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Water of Life

Sydney Gin Palooza

Let’s talk about distilled artisanal drops that are predominantly derived from juniper berries as the main core ingredient.

Not unlike with whiskey, the gin landscape down under has blossomed and bloomed over the last couple of years with a myriad of distilleries are mushrooming with new and at times exotic offerings entering the fold.

More than one hundred and eighty gin expressions from sixty-six distilleries – with many of them only producing small quality batches - have been selected as contenders to be graced with accolades by the diligent committee behind the Australian Gin Awards, headed by Judith Kennedy who has been involved in the wine industry for well over two decades and who is the founder of the Australian Gin Distillers Association.

None other than Tasmania’s Urgestein and whiskey legend and master distiller Bill Lark, whose daughter was present to proffer her own gin distillates, holds the position of Chairman of Judges Bill Lark and his approach being informed by the marriage of science, art and passion has informed the selection of judges based on their technical expertise.

Discoveries at Gin Palooza, apart from Bass and Flinders Distillery, Distillery Botanica and the emissions of Old Kempton Distillers, which we have recently covered, were:

Animus Distillery, founded in 2015 and heading from Victoria, their 100% grain gin and vapour pressed botanicals result in a melange of exquisite flavours.

Maron Bay’s Hellfire Bluff Distillery London Dry Gin won me over with the strong citrus component and underpinning nuances of coriander.

Imperial Measures Distilling’s Ounce Gin is an exercise in harmony when it comes to a botanical tour de force, mixed with Victoria’s preservative free CAPI tonic it made for one delicious G&T.

Apart from the gins themselves, it was nice to see that bottle design got its own category; i.e. the Bottle Design Awards with a committee headed by professional designers and industry luminaries.

Masterclasses were held by local gin stalwarts Archie Rose and comprised an extended gin centric extravaganza that in terms of organisation and curation set a new standard that will hopefully help to establish it as an annual occurrence.

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photos by @k.a.vv

Anselm Kiefer: Books and Woodcuts

Anselm Kiefer has been an immense impact on me ever since I was exposed to him in the late 1980s.

I travel just to experience Anselm Kiefer’s emissions in the flesh and have yet to be underwhelmed by what I find, no matter if it is at Hobart’s MONA, the Louvre or the MET in NYC.

Needless to say that I was excited when I heard about an exhibition that was going to highlight in equal measures the two disciplines that his artistic pendulum has always swung between, i.e. Kiefer’s woodcuts and books and journals he has been keeping.

Being a means of reflection and research, Kiefer’s writing has always been inextricably linked to the creation of art and often added another dimension as it gave insight into the underlying ideas and the provision of a context that would have gone amiss without him shedding light on it and allowing access.

If you follow his literary emissions, one cannot help but find his woodcut an organic extension and the creation of a realm that is clearly separate from his painting.

The Jan Michalski Foundation for Writing and Literature’s present exhibition Anselm Kiefer ? Books and woodcuts is an immensely interesting effort in highlighting the underpinning philosophical and alchemical components, mythical and poetic influences along with historical events that more often than not form the genesis and foundation of what eventually materialized in museums.

Curated by Natalia Granero of the Jan Michalski Foundation, which is based in Montricher, Switzerland and Gunnar B. Kvaran from the Astrup Fearnley Museet, in Oslo, Norway, this unique and complex exhibition depicts and is an ode the monumental amalgamation of the myriad of contributing factors that Anselm Kiefer channels through his lens into his idiosyncratic art that is fascinating in every aspect.

I particularly find it interesting how Kiefer’s focus changed over the last two and a half decades as he started exploring new themes, e.g. limitations of human beings and a recent heavy focus on flora.

The accompanying catalogue to the exhibition renders and frames the exhibition by documenting Kiefer’s profound works, the themes and the scale of variety spanning from at times personal writing to the large-scale artworks that never cease to fascinate.

If you have paid a bit of attention to this series, you would be aware that peat and smoke is something that resonates immensely well with my DNA, hence covering and tackling the big eight of Islay’s Distilleries is big on the agenda.

Full disclosure: I have not had a single drop of Bowmore before and was looking forward to uncorking this beautiful 12-year-old sourced from Loch Indaal’s Bowmore Distillery.

First impression is that I have missed out on this complex drop that has benefitted greatly from exposure to ex-Bourbon and ex-Sherry casks, as it unfolds its breadth and circles around a centre of vanilla and orangey undertones, engulfed in bath of smoke and oily peat.

Despite the trademark Islay peaty punch, a subdued one at that, it allows for an array of subtle notes that include spices, cocoa, chocolate and a finish that is heavy on toffee.

Whereas other Islay Distilleries are mainly heavy on the smoke and peat, Bowmore is more sophisticated and enters through the backdoor as it has omnipresent sugary hints.

The surprising left turns it takes result in a well-calibrated flavour profile that with its silkiness and tactile mouthfeel will prove to be particularly appealing to the clientele that usually finds other Islay whiskies too harsh.

Do not get me wrong – this golden amber drop is a smoky one, but the smokiness gives way to floral notes and lets lemons and bergamot shine through in unison, which gives it special status among the emissions from Islay where phenolic components usually reign supreme.

This babyh here has sweetness sprinkled throughout coastal salty roughness and offers a consistent palate experience.

Accessible and affordable, Bowmore’s 12-year-old should not be missing from your liquor cabinet.

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Photo by T

Let’s enter the den of iniquity, shall we?

Based in Adelaide in the South of Australia, Iniquity is not merely one of the many distilleries that have recently mushroomed across terra australis – they started operations over a decade ago under a different guise and have consistently honed their craft before they re-emerged as part of Tin Shed Distillery and have ever since graced the whiskey scenery with their delicious high quality emissions that keep raising the bar.

Iniquity has become known for some excellent small batches that prove to be very hard to get a hold of as aficionados usually snap them up within hours of them being offered.

It took me a while to get a hold of Iniquity’s expressions, but it was well worth waiting despite expectations having risen along the way.

My first exposure was their most recent batch, i.e. Iniquity Batch 14 Single Malt Whisky.

Bottled at 46% ABV with no age statement and aged in American Oak, lots of wood hit the nostrils, embedded in a melange of toffee and sweet honey. The latter transitions onto the palate as the fruity nuances become more pronounced and culminate in a finish that is reminiscent of a rich dessert.

An interesting expression that builds up its complexity, which keeps things interesting – every time you think you got it, it takes a slight delicious left turn.

Next up was the Iniquity Single Malt Whisky Gold Batch No. 004.

Now, this babyh is award decorated and I quickly learned the reasons for it: Aged in American oak single port casks, this cask strength won me over with the overarching port and sherry flavours that are accentuated by honey, peanuts and sour notes.

Sounds intriguing? Well, it is.

There are nuts and wood flavours that tickle the palate and the finish is nothing but an elegant exercise in fruits and nuts.

Good ole Jim Murray was not too far off when he described the experience of Batch 04 as simply gorgeous.

A dangerously more-ish drop that made me an instant believer in Iniquity.

Next up was #12: Iniquity’s Batch # 12 was released in 2018, aged in port and sherry casks and is – compared to the aforementioned - less woody in character.

There are notes of burnt jam, and in many aspects, I find it reminiscent of Limeburners’ Port Cask expression yet with a bit more zest as the sweeter parts are more dominant without being overpowering.

A well-calibrated dram with loads of natural sweetness up front, without ever entering saccharine sweetness territory. The mouthfeel is quite grippy with its texture, which makes for a borderline tactile experience.

With its elongated, powerful finish and stewed fruit nuances, it leaves one lusting for more.

Needless to say, I cannot wait to explore Iniquity’s other and upcoming batches -  a journey in spirit indeed.

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Image provided

Frank Bowling: Mappa Mundi

Prestel Publishing

For the uninitiated, the book title is a telling one as it zeros in on Frank Bowling’s large-scale map paintings, which are more often than not of borderline monumental scale. Location and history have always been major sources of inspiration for Bowling, who channeled these via muted yet fiery nuances combined with oceanic tinges to transport the beholder into spheres where landscapes and space are redefined.

What I like most about Bowling’s oeuvre is that it evokes an almost physical power when he outlines the shapes of continents, as they seem to float on lava against backdrops of warm and radiant expanses and chromatic spaces.

Digging deeper, Bowling’s cinematic paintings deal with identify, ethnicity, the sense of belonging, Heimat(losigkeit) and ever changing territorial claims.

In a day and age where migration is more relevant a topic than ever, Bowling meaning infused abstract works create awareness for geopolitical transformations that are never not in flux.

Mappa Mundi is homage to a six-decade spanning career of a unique artist that questioned formalism, moved away from mere representation early on in his career and has developed a style of his own with explorations of colours, tactility and transparency that remain unrivalled.

The fact that Bowling’s art is framed by essays and curatorial notes as well as writings of the artists, helps to explore not only the artist but also map out his journey and his personal world.