I have worked with unions in Australia since 1983 producing single and double sided banners.This involved producing 16 single and double sided “naming” banners and 15 single 'issue' banners. I really enjoyed painting these banners which evolved into a complex development of images, able to reflect historical and current aspects of each union. The relationships I was able to forge with officials, rank and file members, the collaborative methods we evolved and the opportunity to experience industries, work skills and workplace cultures all contributed to the success of these banners. Banners came from a old traditional skill base  of painting, stone masons, sign writing , textiles and union identity. It can be traced back to Celtic emblems, artisans carvings and symbols, Free masons symbols, Religious, secret societies and the early formation of artisan cooperatives and unions.  A banner revival occurred in the 1980's, through funding from the Australia Councils "Art and Working Life" program. The Newcastle banners painted under the umbrella of "The Workers Cultural Action Committee, a sub committee of Newcastle Trades and Labour Council. I would particularly want to acknowledge Laurel Quillen - Jane Brisley, coordinators of WCAC, Peter Barrack Sec. of Newcastle Trades Hall and George Sewell who did all the roping of the banners to the frames. These banners involved hours of research of each union, visiting and photographing work sites, committee meetings for directions and approvals, arguments and  reworking of designs, wracking my brain for new ways into a picture and trusting my instincts about the "yes" moments,"got it". My ability to focus and obsess each project came to the forefront. I'd spend hours in the studio, worrying each part. For me its' my version of being a marathon runner. My brain is happiest when I am lost in paint. Working on community projects gives me meaning and the nearest to a normal work place with people interactions. Studio working on my own art can be very isolating and can feel empty with out purpose. So mixing it up and add a bit of teaching and it makes life more balanced.
My banners have been in many publications and exhibited widely in Australia and overseas.
I certainly am keen to work further with unions - doing banners, murals, labour history and site specific artwork.
The highlights include an exhibition in Scotland, celebrating banners of the world. In Australia the reward was to have the Building Trades Group banner reproduced in the highly respected publication -
'Australian Painting 1788 - 1990' by Bernard Smith with Terry Smith
Oxford University Press, 1990 (pages 484,485).



First outing of the new "Amalgamated Metal/ Foundry and Shipwrights Union", Newcastle.1984
This was my first banner, painted for Freewheels - a theatre in education company.The actors could place their own heads through the flaps of the then political and mining conservative politicians at the top. It was stolen while on display by attendees at the "Doctors and Nurses ball" It was later found outside the operating rooms at the local hospital. Without the heads it was cropped and hung in Newcastle Trades Hall.
1983 "Amalgamated Metal/ Foundry and Shipwrights Union", Newcastle.
1983    "Federated Miscellaneous Workers' Union Of Australia", Newcastle Sub Branch, NSW.
(Fully paid for by this union) was my first trade union banner.I spelt the name wrong federal not federated and no one picked it up, so today its still the federal. The scene in the middle is from Newcastle featuring the hospital at the front.The models were a watchmen at the docks and the cleaner came from Carrington school. My first design was more elaborate in the ribbon work but I lacked the skills to do it on a larger scale and it looked like they were in the middle of  fancy glasses..I want to acknowledge the old banners but insert a more modern element.The small pile of dust at the cleaners broom head was my small touch of humour and women's reality. I had no knowledge about unions and banners and this was before the days of the net so research was difficult. I had as a 16 year old seen some of the old banners on the back of dray carts passing by the Domain without context. We had historians on the committee but it was a visit to the old trades hall in Sydney and seeing the old banners hanging in the library that educated me. I also saw how damaged they had become form the constant rolling up and moving. I designed a new system for permanent stretching the canvas onto a aluminum frame and a Carrington unionist and fellow member of the "Carrington residents Group" and a ex seaman and then a deckmen on the tugs, George Sewell used his knotting skills to attach them to there frames. Light weight and easy to carry in marches and able to be hung as a painting during the rest of the year.
1983-4  "Workers Cultural Action Committee", a sub committee of Newcastle Trades Hall, applied to the Australia council for grants to complete the "Plumbers and Gasfitters Employees' Union of  Australia.  Newcastle sub Branch.
1983-4 Hunter region Teachers Association
"Amalgamated Metal/ Foundry and Shipwrights Union", Newcastle.
"Unemployed Peoples Banner". Newcastle. Double sided. 2m x 3m.
The Plumbers banner when finished was to go on the cover of the states union calendar till it was pointed out that all the Action images I had chosen where outside the Health and Safety guidelines. Another lesson on art versus the issues for the unions. It was always a fine line between what I wanted to do as an artist versus the unions needs. After visiting worksites and research I would get a gut "feeling" about what story I wanted to tell. Some of the most successful banners had small behind  the scenes "battles" and to tell the truth the ones which I lost and had to work harder with often turned out the best. I used humor as in a "apple" for the teacher or a pastoral scene of animals with the product on the other side in the meat workers union.
The Unemployed Banner. It was meant to be the Seamen's Union Banner but they decided not to go ahead with it so we had funding left for one.It was a time of large numbers of unemployed,the beginning of large lay offs from traditional working class job opportunities. BHP, State dockyards, seamen, manufacturing. I had been unemployed or at least not making money for most of my life and truly related to these issues. The seamen had a saying when they are unemployed they "are on the beach. mm. I had to battle WCAC members who wanted the money for their own projects but this one I won. I took a photographer out to Stockton beach for a reconnaissance of the terrain, and in the sand hills I became lost for a few hours. I have a poor sense of direction. So after rethinking it I asked models representing different age,ethnic groups and professions to come to Knobby's beach all dressed up and now where to go. Knobby"s beach is situated on the edge of the city and the models then looked back to the city,superimposed on newspapers adds and stories of poor outlooks
1983-4 Hunter region Teachers Association
"Plumbers and Gasfitters Employees' Union of  Australia.  Newcastle sub Branch.
The two memories I have of the metal workers was
having to face a full room of delegates to explain my design and have approval. They were more diligent about how the skills were presented. It was daunting and I felt out numbered but I survived and a banner was made. In the future not one of the industries I visited continued to operate.We were going into a era of the loss of manufacturing. The state dockyards was funny.Going into the locker rooms each locker was plastered with nudes of women.It was slowly closing down yet the ghosts of the old dockyards was evident, in the stories told, and the connection to the harbour. I have since felt I saw the last of a culture and working life finish, the old workers around Carrington where different to the new generation. It felt decimated and a culture of welfare,drugs and no hope was evident. The area has now, twenty years on, become genitrification and a new Newcastle has been build from the foreshores back to Carrington.
First design for banner.
Old banner from Sydney Trades Hall
Artist with HRTA Banner
Artist’s Statement 1984. From Catalogue  from the "Trades Union Banner Project By Birgitte Hansen  held at Newcastle Region Art Gallery.
In order to begin the Trade Union Banner Project it was Necessary for me to visit the relevant work sites with Trade union delegates to document representative skills and jobs. I have lived in Newcastle under the shadow of heavy industry for eight years ,but this was the first time I actually been inside these works sites.
As an artist I found the contrast of people and machinery fascinating. I was a pseudo welder at the State dockyards, and also visited the top of Eraring Power Station and Its underground basins. Visited but not allowed in to photograph the new controversial Tomago Aluminum Smelter with its high technology futuristic factory, a surreal image in the middle of the Australian landscape: I was delighted by the children of Carrington Primary School, their posing and fascination with the camera. The determination and loving kids from Newcastle Special School in their bright environment with an eagerness to demonstrate their skills. My photographer Melody Perrin Cruickshank and I had an adventure riding to work sites on my 250cc, motor bike. We had plumbers posing, exposing limbs, lying, sitting, and standing with the ever handy wrench in hand to the encores of their workmates - who were giving them a hard time.
To negotiate with twenty seven union delegates during a district meeting of Metal workers about the design of a banner, a strong sense of humour and adventure is essential. Three such meetings and one studio revision later, consensus was reached. The welder was too specialized, there were too many women, and I’d left out a shipwright! The machinery was incorrect, and where did I finally put that moulder’s trowel?
My personal perceptions of the aspects of each union were the foundation of the designs: a constructive outdoor quality for the plumbers: the tradition of nobility, the classroom and an apple for the teachers; the sense of metal, heat. Power and skills for the metal workers; the overall aspect of a service industry and acknowledgement of older traditional union banners for the Miscellaneous Workers. Since I wanted the Unemployed Banner to be a contrast to the activity and strong identity of people at work, I tried to create a sense of alienation, isolation and futility for the unemployed people painted on this banner.
The banners are to be hung in the relevant union office’ (their size was determined by the wall space available) ps. And getting through doorways. And will be used for May Day Marches’ demonstrations and conferences by the relevant unions.

Artists’ method of work

•I obtained a list of job descriptions for the majority of workers in each unionand had a discussion of broad concerns.
•Union organisers’ co-ordinated visits to work sites for photographs. E.g. (at the State dockyards the blacksmith started up his forge and demonstrated old skills, that haven’t been used there for ten years).
•Next I designed an abstract concept, using different geometrical formulas – one point perspective for the “Teachers’ banner; Rembrandts “swirling squares” formula for the metal workers; triangles and the “Golden Mean” for the plumbers.
•I chose the models from photographic proof sheets and complete the drawings.
•The Unions discuss the drawing with me and we agree on any changes.
The banners were then painted. The finished banners were restrung by George Sewell.
Catalogue of works.

Banners

Amalgamated metals. Foundry and Shipwrights’ Union
Solver Scenic acrylic paint on canvas (Post script. I would not use this paint again; it cracks and is too temperamental for practical use. Any artist’s quality acrylic paint is good.)
198. X 97.0 cm (outside edge of frame) ps must be able to go through standard door
Signed; l,r,h. “Banner /painter/Birgitte Hansen. 1983.c
On loan from the Newcastle District Committee – Amalgamated metals. Foundry and Shipwrights’ Union sub-committee; Steve Crockford, Mary McGill, Carl Mundy.
Models from left to right: Charlie Fisher, State dockyards; Jack Hughes; Kenny Williams, Shipwright; Mary McGill, Wormald I international ; Christine Snipe, Wormald's international.
Work sites visited; State dockyards, Goninan & Co, Wormalds International

Federated Miscellaneous Workers’ Union of Australia N.S.W. branch
Solver Scenic acrylic paint on canvas
198. x 297cm (outside edge of frame)
Signed; l,r,h. “Banner /painter/Birgitte Hansen. 1983.c
On loan from the Federated Miscellaneous Workers’ Union of Australia N.S.W. branch Union
Union sub-committee: Secretary Athol Cowley, Organiser – Eve Bennett
Models from left to right: Wal Perry – Waterfront Watchmen; Molly Wilson – School Cleaner.
Central Location: Newcastle Hospital. Newcastle beach looking towards Newcastle east.

N.S.W. Teachers Federation Union
Solver Scenic acrylic paint on canvas
280.0 x 180.0 cm (outside edge of frame)
Signed; l,r,h. “Banner /painter/Birgitte Hansen. 1983.c
On loan from the N.S.W. Teachers’ Federation  Newcastle Office.
Union Sub- committee ; Adrian Lewis, Barry Johnson, Janet Maclean, Margaret Thomas’
Main Models; Helen Lacy, Cardiff High; Keith Parsons, Lambton High .
Areas of education and sites visited; Early childhood and Primary, Carrington Public School. Merewether High Secondary School; Newcastle Technical CollageT.A.F.E; Newcastle Collage of Advance Education; Special Education, Newcastle S,S,P

Plumbers And Gasfitters employees’ Union of Australia Trade Union
Solver Scenic acrylic paint on canvas
230 x 244 cm (outside edge of frame)
Signed; lower centre  “Banner /painter/Birgitte Hansen. 1984.”
On loan from the Plumbers And Gasfitters employees’ Union of Australia Newcastle Branch
Union Sub-committee ; president Robert Campbell; vice president  - Ian MacFarlane; secretary – Ron Masterson; and special thanks to Joy Masterson
Models from left, Ross Grey, Eraring Power Station; above Thomas Dumniclisse, Booragul High School; below Jimmy Watson, Cardiff Railway Workshop; Drago Zanky, Eraring Power Station .
Work sites visited Sprinkler pipe fitting, mechanical plumbing - Eraring Power Station, roof plumbing - Eraring Power Station and Tomago Aluminium smelter. Cottage Plumbing  - Booragul High School. Construction Plumbing – Wood Street Technical Collage and Newcastle Courthouse. Railway workshop Plumbing – Cardiff Railway Workshop.

Unemployed Peoples’ Banner
Solver Scenic acrylic paint on canvas
276 x 180.0 cm (outside edge of frame)
Signed; lower centre  “Banner /painter/Birgitte Hansen. 1984.”
On loan from the Workers Cultural Action Committee , Newcastle.
Sub – Committee: Dale Caldwell” Unemployed people’s Union”; Dale Hollingshed “Youth Development Project”, Roslyn Cameron “ Youth Line”
Models from left to right; Craig, Lisa Taylor; back Harry North; front; Sue Dates; back Len Outram; front Sue Psarris.
Site Nobby’s Beach Photographer Roger Broadbent.

Photographic Documentation
Amalgamated metals. Foundry and Shipwrights’ Union
Photographs
81.3 x 35.0 cm
Photographs by allen Chawner and Mike Illett
On loan form Birgitte Hansen

Plumbers And Gasfitters employees’ Union of Australia Trade Union
Photographs
81.3 x 35.0 cm
Photographs by Melody Perrin Cruickshank
On loan form Birgitte Hansen

N.S.W. Teachers Federation Union
Photographs
81.3 x 35.0 cm
Photographs by Melody Perrin Cruickshank
On loan form Birgitte Hansen



An Apple for the teacher or "Apple computer" This banner introduced me to people who became movers and shakers in the local council and Unions NSW and the Teachers Union. It also made me careful in balancing races, ages, sexes and levels of skills. Such a old and simple method of using one point perspective though sometimes difficult to execute especially a computer. Doing this banner meant I was recommended to do the state banner later on. Having women powerful in this union was great for me, go girls.











Banners One  
Click on any image to enlarge
At Art Gallery of NSW. "Figurative
Artists of the Hunter Region."
Metal Workers at May day march, Newcastle.
First outing of the Miscellaneous Workers’ Union  with Molly Wilson the model in banner
B.Hansen in May day march and extras from Metal Workers banner
protest from the 1950's
Mayday from the 1890s app believed to be at Cessnock, nsw.
Old trade union banners, Sydeny Trades Hall 1993
I love to use my Skills to relate and portray multi-layered visual stories. My range of mediums and practice's with examples of my work are displayed throughout this site. Murals are my speciality. Figurative work, genre, landscape, natural and industrial. Large scale paintings. Trade Union banners. Enduring environmental art-design - Conceptualized and site specific community based art work - Paintings - Portraits, public, family, business and community stories.Collaborative team work. Being a  supervising artist on Public art projects.Hand painted ceramic tile murals.I am able to work to the design brief and budget constraints when working with clients,communities,architects and interior designers.I have renovated 4 houses incorporating various paint techniques,ceramic tiles,door features,color co-ordination, murals outdoors,ceilings,walls. Mural consultancies, working with communities vie the Internet,helping with design,mural elements and fabrication techniques while the client works with their own artists to produce the mural on site is a new service. Adult+children's art classes are now on.

All images and stories by Birgitte Hansen are copyright
I love to use my Skills to relate and portray multi-layered visual stories. My range of mediums and practice's with examples of my work are displayed throughout this site. Murals are my speciality. Figurative work, genre, landscape, natural and industrial. Large scale paintings. Trade Union banners. Enduring environmental art-design - Conceptualized and site specific community based art work - Paintings - Portraits, public, family, business and community stories.Collaborative team work. Being a  supervising artist on Public art projects.Hand painted ceramic tile murals.I am able to work to the design brief and budget constraints when working with clients,communities,architects and interior designers.I have renovated 4 houses incorporating various paint techniques,ceramic tiles,door features,color co-ordination, murals outdoors,ceilings,walls. Mural consultancies, working with communities vie the Internet,helping with design,mural elements and fabrication techniques while the client works with their own artists to produce the mural on site is a new service. Adult+children's art classes are now on.

All images and stories by Birgitte Hansen are copyright