All Creatures Great and Small - Sculpture 2013

Toyota Community Spirit Gallery

GREATand smallSculpture2013

All creatures

the ninth annual exhibition showcasing the diversity

and excellence of sculpture practice in Victoria

Toyota Australia, 155 Bertie St, Port Melbourne, Victoria.

Gallery Hours: Monday - Friday9am to 5pm or by appointment.

Inquiries Ken Wong 0419 570 846

24 October 2013 to 17 March 2014

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 935 artists. This project is mounted in consultation with Hobsons Bay City Council and the City of Port Phillip.

Toyota Community Spirit Gallery

This image aND back coverDura Mater (detail) by sharyn Dingeldei, Ceramics and timber, 2012

Council GrantsThe City of Port Philip, Sutherland Shire and Hobsons Bay City Councils have each benefited from $20,000 in funds from the Toyota Community Foundation for the first time.

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:

* Ms Peer Support Group* Harpatkah Chai Rover Crew (3rd St Kilda Scout Group)* Elwood’s Got Talent Open Mic* Elwood Children’s Centre* Southport Playhouse* Port Phillip Mens Shed Association* Port Phillip Community Group Ltd* Elwood St Kilda Neighbourhood Learning Centre* Hobsons Bay Obedience Dog Club Inc* Elwood Children’s Centre.

2013 Sutherland Shire Council and Toyota Australia Sustainability Grants Program to the value of $40,000 was allocated to eight local community organisations ($5,000 each). The groups are:

Social * Vision Australia * Southern Community Welfare

Environmental * Engadine Community Services * Cronulla Pre-school

Cultural * Gymea Community Aid and Information Service * Enough is Enough

Economic * Shire Community Service * Sutherland Shire Community Transport

Assessment for Hobsons Bay Council projects are underway.

Employee GrantsThe Toyota Employee Community Grants launched in April 2013. This offered Toyota Australia 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 68 employees from all Toyota Australia operating divisions submitted applications. From this pool, Toyota Motor Corporation Australia’s Corporate Services Executive Director, Mike Rausa, selected 15 applicants, in a random draw. Manufacturing and Purchasing Executive Director Chris Harrod and Sales and Marketing Executive Director Tony Cramb were also present.

The successful Employee Community Grants recipients are:

Michael Allet Corporate Services, CAS&E Chelsea Football ClubVesna Benns Corporate Services, CAS&E Footscray Primary SchoolSimon Birch M&P, Manufacturing #2 Inverloch Windsurfing Club IncJennifer Bowker Corporate Services, HR Yarrambat Adult Riding ClubSue Calvey Corporate Services, HR Mirabel FoundationMichelle Cleary Corporate Services Information Systems Le Page Tennis Club IncAdan Fernandez M&P, Quality Control Relay for LifeDianna Mitchell S&M Franchise Development Menai Dragons Basketball ClubBoris Nikolic M&P, Purchasing/Production Control Serbian Sports Centre IncorporatedGlen Pitcher M&P, Product Engineering & Maintenance Altona Pirates Basketball ClubJim Polonidis M&P, Purchasing/ Production Control Moonee Valley Cricket ClubJoanne Romano Corporate Services, HR Pascoe Vale Soccer ClubSalem Salikin M&P, Manufacturing #1 Australian Malay FoundationJohn Woof M&P, Manufacturing #1 3rd Melton Scout GroupJack Zakaria M&P, Manufacturing #1 Bangla Media Group of Australia

2013 Toyota Emerging Artist Award sponsored by cherrycake studiosThe Toyota Emerging Artist Award is an initiative designed to provide Australian based artists who have participated in the Toyota Community Spirit Gallery exhibition program with a further opportunity to advance their career via a one-month artist studio residency at cherrycake studios in George Town, Penang, Malaysia.

The winning artist will receive a one-month artist residency including studio space and accommodation sponsored by cherrycake studios plus $1000 from Toyota to assist in funding their travel and/or other expenses. The Award judging committee is chaired by Melinda Martin, Director Linden Centre for Contemporary Arts, St Kilda and includes Eliza Roberts, Asialink Arts Residencies Manager, Tania Blackwell, Hobsons Bay City Council and Louisa Scott, City of Port Phillip. For information regarding the 2013 award, visit watcharts.com.au/toyota.html

images FroNT cover Together Forever by vaidas Zvirblis Recycled materials, timber, straw, clay, sand, oil and varnishes, 2013

This sPreaD Polar Bear by Véronique Derville Plaster and perspex, 2013

THANkS To Tania Blackwell, Hobsons Bay City CouncilLouisa Scott, City of Port PhillipToyota Community Spirit Gallery CommitteeKatarina Persic, Toyota AustraliaPeter Griffin, Toyota AustraliaGlenn Campbell, Toyota AustraliaMelinda Martin, Director Linden Centre for Contemporary ArtsEliza Roberts, Asialink Arts Residencies ManagerSteve Blakebrough

CATAloGuE EDiTiNGKen Wong (watcharts.com.au)

PRE PRESS & GRAPHiC DESiGN Sandra Kiriacos (watcharts.com.au) SAlES ENquiRiES for any of the works in the catalogue can be made by contacting the curator Ken Wong on 0419 570 846 or [email protected]

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 [email protected] or visit www.watcharts.com.au/toyota.html

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.

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ken Wong is the Director of Watch Arts, a Victorian based contemporary arts consultancy. He has worked in the fine arts industry for over fifteen years in both commercial and community arts, curating and managing a host of projects including gallery and outdoor sculpture exhibitions.

This is the 32nd show and the 9th annual sculpture exhibition for the Toyota Community Spirit Gallery. it presents the works of 71 artists and showcases the diversity and excellence of sculpture practice in Victoria.

The title, All Creatures Great and Small, not only refers to this, but also has broader portent in relation to the times we live in and the wider human community.

Recently, for the first time since I was a boy, I spent a weekend in our national capital, Canberra. It was just before the federal election, and out of pure luck, my trip coincided with the annual Open Day for Parliament House. Having never been before, I took advantage of the opportunity and was fortunate to view not only the public chambers of the House of Representatives and the Senate, but also the offices of the senior ministers and the Prime Minister. It is hard not to be impressed by the architecture and scale of the building, and I was immediately reminded of the famous “of the people, by the people, for the people” line from American President Abraham Lincoln’s Gettysburg Address, which made me think about what a significant privilege, and also a great responsibility, it is to live in a modern democratic country. My trip also included a visit to The Australian War memorial and this also underlined what it has at times, taken to defend our way of life and the price paid by our wider society and in particular the families and individuals in our community, to afford us this great privilege.

The exhibition’s title also has associations

of course, with the RSPCA’s campaign to promote their work in advocating and caring for all of the amazing animals that we as humans and Australians, share our country and our experience of living with. This in turn was taken from the famous TV series, inspired by the novels by James Herriot, about the life of a veterinarian and his administrations in the care of animals in rural England in the 1930’s.

The title is of course originally, a line from the Christian hymn, All things Bright and Beautiful, which describes the wonder and breathtaking diversity of all of creation. The origins of this hymn are not completely known, but some think it a reference to a line from The Rime of the Ancient Mariner, by Samuel Taylor Coleridge, one of the key early masterworks of British Romantic literature. It tells the story of the Ancient Mariner, who kills an albatross after it leads him and his crew to safety, bringing about a disastrous change in fortune that takes the lives of his crew and leaves him to wander the Earth forever more, telling his cautionary tale of woe to any who will listen.

Perhaps never before in the history of our planet, has the fate of our species and our society, along with all of the plants and animals who live in this world, been more dependent upon the leadership and choices we make at this time, in this moment.

Lets hope as a society fortunate enough to be free to make those choices, that we are equal to the task.

Welcome to All Creatures Great and Small.

Ken WongCurator

10 Daniel Armstrong11 Natalia Auguste12 Natasha Avila13 Terry Barclay14 Helen Bodycomb15 Katy Bowman16 Rachel Boymal17 Lucinda Brash18 Melinda Capp19 Michael Carolan 20 Katrina Carter21 Deb Casey22 James Cattell23 Bruce Cleal24 Betty Collier25 Melissa Skirton-Cussell26 Véronique Derville27 Sean Diamond28 Sharyn Dingeldei29 David Doyle30 Graham Duell31 Thanh Duong32 William Eicholtz33 Alexander Esenarro34 Aimee Fairman 35 Avis Gardner36 Kate Geck37 Darren Gilbert38 Bambi Gordon39 Mojgan Habibi40 Craig Haire41 Owen Hammond42 Karen Hopkins43 Carly Housiaux44 Catherine Johnstone45 Aaron Jones46 Viktor Kalinowski47 Nathan King48 Anne-Marie Kuter

49 Julee Latimer50 Joanne Linsdell51 Salvatori Lolicato52 Angela Macdougall53 David Marshall54 Rob Miller55 Trudy Moore56 Jesus Moreta57 Joanne Mott58 Amanda Nelson59 Gael O’Leary60 Clare O’Shannessy61 Luciana Perin62 Anna Maria Plescia63 Anna Prifti64 Loretta Quinn65 Anna Robertson66 Anne Ronjat67 Maria Simonelli68 Adrian Spurr69 Benjamin Storch70 Todd Stuart19 Tul Suwannakit71 James Tapscott72 Christopher Taylor73 Sholto Turner74 Mary van den Broek75 Christopher Vassallo76 Hartmut Veit77 Carmel Wallace78 Remy Wong79 Daniel Worth80 Vaidas Zvirblis

image Dancing with every rhythm #2 (detail) by Mojgan Habibi, SWP clay, oxidation fired stoneware, 2012

EXHIBITORS

Atrium

to outdoor works

to gallery works

Reception

Outdoor

Gallery

Bistro

to outdoor works

Sculptures are located in five separate areas;

Atrium•Gallery•Glasshouse•outdoors•Pond•

Locations

Pond

Glasshouse

Auditorium

Daniel Armstrong

Aqua Optica explores the refractive properties of a spherical aquatic lens as a signifier for all lenses, especially that of the telescope and the eye of the observer with respect to viewing the night sky. The work aims to invoke sense of the sublime as well as the corporeal and experiential nature of observation. The relative spatial positioning of the viewer to this aquatic lens gives rise to a fluxing and modulation of light as image. This primitive optical instrument and the eye of the observer become entwined in a refractive dance with images of the celestial and that which lies beyond.

Aqua OpticaGlass, water, acrylic, timber, metal and digital projectionApprox 200 x 100 x 100cm, 2013$5000

Daniel is a photo-media/installation artist and tertiary lecturer at Deakin University. His current research explores contemporary and historical relationships between visual observation, art and astronomy, with a specific interest in how optical instruments inform our conception of the cosmos.In 2009 he undertook an Australia Council residency at the Lowell Astronomical Observatory in Flagstaff, Arizona, USA. He lives part time in central Victoria where he spends his nights imaging the dark skies with homemade primitive cameras and telescopes. He is currently undertaking a fine art PhD at RMIT University in Melbourne.

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Natalia Auguste

Natalia was born in Poznan in Poland in 1981. She moved to UK in 2004 where she met her husband and studied printmaking and life painting in London. In 2010 she moved to Melbourne where she completed a Certificate III in Visual Arts and Contemporary Craft in 2013.

Different sort of life after deathWood, circuit board, 20 x 15 x 30cm, 2013

$300

I am fascinated with organs, cells and living tissues. This work is inspired by the objects that people throw away. Tree trunks that were once full of life are cut down for the energy that can be created by burning them. Circuit boards from an old printer provoke questions of our destructive human nature to the living world around us. How far are we willing to go to put “life” into electronic devices?


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Natasha Avila

My practice is predominantly informed by architecture, minimalistic design and geometric forms. I utilise reflective surfaces to incorporate the viewer’s reflected image and the surrounding environment. The work often becomes wearable or interactive and is a metaphor for psychological and emotional human reflection.

What’s in the Box?Mild steel, egg shell, enamel, 14 x 24 x 12cm, 2013POA

Natasha is an award winning Melbourne based artist with a career spanning more than 10 years. She has participated in 32 group exhibitions including shows at Parliament House in Melbourne, Without Pier Gallery, RMIT University First Site Gallery, the Bayside City Council Gallery and the Embassy of Argentina in Canberra. She has held several solo shows and her work has been featured in a number of publications and is held in public and private collections in Australia and overseas. Natasha holds a Certificate lll in Visual Arts Craft & Design and has just completed a Bachelor of Fine Arts majoring in Gold & Silversmithing, Object Based Practice from RMIT University.


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Terry Barclay

Terry lives near Frankston on the Mornington Peninsula, Victoria. He was born in the North of England and studied design at Bradford College of Art. After graduating he worked as a commercial artist for several years before he and his wife migrated to Australia. Since his arrival in Australia he has held a number of design positions with both government departments and design consultancies. His work included exhibitions designs for The National Gallery of Victoria, The National Museum of Australia and The State Library of Victoria. He has produced illustrations for posters, magazines, and children’s books. In 2008 he returned to painting and sculpture full time and has recently completed a Diploma in Visual Arts at Chisholm Institute.

The old man and the seaBronze and timber

36 x 16 x 14cm, 2013$1500

Shells, seaweed and the strange creatures that inhabit our oceans were the initial ideas that formed the basis for a number of sculptures with a marine influence. They offer no questions and provide no answers. The viewer is at liberty to create his or her own story.


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represented by Traffic Jam Galleries

Helen Bodycomb

Jane Doe is the title assigned to a corpse of unknown female identity. In this artwork, the residual skeleton of a bird of unknown species has been rendered using traditional roman mosaic cutting and laying techniques on a car rear window.

Jane DoeStone, glass mosaic, silicone on car rear windowapprox 60 x 140 x 15cm, 2013$3500

Helen is a full time artist, highly regarded internationally as a specialist in the contemporary practice of the ancient medium of mosaic. She predominantly works on commissioned sculptural and fine mosaic artworks for clients from the public sector and for private collections. She lives and works in Castlemaine, Victoria, from where she successfully maintains relationships with patrons across Asia, Europe and the USA. Most of her work is commissioned by private and public clients in Australia but she has also worked on projects in USA, Mexico, Malaysia and Italy.


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Katy Bowman

A graduate of RMIT’s Master of Fine Art program in 2009, Katy has exhibited at galleries including Blindside, Platform Arts Space and First Site. She won the Incinerator Arts Complex award for aRtecycle 2009 and was a Laughing Waters Artist in Residence in 2010. A finalist at Williamstown Art Prize 2010 and Toorak Sculpture Show 2011, Katy was selected for a residency by the Contemporary Sculpture Association, Vere Street Sculpture Gallery in 2012. She also has extensive experience in performing arts, co-creating the award winning Museum of Modern Oddities 1999 -2006, presenting large scale performance installations nationally and internationally.

Domestic FollySecond hand acrylic tableware, glue

52 x 28 x 28cm, 2013, $300

Drawn to the inherent colour of the plastic tableware and its responsiveness to light, I refashion these cast off items in order to explore ideas around transformation value and temporality whilst also celebrating the beauty of the domestic and the everyday. More of my work can be seen at katybowman.com.au.


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Domestic GoddessSecond hand acrylic tableware, glue

56 x 30 x 30cm, 2013, $350

Rachel Boymal

My aim is to depict the human form in a simplified style. With this work, I have centralised the form, giving only a suggestion of the arms and legs of the figure. The central flow of movement is in the overlapping slabs of bronze. The curved back of the female is projected towards the next layer, that of the full breasts and stomach, and the attenuated legs point in opposite directions.

ModestyBronze, 48 x 32 x 37cm, 2012$3250

Rachel has a B.A in Art History from La Trobe University and a B Ed in Art and Crafts, from Melbourne College of Advanced Education. She paints in oil, pastels and acrylic, and sculpts in wax, clay and metal.


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Lucinda Brash

Lucinda has sculpted all her life. However, she has had to fit in her sculpture practice with studying and practising law, and raising her children. “The law feeds the children, but sculpture feeds the soul!” she says. She loves the immediacy of working in clay, but also likes to learn and experiment with different media. Her sculptures are usually figurative in design.

Seeing Eye DogAluminium foil, stainless steel, wood, 55 x 40 x 40cm, 2013

$850

I feel greatly connected to the world of animals and nature, and like to articulate that connection through sculpture. Animals can often sense things we cannot. It is enriching to look at the world from their perspective. I wanted to explore this concept in a visual way. At the same time, I am toying with the idea of taking your dog for a walk, by turning the concept upside down so to speak. Dog walking is such a big and valuable part of our community life. On another level, I wanted to explore and represent the many ways animals help us, including of course the assistance that many dogs provide to people who are vision impaired.


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Melinda Capp

I am inspired by a world invisible to the human eye but made visible through the lens of a microscope. Sea plankton and other organisms with lace like structures, radial arms and repetitive patterns are the focus of my recent work, using the mediums of embossing, embroidery and mixed media. The circle is a constant shape in the works, denoting a point of viewing, through which the imagery is displayed (microscope lens and petri dish).

CellsPerspex, petri dishes, acetate, fluorescent tube/s, wooden wall mounts and metal brackets, 10 x 8.5 x 120cm, 2013$550 each piece

Melinda has worked in the art industry in community and private sectors for over 20 years. She exhibits on a regular basis and develops conceptual based art projects for solo and group shows which respond to specific ideas. At present she and her twin sister are working with scientists in Melbourne developing a project that looks at twins and identity and the genetic and environmental factors that contribute to sameness and difference.


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Michael Carolan &Tul Suwannakit

Michael graduated from RMIT’s MFA program in 2011 winning both the academic and exhibition prize, resulting in a major exhibition at Anna Pappas Gallery in 2012. His cross-disciplinary art practice explores semiotics, signs, commerce and communication within socio-economic decision-making. He featured in Moreart 2010 and in 2011 won Best Outdoor Work, as well as the 2010 top prize for the Fringe Festival, Art in Windows exhibition. Currently he is leading a team running a new ARI, D11@Docklands as part of the Renew Docklands Spaces project supported by the City of Melbourne.

Tul obtained both BFA and MFA from Savannah College of Art and Design in 2004 and RMIT in 2011 respectively. His work explores themes of alienation and displacement and contain ironic, metaphoric and illustrative qualities. His past work experience includes Lead Set Designer and sculptor at Walsh Family Media in New York and Head of Training and Development at Global Art and Creative in Thailand. Tul is also an internationally published author and illustrator for Walker Books (Australia), Quintessence Publishing (USA) and Amarin Printing and Publishing (Thailand).

UnprofitableTaxidermied chick, typewriter hammers, 20 x 13cm, 2013, $500

Unprofitable is an exploration and investigation into the notion of alienation and dislocation, using language and nature that are removed from conventional format and habitat. Through the tempering of fragmented and discarded remains, the artists challenge and push the boundaries of each others’ practice, resulting in a dynamic tension of oppositions that questions the sentimental value of life and the commercialism surrounding our society.


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Katrina Carter

If it is agreed that beauty is in the eye of the beholder, and that valuable items are displayed in and protected by glass cabinets, then this work aims to elevate these generally accepted banal objects manipulated for another purpose, to a position worthy of their hidden intrinsic beauty. The elevation of particular detritus from our society to a glass cabinet gives prominence to the issues of consumerism, waste, and the need to recycle.

Duplicity (detail)Mixed media (discarded tins, glass cabinet), 200 x 60 x 60cm, 2013$1900

Katrina has always collected discarded, often mass produced objects that are considered mundane. This has given rise to her particular interest in installation and sculpture. She studied at Shillitos’ School for Colour and Design in Sydney and worked in related areas before moving to Melbourne, where she has studied at CAE and the Latrobe College of Art and New Media.


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Deb Casey

Account PaidWood, steel, cloth, plastic, polystyrene

274 x 60 x 121cm, 2011, NFS

My sculptural practice explores the concept of borders. I am curious how man-made borders, religious, cultural and socio-economic, define personal and national identity and when manipulated can alter perceptions resulting in confusion, conflict and loss.

Account Paid is my response to the total futility of lives lost defending borders which are defined by religion. The crude spire made from aged and brittle fence palings has little substance, the anonymous corpse its eyeless skull seemingly peering down to earth challenging the audience, rigid yet vulnerable wrapt in muslin impaled by the cross. The work is a non-traditional representation of a historical and sadly ongoing contemporary fact, created to stimulate debate and challenge perceptions.


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James Cattell

Perhaps a mobile theatre from a corner of a disused amusement arcade?

It seems to suggest a view of life as an absurd game of chance.

This is a machine that exists to be operated. Roll up. Roll up. (There are no prizes)

MemorySteel, brass, ceramic, glass, pram wheels144 x 45 x 50cm, 2013$3600

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. For the first ten years after moving to Australia, he worked as a puppeteer and street performer while living surrounded by dusty sculptures and paintings. In 1988, he and his partner, Dorelle Davidson, started an art business, Honeyweather & Speight. They produce murals, mosaic, children’s books and play structures, as well as site-specific sculptural works. During this time James has continued his studio practice, still surrounded by dusty objects and artefacts that might some time be incorporated into his works. He strives to create visual poetry that engages the viewer at two levels - the immediate overall impact (or confusion), then the more intimate world embodied within.


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Bruce Cleal

Bruce found at high school he had a passion for art but never the opportunities to pursue a career. He has spent his career working as a tradesman, but has always tried to spend as much time as possible drawing and making art. After starting his own business and raising a family, he began sculpting bas reliefs in 1995 and slowly progressed to three dimensional art. While in Java he discovered the medium that he would become interested in working with – Javanese White Palim, and imported two large three-ton blocks to work on. Surrealism and mythology influence his work but he is also exploring how they relate to what is happening in the natural world at the moment.

The Burning SkyJavanese White Palinam

120 x 120 x 120cm, 2012POA

Watching birds fall from the sky goes against their natural ability and seems to preview a future apocalyptic event; a strange and unnatural occurrence.


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Betty Collier

I am inspired by nature in both my subject matter and the media I use, looking to make sculptures, drawings and paintings that are timeless and durable with a visual and spiritual harmony. Each method requires a different conceptual process, giving me an added challenge and keeping me focused on continually developing, which I hope to do for many more years. This sculpture is part of a series that has evolved over the last few years. The main inspiration has come from plant forms and earth fissures. The result is a combination of repetitive and rhythmic tactile shapes that are both contrasting and harmonious.

Clusters No. 3Alabaster, granite, 24 x 80 x 30cm, 2012$1800

Betty has pursued a serious study of painting and sculpture since her late thirties, inspired by study leave to Europe in 1992 with additional trips in 2002, 2010 and 2011 for the Florence Biennale, where she was the first Australian ever to be awarded a medal for sculpture. This year she was also awarded First Prize for carved sculpture at the Melbourne International Flower and Garden Show. She has travelled to Canada, New Zealand, South Africa, South America and around Australia, studying contemporary and indigenous art. The landscape, flora and fauna of each country has fired her own personal art journey.


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Melissa Skirton-Cussell

Sydney born, Melissa was formerly a social columnist who retired from the industry in 2002, turning her attention to sculpture. She has exhibited widely around Melbourne since 2003, including the 20l2 Montalto Sculpture Prize and has works in several private collections in Australia and overseas. She enjoys working with a variety of media making her contract with the future unpredictable.

Luminous (detail)Mirrored stainless steel, Approx 350 x 120 x 60cm, 2011

$18,000

The design of the upright structures and constellation of mirrors with their mutual reflections means that from certain angles, the structures almost appear to be floating or invisible. With their reflective nature they are not taking away from the environment surrounding them, but mirroring the secrets of nature whilst creating a juxtaposition of richness and mystery with the use of the reflected structures both organic and man-made.


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Véronique Derville

I tend to explore new materials and therefore new techniques all the time. Chicken wire would suggest more modern themes. The stone will tell you what it has to be transformed into, clay and plaster for a fresh new start. Above all I try to find the line, the harmony of the sculpture.

Polar BearPlaster and perspex, 17 x 30 x 25cm, 2013$1100

Veronique was born in Düsseldorf, Germany in 1964 from a German mother and French father. She was raised in a bilingual environment, as her grandparents lived on either side of the border and she grew up being exposed to both cultures. Her family moved to France, where she finished high school and did an International Baccalaureate Majoring in 2D Art and a Bachelor degree in German Literature and Art. She became a primary teacher and founded a language school where she used music, art and play to teach German and English to French primary students. In 2000, she moved to Australia with her family where she continued to teach language in primary and secondary school. In her free time, she has always pursued her art through part time study and a studio practice, working in ceramics and sculpture over the past 10 years.


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Sean Diamond

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.

EggSteel, 200 x 80 x 80cm, 2013

$3500

This steel egg is an extension of my work with spheres, exploring form composed of empty space and notions of fragility, birth and the discarded, yet eternal.


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represented by Without Pier & Gallery #9

Sharyn Dingeldei

Being an emerging artist I am totally enthralled with my choice of storytelling with the medium that is clay. I have many life experiences that I wish to share or portray that until now have had to bide their time until my family no longer physically needed me as much as they once did. As a mature age student I can clearly determine that I have had my eyes, my heart, and my soul, opened up by many educators and fellow artists, in ways I never thought possible. The door of artistic opportunity knocks and beckons me to venture further afield from my known comfort zone. This work explores my experience of the isolation of distance from a loved one. A wealth of memories, vision or hearing can slowly erode, imperceptibly at first. The body slows down, and cells no longer re-generate. Bones become brittle, the skin translucent. I watched my mother’s brain fail her. I saw her despair punctuated with spans of lucidity. Using a repeat element of the small thrown vessel as a metaphor for thoughts and memories, I am attempting to evoke the passing of time, the scattering of thoughts and the degeneration process.

Dura Mater (Tough Mother)Porcelain, coloured, glazed, unglazed, decals on timber, 60 x 180 x 10cm x 2 panels, 2012$5800


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David Doyle

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.

The cockies ute, with petrol pumpFlat plate steel, 230 x 240 x .08cm & 180 x 90 x .08cm, 2013

$4500

The process of contemplating and making art can lead one to deeper understanding of the many realms of existence. This work celebrates the medium used...only 8mm steel flat plate could do this...stand upright with a large front surface area, and only be 8mm thick. Its name is a play on words...is it the cockie’s (farmers) ute...or it is now the cockie’s (birds) ute? It celebrates the role of the farmer in our communities and celebrates the uniquely Australian bird, the Cockatoo. On a deeper ‘spiritual level’ it is to do with just sitting around watching life pass by.


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Graham Duell

I have a lifelong practice and fascination with drawing and like work in the classic tradition, although sometimes with a touch of humour. The process of building and constructing a sculpture is part of an ongoing experiment in working with clay and finding its limits. This piece represents a young woman in a reflective mood.

CarolynCeramic, 90 x 40 x 40cm, 2013$1500

Graham works in ceramics producing large figurative sculpture. His pieces are usually hand built directly, but his techniques are still evolving and sometimes elements are press moulded using custom-made plaster moulds.


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Thanh Duong

Thanh was born in Vietnam and currently lives and works in Melbourne. She worked in I.T. before deciding to pursue her love for art, completing the BFA in Sculpture at Monash University in 2012. She has worked as a teacher in Chinese Painting and pursues her multi-disciplinary art practice from her home studio. Thanh was a recipient of the Monash University Club Sculpture Award 2011 for her installation work Occurring Within and a finalist in the Heartlands Refugee Fine Art Prize 2013. Her current art practice explores the ideas of experience and memory using recycled materials synthetic fabric, plastic, timber and bronze.

ContemplatingPlastic netting,125 x 65 x 30cm each, 2013, $450

There are moments in life we all wish to be free from reality and dream of a moment with pleasant thoughts. This is the dazed state of mind with body free from gravity, burden and responsibilities.


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William Eicholtz

In the wake of the hurricanes devastation, a romantic hero strides through baroque waters to rescue his inheritance. In a camp retelling of disaster, the aftermath is an orgy of destruction and glamorous and sexy heroism. This image has nothing to do with gritty reality, but instead the ironic notions of mocking death and turning disaster into playthings. The hero becomes the candelabra of the title, merely a table ornament without function, as he struggles with his charge. Even the chairs participate with their legs in the air, bottoms exposed and conjoined in suggestive ways in this Orgy of Carnage.

Orgy of Carnage - Katrina’s Chairs Synthetic Glazed urethane, 54 x 19 x 19cm each, 2011Sold as individuals or in groups: Solo$1660, Couples $2880, Threesome $4400

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. Recently he has been travelling and creating artworks overseas in China and India. A collaboration with Louise Rippert in Varanasi saw the creation of sculpture with traditional religious statue makers and a short film in collaboration with an Indian film company, Moonlight Pictures. William has never been afraid to explore new creative processes, challenging materials and diverse forums of collaboration in his endeavour to create new meaningful art works.


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Alexander Esenarro

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.

Color PerspectiveSuper Sculpey, 27.5 x 12 x 12cm, 2013, $350

Most of my days are spent sculpting for a living and for love. Organic Geometry was made from porcelain, a traditional material that has been used by humans for thousands of years. As a traditional and digital artist, I try to figure out a proper way to apply my knowledge of 3D digital concepts to traditional handmade sculpture. Colour Perspective is an experimental sculpture of a U.S. soldier from the Vietnam war created utilizing various techniques and materials. The aim was to try to change the concept of what people see at first sight, initially giving more importance to the game of color and light than the sculpture itself.


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Organic GeometryPorcelain, 21 x 7 x 5cm, 2013, $250

Aimee Fairman

My practice explores the metaphor of landscape as a range of psychological spaces, to present at enquiry into the nature of psycho-geographical landscapes and address the ecologies of our inner and outer worlds. This piece is inspired by 18th Century evolution theorist, Robinet, whose theories suggested ‘lithocardites’ as heart-stones; ‘rough drafts of a heart that will one day beat.’ My work explores the cross-over between scientific investigation and the poetics of aesthetics. These quasi-mineralogical collections propose a venture into bio-morphic dream-forms that hover in an intermediate state between geological fossilisation and pulsating organisms. A dream science of the mind, where mental debris coagulates, grows and begins to spill out of its bounds.

Lithocardite III; …and she herself, a cave full of echoesAcrylic, prosthetics silicone and epoxy resin on polyurethane resin with LED lights, 48 x 28 x 35cm, 2013$2200

Aimee is a Melbourne-based installation and sculpture artist who completed her MFA at RMIT University, Melbourne, in 2007. She has exhibited both nationally and internationally, and was a finalist in the Siemens/RMIT Fine Art Scholarship in 2005 and 2007. In 2008 she was awarded the inaugural RMIT/AIR artist-in-residence at the Künstmeile Krems, Lower Austria and in 2009, a further residency by Kultur Service Steiermark at the Rondo Künstlerateliers, Graz, Austria. She has undertaken commissioned installation projects including The Warren as part of the Melbourne Fringe Festival in 2011, and Sensory Overload as part of the Gertrude Street Projection Festival. She was a finalist in the Incinerator Gallery ARTECYCLE art prize, 2012.


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represented by Beam Contemporary

Avis Gardner

Avis is a visual artist and a designer specialising in silver and ceramics who primarily works in three areas, jewellery, sculpture and funerary art. Her practice is the physical expression of her ideas and experimentations with the dynamic chemistry between media and techniques. Her arrival in Australia marked the development of her work with children and the community. With her principal aim being to inspire, she has found the key to this comparatively new element of her work is sharing her passion for the natural environment.

Lost Souls (x3)Porcelain and silver

Dimensions variable, 2013$1450 each or

$3995 as a group

We are destined for the most devastating era of extinctions since modern humans occupied the earth. Our ever increasing population is destroying habitats, yet we carry on blindly. The financial wealth gained from selfishness and lack of spirit moves to leave us impoverished, soulless and lost. We will be forever seeking but the power of the mask is no more. Here I explore the interplay of human relationships between each other and the natural world; to which I believe us to be inexorably linked and totally responsible for.


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Kate Geck

This work references the ever-present Facebook status prompt “What’s on your mind” and our super saturated social media interactions. We can see things on the other side of the world instantly, ‘like’ them and interact with them. We can Google anything and access entire histories in a few clicks. Our sense of connection to people and events is framed by this constant and immediate access to content. For me, this is a false sense of connectivity. I float in a tangle of data consumption that is becoming more and more my sole mode of connecting. But it is a curated connection, based on binaries of like, dislike and status soundbites. Then again, maybe I just don’t use the internet properly. ;)

Escape Object #2: Mediated MomentNeon Light, 3 x 300cm, 2013$1800

Kate is an installation artist working across digital media, textiles, installation and sculpture. Her honours in Fine Art at QUT focused on character based interfaces within interactive total installation, and her MFA at RMIT researched sensory immersion in audiovisual installation. Her work considers themes of immediacy, overload and obliteration within the context of mediated experience. She has exhibited and performed across Australia, Japan, China, the US, UK and Europe since 2006. She has been the recipient of numerous national grants and international residencies for new work, including major funding from the City of Melbourne to run a 2 year, large scale AV project between artists in Osaka and Melbourne. She is a resident artist at the Artful Dodgers Studios in Melbourne and a lecturer in Illustration at NMIT.


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Darren Gilbert

Darren was born in England in 1966 but migrated to Australia at the age of 2 with his parents as ‘Ten Pound Tourists’. His love of art was nurtured by his studies for a Diploma of Fine Arts at Queensland University in the early 1980’s, but economic reality saw him take a job in a pie factory in Victoria which led to him becoming a pastry cook for many years. Eventually his interest in art resurfaced and he trained as a graphic designer in the early 1990’s. He now runs his own business Monkey Tail Design, which incorporates a growing fine art practice including sculpture and drawing. He lives in Highlands Central Victoria with his family in a hand built “off the grid” mud brick home.

PenguinMetal, 160 x 50 x 50cm, 2013

$1275

My home in the hills of the Strathbogie Ranges in Central Victoria is integral to my art. The harmony of humans with nature is at the heart of my practice and I like to work with abandoned timbers mellowed by age, and metal objects textured by weather. These are materials that already have history and from these lost and found materials, I create work that makes new history. My sculptures have organic form, often with a quirky element that sit comfortably in traditional or contemporary landscapes.


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Bambi Gordon

As someone who has been a storyteller all my life I want to create work that offers layers of meaning – and therefore engagement. Over the past 3 years I have been working in assemblage sculpture. Having gone through some heavy medical treatments the process of slowly ‘assembling’ my art, choosing just the right piece for each location in relation to its neighbour, deciding on the best process and presentation, is part of the re-building and re-assembly of the new me – my

narrative. I favour recognisable, domestic items so that the work is accessible, down to earth and therefore ‘open’ to the viewer. This piece comments on issues in popular culture: What IS art? What is its’ value? Where does contemporary/conceptual art sit verses traditional? How is ‘art’ embraced verses our passion for technological toys and tools? Is art as disposable as the more popular consumer goods?

LOL Assemblage, 50 x 130 x 12cm, 2013$990


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Mojgan Habibi

Dancing with every rhythm #2Hand built, SWP clay, oxidation fired stoneware, Dimensions variable, 2012

$1750

My sculpture is a journey, a journey of everyday life to sensation and thought, towards beauty and above all to the dialogue among different civilizations, cultures and ideas, exploring what makes us different yet the same as each other. My work explores notions of movement and change and aims to express aspects of human spirituality. By displaying a series of ceramic sculptures with a lit candle inside, I want to express an affinity of spirit and give the impression of light flowing out into space. The internal and external parts of the work express both life and spirit and a harmony between inside and outside.


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Mojgan was born in 1978 in Tehran (Iran), and migrated to Australia in 2005. She has completed a Master of Fine Art with distinction, a Bachelor of Fine Art degree at RMIT University in Melbourne and Diploma of Art at Box Hill TAFE. Mojgan won the Chapel on Station Gallery From darkness into light art prize in 2013 and the MDA award for Outstanding Practitioner in Ceramics from Box Hill TAFE in 2007. She has a strong focus on developing her skills and experience and her ceramic sculptural works have been shown in several exhibitions in Iran and Australia.

Craig Haire


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The Spirit Can DieFoamboard and cardboard, 90 x 70 x 90cm, 2013$1750 excluding base

Craig first exhibited in the Mildura Sculpture Triennial in 1967 and has been a sculptor all his life. A teacher at secondary and tertiary level, his credits include a solo exhibition at Roar Studio in 1983. Commissions and collections include the Mildura Cultural Centre, Catholic Hospice at the City of Knox, Springvale Medical Centre and Bath Lane, City of Bendigo. He has operated Objectives Studio in Williamstown since 1990. www.objectives.net.au

Due to a physical impairment, this year I have been investigating materials that are easier to work, both physically and expressively. Consequently I have found one with many qualities - versatile, dramatic cardboard! Combining it with other materials and a love (and collection) of Pop-Up books, I have found a new way to explore and present ideas that would previously have taken far greater time and expense, working in bronze or fibreglass and resin. I dislike directing the viewer’s attention to my own motives for producing work but prefer them to interpret each piece as they will. Obviously some of these figures are men with wings, but I do not think of them as “angels” despite the knowledge that all major religions use them in their iconography.

What is it about a place that people are drawn to? What compels them to return? We climb to the top to a special place in search of something.

Hill (detail)Wood, 160 x 90 x 90cm, 2013

POA

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.

Owen Hammond


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represented by Scott Livesey Galleries

Karen Hopkins

Since living in Australia I has been inspired by the beauty of the landscape; from the energy, colour, vastness and sense of space in the outback, to the stunning beaches, old forests, rivers and gorges. Using texture form and rhythm, I aim to take the viewer on a journey and explore the deeper levels that connect us all. My work is increasingly a process of letting go and becoming an instrument through which creativity can flow. This work is an exploration of being human. Much of our lives are spent doing and often in that process moments pass us by filled with actions and thoughts of reliving the past or planning the future. In the space between these thoughts we can become present and simply “Be”. These moments are often sacred and memorable; they transform the way we feel, bringing calm and serenity into our lives, connecting us with each other, the essence of our being and life itself.

Human Being and Human DoingKiln fired paperclay driftwood wood and metal, 27 x 9 x 9cm and 26 x 9 x 9cm, 2013$500

Karen is a sculptor and painter. She was born in England, but has lived in Asia, South Africa and Perth W.A, before recently moving to Melbourne. She has been a professional exhibiting artist for 20 years with works in numerous corporate and private collections nationally and internationally.


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Carly Housiaux

After completing a Bachelor of Visual Arts and Design in 2006 (ACU), Carly returned to TAFE (Chisholm, Frankston) in 2009 to refine her technical skills where she discovered an abiding love for the sculpted form and its myriad possibilities. Fascinated by people on an individual level and the broader theme of the human condition, Carly finds herself attempting to give a face to thoughts, emotions and concepts both elusive and intangible. carlyhousiaux.com

EmergentBronze, 41 x 42 x 26cm, 2012

$2000

‘The Woman gradually transforms, Kangaroo skin slowly enveloping her body — she, unaware of the vast changes she is undergoing, is not the same person she once was.’

This is part of a body of work that combines my interest in Australian fauna with transformation mythologies, utilising narrative to explore concepts of identity and personal transition. I have chosen the Kangaroo as a metaphor to represent my own changing perspectives; the desire for greater personal freedom, the need to move forward and the uncertainty that comes with making life-altering decisions. Although introspective and personal, my hope is the work conveys these undeniably human ideas through a notably Australian perspective.


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Catherine Johnstone

My work explores illumination and veiling, loss and memory, traces and remnants, with particular reference to Australian natural disasters such as floods or bushfires. I explore what is missing, what has been changed and how loss reverses the normal order of things. Life turns upside down metaphorically and literally during a flood or a fire. In the alchemical crucible of mourning, the ordinary and the domestic become exalted, the part represents the whole and fills in the gaps after the loss of a person, place or time. ‘Somehow in the alchemy of things, as human hands work on the world, the ordinary transmutes into the extraordinary, the imperfect is made perfect, and what was once expendable becomes a protected and cherished object.’ Yiengruksawan, M. Considering the Alchemy of Relics (Monumenta Nipponica 56:3)

High TeaStoneware slip clay, found objects 65 x 74 x 74cm, 2013$550

Catherine is a Melbourne based artist currently studying a Masters of Contemporary Art at VCA. She has twice been awarded the VU Fiona Myer and Myer Foundation Travel Grant, attending the Venice Biennale in 2011, and completing 3 international residencies in Italy and Canada.


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Aaron Jones

Aaron has been an artist for the past 9 years, working in hand made sculpture and jewelry. His self-taught practice utilises recycled materials. In 2011 he won the major prize for the Whitehorse Council Recycled Art Competition for his sculpture Revelation and another work, Tribal was purchased by Cure Bar & Eatery - Rathdowne Street, Carlton.

A drop in the ocean of timeFound timber, 165 x 37 x 23cm, 2013

$400

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 timber that has been distressed by age and the elements. I endeavor to enter into a conversation with the material I work with, a conversation that changes us both, and that seeks 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.”


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Viktor Kalinowski

Having a large studio on an acre of land gives me the space to create. I see my skills and interests as versatile and work in stone, bronze, steel, plastics, silver and gold. The medium comes to suit the form. Drawing is an important part of the design process with sketches appearing like an alchemical formula ahead of any three dimensional piece of work. This is my tool to communicate the directions I want to follow. Experimentation is vital in my practice, and I love to take risks. In forms I seek to find a balance point and push this as far as it can go! When all the forces that act upon an object are balanced it is said to be in a state of equilibrium. In this work I aim for harmony of form with a daring point of balance or dynamic tension. Like life, sculpture is a balancing act.

Equilibrium IIICorten steel, 95 x 30 x 30cm, 2013$2350

Born in Poland into a creative family, in the European tradition, Viktor trained with artisans in Warsaw. He then opened a jewellery design studio in the early 80’s before moving to Australia. Since arriving in Melbourne in 1986, he has run a sculpture studio and foundry creating sculpture, jewellery and more recently also teaching. He now lives and works in Mount Burnett on the outskirts of Melbourne.


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Nathan King

After arriving in Australia in his early teens, Nathan enrolled in Prahran College Of Advanced Education in Art and Design. He was lucky enough to study under a collection of great teachers; Fred Cress, Pam Hallandal (painting and drawing), Paul Cox, Athol Shmith (photography) and others including, Jeffrey Makin, Victor Meizner and John Davis. He developed a career in theatre arts and writing, but also maintained his visual arts practice, notably exhibiting in a series of surrealist group exhibitions at galleries such as Kirkcaldy Davies Galleries and Gallery 101.

Reflection of an Ancient MythNatural materials (palm fronds), acrylic paint, conte

67 x 48 x 43cm, 2013$1200

Growing up in the urbanised and heavily industrialised city of London couldn’t have been further from the experience of living in the more ‘natural world’ I found when I arrived in Melbourne as a young teenager. This shift had a profound effect on me. When I returned to my visual practice in the late 90’s, I re-appraised my originally strong foundation in drawing, and began producing sculptural works from objects and materials collected from the environment that had always held such fascination for me since my arrival. I discovered a desire to ‘elevate’ nature itself and the natural world; producing works that would represent nature’s presence in our surrounds with assembled collections that show something of nature’s interconnectedness, the remnants of energies and an exuberance of being and beings that it creates. These represent the varied forms of nature and how they reflect each other. There is a natural continuation of being that nature expresses in all of its forms.


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Anne-Marie Kuter

My work questions the notion of duration and impermanence by setting up a reciprocal interactivity between fragility and stability. It defines the space that is absent by transforming negative volumes into sculptural forms. By casting space my aim is to reveal its secrets, to show the unseen, to draw attention to what would normally be unnoticed, forgotten and discarded. Light Beer explores the Australian culture of drinking. It subtly allows the viewer a recollection of what once was and drunken before it ends up in the recycle bin. It provides an opportunity to examine the role drinking plays in our society; what we enjoy about alcohol, as well as the problems it causes. This is done with a slice of lime and sense of humour and play!

Light BeerTissue paper, pva glue and light, 17 x 26 x 38cm, 2012, $150

Anne-Marie completed her first degree in textile design before travelling extensively and living abroad in the United Kingdom and Canada. Since returning to Australia she has worked as a freelance designer and completed degrees in fine art. She currently divides her time between working in lifestyle areas in aged care, several art groups for people with disabilities and running Upstairs at the Napier artist run space. She enjoys working with other artists to support and facilitate art projects, as well as promoting the arts within the Melbourne community.


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Julee Latimer

While searching for a way to satisfy a lust for colour and an urge to create, Julee found the marriage of colour, texture and light in mosaic art was perfect for her. Public collections include Newport Lakes Conservation Park and Melton Council, and her works are in private collections in USA, Sweden and UK. She has won a number of mosaic awards and has work published in several mosaic books. She teaches mosaic art to adults at CAE and is often found in local schools as their artist in residence.

RosaicGlass mosaic, foam, concrete, 67 x 87 x 75cm, 2013

$16,000

As a small girl growing up in the UK, many people had roses in their gardens (still do). I loved them, the colours, the scent. I used to gather up the petals that had dropped on the pavement, take them round to Nan who would carefully put them into washed empty jam jars, topping them with water. She said that after a few days, they made a great freshener for the face or soak for the feet. When I smell roses I think of her and sometimes I smell roses when there are none around. This chair is a tribute to her.


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Joanne Linsdell

This is part of a series of ceramic sculptures that incorporate found and assembled crude materials and surfaces that deliberately reference a design or object. These sculptures connect me and the viewer with a collective history and celebration of general objects and pattern design. This piece is made from the imprint of earthenware paper clay pressed into a complex 30-piece mold, which was cast from an original form made of rocks fused together with molten wax.

Rococo RedGlazed earthenware paper clay, 52.3 x 25 x 23cm, 2013$980

Joanne currently lives in Melbourne and works as an artist and art educator. At present she is working in ceramics, casting constructed forms to create complex molds. She finds the objects that surround her alluring and is fascinated by their place in our constructed world, aiming to transform and redefine them. Joanne has always worked in 3D having studied and exhibited in Australia and overseas. She is represented in private and public collections.


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Salvatori Lolicato

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. He teaches 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 in the Veg Out Community Art room in St Kilda, such as The Prostitutes Collective and The Sacred Heart Mission.

The Porthole into another worldCeramic, 60 x 32 x 22cm, 2012

$950

My works of art are aesthetic expressions reflecting a response to my physical or emotional environment. This work has characteristics of rustic, battered blue stone carved by time and eroded by the elements. The dynamic triangular wedges evoke ancient structures, perhaps models of buildings recently excavated from archaeological sites. Human activity from histories not our own, are created, asking the viewer to ponder questions of purpose and their omnipotent capacity to ‘speak’ of times, people and events from long ago.


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Angela Macdougall

My work has involved the study of flowers and seed and the environment they are found in. The flower studied for this sculpture was found in a suburban garden. Fallen from the tree and left to decompose, it lay there for days and days, but its form and colour still held. The flower was as beautiful as on the tree in full bloom. I felt the need to recognize its resilience.

Found HibiscusPainted fibreglass on steel frame, 124 x 126 x 194cm, 2013$3000

Angela completed a BA in sculpture at RMIT and returned several years later to complete her Honours year. Since finishing art school she has exhibited regularly in solo and group exhibitions. Her travels through Asia, Japan and India have influenced her figurative work, which has varied in size and medium over 15 years. She has also enjoyed the challenge of producing large-scale outdoor sculptures for commissions and exhibitions, such as Sculpture by the Sea and The Melbourne International Flower and Garden Show.


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David Marshall

David worked as a landscape contractor for thirty years, specializing in the design and construction of Japanese gardens and interiors. In recent years developing his ideas and pursuing opportunities in the field of contemporary sculpture, he was Highly Commended in the Outdoor Sculpture Prize at Wangaratta, 2008 and he has been a finalist in Woollahra Small Sculpture Prize, Toorak Sculpture Exhibition, Williamstown Festival Contemporary Art Prize, Lorne Sculpture 2011 and the Yering Station Sculpture Exhibition.

Giboshi NijiTimber, acrylic, 140 x 360 x 60cm, 2013

$5390

It can be found in the written and spoken word. Lifting a rock may unearth it. Splitting a piece of timber may expose it. A visit to a unique landscape may convey it’s presence. A life of suffering may lead to it. The seven virtues of mindfulness, investigation into phenomena, willpower, delight, tranquility, concentration and equanimity are all conducive to enlightenment....in Japanese mythology the Giboshi (Lotus bud) and Niji (rainbow) are its symbols.


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Rob Miller

I have worked or played with wood since childhood and I like to use recycled timber for my work. Inspiration comes from literature, story telling and observing people. I like to capture the moment between the moments, where actions or expressions seem to stand still. I like to leave visible the touch of the hand or process involved in the making of these works, chisel, chainsaw and also some minor details that give a clue as to the original use the timber was intended for. My work can often originate from a checked or notched out section on a particular piece of wood.

Odysseus, The test of the long bowCypress and wine barrel oak167 x 48 x 26cm, 2012$1750

Rob studied for his BA in Sculpture at VCA in 2007. He has exhibited in Germany, France and Australia in the Lorne Sculpture Biennial and the Toorak Village Sculpture Show.


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Odysseus, The test of the long bowCypress and wine barrel oak167 x 48 x 26cm, 2012$1750

Trudy Moore

Trudy was born in 1980 and completed her MFA at RMIT University, Melbourne in 2010. She received an ArtStart Grant from the Australia Council that same year and undertook a residency with Bains::Connective in Belgium in 2011. She has also participated in a range of exhibitions, both in Australia and internationally, including Kurdistan, Belgium, Sydney and Melbourne. She is also a finalist in the 2013 Hutchins Art Prize, to be held in Hobart in October.

Chair (7) (image indicative of work)Charcoal on paper

130 x 130 x 100cm, 2013POA

I use paper and charcoal to take large-scale, sculptural rubbings of objects and architecture. Through this work I am exploring a space between drawing and sculpture and considering notions of transition, fragility and memory in relation to personal human experience. The empty, fragile, three-dimensional rubbings suggest notions of absence and presence, whilst also dealing with ideas of artifice and illusion. The techniques I employ to manipulate the paper indicate an expenditure of physical energy, illustrating both force and support and creating a tension between resistance and collapse.


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Jesus Moreta

Art is the creation of visual images that communicate the depths of social and personal dreams and imaginations. In the world we produce tons and tons of rubbish. In my work I try to help with the process of recycling, using a combination of different materials as a medium and inspiration, to turn these dreams in to reality. Each of my works has its own unique inspiration, which will inspire each individual to stop and reflect and create his or her own personal reflection and commentary.

Almuerzo (Lunch Time)Papier Mâché, 30 x 40 x 27cm, 2012, $1200

Jesus was born in Otavalo, Ecuador in 1973, into a culture immersed in art and music, but never had the opportunity or privilege of formal art classes. When he was 26 years old he discovered that he had a passion and natural ability to create intricate sculptures from paper mache. Much of his creativity comes from his ancestral culture and heritage, mixed with inspiration from modern day life. He has recently begun to diversify and explore other mediums. Jesus has regular solo and group exhibitions and is a highly respected artist in his home country of Ecuador. He now lives in Melbourne, Australia.


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Joanne Mott

Joanne is a visual artist-sculptor working in Melbourne. She employs a compendium of materials and techniques to produce sculpture, installation, collage, environmental art, site-specific works and land art. Her practice springs from her engagement with the heterogeneity of “nature” and “culture”, viewing them to be inextricably interconnected. These investigations go on to inform both her studio-based artworks and landscape-located site-specific pieces. Joanne’s practice encompasses community art project facilitation, curatorship, jewellery making, theatre and performance design. She is a board member of C3 Artspace, Melbourne.

Aureus orbusWood, acrylic, beeswax

33 x 25cm dia, 2013, $2200

This group of timber sculptures are inspired by, but not limited to the taxonomical exactness of fungi. Wood has been selected specifically as the material for these works as it pertains to the symbiotic relationship trees and fungi possess. I have employed a de-formalising approach of classical woodturning called “off-centre turning” finished with acrylic paint and beeswax, the colours selected to represent the broad spectrum found in the fungi kingdom. The term “jewels of the forest”, equates with my own experience in the bush and forest, where brightly colored mushrooms are often in dazzling contrast to the surrounding muted tones. Fungi is a much overlooked yet vitally important element to every eco system. These sculptures are in celebration of this magical kingdom.


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represented by MARS Gallery

Rutlus cornuWood, acrylic, beeswax

48 x 22cm dia, 2013, $2200

Viridus campanaWood, acrylic, beeswax

42 x 23cm dia, 2013, $2200

Amanda Nelson

My sculptures relate to home, featuring elements of the waters around Westernport and objects found in the bay. They relate to the consistently evolving journey of life through death. The starting point for my art making process is likely to be either a practical investigation or emotional expression. I explore my perceptions of the world. It’s a response to observations, emotions, and my understanding of the human experience.

Haliospinosa pluradactylaPolyurethane resin, found objects, 40 x 29 x 19cm, 2013$490

Amanda’s practice has developed with an increasing awareness of environmental issues and the interplay between place and identity. Her focus is now on connections and the themes that interest her include relationships, personal symbolism, and ways of seeing. Current works may be either sculptural, painting or mixed media. She is interested in finding a moment of awareness, appreciation or questioning in every day familiarity.


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Gael O’Leary

Gael has been a sculptor for over three decades . She works predominantly in bronze and has many large scale commissioned works installed in various localities in Australia, New Zealand and the USA. Gael also enjoys working on a small scale, and trees are a recurring motif in her work. Trees in her works symbolize growth and deterioration, hope and resurrection, and concern for the environment. Some of her small whimsical bronzes, many including trees, still reference the rich natural world with its supernatural energy, and each piece has an individual, distinct form which speaks of an inner energy or soul.

VistaBronze, wood, copper, 43 x 40 x 6cm, 2013

$950

The illusion of a tree seen through the window of the mind, with the echo of an undulating landscape underneath.


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Clare O’Shannessy

Why is it on its back? Why are there human and animal parts? Why are parts of it transparent? Many questions arise from this work. The answers to which allow personal responses, based on individuals personal experiences and their exposure to such feelings conjured by viewing Sam.

SamResin, aluminium wire, hessian, papier mache, acrylic paint, wire mesh, latex, cement, bandage, 80 x 78 x 80cm, 2011$600

Clare has been experimenting with different sculptural mediums since 2008. She has developed a studio practice at the Artful Dodgers Studios and completed Rudder Exchange Visual Arts Mentoring Partnerships with Annee Miron. Clare has created many works influenced by the animal kingdom. Exploring animals’ physical traits has led her on interesting trails. Exhibiting highlights include NGV Studio. She is currently studying a Bachelor of Fine Art at Monash University.


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represented by Artful Dodgers Studios

Luciana Perin

Born Luciana Di Lallo in the Molise region of Italy, Luciana migrated at the age of six with her parents to Melbourne where the family settled in North Carlton. She completed a Bachelor of Education (Art and Crafts) at the University of Melbourne in 1977 and taught art at secondary schools and in tertiary colleges. After several years teaching she left the classroom to further develop her painting extending her talents to design fashion, costumes for the theatre and in architecture as interior colour designer. In 2004 she returned to study obtaining a MFA at the University of RMIT. Since then she has been exhibiting both locally and internationally and is the recipient of several art awards and grants.

Reclining Venus (detail)Stainless steel mesh, nylon, Dimensions variable, 2013

$2200


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represented by ArteGiro Contemporary Art

The cycle of collection, separation and extraction of an essence in the act of filtration, strikes parallels in human existence. The oversize filter/strainer similar to a venus basket (a sea sponge that lives at the bottom of the ocean), is a metaphor for all that is accumulated in the human body through cultural, sociological and psychological experience and the distillation of what is truly valuable and what really matters in ones life journey.

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Anna Maria Plescia

I utilize ordinary consumer goods, salvaged materials, multiples, repetition and pattern to create hand-crafted objects and installations that explore the ambivalent overlapping between chance and control, containment and excess, and notions of the inside and outside, skins and human vulnerability. The resulting forms are often suggestive of organic structures and patterns such as landforms, waves and water flow.

JennieToothpicks, calico, 30 x 135 x 40cm, 2011$5500

Anna Maria graduated from RMIT in 2010, had her first solo exhibition at First Site Gallery and won the aRtECYCLE Moonee Valley City Council Award and the Peoples Choice Award at the Incinerator Art Complex. She also won First Prize at aRtECYCLE 2010 and was People’s Choice winner in 2011. She has exhibited at ARC ONE Gallery, the Sustainable Living Festival at BMW Edge Gallery, Brunswick Arts Space and Yering Station Sculpture Exhibition winning 2nd Prize in 2010 and 1st Prize in 2011. Anna Maria is a committee member at The Library Artspace gallery and works at the J-Studios Artists Community in North Fitzroy.


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Anna Prifti

Anna began her training with a BA at Fine Art Academy Tirana, Albania in 1987. She has been exhibiting for more than 25 years with 15 solo and over 60 group shows in Europe and Australia.

IlluminationSteel, wood, marble

dust, 23K gold, resin, 56 x 62 x15cm, 2012

NFS

Illumination-Prometheus bringing the fire to the humans.In my art practice I employ the materials and coded language of the ancient byzantine technique and greco-roman antiquity. With a metaphysical element being expressed through organic forms and materials, the artworks are meditative and in a state of stillness, inviting the viewer to contemplate. As I am trained in mural and monumental painting, I try to bring these elements into my sculpture. The organic materials and shapes become a channel for expression of different forms of energy in connection with a different “other world”.


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Loretta Quinn

PearlPlaster, aluminium sealants, fabric, paint, 56 x 33 x 68cm, 2010, POA

Loretta was born in Hobart where she began her art studies at the University of Tasmania. She has been a lecturer and teacher in Sculpture at Victorian Universities since 1985, including Monash, Melbourne, VCA and RMIT where she is currently employed. She has received numerous awards and funding grants and her almost 100 exhibitions have included 17 solo shows including major retrospectives at Stonington Museum of Art and the Glen Eira City Council Gallery. Represented in collections nationally and internationally including the Australian National Gallery Canberra, Melbourne City Council and City of Port Phillip, she has five permanent public sculptures in Melbourne’s CBD, including Beyond the Ocean of Existence, a 6 metre bronze work at the corner of Flinders Lane and Swanston Street.


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Anna Robertson

Born of Russian émigré parents, Anna came to Australia in 1949. Now a mother and grandmother, she has worked as a secretary, primary teacher, family services co-ordinator and pastoral counselor before taking up sculpture. She is studio trained, working with Gael O’Leary since 1998 completing many short courses in various sculpture processes. She is currently a resident sculptor and assistant teacher at Bayside Sculpture in Highett, where she also creates her own works. She has works in private collections in New York and Australia.

WishbonesMixed media, 30 x 39 x 22cm, 2012

$675

Bleached bones are remainders of what was once alive and lively, deteriorated by time. Our early wishes are also changed and eroded by time though some persist. At times it is the passion with which we attach to our wishes, that speaks to the depth of the human spirit and our longing for a better life. This is the preciousness of the past and of the future.


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Anne Ronjat

I have been particularly inspired by the art of ancient civilizations orientated towards the sacred. Recently I have explored my deep love of Russian orthodox iconography and traveled regularly to South East Asia to study new skills: stone cutting, metal carving and silversmithing. This has begun a new journey amalgamating these new techniques and mediums. This piece encapsulates the commonality found within various traditions, shamanic, spiritual and religious which act as vehicles expressive of humanity’s aspirations to live in truth. As the representative embodiment of these traditions, the subject acts as an alchemist of unity. The wooden beads she is wearing and that represent these multiple traditions are transmuted into a whole or unity expressed through the gold beads that have manifested in her hands.

The alchemistEarthenware ceramic, brass, semi precious stones, acrylic paint41 x 25 x 15cm, 2013, $650

Anne is a professional ceramic artist based in Melbourne. She was born in France where she received very traditional training as a thrower of functional ware, completing a 3 year apprenticeship before moving to Australia. Here she began creating her own range of fine tableware which are retailed throughout Australia in boutiques, galleries, interior designers outlets and published in various magazines. Her sculptural work began in 2000 as an exploration of the feminine concentrated in figurative subjects.


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Maria Simonelli

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.

White LaceMixed media, 160 x 100 x 50cm, 2013

$800

Recent works have deliberately utilised neglected and discarded materials, and exploited their uniqueness to create intimate and soft sculptures. I am influenced by urban trends and contemporary issues and interested in intervening in everyday patterns by provoking alternative forms of discourse and making connections between disparate ideas to promote a different perspective. Part of the motivation has been driven from many years working on sustainability issues and combining this with my passion for the creative arts. This piece also honours a remnant of women’s traditional craft. The geometric patterns and symmetry of the crochets reinforce patterns found in the natural environment.


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Adrian Spurr

My recent sculptural works exhibit a formal interest in the use of texture, surface and found objects. This particular sculpture is comprised of hand cut pinewood pieces, antique cedar table legs found in the Wimmera, an old wooden electrician’s case, a found wooden drawer, an axe handle and a small wooden box divider. The sculpture has, as its point of departure, an inquiry into possible travel in the fourth dimension. This is not as Jules Verne might have described but as I have experienced it, based on the sharing of a precise aesthetic with people of the past. It seems to occur early in the day and in significant historical or cultural places.

Collapse in the fourth DPine wood pieces, found wooden objects220 x 67 x 80cm, 2013, $2500

Adrian studied sculpture and printmaking in the UK before moving to Australia in 1998. In 2012 he won the Toorak Village Sculpture prize. Other exhibitions include the Melbourne Sculpture Prize and the John Fries Memorial Prize in Sydney. Since moving to Australia the primary source of his investigation has been the arid regions North Western Victoria and South Western NSW. Amidst that delicate and complex landscape he finds himself considering the similarly delicate and complex nature of the human condition.


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Benjamin Storch

Originally from Germany, Benjamin worked with metal and sculpture in the UK for 15 years, prior to relocating to Melbourne in 2011. Through a PhD research project he undertook several years ago, he has pursued an interest in how to manipulate sheet metal to materialise concepts of minimal and ‘fluid’ surfaces. Through an Arts Council of Wales grant in 2006, he developed processes to create works suitable for public spaces. Recent projects include works for the Shangri-La Hotel at the Shard in London and in Shanghai, residential developments in Hong Kong and the McClelland Sculpture Survey.

Through the CentreCopper on granite slab, 93 x 100 x 44cm, 2012

$15,800

My work stems from a fascination with fluid, dynamic motion, whether witnessed in nature, human motion or computer-aided visualisations in the sciences. I believe that this originates from a deep-seated kinesthetic empathy with orbital and vortex-like motions, maybe similar to a dancer working with and balancing forces of spin and gravity. I associate this dynamic sense with an inner emotional, psychological balancing, in the pursuit of dreams and avoidance of conflict. In a way my work is trying to give shape to these nonverbal processes. To achieve this in a sculptural form I spent years researching processes to form sheet metal into surfaces of complex transitions of negative, anticlastic curvature. It may seem strange to use a rigid medium to realise the ‘fluid’ intentions, but I find the still form offers a space to contemplate.


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Todd Stuart

The idea of this work is to create fluidity between the forms. The energy radiating from the piece is both dynamic and revealing with the presence of growth and direction apparent. It can be likened to the start of embryonic life where cells grow, develop and advance themselves in a way that seems unpredictable. It seems impossible to predetermine the pattern of development, size or direction the form will emulate; but it later becomes apparent that a plan and flow was created.

Morph#316 Stainless Steel, black granite base, 250 x 111 x 70cm, 2012$34,200

Todd was born in Perth, WA in 1970. His father was a teacher of manual arts at secondary school and as a young boy, he spent a lot of time in his father’s workshop, creating, making and experimenting in many different materials. He graduated in Industrial Design at Curtin University in 1992 and was employed as a furniture designer. In 1994 he commenced his own business FURNITURHAUS Pty, focused on creating bespoke furniture for interior designers, architects and projects Australia wide. In 2005 he set up business in Dubai and his career path developed in an exciting new direction. He was commissioned in various major cities in the Middle East to create large scale site specific sculptural works. In early 2011, Todd returned to Australia to the Dandenong Ranges to further explore his passion for sculpture.


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James Tapscott

After a gradual departure from painting some time ago, James began creating installations that work with the environment. Nature has now become his studio. His practice is influenced by artists like Robert Irwin and James Turrell and revolves around a process of researching and evolving the piece as it is installed in specific locations.

Arc Six (image from installation at Falls Creek, Victoria) Installation, dimensions variable, 2013

$5000

My work explores the link between subjective and objective reality, and the effect our perception has on our understanding of the world around us. I seek to create a balance between a ritualistic artistic process and natural phenomena. Installations are temporary and site-determined, a collaboration between myself and the location that functions as a conduit between the observer and the environment. The forms I create are simple, elegant – without baggage, enabling the viewer to experience a state of nameless non-objectification, if only for a brief moment. This primal interaction empowers one to transcend language and embrace the potential to remove or ignore perceived boundaries between self and subject… to see a little more today than they did yesterday.


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Christopher Taylor

I recently had a “zen ‘experience standing alone on the sand dunes of the ninety-mile beach looking at the vast empty space in front of me. I was struck by the meditative rhythm of the incoming waves as each gently folded over the other, eventually rolling into the shore. The simplicity of the flowing lines fired my imagination and I set out to capture this effect.

WaveCypress pine and fibreglass50 x 100 x 270cm, 2013(Installation can be wall mounted)$4200

Chris is a Melbourne based artist working in metal, timber plastics and drawing. He has a studio in Carlton and a large workshop in the country at Drummond, Victoria. His work is mainly sculptural which requires careful conceptual pre planning and long process time, but he maintains an extensive drawing practice to ensure that his work stays dynamic and spontaneous. His inspiration comes from the immediate world he encounters as he walks the streets around his neighborhood, or contemplates the forces of nature.


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Sholto Turner

Sholto is a sculptor whose practice has incorporated both functional and fine art objects over many years. In 2012, as part of the artist duo Turner & White, he completed a major commission of over 70 works for the Park Hyatt Hotel in Sydney.

Seed PodsWood, 90 x 30 x 23cm, 2013

$2250

The Seed is such a powerful metaphor, representing, new life or new beginnings. The Seed Pod, is the vessel that has briefly carried this piece of future, and whilst discarded - is beautiful in its own right. I have always been awed by nature’s ability to surprise, and re-invent itself, in the most unpredictable of ways.


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Mary van den Broek

The hopscotch name relates to hopping and the ‘scotch’ or scratch line that is usually made in chalk. It is thought that it was invented by the Romans to train their army. The numbers used in the grid, Roman, Arabic, Greek and Chinese, allude to the fact that all cultures use different languages and symbols that can make communication difficult, but these can often be dispelled by play, interaction and humour. The work is interactive with pressure sensitive pads that activate LED solar powered lighting.

HopscotchCorten Steel, rubber, solar lighting, 270 x 100 x 300cm, 2013$5500

Mary has 20 years experience in occupational therapy and has been pursuing sculpture for 12 years, making and exhibiting work in solo and group exhibitions. She won the emerging artist prize at the Melbourne Flower and Garden Show in 2009 and the Dalchem prize in 2012 at the Annual Awards of the Victorian Sculpture Society at Yarra Sculpture Gallery. She is currently pursuing her MFA at RMIT University. Public art commissions include St John of God Hospital and Ballarat Health Services and her work can be viewed at www.marysculptor.com.au.


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Christopher Vassallo

Chris was born in Melbourne in 1976. He studied design at Swinburne University of Technology in 1994 and completed an Associate Diploma of Computer Aided Art and Design in 1995. His works have been awarded at England’s prestigious Chelsea Flower Show, The Melbourne International Flower and Garden Show, the Tesselaar Tulip Festival and the Toorak Sculpture Festival. His works are in collections across Australia, USA, UK, New Zealand, Papua New Guinea, Fiji, Singapore and the United Arab Emirates.

exoskeletonCorten steel, 150 x 150 x 150cm, 2012

$7700

I am particularly concerned with the idea of using one shape to form an object, which in turn creates another bolder shape either in positive or negative space. Just as the name suggests, this work is representative of an external skeleton; in particular the external skeleton of a crustacean or shell. The structure is designed to perfectly emulate the protective nature of the live exoskeleton, acting as a barrier and defence against all predators and outside forces. The outside is highlighted with structural spines and a decorative laser cut design, allowing viewing portholes into the centre, where you can closely sight the intricate workings of the build.


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Hartmut Veit

My exhibits are informed by my fascination with archaeology, anthropology, ethnographic museums and ancient systems of knowledge that predate the European enlightenment. This piece is one that Toyota employees and visitors can enter – one way or another they become part of the work. In the context of an increasingly global world I am interested in how public institutions, corporations, philosophies, religion, ideologies and deeply subliminal beliefs shape our perceptions, cognition and interaction with the environment. Based on a methodology and practice of Buddhist mindfulness meditation, I am interested in mostly ignored issues of perception and how we construct reality – and how this ultimately shapes our responses to and interaction with the spaces we find ourselves in… in this case a nature shelter built within the grand architecture of a global corporation.

Untitled - (Beyond the expressive fallacy and Adorno’s nature boy)Installation with pine needles brushes, wood, twine, various books, property sales board, styrofoam, plastic and metal200 x 120 x 160cm, 2012POA

Hartmut completed his Masters of Visual Art at Monash in June 2013. His artistic practice is shaped by his German cultural heritage and childhood experiences of growing up in remote rural areas in the Highlands of Papua New Guinea and the Rocky Mountains of Canada, contrasted against subsequent experiences of urban living in highly industrialised societies in Germany and now Australia.


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Carmel Wallace

Carmel has exhibited widely in both solo and group exhibitions and has been a finalist in Lorne Sculpture, Montalto Sculpture Prize, Yering Station Sculpture Exhibition and many others. Awards include the City of Mt Gambier Prize in the 2006 Forestry SA Wood Sculpture Competition and the 2012 SCOPE Galleries Art Award. Her work Illuminated by Fire, Portland (an 18m floating sculpture lit by pyrotechnics), was part of The Light in Winter on the Yarra River at Federation Square in 2011. More recently Carmel has created work for One River, a Centenary of Canberra project occurring across the Murray-Darling basin and in Canberra throughout 2013. carmelwallace.com

Lure 1 and Lure 2Fishing nets, wire armature, 150 x 32 x 32cm each, 2013

$1150 each

My work is a multi-disciplinary investigation that is deeply embedded in my home territory in southwest Victoria. Materials washed up with the tides or gathered from other sources are recycled, their forms and patinas imbued with stories of other encounters and lives. The plastic materiality of this work references the general concept of ‘lure’ as something that entices or tempts in spite of possibilities of entrapment. It has been inspired by the small weathered fishing-lures I constantly find washed up on the tide-lines of my local beaches.


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Remy Wong

The tie is a confusing item. Men fasten it around their neck as a fashion or business necessity yet it serves little to no practical purpose. In this work I explore the notion of the tie as a man’s totem of power by creating a dress that accentuates the female form entirely from ties. The woman in the dress, the Urban Huntress,

climbs up the corporate ladder, collecting the pelts, or ties, of the men she conquers as she works her way upwards, smashing through the ‘glass ceiling’.

Urban HuntressRepurposed neckties, silk taffeta, tulle, wire, cotton thread200 x 100 x 100cm, 2012, NFS

Remy is currently completing her VCE studies this year and aspiring to a career in the creative arts. The work exhibited here was shown earlier this year at the NGV Top Arts 2013 Exhibition, an annual exhibition presenting selected works by VCE students from across Victoria. Her interest in feminism and exploration of power symbols of the male dominated corporate world, along with her passion for textiles and fabrics, were the inspiration for this piece. Throughout the process, she sought to explore the many different ways she could re-work the fabric of the ties into different formations, making them look very different to their original form.


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Daniel Worth

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 twelve solo exhibitions, received several art awards and exhibited widely in group shows in Australia, China, London and New York.

CormorantFound objects, 172 x 107 x 12cm, 2011

$2000

This sculpture came from spending time walking along the Thames while living in London. I would watch the Cormorants along the river diving for fish and spreading their wings to dry in the sun upon the various unused piers along the river. During one of these walks I found a very old piece of oak on the riverbank and realised that it was the exact same shape as the Cormorants body. This find gave me the idea to create this sculpture from objects I found along the river. The Thames has been the city’s garbage tip for literally thousands of years, so I wanted to capture some of the history in my sculpture as well. From an old sole of a shoe to a piece of bog oak that, judging by the coloration, is likely hundreds of years old, I included both junk and natural found objects to create the bird, illustrating how civilization and the river have grown together for millennia.


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Vaidas Zvirblis

My sculptures are like my paintings or illustrations converted into 3D. I like to create sculptures with very stylised, decorative forms, and mostly work with recycled materials due to concern for the environment. I build the main body structure from recycled timber and then render it with a mixture of straw, grass, sand and clay, to give it a volume and a wanted shape. I finish my sculptures with clay and oils, so it is painterly textured and waterproof.

Together ForeverRecycled materials, timber, straw, clay, sand, oil and varnishes93 x 32 x 54cm, 2013$2300

Vaidas was born in 1964 in Lithuania, where he received his MFA at Vilnius Art Academy. In 1996 he received the UNESCO scholarship for a 3 month art residency in Sanskriti Kendra, India which culminated in a solo exhibition in Delhi. He moved to Australia in 1998, settling in Melbourne with his family. Drawing has always been at the core of his practice, having illustrated 6 children’s books, one of which received the 2008 Lithuanian Council of Arts’ Children’s Book of the year. He also represented Lithuania at the 2011 Bologna Children’s Book Fair in Italy and the 3rd Tallinn Illustration’s Triennial in Estonia in 2009. Vaidas exhibits regularly in Australia and overseas exploring a wide range of creative mediums.


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Documents

All Creatures Great and Small - Sculpture 2013