

a great weekend, CSI goodnight. Closed Captions by

CC Hello and welcome to Stateline. I'm Catherine Garrett. Coming up - Richard Larter makes a very rare television appearance to take you, the Stateline audience, on a privileged tour of his own exhibition now on But first if you can't show at the National Gallery.

them, join them - But first if you can't beat

that's Val Jeffery's plan. them, join them - or there's

Tonne usual mayor of Tharwa and long-time government critic is standing in October's Territory election. Melissa Polimeni with this exclusive We were actually told not long ago by one of the poly there's not enough long ago by one of the local

out here. Very few governing poly there's not enough voters

bodies really understand what community in is. We've body employees to this community in is. We've had two

almost fatal. The community and they've been

the school and the second is

the bridge. From the 2003 fires

the closure of the primary school in a hard fought

campaign to reopen the town's bridge, Jeffery mainstay of Tharwa. I believe bridge, Jeffery squef than

what I've done over my life what I've done over my life is

particular ly my own community fight for the community,

because that's live. In but communities are the most important people's lives an we're losing the most important thing in

sight of that in Canberra, has been in his family for afraid. Tharwa's general store

dekids. It's where Val spends most of his days, but dekids. It's where Val Jeffery

with an election looming he no-no mood nor retirement I've

the edge of it all my life. I been in involved in politics on

feel they've got something to contribute now with my life's experience and I believe the time is opportune now in Canberra Canberra with the way things

have gone in the last four years of arrogant the idea for more than a year, government. After toying with

Val Jeffery has decided to stand for the community Community Alliance Party in the seat of Brindabella. Why seat of Brindabella. Why do youant to be an MLA? Haven't

you been far more effective all the side Lynes? I think gone past that really. I've done the best I can to try to keep politicians honest, politicians and politicians and bureaucrats

where you just get sick of honest. You get to a point

bashing your head against stood for over brick wall. The issues you've

been very Tharwa specific. How stood for over the years always

confident are you that you will get intor from the wider community and not just the Tharwa problems have really come up the last few years. The problems have really come up in

bushfires was not only a Tharwa problem and I have to vocal in problem and I have to be very

not only a Tharwa problem and I

lot of people, was vocal in that. I talk to a

lot of people, a lot of people come into the store and I get the feeling from those people

that the time is right, they're Government, they're stick of the arrogance of the arrogance of majority

Government and they're looking

there and for want of a better for an alternative to get in

word keep the bastards honest. Val Jeffery is perhaps

best known for his role in the

2003 bushfires. Tharwa resident s credit firefighter s credit the experienced town. And in the aftermath of firefighter with saving their

the blazes, he never once shied away from criticising the Stanhope Government. I could than an insult describe it as nothing less

and the CCT. Val Jeffery than an insult to the community

heads to role, starting with and the CCT. Val Jeffery wants

senior officers of the Emergency Services Bureau. I am not going into this episode as a bushfire candidate but, believe you me, the bushfires are still a big issue in community and needs to addressed. The Chief community and needs to be done the wrong thing with done the wrong thing with the

communities over the bushfires

with the answers. His and he needs to still come up

frustration boiled over

last year when he took part in Assembly, join ing dozens of the dramatic blockade of the

his fellow firefighters in mass his fellow firefighters in a public that weren't involved in mass resignation. The general

the bushfires have got in the should move on from that. This is hurting a lot of people, this attitude. answers this attitude. Because the out there and answers - questions are still

haven't come out of the bushfires that should have done. And there's still a lot of people bleeding from the

bushfires. I will be going in there as a doer. I am not going

in there as talk er. I hate

that's what I'm trying to get getting things done and and

into the Assembly to into the Assembly to do. You

said you're not a big talker.

That might come as a bit of a audience. (Laughs) I it developed in me over a last few audience. (Laughs) I it just

years when I had to front up in front of the result of the fire s and the front of the TV cameras as a

Tharwa school and the Tharwa school and the Tharwa that Val Jeffery's announcement bridge. It's perhaps fitting

to stand for Assembly insides with the reopening the Tharwa bridge. They reopening the gateway to the the Tharwa bridge. They are

Namadgi National Park. I like facing up facing up to challenges and this is a challenge. There is no doubt in the world about

that. I will make the best of it. And we welcome Melissa Polimeni to the Stateline team. Now let's team. Now let's meet an artist who is world famous and yet has

never talked about his work on television, until now. Based in Canberra, he's been painting for 60 years and he still

paints every day. The National Gallery is presenting the first

major retrospective of the work of Richard Larter, a show that's colourful, bold that's colourful, bold and provocative. Richard Larter is an artist wary of the media. He

wanted none at the launch of this exhibition, so it was a real coup when he agreed to involved in the make of this film. It's a collaboration between the artist and Stateline's Arthur Hill. Sit back and enjoy this privileged tour of the work conducted by the artist himself. I am going to talk about 1959 done in London. It's done in alkyd resins that have

through a hypodermic syringe. I am holding a hypodermic syringe in my hand and I am going to

with a hypodermic syringe. I

would fill with paint and then

you have to push down and you have to be very careful - you

can't have any movement at all in your hands, and you are drawing in paint. So in drawing in paint. So in the painting, when you're looking at the stockings, et cetera, you can see the hypo work. hard and you can't have any juderring movement. You have to be in control. I had the ideal waiting for a bus looking in

the window of a shop that sold medical instruments. This paint could have been applied

not in 1959 but three weeks ago. It's absolute ago. It's absolute perfect condition. This painting is 'Bath night' 1963. Human image at the Royal Easter Show, noelt noticed by Daniel Thomas, noticed by Daniel Thomas, an important critic. It's a hypodermic syringe painting and take notice of the squaring off technique from a small technique from a small pencil drawing to by squaring off drawing to by squaring off to a much larger format for the painting. Down the bottom

are tile s, and at the top here are tiles which is a reference to the bath paintings by Pierre Bonnard of his wife. And he is saying, "Merci bien, Pierre." For the For the idea and there's your tiles. I

curator at the exhibition and I've worked on this show for

the last year with Richard. And in this painting we see young and old people, we see hip and square, you can actually see some of the old people look as if they could be straight out straight out of a Balzac painting. And it has a very English feel. Richard and his

wife, Pat, came to Australia in 1962 from England and in a way it's about Richard 's memories

of living in England. So this is a very well hung

exhibition because the on the wall with each other. And in this particular painting is something quite of note down here, it's signed Dick Larter, Genius, of things. You have to

remember I am a school teacher riding back on my bike at 3:30 and I needed a little bit of light entertainment while working. I am getting that from

music that I'm playing simultaneously as I'm working. European - the dots on the

dress and playing the fool with the hypodermic syringe, squaring off here and The whole thing total control all over again. We need remember that Richard's art comes out of the nerd of comes out of the nerd of the 1960s and 1970s which was a

very lively time. His works are

often unconventional and this painting, 'Mr No The Rat Fink Sensor', must be one of the most unusual portraits in most unusual portraits in the history of art. In this work, Richard has actually turned the

tables on the sense sense. He is focusing on so you see these little close dwrouches sense sense dwrouches sense sense looking at his nose, his nose hair, his eyes. You will even see in the

bottom corner in is the eye

looking straight at his sitting. So he is really having a little go at the sense sense, who is judging his works, and he is now judging the sense sense. sense. It's interesting to know that this painting actually belonged to Patrick White, would have enjoyed the wry humour of the painting. This

is 'Striperrama No. 3', again hypodermic syringe painting done in Sydney. And what at first adheres to be loose

haphazard thing is in actual fact me in total control. only what I want is in the picture. From the mid-to late it became it became increasingly difficult to get new hypodermic syringes

same. And the whole thing blow up with an incident that occurred in Macquarie Street, Sydney. And a very large Sydney. And a very large and

overweight porker suddenly arrived bearing himself and an enormous stomach and he could not believe that I wanted not believe that I wanted a

hypodermic syringe and needles to paint with. His disbelief was such that he

his enormous stomachnd I was sent flying across

pharmacy. He would not and could not believe that an artist would require a hypodermic syringe for painting with. with. He obviously thought it was used heroin. So obviously I was at

an end of not going to be hit by every fat NSW

police every time I wanted a

replacement syringe or needles.

So I had to give up painting with hypodermic syringe s, which just shows you if you allow police forces to determine what an use, you're going to end up using very little, thank you. In 1969, five in a row show, moving to new has a flat, an apartment right

at the top of the building on

the top floor, he has a whole wall for me to decorate. He has

25 feet by 8 feet high, the total size of this and I am saying, "Thank you, franch, for

to creep over there. This is an image of Katherine Devenue

on the telephone here, black and white, and over here orange and white Sofia and white Sofia lor en. -

Loren. Down here a snarling dog and a nicer, more gentle lookingal station in the corner

there - alsatian in the corner

there and a spaniel there. 1967, going back a bit

in time, this is black and white painting called 'Page 3 coffees tattoo'. I am using mere black and white. The more you look at it, you have illusions - these dots repeat themselves when you repeat themselves when you look at the White area. There's

hatching and crossing. When you look at it, some optical effect s start happening. You can see blue and then you can see red but you have to look at it but you have to look at it for a a long time for that to happen. But I am perfectly aware that this black and white reads as a bit more than And there are three paths and it just comes off it just comes off perfectly. We're looking at Siding Easy

paint ed in 1970. This is an incredibly incentive painting. I just love the way I just love the way Richard has done the holes in the the way he used a tool the way he used a tool bit, he

used his drill and he drilled the holes into the painting.

And when I asked Richard why he

did that, he said, "It's just an extension of pointalism of

course". This painting is

Dead Globals. Again these are the - these the art gallery SA has owned it a long time. It

is now 1978 and I am at the University of New England artist in resident and it's a very strange place to be because they because they haven't got an art department and I have money department and I have money to spend with the university, and I discover that I can do lithographic prints, and this is the result - four beautiful prints done from black on white pen and ink drawings on white paper which become photo plate and these - litho plate. And these are pretty. There four of them in the gallery

hoor, and they're absolutely beautiful where it says un

clear pun that's nuclear and there's radio active coral earrings from bikini atoll. Even my daughter's Alice Even my daughter's Alice in Wonderland ill strautions of the Queen of hearts. So it's great fun. Richard great fun. Richard Larter painted many portraits of Pat Larter and we're in a room that is dedicated to her. A critic came to an exhibition and said, "So many paintings of Pat, I am not sure that I

another portrait of Pat." And Richard said, "I will give you

went and painted a portrait of 42 Pats in one portrait. This is a portrait of Pat in 1984, done in Yass, NSW. Sh She was great fun in those days. was great fun in those days. I had stopped school teaching and was wholly painting and she was thinking about painting thinking about painting but doing a lot of performance work. This particular

done with a mini roller. This is a one-inch mini is a one-inch mini roller and the whole painting, including

the eye lashes are done with this one-inch mini roller. In 1996, the unthinkable 1996, the unthinkable happened - Pat became very ill and unfortunately passed away. And around that time not long after the died Richard painted the died Richard painted two very moving paintings. One very moving paintings. One of them is called 'Into them is called 'Into Silence' and from there he moved from his grief into a his grief into a work called 'Farewell my Lovely' which is a beautiful celebration of all the things that Pat meant to him in his life. him in his life. This painting was very do. It was called 'Farewell Lovely'. I was very

at the time because when somebody dies they don't die for a couple of hours or a week or two, or a month or two, or a year or stwo. It's forever.

They're gone. Completely and utterly. And that hits hard, so hard, so you have great difficulty painting a picture such as this farewell such as this farewell my lovely. I used the slider used all the tricks that usually use, but I had to do - I wantsed to do more. I didn't want to just want to just finish nowhere. So I used these tulip paints I used these tulip paints - I know this is like advertising know this is like advertising - but these are the glitters - and you can see gold glitters here and you glitters here, it's the same

colour actually the pink. And this has a resonance so I've unscrewed the tops off of unscrewed the tops off of these and I am not going to squeeze them because they will run out all over the floor of the gallery but these you just squeeze and very similar to the hypodermic syringe paintings that you saw right at the beginning of this exhibition. So this is a cumulative effect and it was my way of not going over the top, not

overpainteding it too much. I wanted a certain effect, wanted a certain effect, and I think I got it with the use of these tulip colours that poth uses. It's a very delicate fine balance and it had to be because it was 'farewell Move lovely'. Thank you. - 'farewell my lovely'. These paintings are called 'outlook'

of 1988. They obviously have a

great relationship to Matisse. They're from Henri window, it's obviously when you look at them but they don't like like Matisses because I painted them uses my peculiar methods. 'Tobacco Road 2002'. This is a very colourful works that a joy to paint. And I think it's a joy to look at. And

it's just a gorgeous complexion of - complexion of am a 6-year-old United Kingdom and I was allowed to stay until midnight

one night to see the northern lights, the awe rora better and more exciting than any fireworks show you've ever seen. You seef got these shapes

twisting and turning in the air and how did I do and how did I do it? I used one of these sliders here. And

slide up and down making this rainbow-type colours and then you bring some dirt into it

because the whole thing is shifting and moving. It's a wonderful feast of the eye.

Oh, wow! What a lovely thing to paint! 'Smoke and Fire 2006' Canberra bushfire Here you can see it's done in layers. paler blue, yellow, green. And

then the overpainting with that - one-inch roll they're I And here you can actually see sparks from the flames, et cetera. It was a great disaster

for many, many people in Canberra. But for an artist it's something that is rather like the aurora berelis. It's a

spectacle and you have to record it - part of being record it - part of being an artist is that you record what's going on in the world you live in. Well, the Canberra bushfires in 2006 were part of

the world I was living in. So I have to record it.From Thank you. I enjoy every moment here at the gallery looking at, the gallery looking at, in retrospect, my past. But

tonight I've got a painting to finish. We've had consecutive rainstorms in Canberra, so I'm

painting rainstorms at the moment. In other words, moment. In other words, when I'm here, I am enjoying my past, but, as soon as I past, but, as soon as I get home, I'm looking forward to

the rest of my life, however long that may be. And we can see those wonderful painting at the National Gallery until September 14. Many thanks to artist Richard Larter. Jan Pritchard was on that story and Aaron Hague the Aaron's last story for Stateline. He is leaving the ABC and we ABC and we wish him well. The rest of us will be back next week, so until

Closed Captions by CSI

Hi, I'm Andy Muirhead and this is a very, very important cricket bat. It was used in the 1928-29 Test Series, Australia versus England.

The question is, who did it belong to and how much is it worth today? Find out tonight on Collectors. THEME MUSIC