Toyota Community Spirit Gallery 10th Annual Sculpture Exhibition
The Great Mandala
Celebrating 10 years showcasing the diversity and excellence of sculpture practice in Victoria 19 November 2014 to 25 March 2015 Toyota Australia, 155 Bertie St, Port Melbourne, Victoria. Gallery Hours: Mon - Fri, 9am to 5pm. Enquiries Ken Wong 0419 570 846
IMAGES - FRONT COVER: detail of images from; outer circle from top clockwise Tul Suwannakit, Genèvre Becker, William Eicholtz, Valentina Palonen; inner circle Joanna Posa, Georgia Camden, Amy Gray, Aimee Howard; centre image Irianna Kanellopoulou. image THIS SPREAD: Assemblages (detail) Ara Dolatian, mixed media, 2014.
Toyota Community Spirit Gallery The Toyota Community Spirit Gallery is an initiative of the Toyota Community Foundation, Toyota Australia’s corporate citizenship program. Toyota Community Foundation develops partnerships that share Toyota’s skills, networks, expertise and other resources with the community. The gallery aims to provide space for artists, especially emerging artists to show their work. The space is provided free of charge to exhibiting artists. No commission is charged on sales and Toyota provides an exhibition launch and develops a catalogue for each exhibition. The gallery has now shown works by over 1000 artists. This project is mounted in consultation with Hobsons Bay City Council and the City of Port Phillip.
Council Grants
The City of Port Philip, Sutherland Shire and Hobsons Bay City Councils have each benefited from $20,000 in funds from the Toyota Community Foundation. Part of the Toyota Community Foundation model, to support the communities in which it operates, involves a local council and community fund. This provides $20,000 to three local councils, Hobsons Bay City Council where the manufacturing plant is located, Port Phillip Council where Toyota Head office is located and Sutherland Shire where Sales and Marketing are located to use for community grants. Toyota Employee Champions from three operating arms – manufacturing, sales and marketing and corporate services – help the councils assess the applications from local community groups and organisations. The City of Port Philip Council completed its latest grants (and business mentoring) program, assigning funding support to the following community projects/groups: Melbourne Tigers Women’s Basketball Association Inc National Council of Jewish Women (Vic) GAC Salvation Army Youth and Family Services Sacred Heart Mission ESNLC South Melbourne Mission Kindergarten Port Phillip EcoCentre The First Step Program Elwood Cricket Club Port Phillip Mens Shed Association Elwood Sailing Club Elwood Sailing Club City of Port Phillip Youth Girls Football Team 3207 Beach Patrol 2014 Sutherland Shire Council and Toyota Australia Sustainability Grants Program to the value of $60,000 was allocated to local community organisations ($5,000 each). This year Hino Australia located in Sutherland Shire also contributed and participated in the grants process. The groups are: 3Bridges Community Inc Vision Australia Bundeena Maianbar Chamber of Commerce Southern Community Welfare Caringbah Neighbour Aid Eastcoast City Church Yarrawarrah Public School P & C Association Inc Project Youth Menai Anglican Church & Menai High School Sutherland Shire Community Services Inc. The Art Trail-Bundeena & Maianbar Sutherland Food Services Hobsons Bay City Council - Toyota Equipment Grants Altona Civic Obedience Dog Club Inc Altona Cricket Club Altona Kindergarten Inc Altona Lacrosse Club Altona Life Saving Club Altona Meadows Community Centre Inc Altona Meadows Kindergarten Inc Altona Meadows Primary School Altona Mens Shed Inc Altona Pirates Basketball Club Inc Around Laverton Community Newspaper Inc Conversation for the Curious Friends of Lower Kororoit Creek Inc Highland & National Dancer’s Association of Victoria Inc
Hobsons Bay Bicycle User Group Laverton Community Children’s Centre Laverton P-12 College Laverton Park Tennis Club Inc Newport Power Junior Football & Netball Club Seabrook Cricket Club Seabrook Kindergarten Association Inc Seabrook Primary School Seaholme Kindergarten Seaholme Primary School Somers Parade Kindergarten Williamstown Camera Club Williamstown Garden Club Inc
Employee Grants The Toyota Employee Community Grants offers employees the chance to secure $1000 in support for a project or activity run by a not-for-profit, community group of their choice. A total of 77 employees from all Toyota Australia operating divisions submitted applications. From this pool, Toyota Community Foundation’s chair, Chris Harrod, selected 40 applicants, in a random draw. The successful Employee Community Grants recipients are: Mesbah Ahmed Manufacturing & Purchasing KATHAK Malcolm Baulch Manufacturing & Purchasing Brunswick Cricket Club Joe Bondin Sales & Marketing St George Sutherland Baseball Umpires Association Catherine Borg Corporate Services Queen of Peace Parish primary School Glenda Ann Buck Sales & Marketing Botany Bay Family History Society inc Maytri Chathley Corporate Services Goodstart West Melton Robert Cook Manufacturing & Purchasing Point Cook Football Club Shaun Cook Manufacturing & Purchasing Acrofun Bacchus Marsh Mary Currenti Sales & Marketing The Pancare Foundation Deborah Cutajar Corporate Services TS Voyager- Australian Navy Cadets Trent Delardes Corporate Services Upper Beaconsfield Riding Club Andrew Dinh Manufacturing & Purchasing Yet Kieu Sea Scout Group Carlos Docanto Manufacturing & Purchasing Sunshine Blues Soccer Club Gary Gale Manufacturing & Purchasing Werribee River Association Frances Gates Sales & Marketing Waratah Street Early Education Centre Michael Gregory Manufacturing & Purchasing St Andrews Footscray Cricket Club Damien Grigg Sales & Marketing Seaside Netball Club Andrew Jones Manufacturing & Purchasing Wantirna South Cricket Club Adrian Judnic Manufacturing & Purchasing Southern Cross Grammar Raymond Karauria Sales & Marketing Browns Plains and Districts Junior Rugby Union Club Midori Kimura Manufacturing & Purchasing Dame Nellie Melba Kindergarten Tatijana Lamovski Corporate Services Macleod Preschool Alan Law Manufacturing & Purchasing Missionvale Yingying (Grace) Ma Sales & Marketing Macedonian Coomunity CCC Ilindon Stephen Miller Sales & Marketing Girl Guides Association NSW- Caringbah District Adila Noor Corporate Services Shurolok (Music appreciation and performance) Michael Rowe Product Planning & Development You Yangs Mountain Bike Inc Salem Salikin Manufacturing & Purchasing Australian Malay Foundation Nick San Lorenzo Manufacturing & Purchasing Melton Swimming Club Anna Scott Manufacturing & Purchasing St Kilda Mums Ferdous Shibly Manufacturing & Purchasing Western Region Bengali School Kim Shields Sales & Marketing Delta Society Australia Russell Stickland Manufacturing & Purchasing Essendon District Aquatic (EDA) Leon Sublja Manufacturing & Purchasing Altona North Children’s Centre Dzung Tang Manufacturing & Purchasing Maribyrnong River Children’s Centre Tri (Phil) Tang Manufacturing & Purchasing East Burwood Tennis Club Inc Michael Tentomas Corporate Services Giants Baseball Club Emil Tissera Manufacturing & Purchasing Melton Sri Lanka Community Group Sonia Wettengel Sales & Marketing Southlake/Illawarra BMX Club Andrew Willis Corporate Services Warrandyte High School
William Kelly OAM $10,000 Sculpture Award Judge
Born in Buffalo, New York and trained at University of Arts, Philadelphia and National Gallery School, Melbourne, William is an artist with a significant history in public art who started his career in metal work and welding. He is a founding member of the Melbourne Urban Design Forum and taught sculpture at tertiary level for many years. He is also a committed humanist artist, whose work strongly addresses the ideas and ideals of community and the power of art to contribute to cultural change. Known for his engagement with major issues of our time including human rights, social justice and environment, one of his best know recent works is a small scale bronze, Tiananmen Square Monument (2009), depicting a lone student protestor confronting an advancing tank. His humanist projects range from major solo museum exhibitions and significant public installations to collaboration on community projects that have received awards from the Prime Minister of Australia and the Premier of Victoria. He is a Fulbright Fellow and former Dean of The School of Art at VCA and guest artist and lecturer at places as diverse as Yale, Oxford and Cambridge Universities, the Pennsylvania Prison System, India, Italy and Republic of Georgia. He is also a published writer and editor of several books including an anthology of collected works
Plaza of Fire and Light, Installation to commemorate the bombing of Guernica (Gernika), Spain.
from The Archive of Humanist Art, which he founded in 2000. He has exhibited in Sydney, Cologne, New York, Melbourne, and in over 20 countries including Japan, England and Sweden. Public collections include National Gallery of Australia, Guernica Museum, Spain, Durban Art Gallery, South Africa, Queensland Art Gallery and Heide Museum of Modern Art and the Victorian Art Centre, Melbourne. He is an Honorary Life Member of the Australian Centre for Contemporary Art, recipient of the Coat of Arms of the City of Guernica, Spain, and the Courage of Conscience Award, Peace Abbey, Boston; an honour he shares with other recipients including Dr Martin Luther King Jr, The Dalai Lama, Mahatma Ghandi and John Lennon. He also represented Australia in the United Nations Declaration of Human Rights Arts Portfolio (introduction by Kofi Anan), now in the collection of the United Nations, Geneva Switzerland. Bill’s long and illustrious career currently continues as a full time practicing artist and educator and curator for the Olivia Newton John Cancer Centre, Melbourne. He currently holds a Creative Fellowship at the State Library of Victoria and lives and works with his wife Veronica in Nathalia, North Central Victoria. www.williamkelly.com.au
Spirit Figures: Passages of Peace, Guernica 2005
Ken Wong Curator
This is the 10th Annual Sculpture Exhibition for Toyota Community Spirit Gallery, featuring 81 artists exploring the diversity and excellence of sculpture practice in Victoria. It also celebrates our 10th Anniversary since commencing operations in 2004. Over that time through a diverse range of 34 exhibitions, we have shown over 1000 Australian artists of all levels of experience, with a focus on local and emerging artists. Since inception, we’ve been advised by the Cities of Port Phillip and Hobsons Bay and I would like to acknowledge the invaluable support of their Arts & Culture units. The Gallery has provided a unique development opportunity to artists of all mediums from across our diverse community. With a unique charter to explore the role of art and art making, our program has often provided first time exhibitors with an opportunity to show alongside established career professionals. The value of this experience, and the dialogue created between artists and the wider and business community cannot be overestimated. Our program has also provided career changing opportunities for several artists over the years, with our $10,000 Artist Travel Award, and this year, a $10,000 non-acquisitive sculpture prize. I am thrilled to have William Kelly OAM on board as our judge and guest speaker to announce this award. The Great Mandala, is a reference to the antiwar protest song by 1960’s American folk icons, Peter, Paul and Mary, who were closely involved in the both the Civil Rights and anti-Vietnam war movements; performing at the March on Washington when Martin Luther King delivered his “I have a Dream” speech. Subtitled The Wheel of Life, the song is in turn a reference to Hindu and Buddhist tradition, where a Mandala refers to part of the universe, and the Great Mandala represents the entire universe or cosmos and all its manifold forms. In India, mandala means perfect circle, but fittingly (in the context of this exhibition), it can also be a set of statues or any three dimensional representation. According to the Swiss psychoanalyst, Carl Jung the mandala serves to restore, but also has creative purpose, giving expression and form to something that does not yet exist, something new and unique. For millennia, it has been used globally as a sacred symbol for ritual traditions including Christianity and many indigenous cultures. In Buddhism, it represents harmony and order, offerings and a focus point for
wisdom and compassion. In a world with a myriad of problems including war, hatred and disease, it is timely for us all to contemplate where the future is leading us and what impact we can have on it. In his radical and original book Theory of World Security, Ken Booth has described as ‘mint fresh’ some poignant words of Mahatma Gandhi: ‘We must be the change we wish to see in the world.’ As our creative pioneers, I believe the artists in our society have a unique opportunity to lead our moral conscience and direction, a trail quietly blazed by our honoured guest speaker Bill Kelly all his life. As Picasso once said in relation to his famous Guernica painting, “art cannot stop bullets”; but as Bill has said, “it can stop bullets being fired”. There is no-one in human society who is not impacted and afflicted by human conflict, and indeed my own family, like countless others, has been touched by tragedy from the First World War and Vietnam. Writer Rob Watts, in Bill Kelly’s book Art and Humanist Ideals, quoted one of Australia’s greatest “living treasures”, Veronica Brady as saying in relation to the survival of civilization, “we need reason and creativity, sympathy and passion… people who are deep wise and humble, ready to share themselves and their insights”. This, as he went on to say, “requires what Hannah Arendt… the greatest of the twentieth century’s political theorists, identified as the chief civic virtue, namely courage.” I would like to thank and congratulate not only the artists participating in this exhibition, but all of the 1000 and more who have participated in our program over the past 10 years for their courage and insight. I also offer my grateful thanks to Toyota for its vision, and the many people I have worked for and with who have provided their great support, courage and commitment. Most importantly, I must thank my wife and partner Sandra, whose creative work and administration of our projects is a force of nature and a continual source of awe and inspiration. This 10 year chapter of Toyota Community Spirit Gallery, can aptly close with a quote from a man who could easily be the namesake of our exhibition, Nelson Mandela. “We can change the world to make it a better place. It is in your hands to make a difference”. Welcome to The Great Mandala.
Ken Wong is an art consultant based in Shepparton in regional Victoria. His work on this exhibition is dedicated to his Grandfather, Hubert Elijah Renford Wong and cousin Max Gardiner, whose tragic sacrifice to war, like too many others, took place many years after they returned from the front.
The Great Mandala Locations Sculptures are located in four separate areas; * Atrium * Gallery * Glasshouse * Outdoor
Outdoor
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to gallery works Auditorium
Atrium
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to outdoor works
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Gallery
Reception
Finalists 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49
Leonie Allan Genèvre Becker Teresa Bennett Paul Blizzard Thomas Bowman Georgia Camden James Cattell Philip Cooper Patrick Delbosc Sean Diamond Ara Dolatian David Doyle Frank Duyker William Eicholtz Alexander Esenarro Sally Fitts Sai-Wai Foo Peter Forward Paul Gennings Tanja George Janice Gobey Jacqui Grantford Alizon Gray & Simon O’Carrigan Amy Gray Robert Hague Tegan Hamilton Owen Hammond Beka Hannah Max Honigsberg Karen Hopkins Aimee Howard Yan Huang Gabriella Gomersall Hubbard Tyrone Jaspers Aaron Jones Timo Juntunen Irianna Kanellopoulou Macgregor Knox Julee Latimer Ben Laycock
50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69 70 71 72 73 74 75 76 77 78 79 80 81 82 83 84 85 86 87 88 89
Joanne Linsdell Jenny Loft Salvatori Lolicato Sally Manson David Marshall Lawrence Marshall Janice McCarthy Darren McGinn Dónal Molloy-Drum Amanda Nelson Elizabeth Newnham Valentina Palonen James Parrett Jason Patten Russell Petherbridge Joanna Posa Rachel Prince Loretta Quinn Geoffrey Ricardo Anne Ronjat Maria Simonelli Melissa Skirton-Cussell Skunk Control Paul Smits Adrian Spurr Tim Sterling Tul Suwannakit Kim Tarpey Christopher Taylor Fiona Taylor Costa Theoharidis Pimpisa Tinpalit Miranda Tomlinson Sholto Turner Hartmut Veit Robert Waghorn Sioma Wajchman Liz Walker Daniel Worth Keren Zamir
IMAGE: Things on Plinths (detail) Aimee Howard, mixed media, 2014
Leonie Allan Leonie completed her Bachelor of Creative Arts at Deakin University in 2013. She makes visual arrangements to articulate observations of her surroundings. Whilst her choice of medium and presentation may vary, her art is consistently investigating contemporary society. Often durational in process, her work may involve collecting, documenting and constructing over months or years and usually presents more layers than a surface reading. She tries to avoid presenting a personal opinion; preferring to offer a forum to stimulate thought and awareness for the viewer. You Will Never Get Your Life In Order (detail) Casting plaster, white melamine board, paper, 200 x 475 x 30cm, 2013 $4400 complete or $770 per unit of 64 jars (no base)
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his is a durational work that has been in the making for the last 4 years. Over that time I have cast over 600 vegemite jars, using the iconic Australian pantry item as a metaphor, alluding to the logical, linear clarification we use to get our life obligations and emotions into manageable order. But like the eternal entropy of life, our pantry shelf will always see a measure of disorder or randomness within its system. The scale, repetition and rhythm enforce the enormity of the task of arranging, sorting, restocking and putting things in order. My work seeks to employ humour, excessiveness and sometimes shock as a mechanism to engage and entertain while exploring themes of contemporary life and society.
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Genèvre Becker Genèvre’s career as an emerging artist spans 18 years, completing a Masters in Fine Art in 2012 and a Masters in Education – Arts Administration in 2004. During this time she has exhibited throughout Melbourne, served as a gallery board member and been the recipient of arts grants and prizes. She supports her arts career by working in arts and educational institutions. Her practice includes sculpture and installation, evolving in recent years to incorporate light and soundscapes.
Deep Within I Card, ink, gouache, oil pastel, pigments and mediums, 36 x 48 x 7cm, 2013 $900
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his work is part of an ongoing series investigating representations of our ‘inner worlds’, of what may lie below the surface. The hues chosen for this work are suggestive of layers of emotion; digging below the darker surface colours, below there is spirit, passion and energy. This concept is presented as a topographical view of a landscape. The flowing lines of the stratum reference the tiers that may naturally form or are cut into the land, such as in an open cut mine; connecting the theme of digging below the surface of our inner worlds and our land.
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Teresa Bennett
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y current work uses found and recycled materials, both as a way to create a sustainable practice, and also importantly, because they produce challenges when combined with traditional techniques. My current inspiration is concerned with my grandparents migrating as “ten pound poms” and reflecting on my parent’s experiences as teenagers.
High Rise Development Crochet video tape and cellophane, 250 x 150 x 150cm, 2014 $3800
The family home built by my father has been mirrored in the making of these ‘homes’ using the work of nest building birds as inspiration. These works are partially an exploration of my migrant background and sense of place, a difficult process with conflicts of regret, opportunity and family.
Teresa studied a Diploma of Art in Studio Textiles, which developed her interest in using unusual materials to create unusual forms. In 2005 she was awarded the Old England Outdoor Sculpture Prize and in 2012 completed a Diploma of Visual Arts at CAE, majoring in Sculpture. For over 10 years she has been involved in with the Handweavers and Spinners Guild of Victoria, teaching spinning and weaving classes and convening the Experimental Spinning Group, further exploring new materials and techniques. She has been an artist in residence at the Yarra Sculpture Gallery and recently spent 8 months participating in the Greensborough Comes Alive renewal project. 12
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Paul Blizzard
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y work manifests itself in a natural manner because I have a deep affinity with nature. I have lived in the Australian bush all my life, apart from my time spent at art school. I have developed a personal understanding about my surroundings, which have been a major influence on the way I approach my sculpture. In my work I express ideas about the impact past, present and future generations have on the environment. I like to think that my sculptures, as images would stand outside the known limits of culture and time, and could be from any period -past, present, future.
Salubrious Mild steel and stone, 200 x 140cm, 2014 $6000
Paul has known that he wanted to be a sculptor since he was 4 years old. He began his journey in 1992 with studies at V.C.A. In the 20 years since graduating he has participated in over 35 exhibitions, both as a solo artist and in group shows. He works mainly in stone, bronze and steel, and has completed 7 major commissions including several in Melbourne. His ‘Fossil Stone’ series is situated near Treasury Place.
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Thomas Bowman
Thomas completed his BA in Fine art with Distinction at RMIT in 2013 and has been passionate about art from a very young age. His interest in sculpture has developed over the years through experimentation with a variety of different materials and methods. Since leaving art school he has participated in group exhibitions and been commissioned to make several works. Journey Mixed media, 122 x 70 x 70cm, 2013 $2900
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y works include tiny hand sculpted and painted people and characters, from which I depict quaint and often intimate narratives. I have a broad interest in storytelling and my practice explores human relationships and the inner self, using the human form as a metaphor. This piece explores the nature and identity of two people, a young man and woman and the development of their relationships with themselves and each other. What goes on in an individual’s mind and what makes them who they are is difficult to see or comprehend. Within a small space, this artwork explores that territory and seeks to make that invisible world visible.
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Georgia Camden
Greenbottle Blue Tarantula (Chromatopelma cyaneopubescens) Glass shards and acrylic perspex, 14 x 56 x 45cm, 2014 $1900
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piders are widely feared, but play an essential role in our planet’s ecosystem. Amongst the most prevalent predators on the planet, spiders prevent the insect population from exploding. Unchecked, disease carrying insects would flourish overnight, destroy food crops and skew ecological balances. Without spiders, it’s likely that the human species would die out within a few months because of the resultant lack of food and the dramatic growth of insect borne diseases. Georgia grew up in the wet tropics of Far North Queensland, surrounded by the animals and plants of the rainforest. Reading science at Melbourne University and working at Melbourne Museum has greatly influenced her art. Her sculpture is created using glass objects, which she shatters, allowing the final shape to spring organically from the materials. She says the process is akin to solving a jigsaw. Just as proteins in living cells are bound by the laws of protein chemistry, so that not all things are possible, likewise the laws of broken glass determine what evolves.
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James Cattell James was born in 1954 in New Zealand where he studied law, history, philosophy, literature and art. This eclectic education is reflected in his practice as a sculptor, along with his long-held interest in early machinery and sideshow art. He moved to Australia and worked as a puppeteer and street performer before starting the art business, Honeyweather & Speight, with his partner, Dorelle Davidson in 1988. They have produced murals, mosaics, children’s books, play structures and site-specific sculptural works, as well as a design this year for a Melbourne Festival artist tram. James also continues his studio practice, surrounded by dusty objects and artefacts that might some time be incorporated into his works.
Little Sailor in the Ocean of Winds (under construction) Timber, steel and brass, 160 x 55cm, 2014 $6400
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his is the culmination of my recent series of mechanical sculptural works. It is influenced by memories of my father and paternal grandfather, as well as poems by Shakespeare and TS Eliot that describe drowning bodies in the process of becoming one with the sea. The little wooden sailor started life as a puppet in Hobart in 1979 but now, in the process of letting go of life, he searches endlessly for his floating memories amongst the confusion of lakes and seaweed and the puzzling photograph of the unknown Czech woman. Viewers are invited to turn the crank handle to simulate the cacophony of sound and movement that confronts the little sailor.
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Philip Cooper
The Instruments of Wind Two elements: #1 Polychrome synthetic stone and epoxy, #2 Laminated wood and fibreglass 75 x 75cm x 135cm each element, 2014 NFS
Philip was born in Melbourne in 1957 and has completed extensive studies in theology, education and fine art, including a MFA from Monash University, Melbourne in 2004. His numerous solo and group exhibitions include The Blake Prize, Sydney (1988, 1993); Mandoria Art Award, Perth (2000, 2010); Sculpture by the Sea, Sydney (2003); and The McClelland Contemporary Sculpture Survey (2005-2006). Commissions include St Patrick’s Cathedral, Parramatta, and Australian Catholic University, Sydney and Ballarat Phil lives and works in Woodend, Victoria and is currently studying to complete his PhD in Fine Art (Sculpture) at Monash University in 2015.
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s an artist I sense that our relationship with the forms around us, forms our relationship with ourselves. Underpinning this relationship is an awareness of the stories that define us, and an interest in how they incarnate and resonate within forms. This piece plays with the simple form of the horn, exploring the connections, associations, resonance and harmony we experience in our encounter with things.
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Patrick Delbosc Patrick has worked for extended periods of time in several countries around the world (Gabon in Africa, New Caledonia, Tahiti, Lebanon and France) and also travelled widely in the South Pacific, the Middle East, Asia and Europe. These experiences of cultural differences have influenced and nurtured his art. His engineering background and experience with a variety of techniques and materials from traditional to high-tech is also an integral contributing element to his practice. He has exhibited in various group exhibitions including the Montalto Sculpture Prize, Melbourne Sculpture Prize and Toorak Festival of Sculpture, taking out the Ola Cohn Memorial Sculpture Prize in 2008. Chaos (cube & ball) Fibreglass resin, recycled timber, glue, shellac and marine varnish 95 x 90 x 55cm & 65 x 65 x 65cm, 2013 and 2014 $4500 (if sold separately: $2500 ball and $2000 cube)
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hat interests me is to work with space, form and texture to produce narrative works that capture the interaction between people and their environment. Chaos is a symbolic representation of the earth, contrasting modern and traditional materials. Our world is shown as a cube and a sphere to accentuate the feeling of chaos, partition and segmentation between the different nations and people. However it remains one, hospitable and inspiring to all. Our earth is chaotic, fragmented and fragile but also beautiful, strong and full of vitality. 18
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Sean Diamond represented by Without Pier
This is Planet Earth Reclaimed steel, 190 x 100 x 120cm, 2014 $6500
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ur lives reflect our participation in this existence on Earth; and the Earth’s existence will eventually be reflected by our participation in life.
Sean has been pursuing his career as a professional artist for many years. His first exhibit in Melbourne was at the St Kilda Sculpture Show in 2005 were he received the Peoples Choice Award. He works from his studio located in the Norstar Steel scrap yard in Laverton, utilizing discarded and waste materials and sculpting new form from mountains of amorphous detritus, while drawing his inspiration from personal experiences and the global ether.
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Ara Dolatian Ara has a BA in Fine Art (Sculpture) from RMIT, is currently completing a Master of Social Science (Environment & Planning) and has shown in numerous group exhibitions including being a finalist in the 2013 Substation Contemporary Art Prize.
Assemblages Metal, glass, plaster and soil Dimensions variable, 2014 $1000 each
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y work represents the relationship between cultural landscapes and the natural ecosystem. The structures that I build are hybrids; part social, part natural and part mechanic. A hybrid ecosystem simultaneously resembles a semi functional apparatus, the model of a utopian city and a biological experiment. It also conflates a number of ideas around the themes of the studio and the laboratory and in turn social and environmental politics. In the course of history, the accidental relationships between nature and culture have formed a dualism. Whatever was wild nature was supposed to be civilized by culture, but whatever was culturally molded could not be considered natural. It is by this antagonism in the basic concept that, to this day, we perceive our natural environment. It seems that human culture is no longer desirable, but it is nature, in its destruction by man, that seems to be in need of saving.
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David Doyle
Redgum Birdboxes Redgum and rusty steel, 190 x 210 x 35cm, base 110cm diameter, 2014 $3500
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his sculpture deals with the nesting instincts and imperatives of humans and animals alike. It is also exploring material, implied order and repetition, and how as modern urban creatures, we are increasingly living in high density high rise buildings. In Singapore, over three million people live above the 14th floor.
David was born in Australia in 1952 and has been seriously involved with sculpture since winning the 1988 bicentennial Australian Sculpture Award while a member of the Gold Coast Society of Sculptors. He has travelled extensively and completed numerous residencies in UK, France, USA, India, Thailand and Japan, owned and operated an artist gallery at Oasis shopping resort in Queensland and established William St artist studios in Balaclava, Victoria. Exhibitions include the inaugural Helen Lempriere Sculpture Award in Melbourne in 2001 and the 2010 Japan Media Arts Festival, National Gallery, Tokyo, Japan. He was recently an awarded artist at the Jindivick Sculpture Award in Victoria and the Bradken Iron Festival in Western Australia.
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Frank Duyker
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Canned Mermaids Steel and fibre glass, 180 x 160 x 60cm, 2014 $6800
Frank is a sculptor, designer, engineer and educator. He originally worked exclusively with traditional materials such as wood, stone and metal but his exposure to Oceanic cultures and modern technology has widened his outlook and his work now often includes discarded technology and consumer items. His sculpture explores contemporary issues in modern society and is held in many collections around Australia.
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his work is a modern day comment on mermaids. Mermaids have appeared in the folklore of many cultures since ancient times and yet there is no credible evidence to prove that they exist. Christopher Columbus reported seeing mermaids while exploring the Caribbean, and supposed sightings have been reported in the 20th and 21st centuries in Canada, Israel, and Zimbabwe. Traditionally they were often considered a bad omen for humans, a harbinger associated with perilous events such as floods, storms, shipwrecks and drownings; a notion that has been juxtaposed here by the potential outcome of an encounter with contemporary humans.
William Eicholtz
The Deadly Poppies Polymer cement, 100 x 53 x 62cm, 2013 $8800
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e-interpreting the sacrifice and iconic symbols of the Anzac legend in the battlefields of Europe, this soldier hero is surrounded by the remembrance poppies that delight and caress. Are these the same deadly poppies that almost kill Dorothy on the road to Oz? His sacrifice is great, and the road to dreams is full of dangers. This friend of Dorothy lies alone in the deadly poppy field. Referencing Bernini’s ‘The Ecstasy of St Theresa’, this work plays with preconceptions and recontextualizes notions of the dying soldier, contemporary storytelling and the eroticism of an Australian icon. Working from his Melbourne studio for over a decade, William is known for his elaborate and unique approach to figurative sculpture. A recipient of the 2005 Helen Lempriere Outdoor Sculpture Award, his Australia wide commissions include the Lady of Justice at the County Court of Victoria and Australian Korean War Memorial, Canberra. In recent years William has taken up several artist residency and art projects in Asia, including an Asialink residency in China in 2012, and more recently in Varanasi, India on the Lights across the Sea project. He has shown in numerous solo and group exhibitions, prizes and competitions across Australia and has works in many public and private collections including Tarrawarra Museum of Art, Parks Victoria- Werribee, Victoria University and the Leslie Lohman Collection NYC.
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Alexander Esenarro
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Present Porcelain, earthenware firing, 55 x 20 x 20cm, 2014 $950
Alexander has been sculpting since he was 8 years old and exhibiting work since he was 19. His sculptures focus predominantly on humans, their bodies and their unique features. He has also worked in animation in Colombia where he thoroughly enjoyed working and watching his figures become animated through mixing the two genres of graphics and sculpture. 24
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ll the passion and love for the human anatomy and its complexity is expressed in my figurative sculptures. All of my work is related to modern times and the differences that we can see in the anatomy of different characters around the world. The sculptures that I make come from real people that I see in my daily life with a touch of imagination as well. Rarely the spectator is going to see a sculpture of mine with a perfect anatomy, because I prefer to see beyond the norm and celebrate the different and interesting features that make us all unique. I have chosen ceramics as my medium for its unique beauty and strength, which allows my figures to retain a certain tension and movement and often subtle emotion. The ceramic sculptures can be strong or delicate and at the same time even defy gravity.
Sally Fitts
Ask Not for Whom the Bell Tolls Papier-mache 70 x 60 x 70cm, 2012 $1100
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y practice over the last few years has been an exploration of the human condition, our common traits, our fragility, and our propensity for both wisdom and stupidity. Underlying this is always, for me, a search for identity and the sense of self within the broader knowledge that all is impermanent. I love to work on and with, paper, for the properties it presents but also because it fits with this idea of impermanence. This piece is part of a symbolic expression of these ideas constructed from drawings made on the same theme.
Sally completed a Diploma of Fine Arts at Brougham Art School in Geelong in 2007. She has exhibited in 5 solo exhibitions including 45 Downstairs in Melbourne and Convent Gallery in Daylesford, and was selected for the 2014 Kedumba Drawing Award.
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Sai-Wai Foo
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Equinox and the Moth’s Bride Mixed media contained in a wood and glass case, 41 x 48 x 28cm, 2014 $4200
y practice primarily focuses on the manipulation and folding of cut paper, combined with other pieces of collected ephemera to create vignettes and still points in time. In this piece, small sculptural elements are housed in a glass and wood cabinet; a pair of hands in the process of being engulfed by or reaching out from clusters of lichen like growths infested with moths, while a pair of dolls heads like sentinels watch as plant life teams over their coiffured paper hairstyles. One doll with bright daytime floral tributes, the other is contrasted by monochromatic night blooms. The piece explores equilibrium and the cycles of growth and decay through the use of personal iconography, found objects and illustrations from reference books.
Sai -Wai is an emerging artist who has made the move from fashion design to establishing an art practice. She trained in fashion design disciplines and has worked as a commercial designer, stylist and illustrator over a number of years. Her fashion background influences and informs the finish, construction, materials, themes and approach of her current practice. In conjunction with her art practice Sai-Wai runs a commercial illustration practice under the brand name “Pleatybunny by Miss FOO” www.facebook. com/pleatybunny
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Peter Forward
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Departure Lounge Recycled cardboard cartons and paint, 75 x 400 x 150cm, 2014 $6000
ecent experiences volunteering with Australian Wildlife Conservancy scientists at Scotia Sanctuary NSW and working with Dr John Read (University of Adelaide) left me very aware of how poorly wild Australia is being treated….just a part of planet Earth’s current extinction crisis. Cardboard boxes used for imports is my chosen medium, a material sourced from living trees, the home of many species and the lungs of our planet. This work is part of an ongoing online video project at http://artlikker.wordpress.com/ Time has taught me art making is a game where method and material combinations sometimes gel and become something entirely new. This can induce a real high, but art making is not really about how to make but what to make. I can only repeat Bertolt Brecht…. ‘They won’t say; the times were dark. Rather; why were their poets silent?’ Peter graduated from Melbourne State College in 1971 and has travelled and worked in Asia, the Middle East and Europe before working as a sessional lecturer in ceramics at Ballarat University and Artist in Residence at Geelong College. He has participated in various solo and group exhibitions since 1985.
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Paul Gennings
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Banksia (detail) Ceramic, steel and stone, 240 x 150 x 150cm, 2014 $1500
his work is inspired by the many varied shapes and colours that make up the Proteaceae family of plants, in particular the Banksia. The subtle hues of yellow greens of the Banksia serrate, the vibrant reds of the Banksia spinulosa. An intrinsic part of the work is the sculptures ability to move in the breeze much the same as the plant; swaying in the wind, almost calling the birds to come and feed on it’s nectar. The Banksia just a short stroll from my studio in it’s ancient woodland setting, have seen good seasons and also drought and fire. This part of their cycle of life is represented in the black cone at the bottom of each flower head. The primitive method of firing the ceramic component of the work is not unlike the ravages of the Australian bush to destroy and also at the same time give a renewal, a new beginning.
Paul completed a Diploma of fine Art at Queensland College of Art in 1983 and a Certificate of Ceramics at Bunbury institute of TAFE in 1986. He has shown in various solo and group exhibitions and completed artists residencies, most recently earlier this year at International Ceramic Studios Kecskemet, Hungary. In 2013 his work was published in the July issue of the Journal of Australian Ceramics.
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Tanja George
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ities are hubs of activity, seats of perceived power. They have become architectural monuments to human civilization. This work is a reflection on our cities and civilization; and the nature of impermanence. Our hubris makes us believe in the permanence of our creations, despite the many examples to the contrary. When civilizations cease, cities disappear and nature will return and reclaim. In this work, the urban sprawls in the shape of a flower.
Metropolis Red (detail) Plaster and board, 163 x 121 x 15cm, 2014 POA
Tanja was born in Vienna, Austria but grew up in Germany where she worked as a journalist for Esquire magazine. Her sense of adventure and curiosity led her to Australia and careers as a film-maker and more recently, a sculptor. She works with found objects and since 2007 she has consistently exhibited in various exhibitions throughout Australia and recieved First Prize at the INSPIRED Art Award. In 2012 she had 16 bronze sculptures commissioned for the executive suites of the Park Hyatt Hotel, Sydney.
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Janice Gobey
Refuge Installation - recycled vintage fur coats, chair and table 100 x 100 x 100cm, 2013 $5000
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y practice investigates the human condition exploring deep psychological issues influenced by studies in Psychology and Sociology. With this piece, I wanted to re-create a place of safety and chose to work with recycled vintage coats. These are turned inside out and made into a giant fur suit that visitors can try on, mimicking the return to safety that fur provides. The suit is displayed on a velvet wing backed chair and visitors are asked to record their thoughts in a fur-lined book.
Born in South Africa, Janice has lived in Melbourne since 2001. In 2010, she graduated with a Master of Visual Art, First Class Honours at the Victorian College of Arts, University of Melbourne. She has exhibited in both solo and group exhibitions in Australia, including The ‘F’ Word at the Ararat Regional Gallery, Fixation at the Hawthorn Town Hall Gallery and was recently shortlisted for the Sunshine Coast Art Prize. Her undergraduate studies have had a major influence on her art practice, and in 2014, she presented her work at the European Society for Post Traumatic Stress and Dissociation’s annual conference in Copenhagen. 30
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Jacqui Grantford
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uman intellect collides with the ambiguity of the emotional self. They are separate… one exact, the other visceral….yet also interdependent. Without one the other would not exist. I’m fascinated by human emotion, and how it propels us forward to achieve, using our intelligence to create symbols of success that validate us. My work explores the beauty of architecture, the corporeal form and the many permutations formed as they coalesce into surreal images.
Body: Part IV Plaster and encaustic wax, 17 x 36 x 65cm, 2014 $1500
Jacqui began work as a musician, but when her first born son cried every time she played the violin she made the move to the visual arts. Since then she has worked extensively as an artist, participating in a number of exhibitions and is a well-known children’s book author, illustrator and educator with over 14 published books including ‘Various Faerious’ (2002), ‘Shoes News’ (2004) and ‘Simply Drawing’ (2010) a book and DVD demonstrating drawing techniques. She also volunteers as a radio broadcaster on 3MBS FM, a Classical music station based in Melbourne. She currently does regular gallery reviews and interviews on the program Arts Beat which airs every Saturday between 10 and 11.
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Alizon Gray & Simon O’Carrigan Alizon is a Melbourne artist whose multidisciplinary practice involves painting, video and installation. Her works are in private collections in Australia, New Zealand, England, Germany and Switzerland. Simon’s work includes painting, drawing, collage and hand-drawn animation. His works have appeared in over thirteen solo and twenty group shows, and his animations have screened in over twenty-five animation festivals internationally. This work is Alizon & Simon’s first artistic collaboration. 100 Banners, 23.5 Million Whispers Calico and wooden stakes, Dimensions variable, 2014, NFS
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rotests build community whilst voicing opinions on leadership decisions that will impact upon local, national and international communities. Often such decisions are irreversible and have far reaching implications. Though the aims of various protest movements may differ, many cite the core issue as being lack of public consultation and the feeling that the voice of the people is not being heard. Raising petitions and protesting in the street has long been an essential constituent of our history and democratic free speech. However, in Victoria there are now laws that can be used to sentence peaceful protesters with gaol time. This artwork is a timely reflection on the changing social and cultural situation in Australia and around the world, where it can feel as though our democratic rights and proportional representation are being challenged. Before installation within the Toyota grounds we invited members of the public to ink messages onto calico and then immediately washed the words out. The ink slightly stained the calico so that only a hint of the message is left. Washing away the slogans reflects the muted protests of citizens; the erosion of the opposing voice. Rather than focus on any one issue or cause, this artwork captures the emotional groundswell of discontent when the voice of community opposition falls on deaf ears. 32
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Amy Gray
Memory (detail) Leaves (organic), 210 x 120 x 60cm, 2014 POA
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emory is an installation of multiple carved leaves that have been transformed from their original state to one that is delicate, revealing only a fragment of what they once were. Depicting images of nature that my Grandmother and I discussed when I was a child, most of the leaf has been carefully removed so that only the internal structure remains. They are still a leaf at the core and beautiful in their own right, but fragmented, much like the experience of the aging process and loss due to dementia and Alzheimer’s. Amy was born in Melbourne and is an emerging artist studying an Advanced Diploma of Visual Art at RMIT University majoring in Sculpture. Drawn to nature and notions of time forgotten, Amy often incorporates found objects or organic matter into her installations. Her current work focuses on the fragility of the mind and of life, inspired by her late Grandmother (also an artist and teacher) who suffered from dementia.
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Robert Hague represented by Fehily Contemporary
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Monument Marine grade stainless steel, 270 x 135 x 122cm, 2013 $30,000
arwin introduced the theory that populations evolve over the course of generations through a process of natural selection. Yet this process has now been subverted by human and mechanical intervention. Assuming a passive and retracted pose, hand cupped, an excavator form emerges from a reductive abstraction. Perched high on a Roman plinth to underscore it’s once noble regard, this monument to evolution marks an invisible extinction line, a line above which nature rules. And just as the cherished axe of early settlers were adorned, a delicate patterning disrupts the surface, wholly incongruous to the machismo of machine. This botanical ‘tattoo’ acts as a reminder of the complexity and natural beauty that stands before it. This work is a new monument, to celebrate and to mourn the changes we have wrought on the world around us.
Born in Rotorua, New Zealand in 1967, Robert arrived in Australia in 1985. Based in Sydney for many years, he now lives and works in Melbourne’s western suburb of Newport. He has presented in over 90 group and solo exhibitions, is regularly commissioned for private and public sculptures locally and internationally and has been awarded a number of prizes, including the Lorne Sculpture Indoor Award (2011), the Deakin Sculpture Award (2010) and the Director’s Prize at Sculpture by the Sea (1999).
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Tegan Hamilton represented by One Tree Artist Centre
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he glass acts as a lens which magnifies the internal object in the way in which natural history opens up an understanding of the globe. I aim to provide a representation of our obsession with collecting, categorizing and preserving the world around us. This work is a dialogue about the ongoing acquisition, preservation and dissemination of knowledge.
Lepidoptera Hot sculpted and screen printed glass, 18 x 20 x 20cm, 2014 $2490
Tegan is an Australian artist currently working in Melbourne. She has been working with glass since 2004 and creates contemporary hot-formed objects. She completed her Masters of Fine Arts, majoring in glass in 2011 with a thesis exploring the figure through science, history and art. An active member of the Australian and international glass arena, she has worked with internationally recognised glass artists in Australia and abroad.
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Owen Hammond represented by Scott Livesey Galleries
Owen is the son of an architect father and artist mother. His father designed and built the family home when he was in primary school and he and his siblings all made a contribution to it. They cleaned bricks, held the surveying pole and helped out where they could. The building site was a place of exploration and play. This learning experience continued as his father’s business grew, from hi-rise apartment buildings in Melbourne to concrete houses for the re-building of Darwin after cyclone Tracy in 1974. Owen studied Fine Art at RMIT and became a printmaker while also working in the building industry. In 1984 he became a weaver at the Australian Tapestry Workshop, working on significant Australian tapestries including the Arthur Boyd Tapestry for Parliament House and the John Olsen Tapestry for the Department for Foreign Affairs and Trade in Canberra. Later on the constant business of making things resulted in his ideas being made into objects, not pictures, the theme of the house continuing through it all, from childhood to the present. Untitled Wood, 70 x 30 x 30cm, 2014 POA
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ometimes I think of our civilization as a tower of collective memory. What we do and think is influenced by everything around us, formed by the world we have been born into. Over time we aggregate a collection of ideas, attitudes and knowledge, and it is all built on top of our transient biology. 36
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Beka Hannah
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use my craftbased practice to celebrate and explore my wonder at the natural world, in an effort to show the viewer that it is paramount that we look after what we have. The piece takes the form of 121 Crochet jellyfish, all white and cream. The jellyfish forms hang almost ghostlike on transparent wire, as the viewers move around the work they drift after them.
Medusae Crochet white yarn, acrylic and wool, 200 x 100 x 100cm approx, 2014 $1450
Born in Australia but raised in New Zealand, Beka moved to Melbourne and studied at RMIT completing her Masters degree in 2011. Since then she has been exhibiting regularly throughout Melbourne both in solo and group exhibitions, becoming involved in many artist collectives and groups; most recently as part of the Second collective running the artist led exhibition space D11@Docklands. This allows her to test out pieces as well as curate exhibitions and learn about running a gallery space.
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Max Honigsberg
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have always actively sought out opportunities to develop my knowledge of art and artists, and to involve myself in art practice.This piece is drawn from a body of work that articulates my observations of humanity’s more challenging attributes. The word ‘Wisdom’ crowning the three-sided pyramid is overt and at the same time obscured. The three wheels provide kinetic potential representing what is the fleeting nature of wisdom. I deliberately seek and manipulate recycled materials for my constructions and in this example recycled pine pallet timber and plywood have been re-formed. Where is it? II Pine timber, plywood, mild steel, stainless steel, steel screws and acrylic paint 214 x 129 x 129cm, 2012 $12,000
From the time he was old enough to travel unaccompanied on a city tram, Max has sought out exposure to visual arts. Sculpture studies at Prahran College of Advanced Education allowed for experimentation with ideas and materials and gave him confidence and encouragement to engage as an art practitioner. Studies in art history, archaeology and philosophy at La Trobe University provided a formal and theoretical framework to complement the knowledge already built up from extensive personal exploration and reading. His employment experiences in textile design and manufacture, as a primary producer, in construction work and in the furniture industry have all contributed to enhancing skills with a wide variety of materials and techniques. The successful application of these skills can be seen in recent works. 38
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Karen Hopkins
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his quirky sculpture made from kiln fired paper clay, metal and wood explores the energy and emotion of communicating with ones whole heart. Through sculpture I aim to express the feelings and different aspects of what it means to be human often incorporating aspects of humour to explore the deeper levels that connect us all. I find increasingly my works evolve as the pieces come together; using the beauty of the driftwood as inspiration, the piece evolves and almost has a journey of its own. I particularly enjoy working in mixed media as I feel each piece contributes to the whole; the energy and appreciation of different elements working together.
Heart song Kiln fired paper-clay wood and metal, 30 x 9 x 9cm, 2014 $250
Karen was born in England and has lived in Asia, South Africa and Perth WA before moving to Melbourne. She has been a sculptor and painter for over 20 years with works in numerous corporate and private collections nationally and internationally.
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Aimee Howard
Things on Plinths Stone plaster, wood and paint, 100 x 100 x 100cm approx, 2014 $700
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y creative outcome is a combination of the theoretical and practical research of failure as a strategic device to formulate unexpected outcomes. By this I mean to explore how elements of humour, occurring within a contrived accident, or embodied in an installation, sculpture or video, may be used to examine and deflate. My performative and object based studio practice have informed the slapstick methods of working. The state of this project operates in an area of tension and unpredictability.
Aimee grew up in regional Western Australia and moved to Melbourne in 2010 to begin a Bachelor of Fine Arts degree in Painting. Since starting her degree, she has gradually moved away from painting into a more three-dimensional practice. She recently graduated from Fine Art Honours (Expanded Studio Practice) at RMIT University with a focus on sculpture.
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Yan Huang
Land Shell Lime stone and pine, 65 x 29 x 95cm, stand 104 x 21cm, 2014 $1700
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y interest in sculpting is creating beautiful free form, shape and surface. Land shell is an attempt to create a shell like object that’s visually pleasing, with group of curves and ovals. As an industrial designer and artist, I love creating form and shape independent of function; aesthetic is the reason for being.
A graduate of RMIT University, Melbourne, Yan has an extensive automotive design career spanning 19 years, working with Australian, American, Chinese and Italian automakers on many successful automotive programs. These include the 2014 Buick Lacrosse interior components, 2013 Chevrolet Malibu interior, 2006 Buick Park Avenue, 2003 Buick Centieme show car interior and aXess Australia concept car interior. In 2012/13 she worked as a Design Manager at GM Holden Advance Design based in Melbourne.
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Gabriella Gomersall Hubbard
Secrets-The Flower of Life Digital images on perspex 70cm diameter, 2012 $800
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his work has been inspired by the ancient symbol and pattern The Flower of Life, a geometrical drawing of multiple and overlapping circles forming a flower like structure, believed by many to be the blue print of creation. The geometric symbol and perfect symmetry of the flower corollas, illustrate and reinforce the connection between ideas and reality, the spirit and the Earth. At the centre of my work is the belief that we find meaning and beauty around us and in how all things are connected. Gabriella was born in Rome, Italy, where she received a classical education. Always interested and passionate about the arts, she has lived in different countries studying and exploring the local art and artists. She is a teacher and photojournalist and author of Growing Honest Food- An Oasis of Italian Tradition in the Suburbs published by Hyland House. She has exhibited at Moreland Summer Show 2012 at the Counihan Gallery in Brunswick. Her art practice is mainly self-taught but she has taken classes in drawing and watercolour, acrylic and oil painting. 42
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Tyrone Jaspers
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Euroffid Re-purposed anodised aluminium, plastic and glass, 30 x 60 x 60cm, 2014 $2970
n 2042 the first collaborative United Nations mission to Jupiter’s moon Europa lands. A desolate ice-encrusted landscape awaits them. The thermal drill cuts through the ice to reveal an element-rich, liquid water ocean beneath, heated by the tidal flexing of Jupiter. What they found was an intriguing life-form – the Euroffid. The bioluminescence is believed to act as camouflage to repel predators….. Tyrone comes from a long line of European artisans and craftsman so you could say creative expression is in his veins. He studied engineering and electronics, worked at Telstra and moved into management, but corporate life wasn’t for him. In the mid 90’s he started his own business making furniture and moved into metalworking, building sustainable houses and more recently, sculpture. His passion is sculpting, forging recycled metal into collectable pieces of unique outdoor art or creating what he calls ‘landscape sculpture’, a transient form of art using what is on site and natural or native materials, reassembled into something new and intriguing. More works can be viewed at www.tyronejaspers.com
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Aaron Jones
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Finding our place Found timber and steel, 85 x 49 x 8cm, 2014 $500
Aaron is a self taught artist who has been working and creating hand made sculpture and jewelry from recycled materials for 10 years. In 2011 he won the Whitehorse Council Recycled Art Competition for his sculpture Revelation and another work, Tribal was purchased by Cure Bar & Eatery Rathdowne Street, Carlton.
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his sculpture represents the search, along the arc between our birth and our death, for a place to feel a sense of balance; of being physically, emotionally and spiritually “held”. In a world where so much value seems placed on the shiny and the new, true beauty awaits those who care to explore beneath the surface of existing materials such as discarded and weathered timber, with its physical and embodied history. My work is driven by my love of the character and potential contained within these materials. I endeavor to enter into a conversation, a conversation that changes both me and the material. I seek to reflect the sentiments expressed by art critic Gene Baro, who in his interpretation of Henry Moore’s work states: “The act of finding a form in a form, without violating the character of the material, requires a profound sense of relationship, but also a refining intelligence, for to work in this way is to finish something partially given.”
Timo Juntunen
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usic, architecture and 2D works are all considered separate yet each discipline is enhanced by the context of the other. I am searching for that truth. This piece is the remainder of a figure, all non-essentials have gone but the essence remains. Fragments of past representations fill museums, yet still have currency today even when the original purpose and meaning have been lost. Made of non-compound curves (as opposed to compound curves such as found in a spherical shape) an elegance is revealed in the apparent simplicity of its construction. The patina of rust on the sheet steel is made to eventually rust out as a car body or a ships hulk. Impermanence can be seen as a way to represent continual change, rather than a fixed notion of interpretation.
Torso Steel, 250 x 100 x 110cm, 2014 $3000
Timo has cultivated a spacial practice based on but not limited to, hand drawing, mechanical reproduction, design and motion photography. His interests lie in finding combinations of disparate disciplines to draw out conceptual similarities.
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Irianna Kanellopoulou Since graduating in 1993 from Monash University in Melbourne, Irianna has exhibited extensively in Australia and internationally, including Talente in Munich, Germany, SOFA in Chicago USA and Gallery Twentyfive in New Delhi, India. She was an invited as Artist in Residence to The Clay Studio in Philadelphia, USA where she also exhibited and has completed various private and public commissions including a public art project for All Nations Park in Melbourne. Awards include a Professional Development grant from Australian Council in 2008, Manningham Valley of the Arts Ceramic Art Award in 2009, and the Toyota Community Spirit Artist Travel Award in 2011. Recently her work was shortlisted for the Sidney Myer Fund Australian Ceramic Award and the Deakin Small Sculpture Award.
Wild Things Roam Ceramic, glazes, multifired, 30 x 30 x 13cm, 2013 $2100
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y work is strongly character-driven, deliberately shifting relationships between human and animal qualities while drifting in and out of an augmented reality. Different characters and personalities are captured in a fleeting moment to reveal a network of masked identities, fragmented conversations and hidden emotions. Focusing on the micro the work draws our attention to the small details which are often overlooked. This microcosmos highlights the transformation and personification of such images as a means of making sense of our surroundings and projects a narrative of a surreal and superior reality; a super reality.
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Macgregor Knox
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equoia are considered the largest tree species in the world. There is much mythology that surrounds them. This tree like many other Sequoia was struck by lightning, being the tallest tree in the forest. Often they can smolder and burn undiscovered for years. I found this pristine 100 year-old trunk at a sawmill in Warburton. The carving is part of an extended exploration of the log that I found. I used 3D computer modeling to creatively investigate different ideas I saw that could come from this section of tree trunk. I considered its history as well as my emotional response to what was before me. I endeavored to create a curious and encompassing space that draws the audience, first from a distance then right into itself, to intimately experience the physical nature and aura of this incredible and ancient species.
Sequoia (work in progress) Sequoia and stell, 220 x 160 x 100cm, 2014 $20,000
Macgregor is a Melbourne based artist and designer who has followed his interest in drawing, film design, furniture design, sculpting in timber and public art events over the last 40 years. Generally, he has worked outside the public exhibition system, pursuing a more personal exploration of different mediums and processes over this time. More of his work can be seen at mknoxdesign.com
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Julee Latimer
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lanets revolve, stars shoot Galaxies form, continual flux Constant movement Alone?‌.perhaps Or held gently watched over, supported Simply a tiny part Of an infinite whole.
Cosmic Hug Glass and pebbles over foam and concrete 150 x 50 x 30cm, 2012 $2000
Julee has known she wanted to be an artist since age 8, when she obsessively drew Disney characters and changed the spelling of her christian name for when she became famous. However, it wasn’t until a relatively few years ago that she discovered her passion and natural affinity for mosaic. Like a painter with their brushes, she uses tiny pieces of glass in lieu of brushstrokes, building the work slowly, meditatively. The medium has inspired themes of magical, mythological realities and developed a burning desire to show the viewer a different, more contemporary side to this ancient art form. Progress has been rapid, with her works published in several mosaic books and held in public and private collections in Australia, USA, Sweden and UK. 48
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Ben Laycock Ben grew up in ‘Dunmoochin’, an artists enclave on the outskirts of Melbourne, surrounded by bush. He began drawing the natural world from a very early age and his main focus has always been the environment. Ben has travelled extensively throughout Australia, seeking to capture the essence of this vast empty land; an island continent with a unique ecology, that has evolved in isolation over millions of years to resemble no other place on earth. He also has a strong commitment to community arts: working with El Salvadorian refugees in Melbourne, disadvantaged kids in Nicaragua, Aboriginal people in remote communities and diverse ethnic groups in his local area. Ben lives with his partner at Barkers Creek, near Castlemaine in Central Victoria, in a house they built out of recycled materials. www.benlaycock.com.au
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Big Foot Recycled polystyrene, paper cement, discarded consumer items 250 x 150 x 270cm, 2012 $4500
he year is 2101. The world is run by The Sisterhood of Anarchist Collectives, mentored by a coven of wise and trusted elders. Peace, harmony and joy reign over the land. Whilst working in the ochre pits, a group of young diggers unearth a giant foot, surrounded by all manner of strange objects made of unknown materials and having no conceivable use. The Great Oracle is summoned to decipher the mystery. “You have unwittingly stumbled across a ‘Landfill’ – Sacred Burial Ground of The Cult of Consumerism.” According to folklore passed down from generation to generation, the cult spread like wildfire across the globe, leaving nothing but a trail of devastation in its wake. Monolithic centres of worship called ‘Shopping Malls’ were erected in every village. The Mall was a place for devotees to satiate their spiritual cravings. They crammed every corner of their palatial homes with religious icons. The most revered deity of the cult was Imelda - the Goddess of Stuff; it was said she owned a pair of shoes for every day of the year. On a lofty hill above The Sacred Burial Ground a magnificent statue was erected in her honour…
This piece is a comment on consumerism and the environmental footprint it leaves behind.
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Joanne Linsdell
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y family has had a long history with trees. We have always been on the land, on farms scattered west of Melbourne from Bacchus Marsh to the highlands north of Ballarat. My ancestors were loggers and farmers of various kinds including potatoes, wheat and livestock. My father is an orchardist. Our family owned thirty acres of land at Bacchus Marsh stretching from the iconic Avenue of Honour where elm trees hold commemorative plaques of soldiers, to the Werribee River. When this land was sold, the fruit trees were bulldozed to make way for high yielding and convenient crops, lettuce and rocket. This sculpture is made out of an old peach tree that was felled; as one of the few remaining and as the trees made way for the new, so parts of the peach tree are being reconfigured to make works of art.
The peach tree Peach wood, steel pipe and plough disc 253 x 53 x 53cm, 2014 $1300
Joanne has worked as an artist, props maker and educator in Sydney and Melbourne. She completed her Masters at Sydney College of the Arts and Glasgow School of Art where she held a performance in the Rennie Mackintosh building. She has exhibited in solo and group shows in Sydney, Melbourne and regional New South Wales and completed artist residencies and community projects at Noosa Heads, Qld and Hill End, NSW. 50
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Jenny Loft
represented by Stephen McLaughlan Gallery
The Walkers Bronze & Huon Pine, 36 x 68 x 38cm, 2014 $9000
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any societies have viewed the land as a living thing. Walking in the Northern Kimberley I experience this presence of place first hand at a Gion-Gion rock art site. At the mouth of the cave I pause and wait, reminded of other prehistoric sites. Sites where connections to an inner space are made deep underground. This work invokes the spirit of that animate and potent landscape, reaching across time and cultures. Jenny holds a BA (Sculpture) from RMIT Melbourne, where she studied under Inge King and George Baldessin in the 1970s. Through glass sculptural works and mixed media installations her work explores altered states and hybrid forms in nature. Ongoing professional development follows casting and mould making workshops with international glass artists including Donald Robertson, Canada; Catharine Newell U.S.A. and Jaromir Rybak, Czech Republic. Her work The Last Ice Shelf : lost to a warming ocean was finalist in the Waterhouse Art Prize 2014 and finalist Highly Commended in the Toorak Sculpture Prize 2014. In 2013 her work At the Crossroads was acquired for the National Art Glass Collection, Australia.
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Salvatori Lolicato
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was inspired to create a series of ceramic works after I read a letter about the final siege with Ned Kelly that was written 133 years ago, by a bank clerk who witnessed the event. The particular part of the letter is this very human element describing the family; Kelly lying wounded on the stretcher with his three sisters by his side, with Kate holding Ned in her arms. The letter can be viewed at the Victorian National Library. This piece seeks to capture his power and strength in his suit of armour which was hand made by the gang.
Warrior Ned 1 Ceramic 36 x 10 x 10cm, 2014 $750
Sal has been a professional artist based in Melbourne for over 20 years working from his studio in St Kilda at the Veg Out community gardens, where he also serves as the Arts Officer. He has taught ceramics at the local St Kilda Adventure playground to disadvantaged children and has been involved in a multitude of community projects and commissions including, The Circle of Hands for Kingston Council, The Tree of Life at St Kilda Park Primary School and the Art for Kids Culture fundraiser. He also does regular workshops with disadvantaged groups, such as The Prostitutes Collective and The Sacred Heart Mission.
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Sally Manson
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culpture has always been a form of artistic expression that I have enjoyed viewing and I took the leap to try my hand. Since commencing classes I have been able to incorporate my skills in drawing, form and space to make works I enjoy and hopefully bring pleasure to others. My work is based on the eccentric and absurd, incorporating animals in human endeavours. I am pleased when viewers laugh at my pieces, as that is enough. This piece is the first of a series I have planned. Ted is an ordinary, everyday bloke going about his life. In future works, Ted will be taking flowers to his special girl, walking his dog Bob, going to work‌ Ted Bronze and granite, 33 x 13 x 33cm, 2014 NFS
Sally has been undertaking classes at Bayside Sculpture gallery for the past 2 years. This is her first appearance in a public sculpture exhibition. She has always been interested in the visual arts and has taken drawing classes for the past several years since retiring from practicing as an Occupational Therapist.
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David Marshall
Nature on View 2 Huon Pine, American White Oak, Redbox, metal and acrylic, 102 x 145 x 20cmm, 2014 $2200
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his work pays homage to Rachel Carson, 19071964, biologist, writer, ecologist. Her book Silent Spring ignited the environmental movement, raised important questions about mankind’s impact on nature, the strength and resilience of the natural world, the interconnectedness of nature to all living things and has left a legacy of an awareness that nature is vulnerable to human intervention. “Those who contemplate the beauty of the earth find reserves of strength that will endure as long as life lasts. There is something infinitely healing in the repeated refrains of nature- -the assurance that dawn comes after night and spring after winter”. (Silent Spring published September 1962) 54
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David is an emerging artist in his 7th year of practice who previously worked as a landscape contractor for thirty years, specializing in the design and construction of Japanese gardens and interiors. Beginning with the 2008 Toyota emerging artist’s exhibition, he has been selected for over 30 group exhibitions and was Highly Commended in the Outdoor Sculpture Prize at Wangaratta, 2008, a finalist in Woollahra Small Sculpture Prize, Toorak Sculpture Exhibition, Williamstown Festival Contemporary Art Prize, Lorne Sculpture 2011 and the Yering Station Sculpture Exhibition.
Lawrence Marshall
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he nature of Australia’s animals and birds strongly appeals to me as subjects because of the contrasts they present; their strength and power coupled with their survival instincts and shy, ingenious mannerisms. I have sought to create and explore the fluid, spontaneous movements observed in animals and birds on the land so familiar to me. This piece is sculptured with recycled stainless steel coated with resin for durability. The Sea Eagle with a captured fish can be seen as making a statement.
Lawrence’s interest in art began at a very early age but it has taken many years for him to express himself in the form of sculpture. While exploring solutions to problems relating to various aspects of rural life, he designed and implemented several award winning inventions in Australia and New Zealand related to agriculture. These included Best Innovative Machine of the Year at the Elmore (1990) and Australian National (1993) Field Days, both the Australian and the New Zealand Inventor of the Year (1992,1993) as well as the prestigious Hugh McKay Award (1994) from the Victorian government for his contribution to Agriculture. The skills he developed in these pursuits are now proving invaluable in his art practice, and he has supplemented these by attending various technical short-term courses aimed at expanding his skills, knowledge and appreciation of sculpture as a visual art form. His love of the land and struggle for survival on the land has led to the development of further creative challenges, and in retirement, he now has the time to fully explore his creativity and to utilize materials such as timber and steel that he has worked with over the years.
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No Fishing Stainless steel, 220 x 80 x 80cm, 2014 $2700
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Janice McCarthy
E
xperimentation is the core of my art practice. I am constantly looking for new materials, techniques, aesthetics and forms..
Janice’s sculptures of found objects, mosaics, woodcarving and ceramics, as well as her works on paper (collage, drawing, painting and printmaking) represent abstract and figurative forms. She has exhibited in over 50 exhibitions over the past 5 years including the Toorak Sculpture Exhibition and the Melbourne International Flower and Garden Show where her works have twice been Highly Commended in 2011-12.
Obsidian Ciment Fondu, 96 x 17 x 60cm, 2014 $2345
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Darren McGinn
T
Housing Instinct 2 Steel, ceramic, polymer, and recycled timber, 27 x 41 x 34cm, 2014 $3400
his sculpture is drawn from my most recent body of work and represents the nascent and embryonic formation of a new DNA strand base unit. The immanent fusion of a suburban hip and valley home conjoin with the circling descending ‘earth-couple’ who are quietly determined to explore and link an abstract molecular analogy into the real world of suburban expansion and development.
Darren completed a Bachelor of Education (Arts & Crafts) in 1984 at Melbourne College of Advanced Education, a Graduate Diploma in Fine Art in 1988 and Masters of Art in 1991 at RMIT. He has worked for many years as a lecturer and teacher of ceramics, sculpture, arts and technology at various academic institutions including the University of Melbourne, Victorian College of the Arts and Deakin University. In 2011 he completed his PhD, Faculty of Art & Design at the University of Tasmania. He has been the recipient of a Commonwealth Post Graduate Research Award and awarded in numerous national and international exhibitions for contemporary ceramics and sculpture. In 2004 he was awarded an acquisitive prize at the Gold Coast International Ceramic Art Award and in 2008 the $10,000 Toyota Community Spirit Artist Travel Award and the 3D Award at Williamstown Contemporary Art Prize. In 2013 he received an Australia Council grant and his work Building Blocks 2 was acquired from the Deakin University Contemporary Small Sculpture Award.
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Dónal Molloy-Drum
I
The Fisherman Mild steel, 95 x 90 x 18cm, 2014 $4200
Dónal is a full-time artist, living and working at Banyena in the Wimmera region of Victoria. He is a regular exhibitor and his work can be found in both public and private collections worldwide, including Microsoft Dublin, South Dublin County Council, Australia Air Force Canberra and Horsham Rural City Council. He has completed a number of outdoor public sculptures and is currently a member of the Public Art Policy Committee with Horsham Rural City Council. Born in Ireland in 1965, Dónal studied Fine Art at the Crawford School of Art, Cork, and graduated in 1988. He has lived and worked in London, New York and Melbourne. He migrated to Australia in 1997 and became and Australian Citizen in 2011. 58
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nfluenced by Celtic Art at the National Museum of Ireland and a childhood fed on myth and legend, my work is etched with traditional symbols, the most potent for me being that of the boat. Drawn by it’s volume, clean line and simple shape, it’s image for me is a metaphor for journeys both physical and spiritual. Moving to Australia and living under the vast sky of the Wimmera, my sculptures and medium have become lighter, simpler and more refined. In such open space with the crispness of shadow and silhouette, fleeting visual moments, a tree at dusk or a passing raven, become a part of the passage of time and have stamped the landscape on my imagery. From initial notebook sketches, cut-outs, photographs etc, I develop an idea with a chalk drawing on my workshop floor, shapes and lines are then fabricated into a three dimensional work. Quite often a sculpture evolves from an offcut of a previous work with the negative space of one piece becoming the positive space of another.
Amanda Nelson
H
ere Hecate Greek Goddess of the new moon, protector of the displaced and discarded. Those on the edge of society. When what is needed most is silence, stillness and a return to the deep heart. Here is a place to rest in the darkness, at the cross roads. Here, a place to release the weight of daily life and seek a new pathway. After the end, yet before beginning anew, gently unearthing the course ahead until the way, illuminated clearly, is travelled with knowing and purpose. Here rest, renew and dream of tomorrow.
For Hecate Feathers, cane, wood and nylon, 25 x 46 x 46cm, 2013 $750
Amanda’s current creative practice is focused on the connections between place and identity. The art she makes reflects her feelings towards the people, places and things around her. In exploring personal observations, emotions, and experiences, she examines her shared place in the world, with the aim of deepening her connection to the community and environment through creative practice.
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Elizabeth Newnham
Washed Up, Urchins Glass, 24 x 45 x 50cm, 2014 $3000
M
y passion for glass drives me to continually evolve and develop my unique technique. My inspiration comes from working at the beautiful Stonehaven Glass Studio positioned in the Dandenong Ranges in outer Eastern Melbourne. I also immerse myself in other natural landscapes both in Australia and overseas. Beachcombing, no matter how young or old, or where in the world, can fill us with excitement and create happy memories. The sea urchins in this glass roll-up sculpture portray that special feeling of finding little treasures.
Elizabeth’s journey into the glass world started as a child with the glass cutting and polishing kit so many people had in the 1970s. Now, after 36 years of surgical nursing, she has finally found the time to reconnect with her childhood passion. Since 2008 she has studied kiln-fired techniques from basic classes to any master class available to her. Having entered the glass world later in life with her career and family duties now in the background, she has discovered a new freedom to experiment in glass without boundaries. Elizabeth has created her own style of glass forming, resulting in a three-dimensional effect combining colour, light and texture. 60
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Valentina Palonen represented by Gould Galleries
I
use a variety of experimental and traditional mediums and processes to intuitively explore the complex relationships between humans and the natural environment. My practice seeks to reinterpret the natural with overtly artificial colours and materials, responding to our often tense and mediated relationship with nature in the contemporary context.
Keeper Mixed media, 137 x 69 x 70cm, 2014 POA
Valentina is a Finnish-Australian visual artist living and working in Melbourne. She has exhibited in a variety of public, private and artist-run spaces including Gould Galleries, Linden Centre for Contemporary Art, Blindside and West Space, and is the recipient of an Australia Council New Work Grant. She has undertaken artist residencies both locally and abroad and holds a Master of Fine Art (Research) from the University of Melbourne.
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James Parrett represented by Gould Gallery
L
ike all of my work, this piece is inspired by the aesthetic potential of the circular form and what can be achieved through the dissection and reconfiguration of radial arcs. The focal point is the cross section between the main arcs and how they can create tension and movement. I have also been exploring the ocean, specifically the waves and the power and peace within them. What I desire most of all in my practice is a gradual aesthetic evolution.
M-thirtytwo Stainless Steel, 197 x 194 x 120cm, 2013 $35,000
James completed his BA in Sculpture at Monash University in 1998 and Honours at VCA in 2002. He has been selected as a finalist on multiple occasions in numerous sculpture awards including the McClelland Contemporary Sculpture Award, Montalto Winery Sculpture Prize, Yering Station Sculpture Prize, Sculpture by the Sea (Sydney) and Lorne Sculpture Prize (Victoria). Recent gallery shows include ARC at Gould Gallery (Melbourne 2013), and Sculpture 2011 at Brenda May Gallery (Sydney). Commissions include The Rabaul and Montevideo Maru memorial at the Australian War Memorial (Canberra 2012), Mandalay at Beveridge for Metricon on the Hume Highway (2009), and a wall piece for Becasse Restaurant (Sydney, 2006). 62
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Jason Patten
T
(R)evolving Thought Mirrored Polystyrene, Builders Foam, wire, Silicone glue, wood, EVA foam, paint, LED’s, 161 x 72 x 82cm, 2014 $3500
his is the latest sculpture in my ongoing exploration of the endless creativity of Light as it Moves. As we perceive it, there is a continual change of perspective and interpretation, refreshing us by its’ transcendence of the fixed state. Its play of light changes in accordance to its environment, endlessly painting a shifting array of colour and liquid reflection with every passing second. I enjoy exploring Light, movement, and the ineffable revelation of Spirit within the creative process. This work is a metaphor for the Self in the World. Jason is a self-trained sculptor, passionate about innovation and the creative process. He has extensive experience with his own sculptural latex rubber fashion label (WYRDOM), objects for shamanic/ritual use, and sculptural decor for nightclubs and gala events.
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Russell Petherbridge
Land Escape Steel, 150 x 86cm, 2013 $3600
O
ver 40 years of practice, my work has become refined rather than changed. Some work is abstract, other work definitive. I love the challenge of working with steel, its so rewarding when the hard metal becomes soft and fluid. This landscape is a portable slice of rural living, exploring the powerful beauty of Australian fauna and flora, a constant influence on my work for over the past four decades.
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Russell studied Civil Engineering between l968-1970, but it was not long before he turned his attention to sculpture, presenting his first solo exhibition at Argyle Art Gallery in l976. He has exhibited all over Australia and overseas, and is currently exhibiting a retrospective at Mt. Macedon, Victoria. Russell lives and works at Yandoit, in Central Victoria.
Joanna Posa
Photograph by Cam Scott Š 2013
Pull Sheet steel, 184 x 110 x 152cm, 2013 $18,000
M
y work explores themes of evolution, ideas of masculinity and femininity, balance versus discord and how scientific advancement affects our views of ourselves and our place in the environment. I am obsessed with the process of repeating a unit or building block and how each time the result is different. This piece is made from corrugated steel, a material found in most Australian backyards. Each work is made up of hundreds of units; each considered, cut, hammered and hand riveted. This is a very slow, labour-intensive and highly intuitive process. The metamorphosis is slow. There are kinks. There are anomalies. It is an evolution of sorts; although I begin with a concept, I don’t know how the figures will form until the layering occurs. The resulting surface is highly reflective and both the surroundings and the viewer are reflected back, changing the figures with the light of the day and the environment they inhabit. I am interested in how the hard and inflexible can be made to appear soft and flowing, how the artificial can represent the organic, how a beautiful form can convey unease - are they pulling together or pulling apart?
Joanna was born in New Zealand, moving to Australia in the early nineties. She completed studies at the Victorian College of the Arts in 2002 and has been a practicing and exhibiting artist for the last 15 years, working primarily in cast and fabricated metal.
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Rachel Prince
Nocturnal Bloom Resin and flowers, Dimensions variable, 2014 $300
T
his work is a series of cast resin pods that both enclose and reference flowers. Some are embedded with flowers that are nocturnal by nature, (Evening Primrose and Night Blooming water Lillies) and some are of a winter-blooming native variety (Wattles and Hardenbergias). My goal is to evoke an ethereal quality that urges the audience to ponder the objects. Why are they here? What appears to cultivate or emanate from within?
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Rachel was born in Sydney in 1992. She received her Bachelor of Fine Art at RMIT Melbourne in 2013, and is currently studying for her Masters of Art in Public Space. Exhibitions include Optical Microcosmsat Pro{Merging} Art, Antipodes Gallery, Sorrento, and Nocturnal Bloom for the Nocturnal Arts Festival, Dandenong. Upcoming shows include Seasonal Stillness at PS50 Art Space, Melbourne, and From All Walks of Life for Artland, RMIT.
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Loretta Quinn
M
y work combines landscape, the figurative and the iconic. It has been described as dark Victorian Romanticism, exploring a world of cautionary tales. For me it is a reflection of the imbalance we have as natural beings living in an unnatural world. The work shown here is from my recent solo exhibition at Glen Eira Council Gallery. I was inspired to explore my personal connection as a army mum by an image of Australian soldiers on patrol in an isolated and desolate area of Afganistan. My son Laurence was on deployment with 7RAR Infantry, signals and communications in 2012-13. When the soldiers went out on patrol they didn’t know who would be coming back. Pearl is guarding her nest of cockatiel eggs. The work discusses feelings of emptiness and an unknown destiny… Pearl Mixed Media, 53 x 35 x 25cm, 2014, POA
Loretta was born in Hobart and has been a lecturer and teacher in sculpture at Victorian Universities including Monash, Melbourne, VCA and RMIT since 1985. She has received numerous awards and grants and her almost 100 exhibitions include 17 solo shows and 2 major retrospectives in Metropolitan galleries. Her commissions include 5 permanent public sculptures in Melbourne’s CBD, and she is represented in collections nationally and internationally including the Australian National Gallery Canberra.
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Geoffrey Ricardo represented by Australian Galleries
D
rawing on a heritage of Surrealism and figurative expressionism, my work explores personal and broader issues of the human condition, often tinged with humour and a touch of the absurd.
Obscurer Copper, 175 x 115 x 106cm, 2012 $35,000
Geoff was born in 1964 in Frankston, Victoria. He studied Fine Art (printmaking and painting) at C.I.T. and completed Post Graduate and Masters of Fine Art in printmaking at Monash University. He has been a sessional lecturer at Monash University and guest lecturer at Victorian College of the Arts, RMIT and PIT. Artist residencies include the Canberra School of Art and he is currently completing a print residency in Europe. He has held regular solo and group exhibitions since 1990 and is represented in various public and private collections in Australia and overseas. 68
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Anne Ronjat
T
his piece is inspired by the life cycle of our great eucalyptus forests. Evolving from rainforest ancestors, they are unique to Australia. The eucalyptus pod protects the seed, till it opens to release it. The seed is a mystery of potential, linking interdependent cycles, always breathing and moving, always creating, only appearing dormant. Even the tiniest seed carries the promise of a giant. These gentle giants abound in The Dandenongs where I live and walk, always drawing a deep peace and inspiration in those forests. Trees have the longest life span of any organism on this planet, some reaching a thousand years. It takes seven centuries for a rain forest to fully mature but only moments to destroy it. This piece is the first in a series exploring themes of rejuvenation and conservation in the face of global deforestation. From little things big things grow Glazed ceramic, horse hair, logs, painted fabric and seeds, 63 x 60 X 25cm, 2014 $880
Anne is a full time artist living in Melbourne. She was born in France where she received very traditional training as a thrower of functional ware through an intensive 3 year apprenticeship with renowned French ceramicists. Anne migrated to Australia and established her own range of fine tableware which have been retailing throughout Australia and published in various magazines. Her sculptural work began in 2000 and soon after she was invited to participate in the Becton Sculpture Biennale. Her work then concentrated on figurative subjects with a minimalist style utilizing mono glazes. Travelling in South East Asia over the last three years, she has studied metalsmithing and stone cutting, introducing new mediums to her work. In this piece she combines organic materials, wood and horse hair to the ceramic.
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Maria Simonelli
Slumber Wax and fabric, 40 x 60 x 150cm, 2014 $770
M
y early life was spent in the sciences and a fascination for biology that has never left me. This turned quickly into a deep interest in human anatomy and many hours studying the sketches of Leonardo Da Vinci, which lead to the idea of sculpting the anatomically correct human form. Eventually I found this could be created by the impression of the body, when it was in fact an internal void. Using fabric and wax, I create stories for interpretation from the viewer’s perspective, all based on the concept of a single piece of clothing. I am interested in urban trends and contemporary issues, and in intervening in everyday patterns by provoking alternative forms of discourse that make connections between disparate ideas to give a different perspective. This piece depicts an isolated motionless figure wrapped in a blanket. The blanket provides a secure cocoon to protect the figure. The piece can be interpreted entirely by its position and the context we place on it based on our conditioning.
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Maria began her professional life in the sciences, with a focus on biology and environmental studies. This led to many years working across the sectors to build capacity in their approach to sustainability. She continues to consult and address the declining health of the environment, but her expression has entered a new deeper phase through the narrative of her art practice. This she has pursued through a Graduate Certificate in Visual Art at VCA, Melbourne University. Her aim is to communicate and empower individuals to take responsibility in creating a place for transformation and change in the way we live; to define and create resilient and vibrant communities.
Melissa Skirton-Cussell
R
unning takes you to so many places. Expansive mountains, breathtaking forests and rolling roads. It opens up the world to us in so many ways and allows us to connect to the natural world in ways that are difficult to articulate. More importantly, running can expose an inner world of reflection allowing us to ask ourselves questions we didn’t know needed asking and then answer some of our most challenging internal dilemmas. In our fast paced world, putting one foot in front of the other can provide a reflective place that can truly change our lives. Running as Reflection Acrylic, 60 x 60 x 10cm, 2012 $3550
Melissa enjoys working with a variety of media making her contract with the future unpredictable. Born in Sydney, her art journey began in 2003 when she decided to quit her career in the media to pursue her passion for sculpture. Since then she has exhibited in more than 20 exhibitions around Melbourne including the 2012 Montalto Sculpture Prize, the 2013 Melbourne International Flower and Garden show and a solo exhibition at Kozminsky Gallery in 2010. She has completed a variety of commissions working with architects, interior decorators and designers. Her diverse practice is focused on producing sculpture of the highest standard, including large scale abstract works as well as sculpting the female form.
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Skunk Control
Pestilent Diversion (detail) Mixed media installation, 340 x 180 x 150cm, 2014, NFS
G
reat accomplishments in science and the arts have followed one another’s footsteps. Both have asked questions of society and even though frequently denounced and demonized they are praised and looked upon as testament to what a cultured society can achieve. The questions we ask ourselves, that are asked of us by others and the respective answers we give in return can on many occasions be misinterpreted, misconstrued, ill conceived and miscommunicated. Sometimes they hold us captive, freeze us in time to allow for reflection and contemplation whilst on other occasions they encourage us towards journey and insight. The colour changes within the installation represent the infinite ways that both our questions and answers can be interpreted by others and by ourselves. Viewing the installation from different perspectives which similarly instigates colour change references how these same questions and answers are considered differently depending on where we are in our lives. It is these personal interpretations that inform and shape our lives.
Skunk Control is a group of engineers, educators and scientists from the college of Engineering and Science at Victoria University. The communication of art through science and science through art via stories and spectacle has excited them since their formative years. Their agenda is to create art that engages, taunts its audience to investigate, prompts inquiry and inspires. Skunk Control collectively run a number of diverse community outreach programs that are designed to demystify science and demonstrate the synergies between art and science. 72
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Paul Smits Beginning his career as a prosthetic artist, Paul now lives and sculpts within the mountains of the Dandenong Ranges. He has exhibited works throughout Victoria, and his commissioned portraits can be found across the state. His aim is to sculpt dramatic narratives, influenced by expressionism and the baroque sculpture movement. His works are grounded in realism, but draw upon energy and tension to accentuate the drama within a particular narrative.
Binding Bronze, 32 x 12 x 23cm, 2012 $2200
I
have always had an intense desire to work with my hands. To shape and build objects by manipulating a material has always felt like some sort of instinctive motor function, and is an incredibly satisfying experience. Starting my career as a prosthetic artist allowed me to gain valuable insight into the beautiful complexity of the human form, and has been a vital part in my ability to make important observations. Cranial binding is but one of the many ancient body modification rituals that was employed within Central America and islands within the pacific such as New Guinea and Vanuatu. It was used to legitimize the organization of a society and identify importance within the social hierarchy, as well as signify connections with the gods and spirit world. Binding was often performed using planks of timber or cloth tightly wrapped around the skull at birth, which encouraged an infant’s skull to grow in an elongated shape.
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Adrian Spurr
R
Russet #1 Found antique chair, machined pinewood and rosewood cubes 164 x 66 x 92cm, 2014 $2500
usset #1 continues my work of the past four years where I commence with a found item of furniture around which I assemble a sculptural form using a large quantity of machined wooden cubes. The wood is carefully sourced. It is either repurposed timber or timber destined for disposal. I consciously engage with a fundamental of sculpture, that the form should offer the spectator something new as it is viewed from each vantage point. I take inspiration from the arid landscape of North Western Victoria and South Western NSW where I find myself fascinated by the delicate surfaces and intricate forms I find in that environment.
Adrian studied sculpture and printmaking in the UK before moving to Australia in 1998. In 2012 he was awarded the Toorak Village Sculpture prize and other exhibitions include the Melbourne Sculpture Prize and the John Fries Memorial Prize in Sydney. His art includes sculpture, printmaking and drawing and is concerned with surface, structure and volume.
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Tim Sterling
represented by Hugo Michell Gallery
M
y work explores ideas of psychological unease created by the design of city spaces. Agoraphobia arises when there is a disconnection between an individual and their surroundings. I attempt to articulate symptoms of agoraphobia by emphasising in my art practice architecture’s contradictory nature of being both a conceptual and physical space.
B.E.L.T. Mixed medium, 307 x 170 x 84cm, 2012 $9900
Tim graduated with first class Honours from the University of South Australia in 1999. He was awarded the Anne & Gordon Samstag International Scholarship, which allowed him to complete his Masters Degree at the Sandberg Institute in Amsterdam in 2005. He travelled to Venice, Italy and participated in a workshop run by the post graduate architectural school, Domus Academy, based in Milan and later to Milan to research the academies perspective on contemporary art and its relationship with current architecture ideologies. His focus became one of Domus Academy’s founding members Andrea Branzi and the Italian radical architecture movement. In 2010 his interest in Branzi led him to Japan to research contemporary Japanese basket weaving and how it might relate to architectural forms, visiting the National Museum of Modern Art to study the world’s largest collection of Japanese basketry. In 2013 he completed a residency at Paris Cite Internationale des Art, researching psychological effects created by authoritarian design of city spaces and how people attempt to resist authoritarian control with improvised architectural structures such as barricades.
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Tul Suwannakit
Cocoon Taxidermy fox, taxidermy sparrow and branch , 60 x 200 x 55cm , 2014, $3500
M
y work utilises a background in illustration and storytelling together with taxidermy to depict notions of alienation, mimicry and adaptation. Staged narratives oscillate between reality and imaginative fantasy, rerepresenting nature in abstract form. Identity is stripped away and taxonomy distorted, resulting in ambiguity of confusion and enigma. The act of expression and presentation of self are transformed into something entirely different from its true origin. The opportunistic predator is disguised so that it can approach its prey undetected. The concealment of true identity requires a second look, where timing of the viewing experience, unexpected encounter and metaphoric quality in the subject serves as point of connection for the viewer.
Tul received a BFA in animation from The Savannah College of Art and Design in 2004, and has worked as an animation studio sculptor and set designer in New York. He is also an author and illustrator of many children’s picture books for publishing houses in Australia, USA and Thailand. He completed his Masters in Fine Art at RMIT in 2011. 76
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Kim Tarpey
Girl Looking Out Ceramic with under glaze, decal, glost and gold lustre, 42 x 25 x 40cm, 2014 $1800
T
he natural environment is a significant presence in my every day existence and the preservation of the endemic fauna and flora is of paramount concern. However I often soften my message with humour. This work follows a series of angels inspired by the works of John Perceval, that I have been manifesting over the past five years. My angels are all environmental advocates. This one has left her wings outside, like gumboots. She is resting from her endeavours contemplating the birds in her garden.
Kim is an artist living and working in semi rural Victoria. Since the graduating in the 1980’s, she has produced ten solo exhibitions and worked as a community arts facilitator, administrator and educator. Her work encompasses several disciplines and she admires the diversity of medium employed by the Antipodeans, Perceval and Boyd in particular. In recent years this has lead to a focus on sculptural ceramics and she has exhibited as a finalist in various sculpture exhibitions including the Yering Station Sculpture Award and the Manningham Ceramic Award.
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Christopher Taylor
Rainbow Warrior Fibreglass and kauri timber base, 70 x 35 x 110cm, 2012 $3200
T
his piece reflects an event etched into New Zealand’s history. It is a statement about the power of protest and direct confrontational strength of the 1985 Rainbow Warrior; a ship on a peace mission, destroyed by subversive French military action.
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Chris is a Melbourne based artist and sculptor specializing in metal, timber, plastics and painting. Having retired from teaching art and design after 40 years, he now has a fulltime art practice, sharing the week between his city studio and country workshop. The inspiration for his work comes from this mix of inner city and country environments. He is interested in people and the forces of nature.
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Fiona Taylor
represented by Arts Project Australia
Fiona was born in 1979 and is an emerging artist inspired by urban landscapes and nature. Her style references urban and figurative imagery from books and magazines, and includes works on paper that utilise painting and printmaking processes. Her attention to detail and focus is apparent not only in her painting and drawing but also her ceramic practice.
Untitled Ceramic, 34 x 13 x 18.5cm, 2014 $250
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Costa Theoharidis
...home Steel, mdf and fibreglass 220cm diameter, 2014 POA
T
he sculpture was built with the intention for people to see our planet Earth as if from space (art astronauts); to remind us all how beautiful it is and hopefully inspire many more to help do what we can to care for and protect the planet.
Costa is a self-taught artist who embarked on the ambitious project to create this sculpture almost 14 years ago. After 45,000 man hours, his monumental journey culminates in this first showing of his work.
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Pimpisa Tinpalit
I
sculpt every day and I am always excited to find new methods that can assist me in my goal to tell the story of imagination. This work represents friendship between people who cannot comprehend the fates that brought them together to exchange opinion, vision and attitude. It explores conversation without the true identity of the conversation partners being verifiable. It explores as strangers become acquaintances and how questions of kindness, reliability, and intent are analogous to the changing of masks at a masquerade. A mask in this dialogue, however, may be changed midsentence and without warning. There are, to various degrees, always primal motivations within this human facade. False pretense is common and often subconscious and this is represented by the various masks in this series. Pimpisa is a native of Thailand, currently based in Melbourne. She holds a Master’s Degree in Fine Art specializing in sculpture and has extensive art teaching experience in Thai Universities. Her 13 years as a professional artist include several solo and group exhibitions in Thailand, Japan, USA and Australia. She has also produced several public sculptures in Thailand. www.pimpisatinpalit.com
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A Dialogue of Strangers Fibreglass, 300 x 400 x 150cm, 2013, $43,990
The Strangers No.1 Fibreglass and wood, 135 x 85 x 35cm, 2013 $6290
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Miranda Tomlinson
Bottled Forest Mixed media, 27 x 100 x 37cm, 2014 $950
H
ave your very own user friendly ‘bottle of nature’. For an additional cost you can order a whole forest, beautifully mounted on a real piece of wood. Order a bottled forest for your mantle piece and once again feel at one with nature! This is manufactured nature. It is accessible, safe and convenient. No more hassle with hay fever. It’s beautiful to look at! It is ephemeral; the live ferns will begin to brown much like real plants. For a luscious and green forest all year round, you only have to replace the ferns every few months. Perfect for a busy urban lifestyle, a forest in the convenience of your own home. Miranda is currently studying for an Advanced Diploma Visual Arts at RMIT and this is her first opportunity to exhibit her work. She grew up in a very remote area with a very strong connection to nature; as a result she often finds the urban environment restricting and uninspiring. By focusing on the natural environment, her work enables her to reconnect with nature through exploration of materials and locations, recreating feelings, memories and a strong sense of nostalgia, laced with more than just a dash of irony. Nature is represented with the use of natural materials such as plants, raw earth and pottery clay as well as being the central subject matter of her work. 82
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Sholto Turner
S
tanding nearly 15 feet tall and made from reclaimed steel from Central Victorian foundries and hundreds of feet of fencing wire, the Tree of Life represents new life bursting forth from a harsh industrial environment. The trees real crystal seeds throw thousands of points of refracted light, illuminating its environment with colour and movement.
Tree of Life Steel (with Crystal features) 400 x 180 x 90cm, 2012 $4950
Sholto was born in Castlemaine, Central Victoria in 1971, where he now lives and works as a sculptor. He originally studied Graphic Design at Latrobe University in Bendigo, but has spent the last 20 years or so, working with various sculpture mediums including bronze, timber, steel and stone, and for the last 7 years, specializing in mould making, and concrete casting. During this time he says he has been fortunate to be involved with the design, manufacture and installation of many interesting sculptural projects. This has included extensive works at MONA (Tas), the Park Hyatt Hotel in Sydney, and recent placements at The Royal Melbourne Botanic Gardens, GOMA (Qld), MCA (Syd) and QVMAG (Tas).
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Hartmut Veit
† Gottfried canoe Carved Pine log, 550 x 70 x 80cm, 2013 $10,000
† Gottfried carving a canoe Video, 5min 10 sec, 2013 NFS
I
am interested in how and why ancient systems of knowledge and ways of seeing the world are relevant for contemporary modern society. A fascination with psychology, anthropology, ethnographic museums and ancient systems of knowledge that predate the European enlightenment informs my work and ongoing research. This work began as a meditative exploration of a little pine forest plantation site in Gippsland, but morphed into the carving of an aerial burial canoe as a ritualistic act to honour and commemorate the life and death of my late father, Gottfried Veit. Gottfried is a German name consisting of the German words for “God” (Gott) and “peace” (fried), which is ironic considering my father was an atheist. It took me approx 400hrs to transform the ‘found object’ – a fallen tree that had been left to rot in the forest - into the dugout canoe. I also carved and forged my own hand tools. The struggle with the material and work was indicative of our relationship and I’ve always loved the story (and environmental message) of Noah in the Old Testament. The work also references aspects of the literary classic, Moby Dick. Hartmut completed his Masters of Visual Art at Monash in June 2013 and has commenced his PhD with the Victorian College of the Arts in 2014. His art is informed by his German cultural heritage and childhood experiences growing up in very remote rural areas in the Highlands of Papua New Guinea and the Rocky Mountains of Canada, contrasted with subsequent urban living experiences in Germany and Australia. 84
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Robert Waghorn
Who’s Watching Who Reclaimed material, 32 x 42 x 15cm, 2014 $2500
Robert was born in 1957 in Ballarat, Victoria, graduating with a Diploma of Fine Art 1984. In 1985 he travelled and studied art throughout Europe, the United Kingdom and Egypt, returning to complete a Graduate Diploma in 1986. Since 1987 he has completed 17 solo exhibitions and participated in 100 group shows. Originally trained as a painter, he now combines these skills with his whimsical sculptured forms and over the past few years his works have been selected for the Yering Station Sculpture Exhibition, the Woollahra Small Sculpture Prize and the Toorak Village Festival of Sculpture. In 2007 he was the winner of the Moreland Sculpture Prize and his works are represented in collections throughout Australia, Japan, Britain, Austria, Sweden, Hong Kong and Korea.
W
e get caught up in our own subjective world so much, that we tend to forget that each individual on this earth has his or her own feelings, ambitions, perspectives and viewpoints. Something as simple as watching someone observe someone else can tell us but a little about their true nature; most of us wear a mask that we only let slip in front of certain others.
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Sioma Wajchman
T
his piece of work represents a bird waking up to a new day and discovering the beauty of nature all around her.
Awakening Silver, Steel, Amethyst Geod, Mother of pearl 47 x 21cm, 2013 $12,000
Sioma has been designing and hand making unique pieces of jewellery for over 40 years for customers throughout Melbourne and around Australia. His works were well sought after and much loved by many returning customers. After much success in this industry, he is now fulfilling his long time passion and dream to create sculptures which express his thoughts and emotions. Using the same techniques honed over the last 40 years in his jewellery making, he creates his sculptural works from silver, gemstones and rough-cut minerals. Each piece is carefully hand crafted and takes hundreds of hours to complete.
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Liz Walker
City of Dreams Recycled aluminium pot lids, steel bolts, 70 x 1200 x 50cm approx, 2012-14 $4000
Working with found and recycled materials collected from around the inner city and rural Victoria, Liz constructs sustainable sculpture and installations which explore current social and environmental concerns. She is fascinated by the aesthetics of decay and the visual language created by the passage of time and willingly exploits this to magnify the underlying issues explored in her work. She has exhibited widely in group and solo exhibitions, undertaken public artworks and received awards, grants and residencies including the Emerging Artist Award, Lorne Sculpture 2009, Highly Commended in the prestigious Waterhouse Natural History Art Prize 2012 and 2013, Laughing Waters Artist in Residence 2011 and Hill End Artist in Residence 2012. Her work is held in public and private collections in Australia, Malaysia and Japan.
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C
ity of dreams contemplates a beautiful, peaceful and hopeful world where everyone is equal and everything is possible. Dream on.
87
Daniel Worth
M
y Nose was created in remembrance of all the sculptures that have had their noses smashed off throughout history.
My Nose Marble, bluestone and steel, 56.5 x 20 x 15cm, 2013 $2500
Originally from Brisbane, Australia, Daniel moved to Melbourne in 2006 to study Visual Arts. During this time he supported himself by working as an apprentice bronze sculptor, creating pavement art and painting murals. In 2008, he began travelling and creating artwork throughout Europe and the US. During this time he concentrated on the cities around him, from the circular bays of Spain and Cornwall to the cityscapes at night of London, Rome, Paris and Edinburgh. He has hosted 12 solo exhibitions, received several art awards and exhibited widely in group shows in Australia, China, London and New York. In late 2012 he returned to Australia to paint the Australian landscape and focus on Sculpture. 88
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Keren Zamir
Pink Ladies Plaster and recycled plastic, 10 x 37 x 28cm, 2014 $120 each, $890 for the lot
F
orbidden fruit. Please resist temptation and do not bite.
Keren was born in Israel and arrived in Australia 11 years ago. She studied microbiology and optometry but after years of academic scientific studies went back to her true love; art. She is now a resident sculptor at Bayside Sculpture Centre and is fascinated by figurative sculpture, especially the female form. She tries to stretch the human figure with her imagination, creating works which range from realistic to sensual, humorous, or even disturbing at times.
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Thanks to
Tania Blackwell, Hobsons Bay City Council Louisa Scott, City of Port Phillip Toyota Community Spirit Gallery Committee Katarina Persic, Toyota Australia William Kelly OAM Ken Booth, University of Wales
Catalogue Editor
Ken Wong (watcharts.com.au)
Pre Press & Graphic Design
Sandra Kiriacos (watcharts.com.au)
Sales Enquiries
Sales enquiries for any of the works in the catalogue can be made by contacting the curator Ken Wong on 0419 570 846 or info@watcharts.com.au
Toyota Community Spirit Gallery Mail List
If you are interested in becoming involved in the gallery program or wish to be added to our mailing list to be kept informed of upcoming events, email info@watcharts.com.au or visit www.watcharts.com.au/toyota.html
Curators Notes References
Art and Humanist Ideals: Contemporary Perspectives, William Kelly (ed.), Macmillan Art Publishing, 2003 Theory of World Security, Ken Booth, Cambridge University Press, 2007 http://www.shingon.org/teachings/ShingonMikkyo/mandala.html downloaded 6:31am, Friday 31st October, 2014 http://en.wikipedia.org/wiki/Mandala downloaded 6:36am, Friday 31st October, 2014 IMAGE: The Walkers (detail) Jenny Loft, Bronze & Huon Pine, 2014 The opinions and points of view expressed by participants through the artworks and artists statements in this exhibition and catalogue are those of the individual person or persons and are not intended to reflect the position of Toyota Australia.
‘Our deepest fear is not that we are inadequate, our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frightens us.’ NELSON MANDELA Inaugural Speech, 1994
Quoted from Art and Humanist Ideals: Contemporary Perspectives William Kelly (ed.), Macmillan Art Publishing, 2003, p 165