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View of the field from sitting in the gods. (Smartphone) | Vincent Cavanagh © 2026 On Sunday (7 June 2026), I experienced my first ever AFL game with a group of friends at the SCG (Sydney Cricket Ground). Not that I really understood any of it, to be honest. But I will say that seeing it in real life is far superior to watching it all flattened out on a giant flatscreen TV. As for the match itself, well, that was hardly the (ahem) introduction I was expecting. St Kilda trouncing Sydney Swans in the first quarter and it then taking the Swans the whole of the match up until the very end of the last quarter to finally get out in front on the leaderboard. Calling it tense would be an understatement. Not that I had any “skin” in the game, mind you. I have never followed any team or sporting code in my life, and I don’t think that’s going to change anytime soon. Also, the ferocious passion of multiple stands full of grieved Swans supporters making known their disagreement with referee decisions over player actions is not something I would ever want to be one the receiving end of. A clouded dawn over Nobbys Head. (Nikon D5300) | Vincent Cavanagh © 2026 And then on Wednesday (10 June 2026), I got up at 4:00 AM to catch the train to Newcastle to photograph the sunrise around both the foreshore of the Hunter River and Nobbys Beach with my old DSLR. I’m amazed that I actually did it. The kernel of the idea for doing it got stuck in my head sometime last year and I would have preferred to have done it earlier in 2026 when we were still in the summer months here down under, but that was a stretch too far for me in that prior moment for varying reasons. Port of Newcastle Pilot heading out to meet the bulk carrier in the Hunter River. (Nikon D5300) | Vincent Cavanagh © 2026 The main reason I had for taking my DSLR—apart from better dynamic range than a smartphone—was an intention to give it a ‘one last hurrah’ before parting ways with it. Something that I am still no closer to doing after taking it out with me on Wednesday, which my shooting wrist was haranguing me over continuously the following day with accompanying pains and twinges. Most of my focus that day ended up being funnelled into making most of the morning’s golden hour light and pushing myself to try and beat a bulk carrier on its way out to sea before it reached Nobbys Head, which of course I did not accomplish. I am not Superman. Nor was I set up for jogging and, believe me, those bulk carriers can move! What I did catch was carrier's stern before it passed behind Nobbys Head. (Nikon D5300) | Vincent Cavanagh © 2026 I think I haven’t exerted myself so much since WYD Lisbon, and after what I put myself through on Wednesday I could not in good conscience kid myself into thinking I could do a World Youth Day again. My spring doesn’t spring back like it did 3 years ago and I don’t think it likely that I’d have anyone with me to call me out pull me back from the brink of burning out.
WYD is a youngster’s game and I’m not that young anymore. Or should that be: foolish anymore? Vincent Cavanagh 14 June 2026 15 March 2026 sketchbook (detail) ~ Vincent Cavanagh © 2026 First-quarter Blog Digest for 2026. What’s been happening. Website-wise, there are now ‘next-post, last-post’ buttons at the bottom of each World Youth Day Lisbon blog post for ease of navigation through that series. It just took a lot of time, repetition, and wrangling with the Weebly website editor to get it done. Hooray! Current versus possible future CavanaghArt logo mascots ~ Vincent Cavanagh © 2026. Art-wise, I did have a day spent doodling out ideas for Bishop Stumbers cartoons, which was a positive. Most of them were about what said bishop might get involved in on a WYD pilgrimage. We shall see if some of them might get developed beyond their initial ballpoint drafts. Rattling about my brain at the moment is a possibility of re-drawing the CavanaghArt bird logos to better reflect my current style of art. The original set of birdies are well and truly about a decade old at this point, in 2026, and I’m certainly not the same artist I was back then. Whether anything actually happens on this idea, or it just keep rattling around my head, is another matter. Also, after the suggestion of a friend, I have been down the rabbit hole of investigating what it would take to self-produce stickers from my art and my conclusion was that, for me, it would be far more effort than it was worth. The shear amount of equipment, testing of cutting depths, sticker paper stocks, lamination, and software quirks is, to my mind, on a par with near-professional, home coffee-brewing: metric scales, correct dosage of coffee beans, the right grind size, purified water, puck preparation, flow rate, etcetera. I already have enough furores of my own with trying to convince the home printer to print on the paper-card stock I want it to. The last thing I want is to increase the number of machines throwing hissy fits in my face because it’s the wrong phase of the moon when I’m at my wits end racing to print something off for a special occasion the following morning. I’m not ruling out that stickers might happen, just that doing-it-myself is not for me. On the personal front, after 2025, I’m still recovering from burnout. Though it’s not helpful when one continues to get sucked into the temporal blackholes of YouTube (the “new” smoking), be overwhelmed by dehumanising discourse around ‘Artificially Intelligent’ generation of images online, and catching oneself interrogating any creative idea for art that pops up with whether, or not, it passes cost-benefit analysis. Talk about being brain-rinsed into mechanistic thinking, oi vey! It’s all indicative of the fact that there’s been a distinct lack of humour in my life of late. All fret and no play makes for a crabby, frustrated artist. The sensible thing would be to just say, “stuff the lot of it (AI generation) and do it (Art) anyway!” without expectation for it to — ahem — “perform well.” 2026 Lunar New Year celebrations. (Photo: Vincent Cavanagh © 2026) Thankfully, there have been some diversions in the form of meeting up with WYD friends at a Lunar New Year’s celebration, birthday party invites, wandering around the odd bookshop or two, colouring projects for others, and the odd heritage train ride here and there. A main issue for me is a lack of motivation and sufficient reason for me to overcome lethargy and get outside, physically and mentally. ■ Seoul IssuesSouth Korean flag waving on the evening of the WYD Lisbon Vigil. (Vincent Cavanagh © 2023) I know that one should “never say never”, but with where I’m at right now I don’t see myself going to Korea in 2027 for World Youth Day Seoul. Don’t get me wrong, I do have strong emotions towards the next WYD, and more so the friendships born of the last one, but that doesn’t out-weigh knowing first-hand what the shear toll a WYD pilgrimage can be on a person and how much it truly demands of them. Which isn’t anything I’m willing to put myself through again—especially if it’s not what God intends me to do. At the end of the day, it’s all in His hands, not mine. ■ 2026 Q1 Blog posts8 Jan 2026 – Year in Review: 2025. 18 Feb 2026 – First new bit of art that I have made in a long while. 27 Feb 2026 – Back to Loftus for the annual Tramway Festival. 3 Mar 2026 – Finally posting about the farewell V Set trip to Kiama last year. ■ Parting NotesOn a more positive note, I’ll leave you readers with this Part 2 video by Daniel Folta detailing his process of depicting the Nativity in oil paint. For myself, it is a calm and meditative experience watch him bring his painting to life. *Originally posted 23 July 2023. ~ Re-posted on 4 November 2025 to bypass unresolved Weebly website editor glitch on the original post. Vincent Cavanagh 23 July 2023, 7:30 AM Padua–Venice time | 3:30 PM Sydney time.
In this painting she is seated with her lap open to all who are finding life difficult and seek her intercession. With one hand she is holding aloft a golden Monstrance containing the Eucharistic presence of Christ, representing when she held aloft the same Eucharistic presence when various marauding armies came to lay siege to Assisi during the 13th Century and from which shone so bright a light of heaven from the Monstrance that those same armies fled, leaving the city and convent of the Poor Clares safe from harm and destruction.
In recent times there have been social media testimonies of women being visited by St Clare when in deep difficulty, and saying, ‘here are my soft hands, here is my soft lap’. These graces have resulted in significant conversions. Vincent Cavanagh 3 July 2025 Comments closed |
| | Apart from a small handful of photo-edited pictures that will never be seen outside of its intended audience in a group chat of my peers, I’ve been in a creative drought since about the end of March/start of April this year (2024). Being sick at home for the last three weeks of May with whatever strain of influenza is going around this winter didn’t help my creative juices either. Also, this drought overlapping with my general backwards slide into doom-scrolling and wasted hours poured away to YouTube videos. Let’s be honest, the act of “doom-scrolling” is not the sole purview of life-sucking social media applications. |
Speaking of substack pages, one that I’ve been gravitating back to of late—and isn’t as overly swimming in bar graphs or generally depressing as others—is the School of the Unconformed by Ruth Gaskovski. For about the past year(?) or so she has been doing shared essays with her husband Peco that they cross-post between each other’s substack page (Peco’s is Pilgrims in the Machine).
The general theme of their essays is regaining man’s [1] humanity from both the jaws and bowels of the inhuman Machine world we now find ourselves living in.
Of which this quote by Ruth from their recent article, ‘Building People with Three-Dimensional Memory’, is an example:
The incessant distraction of interfacing with devices leaves us feeling as if our brain and our body are forever in a different place. It almost seems as if we are in a race to upload our life into the virtual universe. Our desire to capture and share the present is numbing our ability to form natural memories of the moments we want to actually treasure. By excessively documenting our lives artificially Marshall McLuhan might say we are “autoamputating” our memory.
When we use our devices as memory keepers, we not only interfere with the formation of long-term memories, but we also flatten our experience and personal identity into a one-dimensional digitized version of ourselves.”
Some segments of the culture might experience a carefree insouciance as they become largely forgetful of what has come before—the wisdom, knowledge, and traditions of history—and more gripped by the here-and-now stimulation of their screens.
As real Alzheimer's progresses, there is not only memory loss, but disorientation, anxiety, depression, aggressive behavior (…) Reliance on a support system of machines to hold our collective memories is a formula for docility. When Steve Jobs brought us [the] Apple computer we were promised bicycles for the mind, but many of us feel we’re ending up with cognitive wheelchairs.”
I know the more palatable answer here is to speak of digital well-being and balance and how to successfully navigate the algorithm in a way that we can consume the good without the bad. But we can’t. Just like any mind-altering drug we might ingest, social media makes it so we are not in control of the experience we’ll have immediately after. And I can no longer see any potential reward in delivering our God-given brains to a [tattooed] group of tech bros in Silicon Valley.”
~ (emphasis my own)
Keepin’ Up wit’ Gen Z
LLAP
‘Live Long and Prosper’ 🖖
rekt
Internet form of ‘Wrecked’.
🗿 Moai (Easter Island Head) emoji.
Used to communicate a deadpan or shocked/embarrassed-into-speechlessness expression.
Or alternatively—if in Japan—used to arrange meeting up with people at the Moyai statue near Shibuya Station in Tokyo.
IYKYK
‘If You Know, You Know’
Vietnamese “teencodes”:
Hixx or Hixxxxx – written version of 😢 (crying face emoji).
Huhu – written version of 😭 (loudly crying face – or as I know it, ‘waterfall tears’).
TIL
‘Today I Learned.’
ily / ILY
‘I Love You.’
Not to be confused with illy, the Italian Espresso company.
bby / BBY
Internet alternative form of ‘Baby’. (ex. ‘Woohoo BBY!’)
More often used when using ‘baby’ as a term of endearment.
RTFM
‘Read The … Manual!’
Often used within the Linux user community forums.
Jubilee 2025
More information about the pilgrimage can be found here.
I do—and I ask that you reading this likewise—not expect this to in any way be a regular or (dear God save me) quarterly affair. It is my estimation that RANDOM Things be more of an ‘every now and then’ or just ‘I haven’t painted anything, but here’s what’s been kicking around in my head recently’ type of blog post.
So until the next one of these not-newsletters eventuates; Peace and Happy Feast of St Peter and St Paul.
Vincent Cavanagh
29 June 2024
[1] As in the genus man (mankind) of which both men and woman, male and female, make up the whole category (ex., “earth men” and “Men of Earth”) – for the peculiarly post-Age of Aquarius pedants out there.
Painted 14 March 2024
Vincent Cavanagh, 2024
Leaving the histrionics aside, the photograph that this picture of St Joseph and the child Jesus is based upon was taken at a local church just before mass. A father was sitting with his family in a pew, about three rows over, holding his sleeping youngest son over his shoulder. One of those “take a photo or regret it”–moments from God.
In the end, very little actually changed from the photograph—well, apart from changing clothes to robes, adding head coverings, and including hair on the back of St Joseph’s head, of course.
| Holy Family (detail), William Holman Hunt, The Finding of the Saviour in the Temple, 1860 ( Reference ) | Colour–wise, I do admit taking a very strong inspiration from Pre-Raphaelite artist William Holman Hunt’s The Finding of the Saviour in the Temple, his effort of producing an ethnographically correct depiction of “Christ Among the Doctors” (of the Jewish Law), for which he travelled through the Middle East searching first-hand for information about Jewish customs and finding models for the figures he wished to depict. He was very specific in including Biblical symbolism in his work: the colours of Jesus’ robes being the same blue, purple, and crimson that God instructed Moses to use for the veils in the Tent of Meeting as well as in the robes for Aaron the High Priest (Exodus 26 and 28, respectively). The one–and–a–half day deadline (getting back to the histrionics) was because the whole reason behind this rush was the intention to gift a printed version of ‘St Joseph and Jesus (2024)’ to the housemates of the Joseph House, a men's discernment house in the Diocese of Broken Bay, at a youth event on the night of the day after the day I had left to paint the picture by. |
In the end the picture was printed (Thank God!) and present to the housemates, and it should now be hanging somewhere inside Joseph House.
Vincent Cavanagh
19 Mar 2024
Ask God before you leap into things whether you should be leaping into them at all.
P.S. Also, the writing was the reason that I only had a single day left to paint Joseph and Jesus. (Face palm) Oi vey!
| For those of you wondering what I've been up to for the past fortnight since my last post, I am currently in the midst* of going through and writing down my experiences and various lessons learned (often the hard way) from my pilgrimage to World Youth Day Lisbon. The end result may yet turn out to be a book, it’s still early days yet. One day at a time. As such, don’t expect too many “regular” blog posts for the foreseeable future. Save for the odd heritage train excursion here and there. It seems to be a year of them. Until next post, peace. Vincent Cavanagh 10 Mar 2024 | The illustrious @frsamfrench in Lisbon before the start of the Stations of the Cross, 4 August 2023 (Vincent Cavanagh) |
For any update about the writing, you'll find it at the bottom of the next blog post.
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