People watching engages every synapse, just as it absorbs every sense. Perched on the edge of a Rees folly (Lloyd not Nathan) in the midst of the early afternoon busyness of Martin Place, at first glance he appears forlorn. Perhaps it is the tumble of the water at his rear, or the trundle of the buses down Castlereagh, more likely just the pensive stance so unexpected of such a virile young man.
Spread out before him is the glory of early twentieth century Sydney, grown to maturity over the space of two world wars that pockmarked other, more distant lands. His eyes target the younger clientele of The Strand Hatters with their jaunty straw Akubras – whether it be a Hampton, a Bogart or a Jive – as they promenade with a spring in their step between the imposing sandstone and granite monuments to the financial acumen of wheeler-dealers long since departed.