A#N#I#M#A#L Fed Sq.

A#N#I#M#A#L

Bruce Armstrong- The Dance

24 June - 19 July Opening Friday Night 24 June 6-8pm

@FED SQ. Melbourne CBD.

In the Atrium opposite the NGV entrance Open 7 days a week 11.00 - 5.00pm

@Sorrento @FED SQ.

Also visit us at & Gallery @Sorrento 163 Ocean Beach Road, Sorrento www.andgalleryaustralia.net gallery@djprojects.net Enquires: 0417 324 795

From the Curator Some 45,500 years ago, on the Indonesian island of Sulawesi, ancient humans ventured into a cave and sketched out the rotund form of a native pig, complete with a bristly back and face warts. Archaeologists now believe this portly swine marks the oldest drawing of a creature yet discovered anywhere in the world.

Closer to home Aboriginal rock art is the oldest form of indigenous Australian art with the earliest examples discovered at Gabarnmung in Arnhem Land dating back around 28,000 years which also depict animals.

Through time animals have appeared in paintings, sculptures, and prints. Often symbolic. Many cultures through the ages have regarded specific animals as representing gods, power and the supernatural. For the contemporary artist it is often a symbol of adoration, a very personal connection or used to draw attention to the vulnerability of animals in our modern world. For others it is the only way there can truly convey their own emotions, doing so through the proxy of the animal.

Whatever the reasons Animals have and will continue to be significant in the understanding of the history of art.

Enjoy A#N#I#M#A#L Curator - Julie Collins

Jenny Crompton Concerned with the growing pressures imposed on the natural world, Australian artist Jenny Crompton creates effervescent sculptures that ignite environmental awareness and personal reflection. The works delve into the world of organisms and creatures, taking the viewer on an otherworldly journey through nature.

Despite any hint of melancholy, her works are also celebratory. They seem to float, weightless, oranges, scarlets and crimsons bursting from webs of shell and remind us of the sheer bounteous nature of this planet. But these environs she so clearly cherishes are under extreme peril. Despite the imperialistic shrugs of indifferent developers and conservatives, the world, under our own hand, is changing at a catastrophic rate.

There is, accordingly, a degree of melancholy underscoring her work. Crompton’s creatures, with their vibrissae protuberances, extended receptors, decorative flourishes and peering eyes created an entire tribe of fantastical entities.

By utilising nature as a core of their practice she lights a flare of warning and ignites a fire of recognition of the natural world.

1. Jenny Crompton Small Jellyfish Copper wire, resin, paint $88.00

2. Jenny Crompton Large Jellyfish Copper wire, resin, paint $1,200

3. Jenny Crompton Plankton Copper wire, resin, paint $4,400

4. Jenny Crompton Sea Snail Copper wire, resin, paint $1,800

5. Jenny Crompton Sand Crab Copper wire, resin, paint $1,250

6. Jenny Crompton Tadpole Copper wire, resin, paint $2,200

7. Jenny Crompton Flared Plankton Copper wire, resin, paint $4,400

8. Jenny Crompton Mosquito Copper wire, resin, paint $880 ea

9. Jenny Crompton Snake Fly Copper wire, resin, paint $1,200

10. Jenny Crompton Seahorse Copper wire, resin, paint $4,400

Mark Cuthbertson Mark is a Victorian based artist living and working on Wathawurrung country, who’s current practice is in sculpture, visual arts and set design. His work explore’s metaphors of colonization and domestication within a broad national context. His artwork is a playful commentary on society, turning the monotonous into something far more interesting and challenging. Mark deconstructs an idea to its simplest elements re-purposing and re-contextualising rudimentary materials, stripping them to their barest elements and reinventing their application and purpose.

I’m fascinated by examples of human to animal metaphor & associations. “What exactly, makes humans human?

The associations we can draw from nonhuman animal domestication practices reveals how people came to view their own uniqueness in western cultural. The study of domestication across time shows the multiple human impulses underlying acts of animal enclosure and domestication. Animals can be beloved companions, beasts of burden, or feared & threatening rivals”

11. Mark Cuthbertson Lost ... Remnants # 5 Sprayed concrete, luminescent white paint & black pigment 70 x 60 cm $ 1,700

12. Mark Cuthbertson Black Bunny Cast Concrete 25 x 15 x 53cm $2,200

13. Mark Cuthbertson Fallen ... Remnants # 4 Sprayed concrete, luminescent white paint & black pigment 60 x 60 cm $ 1,700

14. Mark Cuthbertson The Lowercase Bear # 1 Cast Concrete 22 x 50 x 7.5cm $1,800

15. Mark Cuthbertson The White Scout Series #3 Bronze - Unique 27 x 6.5 x 6.5cm $2,300

16. Mark Cuthbertson The White Scout Series #1 Bronze - Unique 23 x 5.5 x 5.5cm $1,500

17. Mark Cuthbertson The Lowercase Bear # 2 Cast Concrete 26 x 50 x 15cm $1,700

Anna Glynn Anna Glynn is an award-winning contemporary Australian artist who draws on a diversified practice that incorporates painting, drawing, moving image, animation, sculpture, installation, writing, music and sound.

Her international reputation has grown through interdisciplinary collaborations of art and science exploring landscape and nature to create site-responsive artworks examining the amplified response that a physical engagement with the natural environment has the power to evoke.

18.Anna Glynn Cloud Gazing Horse 33cm x 69cm $2750

19. Anna Glynn Blue Forest Horse 65cm x 84cm $4250

20. Anna Glynn Blue Sailing Horse 65cm x 65cm $3750

21. Anna Glynn Cloud Gazing Lovers 33cm x 69cm $2750

Bruce Armstrong Bruce Armstrong is one of Australia’s most prominent sculptors and is well known for his large scale public sculptures such as Eagle (Bunjil) situated on Wurundjeri Way in Melbourne’s Docklands and his pair of Guardians, commissioned to flank the Russell Street entrance of the Grand Hyatt Melbourne.

With his pursuit of formal qualities, a search for the perfect combination of shapes, colours and surfaces, Armstrong’s monumental figures engage the spectator in subjects such as mythology, the spiritual forces of nature, and the relationship of public sculpture to architectural design.

His 2016 retrospective at The National Gallery of Victoria ‘An Anthology of Strange Creatures’ was not only a celebration of Bruce’s extensive body of sculptural work, but also a showcase his lesser known two dimensional work.

‘An Anthology of Strange Creatures’ was not only a celebration of Bruce’s extensive body of sculptural work, but also a showcase his lesser known two dimensional work which is now the artist’s main focus.

22. Bruce Armstrong NGV Guardians Bronze on timber plinths Edition of 3 30 x 92 x 43cm Price $60,000 for the pair

23. Bruce Armstrong Untitled (Little bear) Bronze, red gum Unique 13 x 10 x 9 cm $4200

24. Bruce Armstrong Bast Bronze, red gum Unique 10 x 9 cm $5200

25. Bruce Armstrong Head Pastel and Charcoal on paper 69 .5 x 42 .5 cm $3600

26. Bruce Armstrong Little Black Bear Pastel and charcoal on paper 43.5 x 36 cm $2500

27. Bruce Armstrong White Dog Pastel, ink, shellac on paper 82cm x 62cm Price $4,000

28. Bruce Armstrong Cat Pastel, ink, shellac on paper 63 x 81cm Price $4000

29. Bruce Armstrong Black Dog Pastel, ink, shellac on paper 82cm x 62cm Price $4,000

30. Bruce Armstrong Hare Bronze Edition of 7 46 x 11 x 11cm $20,000

31. Bruce Armstrong Eagle Bronze - Edition of 10 5/10 available 45 x 16 x 14cm $20,000

32. Bruce Armstrong The Dance Painting on plywood 115 x 115cm Price $20,000

33. Bruce Armstrong Hyatt Eagles Editioned 97 x 40 x 30cm Price $80,000 for pair

Cash Brown Professional paintings conservator Cash Brown is also a practicing artist whose work pays homage to figurative works

by European old masters.

By transcribing elements, or vignettes of works she admires, the readings and meanings of the originals are transformed into new narratives, expressed by her own hand rather than imitating the “handwriting’ of the master work.

This approach is in opposition to her conservation work, which often requires meticulous imitation, where the creative expression of the conservator must be eliminated.

34. Cash Brown Spot the Dog (after Portrait of a Boy with a Golf Club and a Dog, Jan van Ravesteyn, 1628, Dutch. 2022 Oil on canvas 300 mm W x 350 mm H (elipse) $1,200

35. Cash Brown Cash Cow (after unknown artist, 17C, Dutch) 2022 Oil on canvas 370mm W x 370 mm H (elipse) $1,200

36. Cash Brown Show Pony (after Equestrian portrait of Phillip III c 1634, Diego Velazquez c.1635, Spanish) 2022 Oil on canvas 410 mm H x 300 mm W (oval) $1,400

Susan Crookes Susan Crookes lives with her partner artist Paul Lacey in Milang, South Australia with their greyhound Jackson and rescued parrots.

Her work can be found in private, corporate & public collections (The Silk Cut Foundation, National Gallery of Victoria, National Gallery of Australia) and has been included in several national touring exhibitions, awards & publications.

“The art that influences & interests me most, perhaps partly due to my background in printmaking is simple, honest and direct with strong design elements - realism doesn’t interest me at all. Outsider, Folk & Naive Art, cartoons & comic-books are what inspires me and continue to sustain my interest.

An enduring interest and fascination with animals, their eccentricities and comical personalties, have also been a continuing thread throughout my practice, whether printmaking, sculpture or painting.”

37. Susan Crookes Floof acrylic on board 60 x 45cm $700

38. Susan Crookes Snaggle tooth Hound (Jackson) acrylic on board 60 x 45cm $700

39. Susan Crookes Spotty Dog - Dalmation acrylic on board 45 x 60cm $700

40. Susan Crookes Magic Words (Blah, Blah, Blah Chimken) acrylic on board 60 x 45cm $700

41. Susan Crookes In My Own Good Mystical Time acrylic on board 60 x 45cm $700

42. Susan Crookes Misty - Bat Girl acrylic on board 60 x 45cm $700

Susan Reddrop I am a sculptor and glass artist with studios at Montsalvat in Eltham, Victoria, Australia.

I trained at the Victorian College of the Arts in Sculpture and then refined my skills in glass at Monash University.

I exhibit regularly and also run workshops from time to time. I have also done quite a lot of collaborate art projects with various communities and am always open to commission and new creative challenges.

43. Susan Reddrop Coral Reef - Lobster #1 Cast lead crystal 80 x 23 x 23cm $1,500

44. Susan Reddrop Coral Reef - Lobster #2 Cast lead crystal 12 x 45 x 26cm $2,500

45. Susan Reddrop Coral Reef - Stingray Cast lead crystal 90 x 39 x 40cm $2,500

46. Susan Reddrop Coral Reef - Crab Cast lead crystal 90 x 22 x 22cm $1,500

Lynne Bechervaise Lynne Bechervaise is a local artist who gathers her influence from well beyond her community. Her works represents an artistic life deeply engaged in the natural & spiritual worlds A love & respect for all living beings.

This is expressed through her quirky sculpture plus printmaking drawing, & painting.

Her sculptured boats are seen as a metaphor for the journey.

Each vessel is unique.

They symbolise soul movement, times of transition, rites of passage.

The transformation of journeys within & without and impact of bushfires & travels with Indigenous peoples.

Symbolic & recurring themes of the connection between all our relations (all living beings).

47. Lynne Bechervaise Oz Critter Family Ceramic 20 x 32 x 6cm $650

48. Lynne Bechervaise Oz Dog Ceramic 22 x 9 x 24cm $920

49. Lynne Bechervaise Moggie Mob Ceramic 22 x 7 x 19cm $580

Emily Valentine Bullock Feathers are my paint. Over the last fifteen years I have developed my own technique and style using feathers.

The source of the feathers is vital to my work. In 1999 I made Road Kill, a pair of shoes using feathers from a road kill lorikeet and this lead to my continuing use of this source when ever I can. My work shows sympathy with the bird’s previous life and creates a new life form. I majored in jewellery at Sydney College of the Arts so work for the body is also at the forefront of my practise. I have had success with this work in WOW (World of Wearable Art). I won Mac’s Bizarre Bra 2002 with Budgerigar Brassierre, and “The Work with the most WOW Factor” in 2014 with my Sulphur Creasted Frockatoo.

Attitudes to wearing and owning dead animals and birds parts have changed. Is this just because of fashion, or has society become more caring of animals? I think not. I wish to stimulate the viewer, and ask them to question our callousness treatment of animals and birds, and ask how we sub-consciously classify animals – pet or pest, valued or worthless, beautiful or plain and why.

50. Emily Valentine Bullock Pudgeon Feathers and mixed media $1,200

51. Emily Valentine Bullock Laughing Lorikeet Feathers and mixed media $400

52. Emily Valentine Bullock Gagawhawha 2018 Galah feathers and mixed media 14 x 20 x 11cm $1250

53. Emily Valentine Bullock Spangull 2021 Seagull feathers and mixed media 20 x 30 x 17cm $2950

54. Emily Valentine Bullock Pugpup 2021 Various feathers and mixed media 14 x 14 x 9cm $1200