September 1

Bronwyn Oliver used to make sculptures, mostly out of wire- fragile, light-webbed things like tumbleweeds or leaf-skeletons, built with slow, compulsive care. These painstaking accumulations of copper wire wrap around themselves and spiral out towards the air with anxious certainty- they enclose space without strangling it, giving it a place to breathe within the fragile metallic confines of her work. She has spent hours, days, years producing things that can be crushed in an instant- in the contrary way of the world, they aren't. They are displayed in a gallery, lit to perfection and festooned with signs imploring visitors not to touch- they are too respectful to do so. They amble through, stubbornly alive, trying to sniff out suicide in the convolutions of her art.

Now that she has gone and done it, of course, you can see it's there- the agony that has gone into her work, the obsessiveness, the attempt to render the world comprehensible. There is talk that she had just ended a twenty year relationship with the wine writer Huon Hooke- he himself is stubbornly silent on the matter. This is what he had to say in the month following her death:

2004 Kingston Estate Merlot, South Australia, A$13/NZ$15.95The Riverland-based Kingston is looking further afield for grapes, with the result that this is a Langhorne Creek/Clare/Riverland blend. An odd mixture, it smells of raspberry and green mint to gooseberry on one hand, and dark berries and oak vanillin on the other. It certainly delivers on the palate, which is big and brawny for a merlot, with flesh, weight and tannins galore. It's chewy in texture and has guts. Elegance is not a word that springs to mind, but it sure packs some flavour and grip. An excellent barbecue wine.