Great news for Australian Shed magazine readers, The Shed is now on sale again in all Australian states at all good newsagents.
Great news for Australian Shed magazine readers, The Shed is now on sale again in all Australian states at all good newsagents.
In the coming days, we will have a complete list of all outlets online so you find your nearest stockist. Also coming soon are new lower magazine subscription rates for Australia. Keep an eye out for that on our website and Facebook page.
Joe Parkes is a blacksmith and as a youngster learned his trade the hard way. In 1958, aged 12, he was apprenticed to his grandfather and he quickly learned not to make mistakes. His giant Scots grandfather, Jack James, was a smithy of the old school. If young Joe got something wrong he had his head dunked in the half barrel of water used for cooling steel from the forge. He learned quickly.
“My grandfather, I called him Pop, was a big bugger, standing 6 ft 11 inches (1.8 metres) tall and weighing in at 20 stone (127 kg). He was a hard bastard, but he was my mentor. I once saw him pull a man through a high hedge and throw him over the top. You didn’t mess with him. If the blacksmiths got into a scrap you kept well clear.
Hot rods – we see them rumbling round the highways and byways, big V8s burbling, immaculate finished body and paintwork and obviously someone’s pride and joy. Many people don’t realise the work that goes into customising one of these gleaming machines. Some are old cars reshaped and rebuilt, and some are made from scratch, often using the classic designs and lines of cars built in the 1920s, 30s and 40s.
In the little town of Normanby in South Taranaki there’s a workshop set up to create these beasts. We caught up with guys from three businesses in a row having smoko together. An upholstery business, a custom fabrication shop and an engineering shop. All mates who work in together in a way that can only happen in a small town.
Parts of Carmen Simmonds’ cast glass studio glow with the ethereal, often surreal treasures that emerge from their creator’s imagination and the searing heat of her kiln. Radiantly coloured dolls’ heads, glass lace and crochet, headless dancing dresses, ballet shoes, lilies in milk bottles, flowers, and other organic forms are at once beautiful and disturbing.
Then there is the other side – the chemistry and chemicals, machinery, and tools; hours of modelling, firing, grinding, sanding, and cutting.
But this studio is also a home. Carmen and her husband Glen live at her work studio – a 100-metre-square shed on their 8.5-hectare lifestyle block in Brunswick, Whanganui. The shed was originally intended as Carmen’s full-time studio but when they sold their house in town they had nowhere else to live so they moved into the shed “to camp for a while” and have stayed, still temporarily, for eight years.
