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August - September 2005 Issn 0728 1293www.sculptorssociety.com
BulletinThe Sculptors Society
The 2005 Darling Park Exhibi-tion has overall been a good one for the Sculptors Society. The large central-ly located space makes an excellent venue for its major exhibition, with as many as 250 exhibits on show. The achievement of each work is as varied as the number of pieces themselves. As each sculpture jostles for the attention of the viewer we are aware of how easy it is to overlook work that might be especially noteworthy. There are works that distin-guish themselves for a variety of reasons. As well as sculptural harmony and balance, perhaps because of a blend of elements such as originality of concept, technical ex-cellence or an imaginative use of materials, they have combined together to result in effective visual dynamics. As we are aware
Sculpture Society members are drawn from a diverse range of backgrounds and from a wide range of sculptural disciplines. That diversity and competence in many techniques, which aids sculptural expres-sion, is impressive. I have been asked to comment on a few works whose visual ingredients communicate in an especially confi dent and effective manner to me. The magnet ic appeal and instant visual engagement created by the use of such simple elements as found in Minuella Chapman’s “Sailing to Byzantium” create an enormously pow-erful impact. The symmetry of the work, the smooth matte black of its surface and the immense strength in its form, combine to create a most satisfying work.
Morgan Dehar’s “Metamor-phosis” is a superbly crafted sculpture in
hebel, wood and bronze. The imminent emergence of a winged creature, out of a symmetrical chrysalis-like form, hov-
Congratulations to Darling Park Prizewinners!!Pin Hsun Hsiang’s “Back” won the $1000 Sculptors Society prize. May Barrie’s “Untitled” won the The Latham Australia prize. Jean Grif-fi n’s “ Squashed Summer Hat” won the Crawford’s Casting award. Clive Calder’s Bronze Casting Prize went to River Huang He, and the Australian Bronze Masterworks prize went to Roz Stamp-fl i for her wire sculptures.
The following sculptors were highly com-mended for their works:Larissa Smagarinsky for “Bliss”Larissa Smagarinsky for “Bliss”Larissa SmagarinskyRoger McFarlane for “Moonlight Miss”Jan Shaw for “Feather”Torben Jensen for “Pensive Owl”
Congratulations to all these members!
The bar will open at 6.30pm and the Society have organised the catering of delicious sandwiches and other savoury and sweet delicacies to nosh on. This is a great time to meet old friends, and forge new friendships with like-minded people.
At 7.30pm we will be treated to a power-point presentation followed by questions and answers from our guest speaker.
Belinda Tierney will give us a pro-Belinda Tierney will give us a pro-Belinda Tierneyfi le of the work done by Australian Art Resources,l describe the role of art consultant, and explain how the company provides assistance for sculptors in the commissionaing of sculptural works. Originally from Melbourne, we are hoping that Belinda will show us examples of how they have approached sculptors in the past, and ways in which her company sees opportunities for sculptors in future project
Bronze Casting Prize went to , and the Australian Bronze
Review of Darling Park SculptureAngela Morrell
Next Forum - Thursday 20 October, 20056.30pm, North Sydney Leagues Club
Larissa Smagarinsky: “Bliss” bronze 39cm long
Pin Hsun Hsiang: “Back” wood
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the eye in a multitude of directions and takes us into a “Different dimension”.
Ernie Perkins’ “Shell” is a fabulous carving of a shell in jacaranda wood. The technical excellence of this piece has elevated it to the level of being a truly precious object. It’s exqui-site transformation is remarkable.
Aris Ruicens’ “Tango” in carved Australian red cedar depicts the curving movement of a piano accordionist in action . Aris’ talent is expressed by the perfect ease with which he describes his subject. He incorporates a beautiful sim-plicity of form with an economy of line.
Gino Sanguineti’s “Composi-tion” in bronze and wood is an harmoni-tion” in bronze and wood is an harmoni-tion”ous arrangement of shapes that balance one on the other. They represent real images such as a fi gure in a doorway, a bird, water, a plant, a surfboard and ball, and sunshine. Together they make the most pleasing composition executed by an experienced sculpture.
Anne Marie Wilkins’ “Don’t tell me that” in bronze is a seductive embryonic that” in bronze is a seductive embryonic that”fi gure that has rounded curves that unite in an oval form. It takes restraint not to reach out and caress this seductive work. It is a small sculpture but is enormous in impact. Imbued with strong emotion it appeals to the inner being.
Michael Vaynman’s “Earth mother” is a cubist simplifi cation of mother” is a cubist simplifi cation of mother”form, utilized in a most effective manner to describe a voluptuous female fi gure. The shapes that compose the image are strong and perfectly balanced. Michael’s expertise in working with the bronze medium is evident. He fi nishes his work with a superb patina.
Sally Zylberberg’s “Watch-ing” is a clever comment on global ing” is a clever comment on global ing”warming. The rounded shapes of three life size grey young seals, are grouped together, creating impact in an alien environment. Two are are wearing infra red sunglasses. The third looks up with the appeal of a trusting puppy. The seals make the viewer feel slightly un-comfortable as they watch and wait.
ers beautifully over a carved wooden base. that describes choppy waves in the ocean. I t s symbo l i c lan-guage can be variously interpreted.
P e t r e n a S h a w ’ sbronze p ig “Wilbur” i s a sk i l l -fu l portrayal of an animal which seduces us with its deep folds of fl esh and its expression of judgmental good humor. This is no ordinary pig but one of importance, and it’s immortalized in a manner that it deserves. Petrena has successfully managed to imbue energy into what is a most unlikely subject matter.
Larissa Smagarinsky’s cubist portrayal “Nightshade” is a balanced and fl owing interaction of shapes. She expresses competence in the creation of this ceramic work. A glowing bronze-likepatina enhances the works fluidity of form. With tenderness an intimate, deathly and secret ive moment is captured with confidence and skill.
Sandra Stone’s ”Icarus 11”makes a beautiful image and is one of the most original works in the entire show.Icarus forgets his fathers warning that his wings of wax and feather would melt if he fl ew too near the sun. San-dra depicts the moment that Icarus is about to plunge to his death in the sea.
Vladimir Tichy draws inspiration Vladimir Tichy draws inspiration Vladimir Tichyfrom ancient mythology where humans, animals birds and reptiles are part of the interconnectedness of natural functioning. “Lizard and the Oyster” creates an erotic and playful combination of images. The virile lizard with human characteristics is balanced on a rock with an oyster shell in hand. As we know, the fame of the oyster is for its properties as a potent aphrodisiac.
Henri Teris’ rendering of “Cecily” in resin and nickel using Axol-“Cecily” in resin and nickel using Axol-“Cecily”otl, a nickel patina, on her surface has given rise to a new rank of skin beauty. This interesting texture gives a contem-porary feel to a modern classic torso. The clean crisp control of line and form in Marni Kosker’s “A study in marble” demonstrates a technical matu-rity. She cleverly balances her work so as to give lightness to a solid shape. I will be in-terested to watch out for Marni’s future work.
Bruce Nicholas’ “Tiger-Lily”Bruce Nicholas’ “Tiger-Lily” Bruce Nicholas’ “Tiger-Lily”is a marble carving of a semi-abstract torso. It has a sensual, classic beauty that has a seductive appeal. This is the work of an experienced carver who has man-aged to capture subtlety in a highly resolved form.
Tom Mourad’s ability as a wood carver is quite over whelming. Of his four pieces I particularly enjoyed his work in red gum. This fabulous sculpture is excit-ing. It has an exotic theatricality and is full of movement. Writhing abstracted bodies of both humans and animals lead
Suggestions please!If any Society members have any sug-gestions or good contacts for us in publicising the special events/exhibitions which we hold, please bring your sug-gestions to the forums, or contact our new Publicity Offi cer, Gary Grant on Phone: 9785 4686 Email: [email protected] Grant: 9785 4686
Sculptors Society Hits the Airwaves.We were very fortunate to receive daily announcements on Radio FM 103.2 dur-ing the Darling Park Exhibition. Mention was made regarding the exhibition being the largest of its kind held in Australia, with over 250 sculptures by many of Australia’s well known sculptors. A spe-cial thank-you goes to James Hinchon from this radio station. The station’s broadcasts have a wide-based listening public across Sydney. Such initiatives have helped broaden our reach to the general public.
In addition, radio station ABC 702 with Simon Mahoney advertised the Darling Park Exhibition on Saturday morning, and The Macka Show on Sunday morn-ing publicised the exhibition on their Community News website.
Radio Stations FM 101.7 and FM 106.5 have advertised the Darling Park Exhibi-tion on their Community News websites.
A specail thanks to all of these radio stations for their support of our latest endeavours. They have all helped in making the 2005 Darling Park Exhibition the success that it has been!
Vladmir Tichy: “Lizard and the Oyster” ceramic
Jan Shaw: “Feather” stone
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One Day Life study introduction with Tom BassSunday 18 September 2005, 9.30am to 3.30pm In this very popular class Tom Bass will explore the fundamental elements of the fi gure and the rhythmic movement of the pose to create the basis for the development of the life study, and capture the essence of the work from the beginning..
Cost $150 early bird $120 by 12 September
Colouring workshop Sunday 25 September 2005, 9am to 4.30pm
Hands on experience of colouring your plaster sculpture Hands on experience of colouring your plaster sculpture Numbers strictlystrictly limited to ensure good outcomeMaterials providedFee $150 early bird $130 by 16 September
Master Sculptor ProgramAfter a very successful event last year during Sculpture by the Sea we will once again invite a Master Sculptor to teach a work-shop at the School – end October to early November. Details currently under negotiation.Contact us to express your interest in this or check our website for further details
Throughout the year we run a series of innovative workshops. Check our website regularly or let us know how we can keep you informed www.tombasssculptureschool.org.au
1a Clara St Erskineville 2043 ph 02 9565 4851 [email protected]
Welcome to new membersWe welcome to our Society the followingnew members: Sergio Redegalli, Micha Nussinov, Peter Day, and Julie Reilly are joining as full members, Verena Bacchini is upgrading from student membership to full membership, and Lorna Darby is joining us as a student member. We hope you will all take an active part in the Society’s activities.
Thank you!!The opening of our Darling Park Exhibi-tion was a great success; many happy people enjoying themselves, and admir-ing our sculptures.
We wish to thank Darling Park for the use of their beautiful building, - and in particular, Helen Francis for arrangingit all.
We also wish to thank our sponsors, David Latham, Alan Crawford and Clive Calder. It helps to make our exhibition exciting, wondering who is going to win the prizes. Thank you too, Stella Downer, our very gracious judge this year; it is not an easy job choosing, and it is interesting to see her remarks about the process she employed.
We were very fortunate to have the Hon. Justice Ruth McColl to open our exhibi-tion. She is the daughter of one of our foundation members, Mitzi McColl, who fortunately was well enough to come and witness this wonderful occasion. We are fortunate too to be able to bring you an abridged version of Ruth McColl’s ad-dress, so that our country members and those not able to attend can get a sense of the occasion.
For over 30 Years Lathams have been supplying the stoneindustry, amateur and professional Stone Masons, Sculptors,Marble and Granite users.
Our range includes a comprehensive stock of Cuturi pneumatichammers, hand and machine tungsten carbide chisels, nylon mallets, bitch picks, diamond core drills, diamond blades,grinding wheels and disks.
Sealers, polishers, waxes, cleaners, mastic and epoxy also in stock. Either drop into our showroom or contact us on the above numbers.
Latham Australia Pty Ltd14 Tennyson Rd, Gladesville, NSW 2111Ph: (02) 9879 7888 Fax: (02) 9879 7666 Email: [email protected]@latham-australia.com
Tom BassSculpture Studio SchoolTerm 4 Commences 1 October 2005
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Report on July ForumAngela Morrell
Forum meetings present members with the opportunity of socializing and exposing themselves to a variety of topics that are of concern to sculptors. Our July forum featured two speakers, both expert in their different fi elds. They discussed their topics with clarity and engaged members in an interest-ing forum question time. It was most enjoyable.
Warrick Timmins was quite modest in his summary of the events that led to his selection as Australia’s representative in the 3rd International Sculpture Sympo-sium in China last year. He then gave us a captivating insight into his experiences as a participant in the symposium, at the close of which he produced an imposing abstract marble sculpture, “Totem”.
His talk was accompanied by some intriguing pictures of the setting where he lived and worked for two and half weeks in Hui’an city, a major granite and marble carving area of Fujian Province.
On arrival at the carving site, the In-ternational contingent of 80 sculptors (71 Chinese and 9 Internationals) were warmly welcomed with a show of colour-ful pageantry which included balloons and brass marching bands.
After offi cial greetings each artist com-menced work with the assistance of a highly experienced artisan and interpret-er at their disposal. Carvers start their training from the early age of 11years old and work in conditions that have
little consideration for personal safety or health . Surreal images of squatting carvers, ladders, drink bottles and ma-chinery were set amidst a thick atmos-phere of billowing clouds of marble dust and evolving artwork. Massive blocks of superb white marble were gradually transformed into a range of impressive abstract and fi gurative sculptures.
In this part of China, Westerners are still a novel sight and the imposing presence of Warrick was likened to a traditional Buddha Sculpture. In a dignifi ed pose he was captured in an amusing photograph next to a Buddha of comparative size.
The masterpieces produced by sympo-sium members will remain in China, and are to be placed amongst 1500 sculp-tures that line the route between Hui’an city and the ancient peninsula city of Chongwu.
Tania Taylor is a senior interior design-er with twelve years experience work-ing for Cox Richardson Architects. She talked about the incorporation of artists and the commissioning of sculpture in the interior design planning process. Ar-chitectural examples, with the inclusion of sculptures, accompanied her precise and stimulating presentation.
Taylor described how art is of paramount importance in the philosophical approach to design within their practice .Early inclusion and involvement is sought with the artist so as to determine the right collaborative outcome.
Artists are sought with a complimentary philosophical and aesthetic approach to the architect. An appropriate matching of media and architectural design takes place. The scale of work is considered plus a fl exible working relationship is required. Cost constraints are also of importance.
Opportunities for sculptors are devel-oped in a variety of ways. Past working relationships are of help. Artists should not be shy about approaching architec-tural designers. It assists if a portfolio of existing work and commissioned work is available for viewing. Often, art consult-ant galleries forward appropriate names.
In her summary Taylor said that sculp-tors should make a concerted effort to meet and mix with those architects and designers involved in the architectural planning process. Also, she felt that artists should be more aggressive and assertive in their approach if they are to achieve their goal.
Dedication to a Life Dedicated to Form
Niksa Ciko was born on 4 January, 1930 in Split,Croatia. During his early teens he developed a love for sculpture polishing marbles, whittling things from pieces of wood, he even carved an impressive Christ’s head. A sculptor was born.
After Niksa graduated from Architecture and Engineering at Zagreb University in 1956, he worked as an architect in Zagreb, Croatia, and later for 10 years in Ghana at Accra, and at the Kumasi University. He designed among other things a private zoo for the then president, Dr. K. Nkrumah. While he was a director and partner of a large furniture manufacturing business, he designed furniture, making use of exotic African timbers and bamboo. Several of these are still being produced today. Dur-ing this time he acquired many West African sculptures and masks. In 1971 he moved his family, of now 4 children, to the lucky country, where he worked an an architect, a builder, a consultant and manager. In 1993 he retired.
Niksa had a stong value for peace and justice. After the second world war he was part of an underground Christian movement. In the early 1990’s he was an active mem-ber and president of the Zagreb University Alumni (AMAC), and was an active member of the Croatian Literary and Art Society. He dedicated much time to raising awareness for Croatian culture and heritage, organising classical concerts and art exhibitions and Croatian cultural events. He supported the NO WAR campaign prior to the Iraq invasion.
Niksa fully developed his passion for sculpture in his last years. He discovered clay and many other media, including marble, bronze, and ma-sonry. Niksa particularly liked stone and wood.
Niksa was infl uenced by classical European sculpture and the primitive art and carving of West Africa. He produced classical real-istic sculptures as well as abstract pieces in which elegant elongation subverts the clas-sical form. Sculptural forms, usually organic in shape, managed to fi nd their way into his architecture, with detail niches, curves and arches lending a richness to the overall effect.
In December 1998 Niksa became a member of The Sculptors Society, and exhibited some of his works at Darling Park, Parliament House, The Royal Easter Show, The Central Coast Festival of Arts, The Annual Hunters Hill Municipal Art and Craft Exhibition, and art galleries. He collected several awards and commendations between 2001 and 2004.
5 years ago, Niksa was diagnosed withcancer. He fought his illness well, but also accepted the inevitable when it came. He found peace, joy, acceptance and a newly found delight in the simple pleaures of life - like walks around the lake, spending time with the grandchildren, and just being with his wife and children. On refl ecting on his life he felt he had done the best he could, and was satisfi ed. On a sunny afternoon, on 10 April 2005, Niksa died peacefully with a smile on his face. He will be desperately missed.
Niksa Ciko: Recent work
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Comments on judging of Darling Park ExhibitionStella Downer, Sydney, August 1, 2005
I was honoured to be asked to judge the annual exhibition. Many artists were familiar to me but then again I was introduced to so many new works.
I was impressed by the diverse useof materials. Many artists seem to be casting works often in bronze. There seemed to be a predominance of the hu-man form so my choice of JEAN GRIFFIN’s Squashed Floppy Garden Hat may be a surprise. But it is the simplic-ity of the image that appealed to me. It was so evocative of an older person living in the country turning to an object that was so familiar. She later told me that she has modelled the hat in clay and then had it cast by Crawford Cast-ings. The modelling was well done and the undulating in the brim of the hat echoed the contours of the land. I could imagine this work in a garden acting as a container of water.
I felt PIN HSUN HSIANG’s work was worthy of note and in particular Back. Again it was the simplicity of the form that attracted my attention. I acknowl-edge a glimpse towards Mannerism and more recently Modigliani and his elon-gated forms, but the artist has made this form his own. His careful handling of the timber, the slight bleaching and the minimal markings makes this a contem-plative work.
Again the minimal markings MAY BAR-RIE uses in the black granite shows the confi dence of an experienced artist. I own up to a long appreciation of May’s work. I admire her choice of stones, marbles or granites, the way she instructs them to be cut to show the grains and stratas. Her chiseling and chipping into the material is just enough to announce it as an artwork. But always the natural element is never too disturbed.
I fell in love with TORBEN JENSEN’s owl. What sensitive handling of the timber allowing the grain to become the body form. JAN SHAW is also to be congratu-lated in her stone sculptures. In Feather I found a lightness defying the solidness of the stone. ROGER MCFARLANE’s Moonlight Miss exposed the glorious shades in the white onyx he used. I wanted to acknowledge the many human forms I found throughout the
exhibition and LARISSA SMAGARINSKY’s Bliss is a powerful rendition on a small scale. I can imagine this piece working in a larger scale.
And of course there are so many oth-ers to be recommended - MARGARET SHERIDAN’s work in malachite and gran-ite, SALLIE PORTNOY’s School of Fish in sand cast glass, DIEGO LATELLAS’s Industriale in wood and metal, ALAN SOMERVILLE’s bronzes are always to be admired, GINO SANGUINETI’s Corner of Tuscany in steel and wood again so evocative, are only a few. Forgive me that I can’t name you all but well done.
Opening address at Darling Park Exhibition (abridged)The Hon Justice Ruth McColl
It is a matter of great pride and honour to have been invited to open the 2005 major exhibition of the Sculptors Society.
There are many reasons for sculptors identifying lawyers as suitable to perform this function. Sculpture is, I suggest, the most visible art form in the community and one to which the law has had frequent recourse because of its capacity to convey a powerful message. Traditionally the formal Grecian-style statue of the Lady of Justice has been used to symbolise the law, as the community would most commonly understand it: sometimes blindfolded to indicate the law’s impartiality and carrying a set of scales to demonstrate the balance to which the law aspires.
This symbolic relationship between law and sculpture is not, I am sure, the only reason I was asked to speak this evening. I can speak of the agony and the ecstasy of art as a lifetime pursuit from personal experience.
As you all know (my mother) Mitzi was one of the original members of the Sculpture Society. She started learning sculpture when I was about two – dropping my sister and me off at what must have been one of the fi rst child care centres - before she travelled to East Sydney Technical College, to study under the careful tuition of one of Australia’s greatest sculptors: Lyndon Dadswell.
I do not, of course, remember much of those early years of tuition. However by the time I was in my early teens, I strongly recollect a somewhat more unusual homecoming from school than that of most of my peers. Not for me the mother urging me to consume afternoon tea, anxious to relive the day at school or, worse still, direct me to do my
homework. My memory is coming home and going to see Mum in her studio in the back garden, to fi nd her either chipping away at a piece of sandstone or marble, or, suitably masked, beavering away, welding torch fl aming and oxy-acetylene bottles nearby, at her latest metal piece.
Sculpture pervaded our lives – in the most welcome of senses. Both our house and garden were, and still are, full of sculpture. The sound of chipping accompanied us on our summer school holidays: weeks spent at Palm Beach (when a holiday there had somewhat less caché than it does today) wouldn’t have been the same if Mum hadn’t brought a piece of wood and carved away doggedly on the beach – her labours interspersed by dips in the sea and answering the questions of passers-by, bemused at her passionate devotion to her artistic pursuits. And sculptors, too numerous to name, fi lled our social circle.
In the early 70’s teaching sculpture became one of Mum’s passions too. I well remember the night before she gave her first lesson at Meadowbank Tech, Christine (my sister) and I reassuring her that it would all be fi ne. And it was - what a teacher she became. Jan Shaw, Margaret Sheridan, Christiane Conder to mention just a few all learned sculpture under her enthusiastic instruction. It is a pleasure to go to the Sculptors Society’s web site to see the acknowledgements of the contribution she made to Margaret and Christiane’s sculptural education. Thus she gave back to the discipline some of what Lyndon Dadswell and no doubt many others had imparted to her.
I understand, I believe, the Herculean labours which are represented in each piece of work on display: the search for inspiration, for the right medium in which to represent one’s vision in sculptural form: from the maquette to fi nal realisation. The agony when an unexpected fi ssure in the stone or wood leads to an unintentional loss of the medium, forcing an alteration to the original conception. And the ecstasy when the work is completed, mounted and admired by all.
I came down early this evening and had the opportunity to get a sneak preview of this year’s exhibits. As ever, the beauty, creativity and variety of the works submitted for display is overwhelming. The strength of each annual exhibition gives me comfort that sculpture in Australia goes from strength to strength. By continuing to mount its annual exhibitions in the heart of the city, the Sculptors Society ensures it fulfi ls its primary goal of promoting public interest in sculpture.
I congratulate the Society and every one of the sculptors who have exhibits in this year’s show for the magnifi cent display. I am sure the show will be a triumph!
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We take great pleasure in announcing our new sculpting service for Artist s, Designers and Architects. We have recognized the need for a wide variation in sculpture for your commissions and we are now of-fering to help you sculpt that ‘Diffi cult’ project. We are also happy to assist you to enlarge work to any scale, armature assembly along with bases & installation.
We are also very proud to announce that Australian Bronze Pty Ltd canhandcraft your commission in a broad range of materials including Bronze, Sandstone, Steel and Glass to create that perfect Water-Fea-Bronze, Sandstone, Steel and Glass to create that perfect Water-Fea-ture, Plaque, Decorating Detail, Public Sculpture or any vision that your ture, Plaque, Decorating Detail, Public Sculpture or any vision that your heart may desire. The only limit is your imagination; no project is too heart may desire. The only limit is your imagination; no project is too large or too small.
Feel free to contact Clive Calder for a chat on how you can start Feel free to contact Clive Calder for a chat on how you can start your project.
Australian Bronze Sculpture HouseAustralian Bronze Sculpture House32/176 South Creek Road, Dee Why, NSW 209932/176 South Creek Road, Dee Why, NSW 2099
Tel: 02 9981 5996 Mob: 0404 076 683 Fax: 02 9981 5906Mob: 0404 076 683 Fax: 02 9981 5906
PresidentRoger McFarlane
Ph: 0418 686 280, Fax: 4962 2608P. O. Box 549, Newcastle, NSW 2300
Vice PresidentDarling Park &
Australia Square Co-ordinatorBabette Gomme
Ph: 9486-3438 Fax: 9450 1410311 Weemala Rd, Terrey Hills, NSW 2084
Vice PresidentSydney in Bloom Co-ordinatorMargaret Sheridan Ph: 9405-5377 (H)
Ph: 9966-8411 (W); Fax: 9966-4377Unit 11, 130-134 Pacifi c Highway,
St. Leonards, NSW [email protected]
Bulletin EditorSally Zylberberg
Ph: 9909-1799, Fax: [email protected]
5 Bogota Ave, Cremorne, NSW 2090
Web + Bulletin invoicesChristiane Conder Ph: 9958-1971
87 Baringa Rd, Northbridge, NSW [email protected]
www.sculptorssociety.com
TreasurerFeisal Ramadan Ph: 9945 0261
46 Kooringal Ave, Thornleigh, 2120
Secretary MembershipEva Chant Ph: 9481 9060
Mobile: 0418 250 45610 Corang Rd, Westleigh, NSW 2120
Secretary MinutesSandra Hoey-Stone Ph:9977-6625
Publicity Offi cerGary Grant: 9785 4686
Committee without portfolio
Jolanta Janavicius Ph: 9939 2180Ella Krug Ph: 9417 4718
Angela Morrell: 9498 6341David Solomon Ph: 9360 2182
Henri Teris Ph: 9362 9889
The Sculptors Society Bulletins provide information, and topical news and views considered to be of interest to our readers. Nothing written here is intended as a substitute for professional advice, and no liability arising from our publications is accepted. Articles and reviews submitted may be edited at the discretion of the editor, and no correspondence in this regard will be entered into.
STOP PRESS!!Major Architectural Company Interested in Our SculptureMembers at the July Forum at North Sydney Leagues Club were treated to an excellent presentation from Tania Taylor, senior interior architect with Cox Rich-ardson Partners. The company is well known for major architectural projects across Australia and overseas, notably in Sydney the designing of the Sydney Ol-ympic site, Darling Harbour and Star City Casino. The commissioning of sculpture forms an integral part of their company’s design brief.
Tania has offered to receive details from sculptors who can produce suitable work for an architectural setting. But please do not contact her directly. All enquiries must go through the Society. Interested members of the Society should contact Roger McFarlane or any committee member for an application form. These will be processed by us fi rst, and then suitable applications will be referred to Tania.
The Society will also prepare a book, up-dated annually, detailing the work of the sculptors who have been referred to Tania and her fi rm. It will provide a useful and ready reference catalogue for commissioning sculptural works, and should enhance our members’ careers.
PLINTHSMADE TO ORDER
ROGER FENTONST. IVES, NSW • TEL: (02) 9488 8628
FAX: (02)9440 1212 MOB: 0417 443 414
Australian Bronze Sculpture HouseAustralian Bronze Sculpture House
REMINDERS!!5 September: Closing date for entries to Sydney in Bloom.
10 October: Closing date for entries to Australia Square Exhibition.
