I Am Not Insane: a visual essay by Mary Leunig

It is in the worlds of design and architecture that the word Bauhaus is most familiar today. Bauhaus is sometimes taken as a synonym for ‘Modern’. The contribution of the Bauhäuslers and their lesser known colleagues in Australia – Elenore Lange, Dahl Collings and David Foulkes Taylor – and in New Zealand – Ernst Plischke, Heinrich Kulka and Vladimir Čačala – stands as testament to a not yet sufficiently well-known dimension of the art and design histories of those two countries. For too long those histories have been introverted and, in aspiration, excessively nationalistic.

Fairweather’s letters are unsettling enough not to make them good bedtime reading. Just like his two reckless sea trips in make-do craft – one in 1944 on an old boat, from Sandgate, on the outskirts of Brisbane, landing on Bribe Island off the coast by chance, and the second in 1952 on a self-made raft from far-north Queensland aiming for Dili – his letters are a rough ride on rolling waves.

Events like these used to feel like warnings. Freak tides, catastrophic fires, once-in-a-century storms. We used to describe them as omens of a time to come. Now they are the times we live in.

Richard tells me I should meet this old guy he knows, Jimmy Somerville, a strong union man, living legend — he remembers everything, Richard says — including that famous night during the war when tenor player Merv Acheson shot a bloke on stage at the 2KY Radiotorium over a missing shipment of illegal whisky.

‘Non-driving, my passenger assures me, is a far higher calling than being in the driver’s seat.’