Michael Gill Remembered
Michael Gill in the 80s with Mitch, his sculpture in Huon pine, acquired by the Manning Regional Art Gallery, NSW
Words: Leon Sadubin
It is difficult to comprehend that the effervescent genius that was Michael Gill is no longer with us.
Michael was an actor on many stages and an artist in many genres: A graphic artist, a typographer, printmaker and colour specialist, creator of posters, murals and kites; a designer and master craftsman in wood, in furniture making, in decorative panels, in sculpture and carving, picture framing and also in stained glass. He was a singer, an ingenious wordsmith, a reciter of stories with a memorable voice and range of national accents, a comedian yet a deeply serious thinker.
Michael Gill: "...environmental activist, a tree lover and forest protector, an active wildlife carer and snake catcher..."
He was also an environmental activist, a tree lover and forest protector, an active wildlife carer and snake catcher, an inspired teacher, yet a self educated master of many skills.
He was a warm, contagiously enthusiastic human being with positive words and engagement for the newly met – at times harbouring a stern attitude towards those who deserved to be censured.
In a word, Michael Gill was an inspiration.
He came from a multi-cultural family of French and Hungarian parentage which he combined seamlessly into his unique Australian character.
Michael Gill and Chris Payne in 1987 when work on the Sydney Harbour Cocktail Cabinet began, and then in 2023 at completion.
In the late 60s Michael met Christine Payne at East Sydney Technical College in Randwick, where they both studied graphic design. Michael hailed from Mortlake beside the polluted Parramatta River in Sydney’s inner west, Christine from Bulahdela on the pristine Myall Lakes.
This chance meeting led to a remarkable partnership. They travelled to Europe living in a van for four years visiting museums and galleries – charging their knowledge with decorative art details and insights into the techniques that would remain a rich source of knowledge in their unfolding art practices. They shared the exhilaration, challenges, successes and setbacks that this creative life entailed.
Michael and his beloved muse Chris were inseparable.
Written narrowly from my lens of a woodworker’s perspective, Michael Gill’s notable career was individualistic, inspired by Art Deco and Art Nouveau precepts and utterly beholden to the workability and beauty of native Australian timbers.
On the subject of self education in woodwork, Michael in conversation with author Tom Darby* in the early 1990s commented: “I have acquired my woodworking skills without a single formal lesson. It has all come through books, experimentation, contact with other woodworkers and the need to make. I would have probably learnt more rapidly had I been formally taught, but by critically analysing failures, successes and processes, I’ve found what works for me. Being self taught, I think I’m a more understanding teacher and it’s given my work a quality which I believe is distinctive.”
In the early 1980s Michael joined the Woodworkers Group of NSW. In June 1984 he undertook editing the newsletter, producing seven issues to July 1985. These brilliant issues allowed Michael the freedom to write editorial and contents which reflected the state of the group at the time as well as utilising a new logo he created for the Group.
In the same year he joined the “gang-of-eight Junta” as he styled us, to organise the forthcoming exhibition at the Opera House. The Woodcraft Goes to the Opera exhibition of 1985 and its repeat in 1987 were the coming of age of the Woodies Group to which cause Michael ‘put his shoulder to the wheel’.
Above: Michael Gill, Settle, red cedar with paler Huon pine accent strips. Shown at Woodcraft Goes to the Opera, 1985.
A Settle – three seater bench – with an Art Deco inspired rainforest frieze in silky oak sold to the Powerhouse museum, another in red cedar was acquired by the New Parliament House in Canberra. A sculpture in Huon pine called Mitch was acquired by the Manning Regional Art Gallery in Taree. Other pieces, from small decorative brooches, decorative panels, furniture and sculptures continued to sell to private collectors.
Michael Gill with the completed Sydney Harbour Cocktail Cabinet in 2023
Michael and Chris ran well attended classes in woodcarving from their inner city Pyrmont home and studio. Following a stint on acreage in the Taree area, they moved to Canberra, continuing their carving classes. This was followed by a long teaching engagement for Michael as lecturer in design and drawing at the ANU School for Wood.
The last and longest stay for their home and studio was also their most fulfilling time, located on a beautiful tract of land nestled above the Araluen Valley near Braidwood. Here they integrated creatively with a like-minded community.
At present the Sydney Harbour Bridge cocktail cabinet and decorative storage ensemble is in safe storage awaiting a future. This project marks the last and grandest of Michael’s creations with the collaborative support of Chris. I have no doubt that this piece will have a glorious life and stand witness to the great skill and imagination that characterised this artist’s life.
Michael Gill passed away aged 73 on Monday 16th of March 2026 after a determined, long battle with cancer.
A heartwarming community memorial event was held for Michael at the Braidwood National Theatre & Community Centre on Sunday 12th of April.
* Michael’s quoted conversation with Tom Darby, recorded for the book Making Fine Furniture – Designer Makers and their Projects. Guild of Master Craftsman Publications, 1992
Read a profile of Michael Gill that features images of his Sydney Harbour Bridge cocktail cabinet here
Read about the 1985 Woodcraft Goes to the Opera exhibition here
Leon Sadubin, Designer Furniture Maker, Gerringong