Only Human - Catalogue

ONLY HUMAN

Richard Horvath- Selfie

22 July - 16 August Opening Friday Night 22 July 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 Only Human This expression is often used as an excuse for bad behaviour or weakness, a plea that we shouldn’t be held responsible because our flaws are interweaved within in our being.

Yet, it is also about our vulnerabilities, our deep emotions, and the way we connect and love.

The artists selected all deal with ‘Human’ in different ways, some in traditional portraiture where the story lies behind the eyes and others in a more abstracted notion of man’s most despicable and shameful actions. Some just simply portray the raw emotions of being human in a specific time and place.

Yes, we are all Only Human, but it shouldn’t be an excuse, it’s a reminder to be better.

Curator - Julie Collins

Constance Stokes Constance Stokes (1906-1991) was born on 20 February 1906 at Miram Piram in the Wimmera district of Victoria. In 1920 the family moved to Melbourne where Constance continued her education at the Genazzano convent school in Kew; it was during her final years, that her art teacher, Susan Cochrane, recognised and encouraged her talent.

Between 1925 and 1929 she studied at the National Gallery of Victoria’s school of painting under the director Bernard Hall. The next year she exhibited with the Australian Art Association at the Athenaeum Art Gallery in Collins Street, where her painting Portrait of Mrs W. Mortill attracted the praise of Arthur Streeton. Taking up her National Gallery Travelling scholarship in 1931, (having been awarded in 1929), she studied drawing at the Royal Academy of Arts, London, and then painting with the cubist artist André Lhote in Paris.

In 1933 she married Eric Wyborn Stokes, a manufacturer, and on an extended honeymoon in Europe Constance took anatomy classes at the Royal Academy. In 1939 she exhibited with the Contemporary Art Society’s inaugural exhibition, alongside George Bell and progressive younger painters such as Sidney Nolan. The following year Stokes seceded with Bell to his new Melbourne Contemporary Artists group. While never his pupil, she regularly attended informal lifedrawing classes at his Toorak studio. She also benefited from his guidance in early modernism, adopting a glazing technique that imbued her textured work with rich colour and luminosity.

While recognised for her religious works, still lifes, and rural scenes, she was best known for her depictions of women. Characterised by a warmth and intimacy, her lively female portraits included watercolour and rhythmic open-line drawings of monumental nudes.

In 1953 she was one of twelve artists invited to represent Australia in an Arts Council of Great Britain exhibition at the New Burlington Galleries, London. She and Eric attended the opening before travelling to the 1954 Venice Biennale, where some works from the exhibition were later shown.

Eric’s death in 1962 left Stokes with substantial debts and prompted her to produce new work.

Her exhibition two years later at the Leveson Street Gallery, North Melbourne, was financially successful. Her painting became progressively decorative; employing high-keyed flat colours, lighter in application, and often reminiscent of the style of Matisse, the mastery of her line-work also became increasingly evident.

Retrospective exhibitions of her work were held at the Mornington Peninsula Arts Centre (1974) and Swan Hill Regional Art Gallery (1985), the latter touring Victoria, and to the S. H. Ervin Gallery, Sydney. She was represented in the Australian Women Artists exhibition at the University of Melbourne (1975), and in the Victorian touring exhibition, The Heroic Years of Australian Painting, 1940–1965 (1977-78).

Her last solo exhibition was held in 1981 at the Australian Galleries, Melbourne. After suffering a pulmonary thromboembolism, she died on 14 July 1991.

Constance Stokes is represented in private and public collections, including National Gallery of Victoria National Gallery of Australia Art Gallery of South Australia Ballarat Art Gallery Benalla Art Gallery, Castlemaine Art Gallery & Historical Museum McClelland Art Gallery Mornington Peninsula Regional Art Gallery Museum & Art Galleries of the Northern Territory Perth University Collection, Queensland Art Gallery, Rockhampton Art Gallery, Swan Hill Regional Art Gallery and the University of Melbourne Collection.

1. Contance Stokes Untitled (Seated Woman) (assumed) 1949 Unvarnished oil paint on gold coloured metal alloy sheet 46 x 39.5 x 5cm Price $45,000

John Perceval Purchased directly from the artist around 1986.

Exhibited: Annual Exhibition, Contemporary Art Society of Australia, Preston Motors, Melbourne, 10-21 May 1955, no. 96, ‘Children in the Sea’, 50gns Autumn Exhibition 1971. Shown at the NGV Perceval Retrospective in 1992; Heide Museum of Modern Art, Mornington Peninsula Art Gallery and Benalla Art Gallery. Private Collection, Victoria.

This painting is a precursor to Perceval’s tugboat and Angel sculptures.

Full condition report available.

John Perceval AO (1923-2000) was a painter and ceramic artist. Early on, along with Sidney Nolan, Arthur Boyd and Albert Tucker, he was part of a loose group of largely self-taught Australian artists, now known as the Angry Penguins, who rebelled against the conservatism of the art establishment.

In the 1940s he went to work as a potter and sculptor with the Boyd family at Murrumbeena. He married Mary Boyd, younger sister of Arthur, and three of their four children became painters. Joint winner of the Wynne Prize for landscape art in 1960, Perceval remains known as one of the leading Australian landscape painters of the 1950s and 1960s. His ceramic work from the same period includes a celebrated series of representations of angels. In the 1980s his long-term alcoholism saw Perceval consigned to a psychiatric hospital. During his time there his old ‘comrades of the canvas’ would take him out painting, paying for his materials and models. By 1988 he had moved to an elderly persons’ hostel in Kew, and was able to show some new work at a South Yarra gallery. The National Gallery of Victoria held a large retrospective of his work in 1990. Before he died, his painting Scudding Swans 1959 set the record for the highest price for a painting by a living Australian artist.

2. John Perceval Children Playing at Aspendale 1955 (The Children of John Perceval & Mary Boyd and Mirka & Georges Mora) Oil, tempera and enamel paint on composition board 72.5 x 91.5cm Price $65,000

Loretta Quinn Born in Hobart, Loretta Quinn studied sculpture at the Tasmanian School of Art and the Victorian College of the Arts.

The City of Melbourne commissioned Quinn to create Beyond the Ocean of Existence as part of the Swanston Walk redevelopment in 1992; the sculpture was unveiled the following year. The city also commissioned Quinn’s Within Three Worlds, located in Princes Park. Beyond the Ocean of Existence demonstrates Quinn’s reflective approach, and it is a work replete with religious references.

There is a sense of ‘folk religion’ in much of her art, and whether the symbols derive from the mystery of a Latin mass or the animist universe, a Celtic myth or a Japanese garden, she says they are ‘visual references to which others will relate’. Beyond the Ocean of Existence was removed from its location at the corner of Flinders Lane and Swanston Street in connection with Metro Tunnel Project works. It is due to be returned in 2022.

3. Loretta Quinn Divine Hand cut embossed aluminium, resin, sealants, pigment, found objects 33 x 33 x 28cm Price $3,500

4. Loretta Quinn Blue Moon Hand cut embossed aluminium, resin, sealants, pigment, found objects 40 x 32 x 32cm Price $3,500

5. Loretta Quinn Silence Hand cut embossed aluminium, resin, sealants, pigment, found objects 38 x 32 x 32cm Price $3,500

Richard Horvath “A process worker in a muffler plant, a sailor on a ship plying the North Sea, a maintenance man on a N.A.T.O. base in Germany, a bartender and a worker in a darkroom at a screen printing studio were among the jobs I worked at during my late ‘teens and early twenties, however, it was the latter job that interested me the most and confirmed a love for the printing process. My early body of work included graphic art such as band posters, typified by a crude technique and a raw colour palette that encapsulated the Punk ethos and a selection of this work was acquired, much to my surprise, by the Print and Drawing collection at The National Gallery of Australia.

After seeing a friend using 3D modelling software on a computer I resolved to learn this technology which lead to lecturing at R.M.I.T. university and repurposing the Punk style of graphic art I used. In 2010 I started the ReImaginings Project which had the broad agenda of reimagining, through the use of 3D computer graphics, some of the compelling visual ideas of the past and present which drives our culture.”

6. Richard Horvath The Kiss Digital print on aluminium. Editions of 5 296 x 444mm $1,000 605 x 910mm $4,000 Edvard Munch’s 1897 painting The Kiss, depicting a couple fused together in embrace has been interpreted by art historian Rheinhold Heller as suggesting “loss of individuality, a loss of one’s own existence and identity which hints at death,” which are themes that chime with Munch’s gloomy view of existence. Undoubtedly, this psychological reading is an interesting take on the artist’s work, but I chose to refocus it in another direction, infidelity, and despite some misgivings, I gave the piece a autobiographic slant by inserting objects from my past. The picture on the wall is a screen print of a couple whose relationship is probably souring was made in the years after graduating art school and the records strewn on the floor are a sampling of the type of music I played at the time. The pitiful sight of the woman outside in the dark looking in through the window is a scenario I had previously visited but chose to abandon because it felt too overwrought. It was a reversal of the kiss, the viewpoint was from outside with a man laid on the ground in darkness and a nearby dog balefully looking at him, he could have been drunk or he could have died from a broken heart because through a window, bathed in a cosy light, a woman with her man can be seen sensuously enjoying a dance.

7. Richard Horvath le Mepris Digital print on aluminium. Editions of 5 296 x 444mm $1,000 605 x 910mm $4,000 This reimagining strayed so far from its source that there is barely any point of reference left.

Normally this would concern me, but as with many of the prints in this series I start out with a broad agenda to allow the work to develop a life of its own, so there is always a risk of that outcome. As it stood, I liked the result mainly for its visual style even though any narrative elements are residual. As with much of Jean-Luc Godard’s New Wave work, his film Le Mepris can be read on many levels, one of which echoed the breakdown of his marriage. The man in this image is so absorbed in reading that he has his back turned on his wife and the exotic surroundings. The latter half of Godard’s film is set in the extraordinary 1930’s rationalist house Casa Malaparte which is built on a vertiginous headland on the isle of Capri and here it has been substituted with a stark empty modernist box devoid of any furnishings that could be seen as a metaphor for the couple’s floundering relationship and a hollowed out modernity. The ancient statue hints at a richer past. This perception was noted in a review of the film by the New Times critic Bosley Crowther who wrote, “Mr. Godard has attempted to make this film communicate a sense of the alienation of individuals in this complex modern world.”

8. Richard Horvath Riot Digital print on aluminium. Editions of 5 296 x 444mm $1,000 605 x 910mm $4,000 The Ronald MacDonald doll, which was designed to draw young children to the McDonalds hamburger franchise, is a powerful corporate symbol. It can be viewed as representation of a culinary wasteland where the Golden Arches dominate the skyline of busy main roads cutting through newly built suburban tracts. In non-western countries MacDonalds seems quite alien, hence it’s unsurprising that when anti-western sentiments erupt McDonalds and KFC become primary targets. It was images of rioters burning a Ronald McDonald doll and tossing KFC buckets in the streets of Karachi which triggered this reimagining. The interpretation turned out to take on a ritualistic appearance unlike the chaos captured by the news photos. The rioters in these images wore the traditional shalwar kameez gown but I had no interest in a literal interpretation and dressed them in gym suits and baseball caps which imparts a paramilitary look and a seriousness of intent. Their pale blue outfits are part of a carefully structured colour palette with the inane Ronald McDonald lying on his future pyre in his usual colourful livery becoming the centre of attention. The grey silent observers ringed around the action look as if they are cast from concrete while the dreary car park is lit in a dull brownish light.

9. Richard Horvath Selfie Digital print on aluminium. Editions of 5 296 x 395mm $1,000 605 x 910mm $4,000 Two women pose for a selfie in front of a crime scene of a detective examining a body. This reimagining was inspired by reports of insensitive people deliberately seeking attention by uploading selfies taken near the Lindt Cafe siege in Sydney in 2014, a tragedy that resulted in the deaths of two hostages and an Islamic extremist gunman who had suffered from mental health problems. The background setting is a sterile generic public building that is not dissimilar to the Lindt Cafe site and the only colours are the women’s tops, a symbol of their need to grab attention in a social media driven world where people’s attention is a highly sought commodity.

10. Richard Horvath The Siege Digital print on aluminium. Editions of 5 296 x 444mm $1,000 605 x 910mm $4,000 The Siege was inspired by a 1911 photo showing a group of army riflemen and police officers laying siege to an East London house during a shootout with two Latvian anarchists. The event was notable for the presence of the British Home Secretary, Winston Churchill, who attended mainly out of curiosity rather than in an official capacity. The event was also notable as an early manifestation of political terror in a city tolerant towards refugees and it led to calls for the restriction of asylum seekers from the volatile regions of Europe.

I chose to follow the original photo’s striking composition of the men, protected against the weather by heavy overcoats, staring in the direction of the gunmen. The simplified colour palette of muted grey, blue and brown is intended to respect the monochrome origins of the image and the psychological wintriness of inevitable death in a bleak urban landscape.

11. Richard Horvath St Sebastion Digital print on aluminium. Editions of 5 296 x 444mm $1,000 605 x 910mm $4,000 As a high school teenager I was intrigued by the depiction of violence in the painting of the martyrdom of St. Sebastian by the Pollaiuolo brothers in the mid 1470s and how it compared to the violence I saw on television and at the cinema in the 1960s. My version is set in an suburban Australian court with an SUV vehicle parked in the driveway, one of the executioners is phoning his boss that the job has been done and a curious neighbour records the incident on her digital camera, possibly to upload to social media. The executioners have misused a utility pole for their deed, much like rural American vigilantes in the earlier half of the twentieth century did when they exercised mob justice.

12. Richard Horvath Jacob Wrestling the Angel Digital print on aluminium. Editions of 5 296 x 445mm $1,000 605 x 910mm $4,000 Originally this reimagining of the Eugene Delacroix painting, Jacob Wrestling the Angel, was set at night with the figures portrayed as surfer types engaged in a wrestling match while in the background traffic goes about its business along a busy road heedless of the drama being played out. It was a nice idea, placing a mythical entity such as an angel in an environment that any urban dweller is familiar with, and despite much fooling about with lighting and moving figures around the composition I found the idea was impossible to realise successfully and opted instead to locate the action in a serene morning landscape. While this result misses the cultural juxtaposition presented by the original idea, the reduction of the composition into the simple elements of the figures locked in combat set against the greenery focused attention on fundamentals. Even though the combatants have fought throughout the night, Jacob is energetically pushing hard against the angel, almost pushing him off the little patch of grass hemmed by the shrubbery which acts as a makeshift wrestling ring. The wrestlers’ haircuts and summer clothes together with utility pole visible in the top right corner are a reminder that this is a modern take of an ancient mythical contest.

13. Richard Horvath The Outsider Digital print on aluminium. Editions of 5 296 x 444mm $1,000 605 x 910mm $4,000 The Outsider was originally driven by the investigation of a 3D modelling technology called photogrammetry which is based on extracting a 3D model from a series of photographs. I live close to an ocean beach and during my regular walks I began to conceive of a project that married the idea of landscape with the human condition and where I could test the possibilities of photogrammetry software. The Outsider, a novella by the French writer Albert Camus, describes an incident when a French Algerian citizen arbitrarily murders an arab man on the beach. The philosophic core of the story hinges on Camus’ theory of absurdism, free will, morality and existentialism. These are weighty themes that are tough to visualise so I decided to focus on the solitary individual pondering his existence under an indifferent sky; simply put, the universe doesn’t care about any person’s life. The boulders, which were captured using photogrammetry, are set against a building storm and this landscape is intended to re-enforce the notion of a godless universe, a feeling I sometimes reflect upon during my walks which fortunately favour an appreciation of the natural world.

14. Richard Horvath The Guru Digital print on aluminium. Editions of 5 296 x 444mm $1,000 605 x 910mm $4,000 The theme of this print came to me after listening to a podcast about the Manson family who committed the murder of the actor Sharon Tate in 1969. The event shocked people at the time because the concept of a cult was relatively unknown and the mass suicide and murder of the Jonestown massacre, a decade later in 1978, confirmed the sinister implications of cult psychology. The scene depicted in Guru looks relatively benign, it could be a harmless therapy session or a lecture about spiritual matters until a symbol such as the golden throne, with its suggestion of power and dominance, is perceived as a subtext of the social transaction of the group. Equally disconcerting is the wall plaque above the guru, a cosmic head emanating golden rays from its third eye and the legend “I am your Shepherd” which appears like a brooding Big Brother figure scanning the proceedings in the room. The weird shape of the plaque is intended to imply distorted meaning or a thought bubble reflecting the guru’s true agenda. The women are young and innocent, ideal as recruits into a cult to satisfy the leader’s sexual appetite and to attract men into the group, which was a strategy that Charles Manson used. The guru’s collarless shirt and vest were chosen partly as a reference to priest’s garb but more so as the type of clothing the wolf wears to mask his true purpose.

Stephen Pleban Stephen’s paintings are highly worked and aim to build an ominous, otherworldly atmosphere through layers of paint and wax. Stephen’s artwork celebrates the physicality of the painting.

Drawing upon images culled from the internet, music and personal photos Stephen focuses on humans reconnecting and responding to the landscape.

His paintings tangle with the landscape tradition, imagined futures, the integrity of nature, and concerns related to climate change that focus on the uncertainty.

Stephen completed a Bachelor of Fine Art at the Victorian College of the Arts (1983-86) and later completed postgraduate studies at the Academie Van Beeldende Kunsten in Rotterdam, the Netherlands (2002-03). Stephen’s artwork has been exhibited in solo and group shows in Australia and overseas, with his work being selected for a number prizes including the John Leslie Art Prize (2008), the Rick Amor Drawing Prize (2014), the Calleen Art Award (2014), the Paddington Art Prize (2016) the Kennedy Art Prize (2017-2019), the Kilgour Art Prize (2019) and the Glover Art Prize, Tasmania (2020). In 2018 he had a solo exhibition as part of Biennale of Australian Art, and most recently another solo exhibition at Project Gallery 90 in Sydney. in 2021.

“My paintings are highly worked and aim to build an ominous, otherworldly atmosphere. My intention is to generate a poetic sense of wonderment. The images lay outside our logical experience of landscape and time, and yet,as dreamlike depictions, they relate to the intuitive, melancholy connections we have as humans with the landscape and its beauty. Through layers of paint, oil and wax the images take force through the act of painting itself. An essential element of my practice is the exploration of formal elements that celebrate a deep engagement with the physical deployment of paint. I draw upon images that nurture my practice,culled from the Internet, music, personal photos, films, and documentaries. In an approach that resembles collage, I source and juxtapose images of people in a natural environment sometimes seeking to understand, sometimes satisfied with just being there. My paintings tangle with the landscape tradition, imagined futures, the chaos of nature, and concerns related to climate change that focus on the uncertainty of our altered relationship with the natural world.”

15. Stephen Pleban Strawberry Field Oil and Wax on Linen 92 x 102 cm Price $3,500

16. Stephen Pleban Search Party 2 Oil and Wax on Linen 182 x 152 cm Price $7,700

17. Stephen Pleban The Gleaners Oil and Wax on Linen 92 x 102 cm Price $3,500

Karan Hayman Karan Hayman’s carefully structured canvases are distinguished by their highly personalised and often surreal, whimsical approach. Motifs and symbols such as horses, trees, boats, water, roads and figures have always been used throughout Hayman’s career. The textured surfaces are palpably sensual, flowing seascapes and landscapes ambiguous in an arresting and mysterious yet always warmly lyrical way.

Born in 1959, studied Fine Art at RMIT 1980 and while still at Art School in 1981 was one of the founding artists that established Roar Studios in Fitzroy Melbourne. Completing her post graduate studies at RMIT in 1992. Hayman has held numerous solo exhibitions in Australia and Tokyo and numerous group exhibitions including National Gallery of Australia, Heidi Art Museum, Shepparton, Regional Art Gallery, Benalla Regional Gallery and most recently Ponlyland Exhibition at Logan Art Gallery QLD. Hayman’s work is held at the National Gallery of Australia, National Gallery of Victoria, Art Bank, Parliament House Collection, Kyneton Collection, Macedon Ranges Shire Council, Baillieu Myer Collection, Gaden’s Sydney, Zurich Insurance Melbourne, Sangi Company Collection Tokyo and International private collections.

18. Karan Hayman You were always on my mind Oil on Linen 2022 102 x 102cm Price $6,900

19. Karan Hayman Passing By Oil on Linen 2022 60 x 50cm Price $3,600

20. Karan Hayman Cross Currents Oil on Linen 2022 102 x 87cm Price $6,900

21. Karan Hayman Black Dog Oil on Linen 2022 60 x 46cm Price $3,600

Frank Duyker Frank started carving wood in his mid-teens and since then has maintained a keen interested in most aspects of the visual and performing arts. After working in the electronics industry for a few years he began teaching electronics at Box Hill Institute. Soon he began studying Industrial design part-time at RMIT, reasoning that it was the ideal way to bridge the gap between sculpture and engineering.

By then, his exposure to Aboriginal, Melanesian and Oceanic art had introduced more colour and mixed media into his work. In 2010 he produced his first large work “Tech. Men at the Top”. The piece which is now in the Smorgon family collection, was made of cast cobalt blue concrete studded with gold plated computer CPUs. In 2011 his work “Our World Covered with Crops”, which was made from reclaimed floppy and hard computer disks, received a special commendation at Lorne Sculpture. Most recently Frank was a finalists in the Yering Sculpture Award.

Signs warn swimmers of the dangers of deadly jellyfish on Northern Australia beaches. However no signs warned children about the dangers of some of the clergy, until now.

22. Frank Duyker Danger - Sacred Stingers Spotted Gum 41 x 22 x 2cm $2,200

A lot of people have inner demons. These deep memories, traumas or regrets are often bottled up and not spoken about for decades. Often they are never spoken about.

23. Frank Duyker I’m Not Talking About My Inner Demons Jelutong 34 x 14 x 12cm $2,550

This work is a comment on the tragedy of extinction. It depicts a monstrous hunter posing with a freshly slain Thylacine or Tasmanian Tiger. The hunter’s dual emotions of the joy of a successful hunt and the sorrow of killing a living being, are shown on his two faces. His jester’s hat emphasises his overall foolishness.

24. Frank Duyker The Last Thylacine Hunter Monterey Cypress & Paua Shell 75 x 45 x 20cm $19,500

This work comments on the practices and substances of the past that were once considered to be reasonable. The horrific practice of slavery for example, was practiced and justified by European nations for hundreds of years.

The five octagonal drums can be rotated to produce up to 32,768 combinations.

25. Frank Duyker Shrine To The Once Acceptable Reclaimed timber decking 180 x 50 x 50cm $30,000

Roy Wilkins Roy Wilkins is an expressionist painter based in Melbourne Australia. He creates large scale mixed media paintings on canvas. Born 1 January 1964 in Greenwich, South East London. Roy settled in Melbourne in 1999 and began painting the same year. He is largely self taught with a lifelong passion for art and art history.

Roy’s paintings are created by experimentation with acrylics, ink, salt, drawing, collage, stencilling and spray paint. This is applied in layers of patterns, shapes, lines and colour. They are reworked and layered until satisfying results are revealed.

The motivation for painting comes from feelings and reactions to music stimulae, usually repetitive electronic music. The images are emotional landscapes in a spontaneous abstract expressionist style. The subject matter is derived from tribal masks and incorporates abstracted iconography. Artistic influences are Jean-Michel Basquiat, Albert Tucker and Jean De Buffet.

On arrival in Melbourne Roy worked at Heide Art Gallery preparing the gallery for exhibitions. During this time he was privileged to view Albert Tucker’s collection. This was a major motivation to dedicate his life to painting.

From 1979 to 1987 Roy was involved in public art and murals for the Greater London Council. Since 2008 Roy has had 4 solo exhibitions in Melbourne. He has been involved in group exhibitions around Melbourne since 2002 and was a finalist in the Smorgon Steel Art Prize in 2001. In 2009 he was awarded Best in Show at Roberts McCubbin Art Show where the school purchased one of his paintings for their collection. In 2010 he won the prize of Highly Commended. His work is held in private collections in Australia, Spain, Portugal and England.

26. Roy Wilkins Blue Orchid Acrylic and spray on canvas 101 x 101cm Price $1,600

27. Roy Wilkins The Muse Acrylic and texta on canvas 122 x 122cm Price $2,900

28. Roy Wilkins Quarter Past Acrylic and spray on canvas 84 x 91cm Price $860

Linda Fish Linda Fish was born in Melbourne, completed a Diploma of Art and Design, majoring in Sculpture at Prahran College of Advanced Education, 1976-79, a Diploma of Education from Melbourne College of Advance Education in 1985 and a Master of Visual Arts from Monash University, 2007-09.

A sculptor since the 1970’s, Linda’s art awards include a grant from the Australia Council for the development of new sculptures. Her commissions span public art and private collections. Linda has held numerous solo exhibitions, exhibited extensively and was recognised as a finalist in the Lorne Sculpture Biennale. Linda works and lives in Yackandandah, a country town in North East Victoria.

29. Linda Fish Bundle of Love Unique Bronze 45 x 10 x 15cm Price $3,300

30. Linda Fish Fatigue Unique Bronze 20 x 20 x 15cm Price $3,850

31. Linda Fish Strength Unique Bronze 45 x 15 x 20cm Price $3,300

32. Linda Fish Letters and Cards Unique Bronze 20 x 20 x 15cm Price $3,100

Robert Delves Robert is a Melbourne based sculptor who has been practising for over thirty years in a variety of media. He holds Fine Art Degrees from RMIT and VCA. Delves has participated in many important solo and group exhibitions including the Montalto Sculpture Prize exhibition, Yering Station Sculpture exhibition, Contempora 2, Docklands and the McClelland Gallery Grounds for Sculpture exhibition. Recently a finalist in the Deakin University Contemporary Small Sculpture Award 2017. In 2008 he was the recipient of the Riddoch Gallery Wood Sculpture Award and the Yering Station Sculpture Award. In 2009, Delves won the Prometheus Visual Art Award. Yering at Heidi Sculpture award in 2012 and Dame Elizabeth Murdoch Sculpture award 2013 exhibited at Heidi Sculpture park in 2013.

Robert Delves’ sculptures are part of high profile public, corporate and private collections in Australia, Hong Kong, Singapore, UK and the USA.

33. Robert Delves Mimesis Figure Fired Clay 35 x 15 x 15cm Price $700

34. Robert Delves Mimesis Figure 1 Fired Clay 35 x 15 x 15cm Price $700

35. Robert Delves Mimesis Figure Fired Clay 30 x 10 x 10cm Price $700

36. Robert Delves Mimesis Figure 1 Fired Clay 32 x 12 x 12cm Price $700

37. Robert Delves Mimesis Figure Fired Clay 35 x 12 x 12cm Price $700

38. Robert Delves Mimesis Figure Fired Clay 37 x 15 x 15cm Price $1,200