Ethereal. Fantastical. Spellbinding. While wandering through the Bangalow home and studio of artist Hilary Herrmann, I feel as though I have stepped into the very same enchanting world that her paintings inhabit. Eclectic artworks decorate the walls; finished canvases line the floors and sit on chairs; books of all kinds spill out of shelves; and paint-stained brushes, palette knives and tins cover the outdoor studio table, ready to be used. It’s as if, turning the corner, one of the whimsical characters Hilary paints might be floating through the lush garden or peacefully mixing paints on the verandah – and I would not be surprised.

With an utterly distinct visual style and an expansive imagination, Hilary uses her brush to build whimsical worlds that transport the viewer into a surreal reality and invite them to dream, play and reflect. I had the pleasure of asking Hilary about her art, creative process and influences as she worked on her latest piece.

How would you describe your artistic style and the meaning behind your work?

I paint narratives of spooky little white figures that float through the sky. I think they are emotional landscapes, where you can enter into the world and bring in your own stories. [My work] is very ephemeral and enigmatic, and I like that other people find their own story within it.

They’re about the everyday. It’s about hope, it’s about trust, and also about the menace that approach our worlds. A lot of my work is just about hope and kindness. We don’t know what’s around any corner, or who we will be, and what will happen to us.

It’s about whatever enters my world. If it’s music or poetry, birds in my bird bath, my dog, a bunch of flowers, reading, from the news… whatever I can appropriate from others, I will take. I think the intimacy of being at home, home life and domesticity is really important. Rituals and routines make us sane. So, it’s about the everyday and finding beauty in it to protect ourselves and feel safe.

Crowns seem to be a motif in your work. Can you explain the significance and symbolism behind this creative choice?

You don’t want to be dismissed as a human. We all need to be appreciated, and I think the gold crowns represent that we’ve all got something to offer and are all a bit special. The crowns represent that we all just need to be part of the world and allowed.

The idea has developed and they don’t feel dressed without a crown now. I think everyone needs a little crown to feel like they exist in the world. We shouldn’t be diminished – we should be part of the world.

Not the show pony, not the most important person in the room, just that people acknowledge us. Just to make us feel a wee bit important. 

Now, even when they don’t need one, I still put it on because they don’t feel dressed without it. 

Where do you find inspiration, and what influences you creatively? 

Everywhere. It’s walking along the road and seeing the colour of a leaf. Every day I walk on the beach, and the horizons remind me of Rothko. I admire that work. This morning the clouds looked like Turner’s paintings – absolutely beautiful. 

I look at art books every day. I am always flicking through and being inspired by so many other people in the world. I just find things that amuse me or disgust me and they become part of the story that I want to communicate to others and myself. 

I really like Clarice Beckett, Idris Murphy, Rembrandt, Cy Twombly, Chagall… there are hundreds of people I’m inspired by – a multitude of people. It’s lovely going into galleries, because I live regionally. When I go to Sydney and Melbourne or to Europe, you see what exists out there. Art is a communication. Either of beauty or of politics, story, or talent. It’s just communication. 

Take us into your creative process. 

There are some people that “grid up” and they’ve got an image of what they want to do from when they begin, and they’ve got the skills to do that. Whereas I don’t have those skills, so I’ve always got to find an aesthetic to make things work on a different level. 

I start with a feeling, a word, or an emotion. As soon as I make the first mark, I have faith in just responding to what happens. I think it’s about just reaching an aesthetic for me at the end. 

This painting that I’m working on now, I really like it at this point. It’s interesting. I don’t know where it’s going but I like the beginning of it…until I don’t! 

So it’s about risk for me. A lot of people don’t have that ability to take risks. You have to let go of stuff to make it work. 

I like the intelligence of paint. I really like that you spend time, and it’s communicating, and you’re working out all the time where it’s going, what to do with it, how to finish it, and when it’s finished. There are just a lot of conversations. 

What has your artistic journey been like? Have you always created art? 

I used to do a lot more cartoons and sort of funny little drawings. The skills had never been there technically, but it has always been something I’ve played with since I was in my 20s, I guess. 

I have always played – even when I worked and wasn’t producing work to put in galleries. I had textas, pencils, paints. But it wasn’t until I was probably 40, when my daughter was at school and I had more time, and I decided if I actually wanted to put my art into the world then I had to actually do it all the time. 

It’s a discipline. You have to do it. You can’t talk about it, you actually have to do it. Things develop because you make mistakes and you learn…hopefully. 

Find Hilary’s work at Ninbella (Bangalow), AK Bellinger Gallery (Inverell), Grainger Gallery (Fyshwick), and OTOMYS (Prahran). @hilaryherrmann 

You were named Young Woman at the Bangalow Show in 2024. Tell us a bit about where that has taken you since.

I have just won at Zone alongside Phoebe Southwell (Kempsey Young Woman). We will represent Zone 1 at the Sydney Royal Show 2025 in The Land Sydney Royal AgShows NSW Young Woman competition.

What or who inspired you to enter the Young Woman competition?

My passion for agriculture is the driving force behind entering the Young Woman of the Show competition. Seeing friends go through this experience and hearing about their incredible journeys encouraged me to give it a go. For me, this competition is about more than just personal growth—it’s an opportunity to connect with like-minded individuals and help raise awareness of the agricultural sector.

As you progress through the competition, what has been the most rewarding experience so far?

The most rewarding part of this journey has been the opportunity to connect with such a diverse range of people. From my fellow competitors to the judges, sponsors and supporters, this experience has opened doors to invaluable networking opportunities within the industry. Building these relationships and engaging in meaningful conversations about agriculture has been a highlight of my experience so far. The competition celebrates the leadership and community involvement of young rural women.

Can you share an example of the ways you demonstrate these qualities?

Giving back to the community is something I believe in deeply, no matter where I am in the world.

In 2014, my family lived on a boat, travelling through Fiji, Vanuatu and New Caledonia, where we supported local schools by donating much-needed supplies.

In 2022, alongside my father, I assisted in the Lismore flood evacuation and cleanup, witnessing firsthand the strength and resilience of the Northern Rivers community.

I’ve been a long-time member of Summerland Dressage Club and Brunswick Valley Pony Club, always keen to lend a hand where needed.

Currently, I’m in Canberra, participating in March On, a charity walk supporting Australian veterans by symbolising the distance of the Kokoda Trail. By walking, we raise funds and awareness for our brave heroes’ mental health.

I hope to continue contributing to more community initiatives throughout the year. To me, leadership in this industry means being a role model—encouraging young people to support their communities and inspiring the next generation to step up in times of need. In a rapidly changing world, fostering leadership in young people is more important than ever.

What is one message or cause you are passionate about, and how does/will the Young Woman title allow you to raise awareness or create change?

I am incredibly passionate about creating pathways into agriculture for young people. Growing up in Byron Bay, without direct ties to a farm, I had to navigate my way into the industry on my own. Thankfully, I had an inspiring agricultural teacher in high school who encouraged me to chase my dream and study AgBusiness.

So, I took a leap—moving to the University of New England without knowing a soul, driven purely by my passion for agriculture. That decision changed my life. I spent three incredible years learning about the industry, met my wonderful fiancé, and built friendships that now span across Australia and the world.

Through this competition, I hope to share my story and inspire other young people— especially those without traditional farm backgrounds—to step outside their comfort zones, explore opportunities in agriculture and pursue their passion with confidence.

What is one skill you have gained through being part of this event, and how can you see this experience shaping your future goals and aspirations?

Through this competition, both at the local and zone levels, I have truly come to appreciate the power of storytelling and advocacy. Being able to share my experiences and engage with industry leaders has reinforced my belief in the importance of effective communication in agriculture.

This experience has given me the confidence to continue using my voice to promote careers in agriculture, highlight the diversity of our industry and inspire the next generation. Moving forward, I hope to build on these skills and further contribute to the future of Australian agriculture.

Wishing Summer all the best for the Sydney Royal Show.

Feature image by Lyn McCarthy Niche Pictures

“I was always pretty confident performing,” she recalls. ”I did my first live singing performance solo at a music in schools showcase with many other Bangalow students, before being asked to play at assembly and the teachers were always supportive of my ambitions from there onwards.” Her passion continued to grow through high school, and an unexpected win at Byron High’s Battle of the Bands became a turning point.

“I just thought the prize was to play within your school. I was waiting for them to announce the winner—it was down to me and a band called No Commitment. Then they said the winner gets to perform at Bluesfest, and then they said my name. It was a double shock. Now it kind of feels like a bit of a daydream.”

With influences like Pink and fellow local musician Yorke (Grace Hughes), Heidi’s music falls under the independent pop umbrella, home to many strong female singer-songwriters. She began writing her own songs at nine, drawing inspiration from personal experiences and even the books she reads.

This year, she’s stepping onto the Bluesfest stage not as a fan, but as an artist. Having attended the festival with her family in the past and admired acts like Melody Angel and All Our Exes Live in Texas, she now finds herself among the performers. She’s especially excited for the return of Melody Angel and to see local talent Tones and I.

“I would love to support Gracie Abrams or Yorke on tour. Supporting Madilyn Mei or Clairo would also be really fun! These are all artists I really look up to.”

Yorke, in particular, has played a significant role in Heidi’s musical journey. “When I was four, my mum played me her song after hearing it on the radio. She told me that one day, perhaps I would be like her. Fast forward to when I was 11, I got to meet her, and now she’s my friend and mentor. Her writing style has really influenced my own, and she has taught me a lot of what I know.” Embracing a stage name that embodied Heidi’s musical style was the next step in her transformation from talented youngster to rising star. “My mum considered the name Aurora for me when I was a baby, before going with Heidi,” she says. The word means ‘dawn’ in Latin and is used to describe a captivating display of natural lights in our atmosphere. “Aurora feels like a powerful name, yet also beautiful—that’s the feeling I want people to get from my music.” The surname Quinn was inspired by a character in Heartbreak High, whose energy and style have influenced Heidi’s stage presence. And with that, Aurora Quinn was born.

At Bluesfest, Aurora Quinn will be part of the High School Showcase, performing a 10-minute set alongside other talented students. It’s a milestone Heidi doesn’t take for granted.

“I would really like to thank my teachers, especially Mr Black, Mr Baker, and Ms Museth from the CAPAL department at school, for providing this amazing opportunity that has made my dream of playing Bluesfest a reality.” With her first major festival performance just around the corner, Heidi is stepping into the future with confidence, ready to shine.

Catch Aurora Quinn in the ‘Local area High School Showcase’ at Bluesfest, Saturday 19 April, 11.30am to 12.30pm

Photos Lyn McCarthy Niche Pictures

At five years of age, Briony Guest twirled across the wooden floor of the Bangalow RSL Hall, her tiny feet following the rhythm of the music. She didn’t know it then, but this was the beginning of a lifelong love affair with ballet.

“My nan always wanted to be a ballerina, so she ended up taking me to class, and I fell in love with it straight away,” she says.

Her love for dance only grew over the years. Hours of training and focused dedication led her to a prestigious full scholarship to Macdonald College Performing Arts School in Sydney in 2020—a milestone that set her on the path towards a professional ballet career.

But just as she was finding her footing, the COVID-19 pandemic forced dancers across the country to train from home via Zoom. The isolation and inconsistent training took its toll.

“My training was so fragmented over COVID, I ended up getting an injury,” she says.

Scans revealed Briony was born with an extra muscle behind her Achilles tendon, and while surgery wasn’t an option, physiotherapy helped manage the condition. But her dream of a professional ballet career was over. Down but not out, she turned her focus to teaching.

“I studied for two years with the Royal Academy of Dance (RAD) and graduated with a Certificate in Ballet Teaching Studies,” she says. “I’ve also just completed my Acrobatic Arts certification too.”

Fate had more surprises in store. As she prepared to return to Sydney for her teaching graduation, she unexpectedly ran into her former ballet teacher, Miss Holly—the very person who once guided her at the Bangalow RSL Hall. When Briony shared that she was now teaching in the same space, her former mentor was overcome with emotion.

“I haven’t seen her since I was about 12 or 13 when I left that school. I told her, ‘I went to Sydney, I graduated, and now I’m teaching at the RSL Hall where you taught me.’ And she just started crying.”

“She said, ‘I always knew you were going to make it.’ It was such a special moment—to know that she had believed in me all along.”

Now, as Briony watches her students take their first ballet steps in the hall where her own journey began, she knows she is exactly where she is meant to be. Teaching has given her a new purpose—one that extends beyond technique and performance.

“I get them ready for ballet exams, productions, and our end-of-year concerts,” she says. “It’s very rewarding.”

Briony is aware that body image and confidence are intrinsically connected to the world of dance, and teaching young people comes with great responsibility. She is conscious of creating positivity and passion in her students, fostering a love of ballet and making the practice more inclusive. She is shaping the future of ballet in Bangalow—one young dancer at a time.

“As a teacher, I want to be a mentor for the kids and show them that you don’t have to look a certain way. As long as you love it and try, that’s all that matters,” she says. “We’re all beautiful.”

Instagram @brionyguest_dance

This reality is at the heart of an upcoming community conversation, Climate Change and Our Region’s Future, hosted this month by the Bangalow Country Women’s Association (CWA). Here, Dr Joëlle Gergis, a leading climate scientist and lead author for the Intergovernmental Panel on Climate Change (IPCC), will share her insights on the global and local impacts of climate change—and offer solutions for building resilience in our communities.

Dr Gergis has spent 30 years studying climate science, but it was her personal experience in the Northern Rivers that truly brought the issue home. “Watching rainforests burn in the Nightcap and Lamington National Parks during the Black Summer fires of 2019–2020 was the turning point for me,” she recalls. “I was working on the UN climate report at the time and knew that what we were witnessing in Australia was a clear sign of how quickly our climate can change. Things really hit home when I had family displaced by the devastating floods in 2022. Driving through town after the floods broke my heart. Since then, I’ve been doing everything I can to warn the public.”

Her deep connection to the region makes her message even more powerful. The Northern Rivers, with its delicate ecosystems, is already feeling the effects of more frequent and intense weather events—floods, fires, and storms. These are not isolated incidents; they are part of a larger, global pattern. As Dr Gergis points out, the situation is becoming increasingly urgent.

The IPCC reports, to which Dr Gergis has contributed as a lead author, are the world’s most authoritative sources on climate change. These reports synthesise decades of research from thousands of scientists globally and provide the data used by governments to shape policy and international climate treaties.

As a lead author, Dr Gergis plays a key role in distilling this complex scientific data into accessible insights. This careful, collaborative process ensures that the findings are both accurate and actionable. As she says: “The most important thing you can do is vote for political leaders that are genuinely committed to addressing climate change. That means stopping fossil fuel production and the subsidies that are blocking the clean energy transition. We also need policies to protect our native forests, which store carbon and protect biodiversity.”

These actions, both large and small, can help shift the course of the climate crisis – and Dr Gergis’ work is a reminder of just how critical it is to act now.

Despite the overwhelming scale of the climate crisis, Dr Gergis remains hopeful about local action. She believes we each have a role to play, whether through voting for climateconscious leaders, supporting renewable energy initiatives, or making sustainable choices in our own lives. “The next best thing to do is try and install solar power on your home or business. Not only does it save you money, but you become a part of the renewable energy revolution that’s sweeping the world. I’m amazed how good it made me feel!”

Dr Gergis’ message is clear: even small steps can contribute to a broader shift. The more we embrace renewable energy and advocate for systemic change, the more we’ll build momentum toward a sustainable future.

As we mark the five-year anniversary of the Black Summer bushfires, the scars from those fires remain. The fires were a grim reminder of the escalating risks posed by a changing climate. The impacts of climate change, though, are not confined to Australia. As Dr Gergis points out, the entire globe is experiencing similar challenges.

As this article goes to print, Dr Gergis is also working on a piece for The Saturday Paper about the ongoing wildfires in Los Angeles—a devastating example of the far-reaching consequences of climate change.

In times of crisis, local communities often provide the first line of support. When the 2022 floods ravaged nearby towns, Bangalow, though not as severely impacted, mobilised in remarkable ways. Our town’s response was a powerful reminder that resilience is not just about rebuilding homes and infrastructure—it’s about strengthening the social fabric that holds us together.

This is where organisations like the Bangalow CWA play a vital role. While the CWA is known for its afternoon teas and community events, its real strength lies in its ability to unite people during times of need. Bangalow Branch President, Ruth Kirby, reflects on how the CWA adapted after the 2022 floods.

“The floods were a real wake-up call for us in the CWA,” she says. “Yes, we could donate money, make meals, and offer cuppas and kindness—but we sort of felt at a loss, that we were in a silo. Since then, we’ve been making a real effort to link up with community groups like the Men’s Shed and Lions, to combine our efforts. We’re now part of a grassroots resilience movement across the Northern Rivers.”

For Ruth, the CWA’s efforts are about more than immediate relief—they’re about fostering long-term resilience and compassion. The group’s focus on building a compassionate, connected community ensures that we are better equipped to face future challenges together.

“The real strength of groups like ours is the ability to unite people in times of need. Beyond the famous scones and afternoon teas, it’s about building a compassionate, resilient community that can face difficult times together and come out stronger.”

Dr Gergis is hopeful about what we can accomplish if we continue to push for change. “What gives me hope is that there’s a new generation of leadership emerging, from all sides of politics, that really wants to make a difference on this issue,” she says. “We’re building a critical mass that will push us toward an environmentally sustainable society. As we saw during the floods, local communities have a crucial role to play in disaster recovery and resilience building. There will be dark days ahead, but we’re always stronger when we face challenges together.”

Zoë Tuckwell

In Conversation with Joëlle Gergis – Climate Change and Our Region’s Future
When Wednesday 12 February, 5–6.30pm Where Heritage House, Bangalow Hosted by Bangalow CWA
Tickets Available via Humanitix https://events.humanitix.com/climate-change-and-our-regions-future-with-joelle-gergis-hosted-by-bangalow-cwa

Seats are free but limited, so be sure to grab yours soon.

Family

Mulled drinks, particularly those made with wine or cider, have a history that dates back thousands of years. The tradition of ‘mulling’ involves heating beverages and adding spices, and is part of the cuisine and tradition of many cultures and countries.

INGREDIENTS        

• 2 litres of apple cider or apple juice
• 1 large orange, sliced
• 1 large apple, sliced
• 3 cinnamon sticks
• 1 tablespoon whole cloves
• 1 tablespoon whole allspice
• 1 teaspoon ground nutmeg
• 1 teaspoon ground ginger
• 1/4 cup brown sugar or honey (optional, to taste)
• 1 teaspoon vanilla extract

METHOD

1. Pour the apple cider or juice into a large pot.
2. Add the sliced orange and apple to the pot.
3. Place the cinnamon sticks, cloves, and allspice in a cheesecloth or spice bag and add it to the pot. This makes it easier to remove the spices later. If you don’t have a cheesecloth, you can add them directly to the pot, but you’ll need to strain the drink before serving.
4. Add the ground nutmeg and ground ginger to the pot.
5. If using, stir in the brown sugar or honey.
6. Heat the mixture over low heat (or set the slow cooker to low) and let it simmer for at least 1 hour. The longer it simmers, the more intense the flavours will be. Stir occasionally.
7. Just before serving, stir in the vanilla extract.
8. Remove the spice bag or strain the mixture to remove whole spices.
9. Serve the mulled cider warm in mugs, garnished with additional slices of orange or apple if desired.

The Ancient Greeks and Romans were some of the first people to experiment with mulling as a way of preserving wine, enhancing its flavour (remember, winemaking was still in its infancy in those days), and warming things up through the cooler winter months. The addition of spices such as cinnamon and cloves, which were exotic and expensive at the time, added a new dimension to the drink and probably helped make those early winemaking endeavours a little more palatable.

Over time, mulled wine became associated with festive occasions, particularly Christmas in Europe, and it’s still a common seasonal tipple in wintertime. Our Christmases tend to be scorchingly hot, and some with European heritage have taken to hosting a Christmas in July event, allowing them to enjoy preparing and eating foods traditionally associated with a Northern Hemisphere festive meal – heavy, hearty game meats, gravy, hot puddings, and mulled drinks.

Dry July is a great opportunity to cook up a batch of mulled cider or juice to enjoy around the fire pit. Mulled drinks are particularly appealing in the cooler months, as they are served warm and spiked with things like honey or ginger, which can soothe winter sniffles and lift your spirits. You can experiment with a variety of juices such as apple or cranberry; non-alcoholic wines or cider would also work, and mixing up your spice blend to include your favourite mix of warm, zesty comfort in a cup.

The dehydrated citrus slices sold by the CWA and in other stores around 2479 are the perfect garnish for your cup of mulled goodness.