Williamstown Festival Art Prize 2009

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@ The Substation, 21 March - 5 April

2009 Williamstown Festival Contemporary Art Prize

2009 Williamstown Festival Contemporary Art Prize This award is recognised nationally for showcasing innovation and excellence in the visual arts and annually attracts hundreds of high quality entries from across Australia. This free public exhibition features artists selected by our expert panel of judges. Non-Acquisitive Prizes $3000 Open Award $1000 2D Award $1000 3D Award sponsored by Williams Real Estate $500 Multi/Mixed/Digital Media Award $500 Local Artist Award $1000 Peoples Choice Award sponsored by Reid Consultants Highly Commended Awards Fundere Studios - $250 bronze casting New North - $220 digital print to canvas West Art Supplies- $100 art supplies Judging Panel Rick Amor, leading Australian artist Dianna Gold, Director Gallery 101 David Hurlston, Curator Australian Art Exhibitions, NGV Curator/Project Co-ordinator Ken Wong, Watch Arts Sponsored & supported by Williamstown Summer Festival Ltd Hobsons Bay City Council The Substation Arts Centre Williams Real Estate Reid Consultants Fundere Studios New North West Art Supplies Toyota Community Spirit Prospect Wines Williamstown The Seagulls Nest Watch Arts Artist Liaison & Graphic Design Sandra Kiriacos, Watch Arts www.watcharts.com.au Special thanks to Steve Blakebrough Tania Blackwell, Hobsons Bay City Council Kate Steele, The Substation & the volunteers at The Substation Download catalogue @ www.watcharts.com.au All images are details from works by; FRONT COVER: MAIN IMAGE Top Samantha Everton TOP ROW L-R Nadine Lineham, Soula Mantalvanos, Tim Craker, Ben Sheers, Lucy Martin Pawlikowski, Trinh Vu MIDDLE ROW L-R Johnny Romeo, Amaya Iturri, Julie Shiels, Frank Mejaric, Wendy Haigh, John Madsen BOTTOM ROW L-R Wendy Beatty, The Contextual Villains, Patrick Delbosc, Caitlin Muscat, Merryn Trevethan, Trudi Harley. THIS PAGE Veronica Kent (detail) OPPOSITE PAGE: Johnny Romeo (detail)

Artists 6

Farhana Ahad Dena Ashbolt Michael Ashby Robin Astley Wendy Beatty Klara Bijana Klaric

Vanessa Blazevski Paul Borg Suzie Bourne Michael Brennan Fleur Brett Thomas Buchanan



Kate Caish Kerry Cannon Robyn Cerretti Julie Collins & Derek John Tim Craker Dagmar Cyrulla


Pip Davey Patrick Delbosc Louise Donovan Anna Ephraim Samantha Everton Mark Farrelly


Ben Fasham David Frazer Monica Gallivan Erika Gofton Julie Goodwin Andrew Green

Timothy Gresham Mandy Gunn Wendy Haigh Dionisia Salas Hammer Eva Hampel Trudi Harley



Susan Hase Cathy Henenberg Ray Hewitt Bob Hickman Amanda Hills Kate Hughes



Kez Hughes Amaya Iturri Jacqueline Jacobi Veronica Kent Sara Keranen John Knap

Kelly-dee Knight Zai Kuang Carolyn Lewens & Neil Stanyer Nadine Lineham Alison Locke Cate Maddy


John Madsen Soula Mantalvanos David Marshall Kim Martin Lucy Martin Pawlikowski Jill McFarlane



Darren McGinn Vicki McInnes Anton Mc Murray Viv Mehes Frank Mesaric Lynn Miller

Shay Minster Claire Mooney Olga Morris Kate Murdoch Caitlin Muscat Mike Nicholls


Isabel O’Brien Carlo Pagoda Penny Parkinson Jim Pavlidis Kirsten Perry Bernadette Pilli


Stephen Pleban Jutta Pryor Darryl Rogers Johnny Romeo Laszlo Romer Peter Rosman

Fiona Ruttelle Judith Sackville-O’Donnell Ginny Sargent Ben Sheers Julie Shiels Louise Skacej


Nina Smart Deane Sobey Karen Standke Gloria Stern Jennyfer Stratman Peter Tankey


Cameron Tauschke The Contextual Villains the naughty see monkey Merryn J Trevethan Phi Van Nguyen Trinh Vu



Liz Walker Alan Young Michelle Zuccolo Vaidas Zvirblis

Judging Panel Rick Amor

Dianna Gold

Rick Amor was born in Frankston, Victoria in 1948. In 1965 he completed a Certificate of Art at the Caulfield Institute of Art and from 1966 to 1968 studied at the National Gallery School, Melbourne. He has been the recipient of several Australia Council studio residencies which have allowed him to work in London, New York and Barcelona. Rick has held over 50 solo exhibitions since first exhibiting at Joseph Brown Gallery in 1974 and has shown annually at Niagara Galleries for the past 25 years. In 1999 he was appointed the official war artist to East Timor by the Australian War Memorial, the first such appointment since the Vietnam War. A major survey exhibition of his paintings was curated by McClelland Gallery in 1990 and toured various regional galleries in Victoria and South Australia throughout 1990 and 1991. In 1993 an exhibition mounted by Bendigo Art Gallery celebrating his work as a printmaker and graphic artist toured Victoria and Tasmania. An important exhibition of Rick’s bronze sculpture was undertaken by Benalla Art Gallery in 2002, including many maquettes never previously exhibited. In 2001 The Miegunyah Press published Gary Catalano’s biography The Solitary Watcher: Rick Amor and his Art. A comprehensive survey show of of Rick’s paintings, Standing in the Shadows, was mounted by McClelland Gallery and Sculpture Park in 2005. In 2007 Rick won the prestigious McClelland Award for Sculpture, the largest cash prize for sculpture in Australia. 2008 brought the launch of The Beagle Press monograph Rick Amor by Gavin Fry, and A Single Mind, a survey show of Rick’s paintings and drawings dating from 1966, at Heide Museum of Modern Art. Rick Amor lives and works in Melbourne. (Text courtesty Niagra Galleries) www. niagara-galleries.com.au

Dianna Gold is a fine arts consultant with a background in teaching and arts education. She has been involved in the visual arts industry for over twenty years. Whilst completing her degree in education at Victoria University (Deakin University) from 1984 -1987, she worked at the Museum of Modern Art at Heide (formally Heide Park and Art Gallery) assisting the Director on special projects. From 1989 – 1991, she owned and managed a private commercial gallery. During this time Dianna was invited to run several visual arts projects for 101 Collins Street. She was appointed Director/Curator of Gallery 101 in 1991. In 1992 a formal exhibitions program in the gallery was introduced. In 1993, in addition to the regular exhibitions program, Dianna introduced an Acquisition Art Award as part of the exhibition calendar. The award was known as Artworkz - 101 Collins Street Acquisitive Award. The exhibition was held annually and was sponsored by 101 Collins Street Pty Ltd. The award encouraged young and emerging artists to participate in the juried exhibition and ran for four years. Over 200 artists had their work exhibited at Gallery 101 in association with the award, which was given annually. The award focused on different media each year including painting, sculpture and works on paper. Dianna has been responsible for the public art collection at 101 Collins Street since 1992. Dianna has been invited to participate in many judging art awards including the City of Port Phillip Rupert Bunny Foundation Art Award 1994 and the Cairns Contemporary Art Award 2003. Dianna has been invited to give guest lectures in professional development at several institutions including Victoria College of the Arts, Melbourne University, Box Hill College of Technical and Further Education and Deakin University. (Text courtesty Gallery 101) www.101collins.com.au

Leading Australian Artist

Director Gallery 101

David Hurlston

Curator Australian Art Exhibitions National Gallery of Victoria David Hurlston is currently employed by the National Gallery of Victoria as Curator, Australian Art Exhibitions, a position he has held since February 2002. He has previously been employed by the NGV as Program Coordinator from 1999 until 2002 and Access Gallery Curator from 1993 until 1999. In 1985 David completed a Bachelor of Art in Fine Art at RMIT majoring in ceramic sculpture and in 1991 undertook post-graduate study in art curatorship at the University of Melbourne. He has curated a number of exhibitions for the NGV including, most recently, Deborah Halpern: Angel (2006) and Geoffrey Bartlett (2007). He serves on the City of Maribyrnong’s Art Advisory Panel, is a member of Arts Project Australia’s Exhibitions Committee and a Board Member of the NETS Victoria Board of Management. David is a resident of Williamstown. www.ngv.vic.gov.au

Curator Ken Wong This is my third year with the Williamstown Festival Contemporary Art Prize and it’s fifth anniversary at the Substation. Over that time it has been both inspiring and rewarding to see the project grow to become a nationally recognized competition and the premier showcase for contemporary art in Melbournes western suburbs. Art is a uniquely human response to the fact of existence. The lives we lead are a collection of experiences stitched together moment by moment, reflecting our past and projecting our future, but only ever really existing in the now. The works, mediums and practice are many and varied, as varied as our respective experiences of life. They reflect the hopes, dreams, aspirations and observations of both the extraordinary and the everyday. All of these are part of what leads artists to inspiration; that moment of creation when the need to express themselves finds a tangible idea, a lucid concept that can be enunciated and embodied in a work of art. The works in this exhibition reflect our interface with the natural world and the quirks of modern living but also voice concerns about the broader social and political inequities of the modern world. I believe there is a role for art that is both contemplative and meditative in terms of understanding ourselves and the wider world. Recent events in particular have thrown up a disparate set of IMAGE: Robyn Astley (detail)

responses, from the election of a black American President, to the horrors of Black Saturday contrasted with the reminder just last week that the Australian Minister for the Environment and the Arts is also a bone fide anti establishment rock star. We live in an increasingly incongruous world full of contradictions and anomalies, but within these anomalies there is also unlimited creative potential where it seems, anything is possible. To me, art is at the coalface of exploring creative potential, and it is the role of the artist to lead that creative endeavor. Despite millions of years of evolution, and the rise and fall of countless civilizations over thousands of years, we as modern humans have managed (in around a hundred years), to push the planets resources and sustainability towards a breaking point, beyond which there may be no redemption. In a world facing a myriad of problems, perhaps the multitude of creative perspectives in this exhibition can serve as reminder that while we live in the now, the future is a place we all create together in each passing moment. Ken Wong is the Director of Watch Arts, a Melbourne based contemporary art consultancy. www.watcharts.com.au


Lynne Kosky, MP Minister for the Arts Member for Altona

I am very pleased to once again to lend my support to the Williamstown Festival Contemporary Art Prize. Over the past several years, these awards have become the premier showcase for contemporary art practice in the western suburbs, steadily expanding in reputation. The art prize is now recognised nationally, with entries received from across Australia. As the Member for Altona and the Victorian Minister for the Arts, it is very pleasing to see these awards continue to flourish and provide a national context for the strong contemporary practice of our local artists. Art is a great reflector of culture and environment. Both on a local and national scale, this exhibition highlights and reflects the diversity and strength of our unique community. Congratulations to all participating artists, the Festival Committee and everyone involved in bringing us the 2009 Williamstown Festival Contemporary Art Prize.

Lynne Kosky, MP Minister for the Arts

Farhana Ahad

2009 Williamstown Festival Contemporary Art Prize

“Ocular Artifice VI” is about the relationship between contrast and uniformity within optical and organic construction. The stark contrast between the black and the white, alongside the hard-edged abstractions help to emphasize its invisible contents. This work avoids the look of contrive; instead it’s engaged in systems of visual illusion where the experience of sight is central and the visual sensation itself Ocular Artifice – VI is integral. Within the painting Polymer on canvas 2008 a sensation of movement is 119 x 122 x 23cm apparent from the utilization $5000 of optical illusions, and a third dimension can be viewed through the use of an architecturally shaped canvas. The artwork conveys its emotional content through the medium of perception, connecting directly with the viewer’s physical and psychological responses.

Wet Feet Under the Pier (video stilll) Video 2008, Dimensions variable $2500

Michael Ashby This is a painting about happiness in life. It seeks to represent the individual’s conscious and serendipitous acquiring and shedding of happiness during life.

I’m sweeping out the footprints where I strayed Oil on linen 2008, 102 x 96cm $5000

Wendy Beatty

Robin Astley There are three conceptual sources for this work. Firstly, the unearthing of “unknown” soldiers from WW1 whose remains were unearthed in France in 2008. Secondly, the painting explores the visual aesthetic/ design code/bank of Unknown Soldiers symbols that belong Acrylic, ink and pencil on Fabriano paper 2009 to the military genre 150 x 217cm, $3500 and used in the glorification of war through capitalism including Western film, fashion, computer games and children’s toys. This device exposes the capacity for the aesthetic to attract and mesmerise an audience. Thirdly, the tattooing of the figures is a play on the resounding roll of the drums and beat of the ceremonial “Military Tattoo”. In the painting, the tattoos of military objects on the soldiers’ figure symbolise the ferocity of war and the scars that remain indelibly imprinted on the psyche and human form.

Klara Bijana Klaric

Represented by Gilligan Grant Gallery

ALICE #3 is part of a series of work titled ‘ALICE’, inspired from the iconic tale of ‘Alice in Wonderland’. Just as ‘Wonderland’ challenged the rule of language and limitations, I have chosen to push boundaries of traditional photographic and viewing practices in relation to identity and realism.


ALICE #3 Black & white photograph 2008, 112 x 151cm $1300

Dena Ashbolt

The aim of my art is to achieve visual synthesis of elements aligned with the physical laws of nature. I apply minimal human component, interacting with the canvas at specified intervals. I wait and watch. Just like formation of sedimentary rocks, crystallisation or any other process in nature my paintings are true evidence of the particular moment and circumstances.

The Beginning Oil on canvas 2008, 115 x 150cm $2700

Vanessa Blazevski

Paul Borg

2009 Williamstown Festival Contemporary Art Prize

My work explores the fragility of our world and the impact that man has on the environment. Nature is wrongly looked at as a commodity to be bought and sold, to be exploited for profit instead of nurtured for our Futurenatural very survival. We Archival Inkjet Print on Crane Portfolio Rag 2008 interrogate nature 60 x 80cm, $450 in a range of voices and registers. The answers are elusive but all of nature talks to us, If only we could just figure out what it is trying to say.

Suzie Bourne

This painting is my visual reaction to the mortgage crisis we are in. At this difficult economic time we struggle to survive, worrying, “Am I able to make payment s and keep the house?” At the same time dealing with the rising pressure of Modern living, hence the thermometer format. To exaggerate the tension and volatility, I’ve used a red visible ground and used matchsticks to construct the house frames and fence lines.

I See Red Oil & match sticks on MDF 2008 180 x 67cm POA

Michael Brennan

Alfresco Dining Photograph 2009, 50 x 81cm $300

One of a series of works paying tribute to the everyday items and equipment used for twin babies by taking them out of context and placing them in incongruous settings.

Fleur Brett A philosophical belief in the impermanence of everything informs a practice of making sculptural work that looks at the transformative process of things. A performative element is implied within the work through the body’s action in shaping and reforming Mapping the Non Site (detail) materials to redefine the Electrical cable, roofing nails, MDF & particle edges and boundaries of board 2008, dimensions variable space and form. Currently $400 each $1600 for all exploring topography using the simple device of a ‘Knitting Nancy’ (cork/French knitting), to weave landscapes, both from real sites as well as the non-site of the white cube gallery. Here the plinth (a standard gallery device) is used as the knitting device and electrical cable the woven material.

Admission Oil on canvas 2008, 153 x 183cm $7000

Thomas Buchanan

Detour 27 (video still) DVD loop edition 10, 2008, $100

‘Detour 27’ hovers curiously between states. At first glance it seems firmly grounded in the traditions of representational drawing and painting. However, by colliding the mode with performance, video and animation, I manage to work both at the edges of drawing practice and within the traditional idiom.


Kate Caish

2009 Williamstown Festival Contemporary Art Prize

Represented by Ceramic Break Sculpture Park

Banger, sanger, sausage, snag, hot dog! Weenieish by any name. Smells good, but nosey neighbours aren’t always welcome.

Feather Grid 3 Wood & feathers 2009, 59 x 153 x 7cm, $960

Ibis and cockatoos squawk and nest in tall mountain ash trees near my house. I collect their fallen feathers each week as I walk my dog beneath the trees. I enjoy handling materials, mainly using found objects and recycled wood, texture is important to me and I like to maintain a roughness or handmade quality to some of the materials. In this constructed relief sculpture I’m interested in exploring the power of repetition and organisation through the use of a grid structure and then disturbing that with freer organic layers (feathers).

Robyn Cerretti

Tim Craker

Kerry Cannon

Arrival Room continues an exploration of perceptions of time in terms of human temporality and transformation.

Arrival Room Installation- metal frame, plastic sheet, wires, video projection 2009 180 x 180 x 180cm, POA (above image video still)

Smells Good Neighbour Bronze, paint 2008, 22 x 37 x 50cm $7800

Julie Collins & Derek John

Shared Journey Steel, wax & string 2009, 60 x 135 x 20cm $12,000

Dagmar Cyrulla

Represented by James Makin Gallery

Blanket continues a fascination with the everyday object released from quotidian functionality. One plastic cup remains just a plastic cup; six hundred and twenty five plastic cups, however, en masse, can become something else entirely…. The result of a mechanical project of drilling, threading, tying and knotting, Blanket embodies the perfect geometric grid and its reallife inevitable - and far more interesting - distortion. “By keeping his touch light, Craker draws out of the banality, even abjectness, of his materials an unexpected quality – grace.” Dr Caroline Jordan, lecturer in Art History, LaTrobe University


Blanket Plastic cups, nylon thread 2008 150 x 150 x 7cm $2000

The visitor II Oil on linen 2008, 104.5 x 157cm $6950

Pip Davey

2009 Williamstown Festival Contemporary Art Prize

Represented by Green-Wood Gallery

Pip Davey’s immersive hyperreal work depicts a land of luxurious tropical vegetation and the sublime exotic. This piece is inspired by time spent at the historic Hotel Tjampuhan and its’ lush tropical environs. Set at Hotel Tjampuhan the confluence of Oil on linen 2008, 125 x 186cm two sacred rivers in $7500 Ubud, Bali, the Hotel has for decades been a haven for artists, writers and Balinese Royalty. Working within the natural world, Davey’s works transform the botanical into sensual studies of ambiguity, illusion and wonder.

Louise Donovan

Patrick Delbosc

“Blue dog” is from a series of imagined colourful canines. It suggests warmth and affection and expresses confidence and pleasure.

Blue Dog Wood, enamel paint 2008 57 x 55 x 40cm $1250

Anna Ephraim

Looking at the old machinery and trees at the farm. I wonder how old is old?

Samantha Everton

Old Machinery Dry point 2008, 110 x 112cm $2000

Represented by Dickerson Gallery

We find ourselves in the secret garden of our childhood dreams. Were reality and dreams become one, anything is possible. The image depicts a surreal scene where imagination, fantasy and child’s play interconnect to Secret Garden gradually replace Photography – Pigment ink on cotton rag the reality of 2009, 90 x 108cm, $2870 our world. The decrepit house exposes its secrets as the girl transforms into the animal of her story, rays of moonlight stream through jagged holes torn in the wall, and a living tree sprouts through the floor in the middle of the night. We are drawn in, entranced.

Museum study (SwiftParrot) Acrylic on board 2008, 120 x 90cm $1800

Mark Farrelly

Represented by Jackman Gallery

Promenade Digital print, oil paint, shellac on wood 2008, 140 x 60cm $2700


Ben Fasham

2009 Williamstown Festival Contemporary Art Prize

Unexpected Interruption Aluminium, Painted 2008 270 x 110 x 170cm $11,500

Monica Gallivan

David Frazer

Represented by Dickerson Gallery

After the end Oil on linen 2008, 84 x 148cm $6000

Erika Gofton

Represented by Dickerson Gallery, Melbourne & Sydney; Schubert Contemporary Gallery, Queensland

Token Oil on Canvas 2008, 71 x 131cm $5000 Swirl Magazine Paper 2009, 55 x 52cm $100

Julie Goodwin

Inside Land Oil on canvas 2009, 120 x150cm $3800


By exploring and examining traditional notions of the feminine, I seek to create works depicting beauty, grace and harmony. I am captivated by the female form, and intrigued with the subtlety between the sensual and the sexual. My work celebrates the sensitivity and beauty of the female figure and traditional female art forms, experiences and iconography. I want to cherish and revere what is uniquely female.

Andrew Green

People say Peter is working from the inside. But If he was fair dinkum he should have resigned by now. Peter is dancing out of tune. Maybe his will and nature have split – like a log. The toy represents in part a certain unwillingness Peter the Toxic (video still) to grow up and Multimedia 2008/9, Run time 4 mins 25 secs $10 each confront the very real danger of cosmological biocide, (the ultimate deconstruction) in a kind of suspension of belief or is that disbelief? It also refers to a wood-chip carrier, the pond Tasmania, Tasmania the world.

Timothy Gresham Represented by Gallery 101

‘Burn Out Series’ was started in 2008, using shredded inner tubes hand woven on a loom, as part of my ongoing practice of using recycled materials to make an environmental comment. ‘Firesticks’ is a just completed work and in the past few weeks taken on a new relevance as we look at the vast areas of burnt out trees around Victoria and question our methods of controlling bush growth.

Fire sticks (Burnt Out series) (detail) Shredded inner tubes woven on cotton, wood 2009 240 x 60 x 50cm $6000

Liquid Module IV Woven tapestry 2008, 78 x 78cm $6500

Wendy Haigh

Dionisia Salas Hammer My paintings are underpinned by an exploration and reconstruction of land and landscape. They act as a visual base to explore my concerns about environmental degradation. Sourcing images through documentary films and photographs I recontextualise how the geological formation of earth would appear and Corex change in terms of colour, Oil, acrylic and enamel on canvas 2007 light and speed, how 97 x 94cm, $700 imploding and exploding earth would translate into abstract paintings. I am curious as to how earth would appear visually sped up or slowed down in terms of colour, tonal qualities, transparency, opacity, texture, control and application of paint. In a similar way to how film and photography might explore sound, silence and movement, I investigate the material qualities of painting, the substance of paint and its application.

Long Socks Photograph 2007, 56 x 46cm $400

Eva Hampel In my painting, I am attempting to bridge reality and the dream – to embody the response felt by many, but rarely articulated. In this attempt to elicit a very personal response from the viewer, I am painting not a place, but a more subjective and unique experience. The intention is to express emotional responses to landscape that are beyond the particular. It is my hope that people looking at my work can share those transcendent moments of recognition, and for every viewer there will be a different resonance, of some experience lived, or some dream half remembered.

Mandy Gunn

2009 Williamstown Festival Contemporary Art Prize

Trudi Harley

Fallen Oil on Linen 2008, 66 x 152cm, $5000

Moonlight on the Cliff Road Oil on canvas 2008, 122 x 92cm $1600

My current body of work displays a series of portraits exploring the notion of ‘esperpento’. The term was invented by the Spanish playwright ValleInclan as a description of his literary style. This may involve a distorted view of reality, the implementation of unusual viewpoints and/or the exaggeration of form. This particular work reflects on the psychology of ones’ upbringing and the consequences of not meeting real or perceived expectations.


Susan Hase Caring for a loved one with dementia has triggered my exploration into the psychic landscape. I use the written word like an unbroken memory line and as a tool for my own healing. These meditations contain my story and are under the influence of the Aboriginal tradition of verbal Song Lines. Words are like footsteps; they linger on this planet after they have been planted.

2009 Williamstown Festival Contemporary Art Prize

Wild Geese Acrylic on canvas 2008 167.5 x 167.5cm $750

Ray Hewitt

Industrial Altona Oil on canvas 2008, 90 x 120cm $3000

For many years, industrial shapes and atmospherics have inspired many of my paintings.

Amanda Hills

In an era of convergence of plastics with the environment, these “carp” materialise from the notorious plastic shopping bag, both disposable and destructive. The filmy plastic embodies the fluidity of watery environs and scaly Carp flesh. Each bag an Plastic bags 2008, Installation variable open-mouthed fish $90 each in confluent motion with the shoal. The invention of plastic bags revolutionised live fish transportation introducing species such as carp, koi, and goldfish to a global market. Printed or branded bags are analogous to the practice of breeding ornamental fish like koi and goldfish for novelty and fancy, selected for aesthetic value.


Cathy Henenberg

Surrounded by global information and communication systems, I am interested in the ways they have transformed our relationships to time and space. The technique I use to explore these ideas is the photogram. It is a camera-less image made by laying objects on sensitized photographic paper and exposing them to light. There is room for abstraction, for creating Smoke Gets in Your Eyes, from the Series ‘Here-there-elsewhere’ an evocation in preference Silver Gelatin Prints; Forex; Wood 2008 to a literal representation. 158 x 148cm, $2000 Conceptually this photogram alludes to a central contemporary concern; the ‘phenomenon of emptiness’. It becomes possible to simultaneously record an event or an object, to refer to its ‘presence’ while at the same time illustrating its ‘absence’, alluding to the problematics associated with mediated forms of contemporary communication.

Bob Hickman

Braddo rulz Acrylic on canvas 2007, 110 x 130cm $3000

Kate Hughes

Preston Graphite on Paper 2009, 18 x 22cm $620

Drawing landscapes in graphite allows me to document place while also exploring the playoff of fabricated textures and constructed forms against the shadow of the nature that surrounds them. Graphite drawing is suited to the accurate and precise but the filter of memory creates a space for the subjective in the smudge and smear of the pencil marks.

Kez Hughes

2009 Williamstown Festival Contemporary Art Prize

It came in the post Oil on cotton 2008 153 x 102.5cm $1350

Amaya Iturri

Convinced Pacifist Acrylic on linen 2008, 140 x 180cm $2570

Jacqueline Jacobi

Veronica Kent

Technicolour Mixed media 2008 92 x 92cm $1650 The Young Spaniard (3 of 6) Print on Fibre Based Paper 2009, 108 x 85cm $1600

Sara Keranen

John Knap

Represented by Jackman Gallery

The composition for ‘Red Earth’ was created to throw caution to our global warming attitude. The crowd dancing in ignorant bliss and the heat of the sun are all ominous symbolic perceptions of what is to come. The colours and luminosity of the paint create atmosphere. The large brushstrokes generate movement and depth and the lack of paint on canvas in the area of the sun is representative of emptiness.

Three Faces of Gion Kobu (Triptych) Acrylic & Shellac on Imported Fabric 2008, 100 x 230cm, $6500

Red Earth Oil on canvas 2008, 92 x 61cm $800

The beauty of art is perception. What we are looking at? Are we witnessing pleasure? Pain? Anger? Bliss? Plotting? Scheming? They are strangely familiar yet from an entirely different world. We want to help, yet are shocked at what we see. How far do we let ourselves in? This triptych investigates the Geisha, peeling back the layers of make up and exposing the vulnerable and often jaded individual underneath; the beauty and pain felt by those who have chosen this path in life, regardless of the reason. While there is colour, there is darkness; pleasure and pain; acceptance and fear.


Kelly-dee Knight

2009 Williamstown Festival Contemporary Art Prize

For this competition I have created ‘Bloodline (In Loving Memory of Beth)’. This work is my attempt to reconcile the grief associated with the death of my grandmother. I have drawn on visual language that triggers memory and evokes an emotional response in the viewer. Such as her favorite orange roses, I have used to create/plant a proverbial rose garden with. These make reference to the ones placed on her grave, and the potent association of roses with grieving. In my art practice I endeavor to create works that are beautiful and accessible while addressing challengling concepts.

Bloodline (In Loving Memory of Beth) Graphite, watercolour & pencil on Arches paper 2009 160 x 100cm, $3500

Carolyn Lewens & Neil Stanyer

What does it mean to say something is alive? Life is a state of becoming; a photosynthesis of chemistry, water and light, a vibration of energy and excitement. It is transformative. Life is an evolving phenomenon, a metamorphosis of single cells multiplying and evolving into complexity. These simple cellular forms distil the very essence of lifeforms and proudly reference the method of their creation via a photosynthesis of light Lifeforms on chemically prepared surfaces. Duratrans on lightboxes (4), 2008, They mimic the very first lifeforms, 32x32x20cm. Each Image $750 cyanobacteria, seen through the eyes of LIghtbox POA science to speculate on the ancestors of all life and suggest new convergences of the natural with the artificial, the born with the made, the organism and the artefact. These imagined spaces in-between technological and living systems allow for a potent and futuristic bio-cultural remix. Representations of aliveness are contrived by a fascination with the potentiality of forms in the Petrie dish. Aliveness is folded into the creative process. Life here is an illusive info-fluid zone. Forms come into being – new mutated digital identities that question what it means to be alive.

Alison Locke

I am interested in the idea of the footprints we leave on the world after we have left it. I like the idea that the objects we own will out-live us, and in years after our death, the scratches, creases and marks we have made on them will remain, even if only in a rubbish heap. The way a pair of jeans stretches and moulds to a body will still exist, even after the body has gone.

The Portrait Ghost Photo Dead Air All Digital Prints on Photographic Paper, 2008 $300 each


Represented by Dickerson Gallery, Melbourne & Eva Breuer Art Dealer, Sydney

Zai Kuang

Bathroom 10 Oil on canvas 2008, 170 x 80cm $8800

The “Navigator Series” begins to explore life’s answers at a molecular level, observing the ‘bigger picture’ with a reverence for life interwoven or connected. I have been influenced by the scientific theories known as “String Theory”. It attempts to describe the structure of our universe. The paintings can be seen as sculptural landscapes or ‘Lifescapes’. They are abstractions, where space shifts and our perceptions can change. The industrial tape is used in industry as a device for demarcating space. It closes off dangerous spaces and protects the public from hazards. My exploration of this material allows me to constitute connections, like a universal web showing structure within a maze.

Nadine Lineham

Navigator Series III Oil on canvas 2008, 120 x 100cm $3500

Cate Maddy

Represented by Harrison Gallery This painting is a translation of my readings and explorations of nature, of mapping its formations and abstracting what I feel to be the ‘essence’ of a particular moment. The work aims to create a dialogue between silences and spaces and the landscape of shapes and shadows to create a metaphorical language through colour and formwhich although derived from the natural world, hints at many different meanings. In the distillation of shapes we see figurative elements, but at the same time recognise a more universal, emotional world of memory, Beast with no choice death, love, nurture and ecstasy. Oil and Acrylic on canvas 2009, “Painting enables me to contemplate 134 x 104cm, $2800 my complex environment, including natural and constructed, social, cultural and emotional in an expression of limitation and the limitless. Symbolising our personal choices of what we include in our lives, our ability to exorcise the way we view life and our need for drama and exaggeration.”

John Madsen

2009 Williamstown Festival Contemporary Art Prize

Man with orange peel teeth Copper plate etching with aquatint 2007 62.5 x 49cm $440

David Marshall

Soula Mantalvanos

I was captivated by Lynn’s vibrant 40’s and 50’s vintage clothing. The opportunity to paint Lynn in modern day Melbourne evokes the feeling of past and present and ties in with my fascination Lyno writing at Cavallero Fluid acrylic & ink on canvas 2008, 92 x 122cm of cafes as $1650 traditional Parisian meeting places for artists and writers. It also draws on my fascination of iconic, yet little known, local personalities and characters that make Melbourne such a vibrant and eclectic city.

Kim Martin

Zen Conundrum Jarrah, Huon Pine, King “Billy” Pine & twisted stainless steel 2009 40 x 140 x 30cm, $3300

To the reclusive Buddhist monk enlightenment is found through a state of ‘Mu’ (emptiness/nothingness). To the destitute Ronin the key is to react swiftly and instinctively to any unforeseen challenge. To the Akido master the way lies in a return to the basics, taught decades earlier. To the carefree wandering Haiku poet inspiration is drawn from the seasonal imagery encountered during their roving. To the Japanese landscape architect asymmetrical beauty is as much achieved by the design elements that are omitted as those that are included. To each of us the factors that shape our futures can be found along the road already travelled, the ups and downs, twists, turns and contoured undulations.

Lucy Martin Pawlikowski

In my work “Playing with Red again” I focus upon the intersection and relationship between the landscape and the body. My work embodies the associations present in nature Playing with Red again with human Oil on canvas, mixed media 2008, 180 x 122cm expression and $3575 experience. I create forms inspired by nature, which evoke a sense of these human emotions. In my work I concentrate upon the textural and structural qualities of the surface of native Australian flora and continue to experiment with mixed media techniques on canvas. My interest is in the concept how illusionist space operates within the reading and ambiguity of texture and form.

Reflection Acrylic on canvas 2008, 91.5 x 122cm $5000

Jill McFarlane

Represented by Libby Edwards Gallery My work moves beyond merely framing the aesthetics and ideals of femininity and into story telling and symbolist sub text. The narratives present extend an invitation of escapism to the viewer. Within each painting narrative threads link to create bewildering daydreams charged with touches of eroticism. Undercurrents of insecurity operate suggestively. The Angels see us when we play ambiguous divide between Oil on canvas 2007, 101.5 x 101.5cm the private and public self $3300 is explored by transferring intimate situations and private metaphors into a public, almost theatrical arena. I want to create an intense material drama by including psychologically resonant imagery from everyday domesticity, nature and popular culture.


Darren McGinn

2009 Williamstown Festival Contemporary Art Prize

Brooder House Ceramic, synthetic turf & timber 2008, 21 x 44 x 33cm $2200

Over the past two years I have undertaken a number of visual art peregrinations and traverses of Tasmanian and Victorian coastal sites to develop works for sculptural conclusions, based on thematic parallels and intersections between these two region’s sense of community and identity as opposed to non-place. Theoretical areas such as the exploration of sociological and environmental aspects of suburban life form the major subtext to my research.

Anton McMurray

My study of quinces shows the intensity of the colours of the fruit and foliage, against the cool, plain ground of a white tablecloth. Painting directly from the subject requires a level of concentration and effort that is rewarded by the immediacy and strength of the image.

Quinces Oil on canvas 2008, 90 x 60cm $1200

Viv Mehes The ‘Hung Out To Dry’ installation comes from ‘Made in Australia’, an exhibition using photo narrative that gently draws on the inner resilience and dignity of asylum seekers to make a powerful statement about human rights Hung Out To Dry in Australia. Close20 digital photos printed onto 50cm x 50cm voile, up portraits from Hills Hoist and pegs, 2008, 400 x 400 x 400cm $5000 ‘The Staying Strong’ photo series are printed onto delicately swaying voile fabric and hung from the iconic Hills Hoist – at first intriguing, endearing and familiar, it carries a bitter sting. “I never thought it possible to work with asylum seekers using photography they were just too vulnerable, but the idea of offering anonymity made it possible. In fact, the absence of direct gaze and the blurring of the faces make the images more highly charged and disquieting.”

“The Visitor” is part of a body of work exploring the fundamental structures of growth. I find it curious, that from patterns found in the helix containing DNA, to the home that a shellfish creates, are not only to be beautiful to the eye, but moreover an inspiration when one considers their soundness of structure and suitability to task.

The Visitor Blackwood 2008 222 x 33 x 33cm $11,900

Frank Mesaric

Lynn Miller

Represented by Cowwarr Art Space

Dianna and the Spiker Oil on canvas 2008,150 x 120cm $10,000


Vicki McInnes

Spring - The Campaspe at Kyneton Egg tempura on board 2008, 69 x 98cm $6600

Shay Minster ‘Stage Fright’ explores the perseverance exerted at the expense of the present, when aspiring to the perceived higher, larger more complete life–perhaps similar to the one that watches from the large, established house above. Attempting to literally carve out their own place in an aspirational future the two figures appear to be immersed in, and miniaturised by their own home.

Stage Fright Type C photograph 2009, 125 x 95cm $700 unframed/ $1200 framed

Olga Morris

Replication Digital Print (Archival Pigment Ink Print) 2008 92 x 86.5cm $680

Caitlin Muscat

Claire Mooney

2009 Williamstown Festival Contemporary Art Prize

This work began from a piece of text that ponders the uncertainties and paradoxes of scientific principles and abstract thought. From these uncertain beginnings, I have constructed a work that adopts the format of the page of a book. In this over-size version, the text is subjected to a series of lo-fi ‘information processing’ systems, variously circled, numbered, annotated, categorised, painted-out and looped together with thread, creating a frenetic mass of dysfunctional classification, and generating a multicoloured visual field. Drawing loose parallels between the content of the text and the working process itself, I present an abstraction that trips on it’s own systems, creating chaos in an earnest attempt to impose order.

Theory: The dreads and dangers of abstract thinking… Acrylic, permanent ink and embroidery thread on canvas 2008 90 x 62.5cm $1430

Kate Murdoch

Represented by Blue Door Gallery Kate Murdoch’s work reflects the continual transformation of nature. The paintings
are places where the eye can be challenged and simultaneously find rest among layers of organic shapes. The abstract nature of the work allows individual interpretation. Her current work has developed into montages based on photographs taken of tropical foliage. Although a small study is the basis of each work the paintings tend to develop in ways that are quite removed from the original concept. In this way she allows each work to reveal itself through her subconscious. It is this unpredictability that gives her momentum in her creative process.

Aperio Oil on canvas 2008, 119 x 76cm $1800

Mike Nicholls

My influences are a combination of tribal and spiritual. ‘’Shield of life’’ is a figure carrying a shield with a guardian spirit to protect ones self against the ills that effect society.

Untitled Photographic Print 2007, 68.5 x 84cm $780

Shield of life Red gum 2008 160 x 56 x 37cm $8500


Isabel O’Brien

2009 Williamstown Festival Contemporary Art Prize

Evensong II Digital Photograph 2008, 80 x 100cm $650

Mask of Memories Ink, Post it Notes, Acrylic & Wood 2009, 111.5 x 118.5cm $800

Penny Parkinson I am fascinated with the human condition in our post industrial age. Changes in the sciences and technology are happening quickly, whilst the reality of our environmental challenges is becoming apparent. My art is a response to the imperfect human spirit in this time of change. I draw inspiration from everyday consumer and industrial objects. For me, they represent some truth and reality of our fast, modern, post industrial lives. I take ordinary objects like fly screen and stockings, and re-create them into new forms. My work always contrasts materials; soft and hard, friendly and nasty.

Kirsten Perry

Jim Pavlidis

Represented by Chrysalis Publishing

Transformation Mixed media 2008, 200 x 250 x 250cm $550

The drawing was made using dip pen and Indian ink working directly from a specimen. This technique necessitated working at close proximity and allowed an intimate connection to be formed with the subject. The title refers not only to the arduous methods of production but describes physical motion, an act of tenderness, a sensual experience perceived through the skin. stroke Indian ink on paper 2008, 145 x 90cm $2100


Carlo Pagoda

Champions Lithograph 2008, 70 x 90cm $870

Bernadette Pilli

This painting is one of a series drawn from the experience of being close together in bed, with a dying partner. Between the sheets, during the sleeping hours; awake, peering into the darkened sky, listening to the breath. Peering through the Darkly Through the Window Oil on canvas 2008, 122 x 122cm window into the $1800 darkness, Waiting for the night to lift, always waiting for the transition, whatever that may be. The familiar surrounding fabrics, along with the view through the bedroom window, become another world, as life draws to a close. A different stage in our lives. A platform of existence which is unexpected and tragic. The linen as a metaphor for the landscape we traversed, together, yet alone.

Stephen Pleban

2009 Williamstown Festival Contemporary Art Prize

Jutta Pryor

The ‘Virtual Tide’ draws us in and out of reality and the virtual realm, our keyboard becoming the stepping stone in that process.

Autumnal Afternoon Oil and wax on canvas 2008, 151 x 197cm $4000

My recent works depict environmental, atmospheric and seasonal change in the landscape around Ballarat. The paintings convey the shifting moods created by weather, light and the elements. The surface of the paintings are highly worked with wax and oil so that the images sit somewhere between observation and abstraction.

Virtual Tide Digital Print 2009, 62 x 52cm $990

Darryl Rogers

Johnny Romeo

Represented by Gilligan Grant Gallery My work deals directly with the way we construct our identities from the vast array of images that pop culture immerses us in. My work in general deals with contemporary pop culture, cultural homogenisation, the failures of blind consumerism, media saturation, celebrity fetish and brand name heroes.

Serious Sadie by the Lake Digital print 2008, 62 x 45cm $480

Laszlo Romer

Grilled Rich Elbow Oil & acrylic on canvas 2008, 167.5 x 167.5cm $6500

Peter Rosman

“D I C “ 2009: A Death in Custody. An etched steel wine flagon unfolds to reveal a solitary cell and occupant under watch. The flagon reshapes itself into a possum skin enveloping the figure with the fading ceremonial images of Barak. The work is held on a “sign” tripod above a fragment of slate with an engraved river outline. Red Painting II (detail) Oil, acrylic, enamel paint, paper, plywood 2009, 90 x 90cm $2500

“D I C” 2009: A Death in Custody (detail) Etched steel/slate/mixed media 2009 100 x 75 x 45cm $4500


Fiona Ruttelle

Judith Sackville-O’Donnell

2009 Williamstown Festival Contemporary Art Prize

The aim of my linoprint is to arouse interest in a largely ignored piece of Australian history. Contrary to popular belief the place to see a hanging in the early 19th C was not London but Van Diemen’s Land (Tasmania). Between the years 1824-1836 two hundred and sixty convincts (two hundred and fifty nine male, one female) were hanged in Hobart Town. This is out off a convict population that ranged from approximately six thousand in 1824 to seventeen thousand in 1836.

As an ecclesiastical stained glass window is a representation of spirit through light and beyond written description. This piece aims to delight and inspire in the most simple of ways.

Ginny Sargent

Red/Pink #5 Glass, Aluminium 2008, 70 x 25 x 5cm $1800

Hobart-Town 1824-1836, VDL: 260 Hanged Convicts Linoprint 2008, 71 x 53cm $300

Ben Sheers

Represented by Flinders Lane Gallery

people in high places Graphite and ink on drafting film 2008, 59 x 139 cm $695

‘People in high places’ is part of a series of works which explore concepts and modes of spatial representation through the process of drawing. My work mines various aspects of history from sourced imagery, combined with analytically constructed spaces to create an assortment of scenarios that indicate and hint at historical perspectives. Conversely, these ‘would be’ historical representations are constructed to reflect on the contemporary nature of living.

Motel Oil on canvas 2008, 117 x 204cm $2000

The work “Motel” places an ageing rooftop sign against a fading sky to create a moment of visual poetry for the viewer.

Julie Shiels

This collection of objects probably seems familiar because I made them by casting the empty spaces in plastic packages after the goods have been removed. There is a chocolate bunny, a computer mouse, a light globe, some toothbrushes, to name Frieze – fragment 1 a few. I have covered Plaster and felt 2008, 120 x 200cm them with flock (felt) $4500 and placed them straight on the wall so they suggest a decorative frieze. This work suggests an archaeology of the future, a way of looking back and forward at the same time.


Louise Skacej ‘Brain Patterned Heart’ is an exploration of a dialogue between cerebral and emotional landscapes. The path of the brain, which tracks across the pulmonary terrain in one continuous line, is a coded tattoo of information. Thus the heart attains a knowledge and memory- it responds to this flow of information about its corporeal state. It’s architecture pulses back, shaping and directing the path of the mind. This work manifests a physical compulsion for the artist to represent her response to this tandem relationship.

Brain Pattered Heart Scratchboard 2009, 20.8 x 10.6cm $450

Nina Smart

2009 Williamstown Festival Contemporary Art Prize

Represented by Metropolis Gallery

The changing face of now Watercolour on paper 2008, 45 x 180cm $1200

I am currently using the fluidity of watercolour to express a personal perception of self and others and the changing nature of how we relate. In a time when technology brings many alternative means of communication, I am trying to bring awareness to the universal human condition that is facial expression. By creating a progression of images, I explore the changing perception of personalities as they shift over time, in attitude or mood.

Karen Standke

Represented by Pivotal Galleries

This piece explores and tests combinations of narrative through the use of different conventions of painting. It does this by creating ambiguity within the reading of the narrative. By layering the reading of the work I have create a two dimensional work that integrates painting and drawing, and deals with the balance between the rational and the irrational, the logical and the illogical, the tangible and the intangible. The work utilises popular iconography and stream of consciousness, in conjunction with automatic drawing and painting techniques, to explore how each viewer identifies a different narrative. Through combinations of figurative, abstract and decorative imagery, a sense of complexity is created within the narrative.

Deane Sobey

The Simple Idea of Complexity Acrylic, Indian ink on Linen 2008 137 x 107cm $4990

Gloria Stern

Represented by Gallery 101

Gewitterstimmung (Austria) Oil on canvas 2008, 140 x 200cm $6000

This painting was created at my latest residency in Ehrwald, Tyrol. It was exhibited there as part of the series “Berg-Geist / Mountain Spirit” in May 2008. This view is of the “Wetterstein”, a part of the Zugspitz mountain range, on the border of Austria and Germany. I grew up here, right at the foot of this mountain.

Jennyfer Stratman Represented by Uber Gallery

The Bar Oil on canvas 2008, 92 x 122cm $4000


Represented by Jackman Gallery

A phantom limb is the sensation that an amputated or missing limb is still attached to the body. The white tree limb is a metaphorical reference to our inherent relationship with the natural world. This connection is a force our bodies sense, but from which we often disconnect.

Phantom Limb Mixed media 2007, 93 x 70 x 19cm $2800

Still Life Oil on canvas 2008, 85 x 85cm $8000


Cameron Tauschke

The Contextual Villains

2009 Williamstown Festival Contemporary Art Prize

The painting titled ‘Go’ is a futuristic vision of Melbourne. The future cop, who dominates the art piece, decides who enters Melbourne’s arterials. He is the first point of contact – l am hoping that the word ‘Go’ acts a positive signal.

They altered their egos, telling tall tales amid imaginary worlds of others discards.

Go Oil & enamel on canvas, 2007, 185 x 168cm $3500

the naughty see monkey

Medji and Fidele meets the madman Oil on paper 2008, 60 x 84 cm $2200

Like Spinning Plates Reclaimed hardwood, Transparency 2008, 50 x 55 x 14cm $1100

Merryn J Trevethan

Better to Burn Out Acrylic on canvas 2008 168 x 123cm $4200

Trinh Vu

Phi Van Nguyen Tattoo, you either hate them or love them. Tattoo is hidden art works that never get to reveal to the public, we see it unless someone show us. It’s not like comics that you see on paper or paintings that you see on canvas. It’s somewhere between sculpture and fashion. All tattoo mean something. The meaning may be generalised as in the The Hidden World Revealed case of the Maori, to whom the Video 2007 (video still) POA very fact of being tattooed meant manhood attained. Or it may be informational as in the tattooing of criminals, slaves, prisoners. The meaning may be purely symbolic. Tattoo is my personal interests, something that I have always admired. Specially the Japanese tattoo, they use traditional tools and natural vegetable colours. The iconography too is traditional, the cherry-blossom and wave motifs on the shoulder and chest sections of full-body tattoo. I’m creating a morphing video of the collection of Japanese tattoo, exploring and explaining the meaning of their iconography.


Represented by Kristian Pithie Gallery Taking inspiration from natural forms and characteristics of today technologies, I experiment with a process of fragmentation in which a dialectical relationship between order and randomness, chance and necessity is the basis for me to create objects that are not so much about capturing ‘physical reality’ but about presenting subtle signs of changing times and meanings while also allowing for memory and fantasy to come together.

Sacred Season Paper, Perspex & electric light 2009 85 x 85 x 85cm $5500

Liz Walker

2009 Williamstown Festival Contemporary Art Prize

Alan Young

Junk mail. I don’t want it, I don’t need it, I don’t read it. The sign on my gate says it’s most unwelcome but somehow, taking absolutely no notice at all, it finds it’s way into my letterbox, my home and my life. This piece represents about six weeks worth of wasted resourcesand all for nothing.

One of a Kind 1 Acrylic and oilstick on canvas 2008, 40 x 30cm $350

Junk Mail (detail) Recycled corrugated iron 2009 10 x 120 x 175cm ( approx) $2000 or $40 per piece

Michelle Zuccolo

Vaidas Zvirblis Represented by Bird’s Gallery

The Meeting Oil on canvas 2007, 61 x 84cm $1200

This work combines my interests in composition, spatial manipulation, painting and drawing. I tend to work from observation. Several of these skulls/bones have come from farm paddocks near my original home town in rural Victoria. The cattle were drought victims. Working with this exquisite bone collection, I have explored issues related to the fragility of life, and changes being brought about by the going drought conditions.

Tangible Shadows Oil, clay, iron oxides, net, canvas, dry petals 2007, 143 x 84cm $4300




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