Sydney sculpture catalogue 2016

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SYDNEY SCULPTURE 27 JULY – 20 AUGUST 2016, DEFIANCE GALLERY, NEWTOWN 10 AUGUST – 3 SEPTEMBER 2016, DEFIANCE GALLERY AT THE YELLOW HOUSE, POTTS POINT

Est.1995

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John Xerie delivering ‘Gateway’ by Russell McQuilty, ‘Burden’ by Paul Hopmeier, ‘Manhattan’ by Campbell Robertson-Swann and ‘Ome Omi’ by Nigel Harrison to Sculpture by the Sea, 2002. Photographs by Lauren Harvey.

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CONTENTS

6 ESSAY 14 TIMELINE 18

IAN McKAY

28

JANIK BOUCHETTE

32

MICHAEL BUZACOTT

36

PAUL HOPMEIER

40

JAN KING

44

BRIAN KOERBER

48

RUSSELL McQUILTY

52

KEVIN NORTON

56

CAMPBELL ROBERTSON-SWANN

60

JAMES ROGERS

64

PAUL SELWOOD

68

HARVEY SHIELDS

72

MICHAEL SNAPE

76

DAVE TEER

80

DAVID WILSON

86

PHOTO CREDITS

87 ACKNOWLEDGEMENTS

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“…pleasure is determined not merely by the representation of the object, but at the same time by the representation of the subject’s relation to the existence of the object. It is not only the object, but also its existence that pleases.”

—EMMANUEL KANT, ANALYTIC OF THE BEAUTIFUL

George Braque and Pablo Picasso, in collaboration, invented what became known as Cubism. It started out as a critique of other painters, namely the work of Paul Cézanne who was a major influence on them both. Braque and Picasso studied the way Cézanne worked with discrete elements of colour, creating paintings with significant visual integrity.

They saw how his paintings were nuanced, constructed compositions and they developed this into a visual language of their own. Cubism came into being over time between 1907 and 1914. Picasso was also influenced at the time by African tribal sculpture, which we can see in his first major Cubist work Les Demoiselles d’Avignon (1907). The first period of this movement is called Analytic Cubism for the way Braque and Picasso processed what they were seeing, not as whole objects, but as partial objects, reconstituted on the canvas as discrete shapes and shadowed lines, creating a new and startling representation of the subject.

The second period of Cubism is known as Synthetic Cubism where papier collé became very important, what we know as collage. This was taking cut-out shapes in paper, cardboard and sometimes wood, and gluing them to the surface of the picture. This way of working, taking separate elements and organising them into an abstract composition, was taken further and further by both Braque and Picasso and by 1912 they were producing astonishing ‘constructions’ in various material. Few of Braque’s constructions have survived but quite a few of Picasso’s have.

For example his famous Guitar from 1914 (a remade version in sheet metal of his cardboard guitar of 1912).

The wonderful thing about this work of Picasso’s is that we see it simultaneously as subject and object. It has that familiar guitar shape and yet there is much more going on. It has all the attributes of relief sculpture.

We seeshapes superimposed as layers and various configurations of hollow and projected forms. We see a process, a process of construction, where something is made or assembled from scratch using material that is identity neutral. Picasso has abstracted an image of a guitar into something substantial and new. The work exists as a visual symphony

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made up of many parts. One can get a lot of enjoyment from contemplating it, absorbing the various visual passages and the way it comes together as a complete and sustained object.

Picasso was at the forefront of Cubist sculpture, always experimenting with new forms and material. He entered into a second phase of constructed sculpture from 1929 to 1931, this time in collaboration with his fellow Catalonian, the sculptor Julio González. González was a trained metal worker and there is no doubt he was instrumental in furthering Picasso’s constructed sculpture in metal. Picasso thought in terms of linear construction based on his drawings, which his dealer Kahnweiler described as “space-drawing”. This was Picasso’s period of wire construction, where points in space were connected by metal lines, ellipses and arcs, just like a 3D drawing. He was creating a geometry, which was as much about space as form. Picasso soon moved on to other things and it was left to González to develop this way of working. In the 1930s González made some very important works in metal that were to have a huge impact on the post-war generation of sculptors. He took his impetus from the original Picasso constructed work and demonstrated he had a natural flare for the material. He exploited the tensile potential of steel to get results never before seen in sculpture. In his hands, steel was a plastic material. He worked it, cutting, bending and forging, to get the shapes he wanted, before welding them up to create a sculpture. He brought the old craft of metalworking to the fore and put steel at the centre of a new era of modern sculpture.

We must now move from Europe to America to continue studying the development of constructed steel sculpture. David Smith (born 1906) is considered America’s greatest Abstract Expressionist sculptor. During his early student years he studied at the Art Students League in New York where he was exposed to the work of Picasso, Mondrian, Kandinsky and the Russian Constructivists. He also had a background in welding having taken a summer job as a welder on a production line building cars; therefore he was very open to the welded-steel sculpture of Picasso and González. In 1932 he installed a forge in his studio at Bolton Landing in Upstate New York and it was here he established himself as a leading abstract sculptor with an illustrious career until his death in 1965. We shall look at just one of his works, Hudson River Landscape.

Pablo Picasso: Guitar, 1914

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In Hudson River Landscape we can see a lot of Picasso and González.

Here, Smith has adapted the working method of González, whose sculptures were described as “drawings in space”. In simple terms,

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David Smith Hudson River Landscape, 1951

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Smith has forged and cut out individual elements, which are then distributed throughout the piece. The elements are linked together with a flowing line of forged rod, which gives the piece its syntax i.e. how elements relate to each other. We become aware of the volume of the piece as we look through the appearance to the particular then zoom out to construct a fuller picture. The eye keeps regrouping and reinventing what is there, while all the time the spatial qualities (where things overlap), are tickling the back of our brain.

In post-war Australia there was a huge interest in European sculpture, with the likes of Rodin, Matisse, Maillol, Brancusi and Lipchitz being looked at. Under the tutelage of Lyndon Dadswell at East Sydney Technical College (the art department was the National Art School), sculpture flourished. One of Dadswell’s students was Robert Klippel (1920–2001) who went on to become a leading constructivist sculptor in Australia. Klippel took a special interest in Surrealism and he ended up in Europe studying at the Slade School and meeting leading Surrealists like André Breton. When Klippel returned to Australia in 1950 and set up his studio in Birchgrove, Sydney, he became an influential figure in the Sydney sculpture scene. Klippel was innovative in his approach and by the 1960s he was achieving recognition for his abstract ‘junk’ assemblages. Robert Hughes, the art critic, said in 1964 that Klippel was “one of the few Australian sculptors worthy of international attention”. Klippel didn’t quite achieve an international reputation as new movements like installation and video art soon swamped the art scene in Australia, but he certainly endured as the harbinger of constructivist sculpture in Australia.

After Klippel, a younger group of sculptors who had studied at the National Art School under Lyndon Dadswell, followed the same path to London. Among them were Paul Selwood, Ron Robertson-Swann and Ian McKay (1936–2007). After studying with Dadswell, Paul Selwood travelled to London in 1966 and found a job as a technical assistant at the Royal College of Art where the head of sculpture was Bernard Meadows. Selwood had a studio at the college and was able to produce his own work. He became friends with the painter Howard Hodgkin and the sculptors Tim Scott and William Tucker who came to see his work and offer critical appraisal. Selwood also had an acquaintance with the sculptor Anthony Caro (1924–2013) who became Britain’s foremost abstract sculptor working in a constructivist genre. The 60s were heady times to be in London as it was going through a cultural Renaissance.

The art colleges were producing an exciting generation of international

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artists and the most avant-garde of these colleges was Saint Martin’s School of Art, which was famous for its fashion school and its sculpture department. Anthony Caro was a tutor at Saint Martin’s where he developed a project-based curriculum. At the end of each project the students would be subjected to a rigorous critique session, known as ‘crits’. Paul Selwood remembers some of the crits he attended at Saint Martin’s as an observer. There was a panel made up from the staff, which would have included Caro, David Annesley, William Tucker and Phillip King among others. The discourse was fairly lofty and the analysis intense. Students were encouraged to discover their own ‘reality’ in relation to sculpture and have self-belief in what they were doing. There was a feeling coming out of Saint Martin’s that they were establishing a new relevance for sculpture alongside abstract painting, which was in the ascendancy at the time. Painting informed the work of Caro, especially the paintings of Kenneth Noland. Caro was introduced to Noland by the American art critic Clement Greenberg and Caro also met the sculptor David Smith and immediately felt an affinity for his work. If we follow the career of Caro we can see how he references David Smith from time to time.

It is interesting to observe how constructivist sculpture developed around the world, from Anthony Caro in Britain, David Smith in America and Robert Klippel in Australia. It remains a truly international movement.

When Paul Selwood arrived in London he looked up Ron RobertsonSwann, a fellow National Art School (NAS) alumni. Ron Robertson-Swann had travelled to London in 1962 where he enrolled in a postgraduate course at Saint Martin’s School of Art under Anthony Caro and Phillip King. He was very much caught up in the new wave of British sculpture and the culture of Saint Martin’s. The other Australian to head overseas was Ian McKay, who travelled between 1961 and 1963 to Spain, Greece, Switzerland and the UK. He also ended up at Saint Martin’s, but just for one semester and by his own admission he didn’t absorb any of the ethos of the school but mainly worked on his own things. He returned to Australia in 1963 and started to teach part-time at the National Art School from 1967. McKay was a stone carver and he continued his carving until 1969 when he started fabricating in wood, trying to marry carving and construction, which soon led to welded-steel sculpture. For him steel was just another material, to be exploited for its expressive qualities. He had a long exhibiting career and his work can be found in many Regional and State gallery collections. It is worth looking at one of

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his works, Blackbird, which is on display at Defiance Gallery, Newtown from the 27 July to the 20 August, 2016 as part of the Sydney Sculpture exhibition.

This is a large piece, 2.5 m high and yet it retains a human scale. McKay was a great admirer of David Smith and in this piece we can see links to Smith as well as the Cubist constructions of Picasso. One can see it as a series of compositions, Cubist compositions, that transition in and out of each other as one moves around the piece. There is not one dominant configuration or image but rather a continuum of images that the eye supports. It is like being inside a Cubist construction with planes, angles, layers and swooping arcs accumulating from front to back. There is a balance between the denser material and the more spatial outrider elements, creating a beautiful flow from the interior to the exterior.

Blackbird is considered one of McKay’s master works along with a number of other pieces completed between 1985 and 2005 at Kurrajong where he had his home and studio. In an interview I did with him in 2006 I recorded the following exchange in relation to these Kurrajong sculptures. harvey shields:

You were describing before how you were working outside the studio, making the pieces on the ground, in the field. That felt right for you?

ian mckay: Well yeah, it did, because it didn’t imply boundaries. I think some of the more original sculptures that I made at the time were made in the field. It was only an extension of a way of working that other artists had used. harvey shields:

So you would back a truck up to it, connect a cable to it, then pull it up…

ian mckay:

…pull it up, or pull it halfway up then weld something onto the back to get it to stand. I was working as if the thing in front of me presented no limitation in terms of weight or scale. It was no different to working with something the size of your hand, which you can easily manipulate. harvey shields:

So the sculpture had no top or bottom…

ian mckay: …yes, it’s as if the sculpture had no top or bottom, or weight. It was like free-for-all. Every stage of it was unexpected.

The Flight of the Blackbird at Defiance Gallery 2016. Photo by Lauren Harvey

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Ian Mckay The Flight of the Blackbird, 1988, steel, waxed, 240 x 198 x 113cm

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As already mentioned, Ian McKay became a part-time teacher at the National Art School from 1967. In 1969 he was joined by Ron RobertsonSwann who had returned from the UK by then. They became the two amigos of the sculpture department. Teaching was based on the Saint Martin’s model, which saw students working independently on individual projects after two years of foundation studies. Among the first students to experience this ‘Saint Martin’s’ era were Harry Georgeson, Michael Snape and Michael Buzacott. All three have gone on to have long careers in sculpture, Harry Georgeson based in New York and Michael Snape and Michael Buzacott based in Sydney.

This exhibition, Sydney Sculpture, includes mostly sculptors who were either students at the National Art School or were associated with the school in some way e.g. through teaching. Sydney Sculpture brings together sculptors who have worked professionally for many years and have always looked to advance their work in the true spirit of Modernism.

Throughout the exhibition we can see a variety of approaches to constructed steel. Stone, bronze and clay are still very much common materials for sculpture, but the use of steel, found or fabricated, has expanded the possibilities of sculpture and introduced space as an important component of the work. We cannot think of constructed sculpture apart from space, it is an immersive experience, a continuum that folds into the present.

“It is not only the object, but also its existence that pleases.”

—Harvey Shields, July 2016

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1977 Ian Mckay Plunge

1977 Michael Snape Gallery A 1977 Ian McKay Wave

1976 Paul Hopmeier student work NAS

1978 Michael Snape Gallery A

1976 Kevin Norton Young Contemporaries London

1960s

1950s

1930s 1940s

1978 – David Wilson, Gallery A, Sydney

1977 – Six Sculptors, Victorian College of the Arts, Melbourne. (Mckay)

1976 – M ichael Buzacott, Harry Georgeson and Michael Snape, Gallery A, Sydney

1976 – Ian McKay, Rudy Komon Galleries, Sydney

1976 – 12 Australian sculptors, Adelaide Festival of Arts (McKay)

1975 – Ian McKay, Rudy Komon Galleries, Sydney

1975 – Sculpturescape ’75 Mildura – (Ian McKay, David Wilson)

1974 – Ian McKay, Rudy Komon Galleries, Sydney

1973 – S culpturescape 73 Mildura (Ian McKay, Paul Selwood, David Wilson)

1972 – Paul Selwood, Watters Gallery

1972 – Paul Selwood teaches at National Art School

1972 – Ian McKay begins showing at Rudy Komon Galleries

1972 – 75 Harvey Shields studies at the National Art School

1971 – 76 Paul Hopmeier studies at the National Art School

1971 – 1975 Jan King studies at the National Art School

1971 – 72 Michael Snape teaches at National Art School

1970 – Dave Teer born New South Wales

1966 – 1974 Ian Mckay teaches at the National Art School in Sydney

1965 – Janik Bouchette born Orleans, France

1964 – 65 – Paul Selwood studies at the East Sydney Sydney Technical College now the National Art School, Sydney

1964 – Gallery A, Sydney opens

1956 – James Rogers born New South Wales

1952 – Kevin Norton born England

1951 – Michael Snape born Sydney

1951 – Russell McQuilty born New South Wales

1950 – Michael Buzacott born Sydney

1949 – Campbell Robertson-Swann born Sydney

1949 – Paul Hopmeier born Sydney

1948 – Harvey Shields born Queensland

1947 – David Wilson born England

1946 – Paul Selwood born Sydney

1945 – Jan King born Queensland

1944 – Brian Koerber born, Sydney

1936 – Ian McKay born South Australia

TIMELINE Select exhibitions and important dates

1970s

1978 Kevin Norton Young Contemporaries London

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1981 Ian’s farewell

1986 Ian McKay Fourth Stairway

Ian McKay Kevin Norton & Harvey Shields at the Sculptors Supper Club, December 1989

1985 Ian Mckay Reef

1979 Bill Wright, Harry Georgeson, Marion Borghelt, Jan King and Paul Hopmeier in NY

1989 – F irst Sculptors Supper Club, Tetsuya’s Restaurant, Rozelle 1992 ‘Art

1989 – S culptors at the Table, Craft Centre Gallery (Harvey Shields, Paul Selwood, Jan King, James Rogers, Michael Snape)

1988 – Michael Buzacott, Irving Sculpture Gallery

1988 – R ossmore Steel, Casula Powerhouse Arts Center, Sydney (Jan King, Paul Hopmeier)

1988 – Ian McKay makes ‘The Flight of the Blackbird’

1987 – 2009 James Rogers teaches at the National Art School

1987 – T hird Australian Sculpture Triennial Melbourne (inc Jan King, Michael Snape)

1986 – 2012 – Kevin Norton teaches at Wollongong College of Art

1985 – N inth Mildura Sculpture Triennial, Mildura, Victoria (Jan King, Paul Hopmeier, Paul Selwood, David Wilson)

1985 – Triangle Artists Workshop New York – Kevin Norton

1984 – Jan King, Irving Sculpture Gallery

1984 – Ian McKay Career Survey, Art Gallery of New South Wales

1984 – S econd Australian Sculpture Triennial, National Gallery of Victoria, Melbourne (Jan King, Paul Selwood, Michael Snape)

1983 – Ian McKay, Rudy Komon Galleries, Sydney

1983 – Michael Buzacott, Irving Sculpture Gallery

1983 – Michael Snape, Gallery A, Sydney

1982 – Paul Hopmeier, Gallery A, Sydney

1982 – Jan King, Irving Sculpture Gallery

1982 – Michael Buzacott, Irving Sculpture Gallery

1982 – Eighth Mildura Sculpture Triennial, Mildura, Victoria (Jan King, Paul Hopmeier, Michael Snape)

1981 – Ian McKay, Rudy Komon Galleries, Sydney

1981 – T he First Australian Sculpture Triennial, La Trobe University, Victoria (Paul Selwood)

1981 – James Rogers studies at the National Art School

1981 – Irving Sculpture Gallery opens, Glebe, NSW

1980 – Ian McKay, Rudy Komon Galleries, Sydney

1980 – David Wilson, Gallery A, Sydney

1980 – Paul Hopemier, Sculpture, Gallery A, Sydney

1979 – Michael Snape, Sculpture and Drawing, Gallery A, Sydney

1979 – N ew York Studio School Sculpture Show, New York (Jan King, Paul Hopmeier)

1978 – Ian McKay, Rudy Komon Galleries, Sydney

1978 – Michael Snape, Gallery A, Sydney

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1980s

Gabriela Fillipini, Ian McKay, Kevin Norton, Harvey Shields, Michael Snape, Paul Hopmeier at the Sculptors Supper Club, December 1989

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1996 Paul Hopmeier solo show Mary Place

1999 5 easy Pieces

2000 TRIBAL ECHO

1998 CRS wins SXS with Night passage

1990s

1995 Defiance Gallery Newtown opens

‑

1991 Kevin Norton Wollongong City Gallery

2007 – Janik Bouchette, Defiance Gallery

2007 – I an McKay sculpture sells for a record price at Deutscher Menzies Australian Art Auction in Sydney

2007 – Jan King, King Street Gallery on William

2007 – Russell McQuilty, Defiance Gallery

2006 – Dave Teer, Defiance Gallery

2006 – Paul Hopmeier, Defiance Gallery

2005 – T he Art OMI Australia Retrospective, National Art School, Sydney (inc Paul Hopmeier, Jan King, Campbell Robertson-Swann, Dave Teer and others)

2005 – J an King, King Street Gallery on Burton

2004 – Brian Koerber, Defiance Gallery

2003 – Dave Teer, Defiance Gallery

2003 – Paul Hopmeier, Defiance Gallery

2002 – Russell McQuilty, Defiance Gallery

2001 – Brian Koerber, co winner of the BHP Steel Sculpture Prize

2002 – Jan King wins Woollahra Sculpture Prize

2000 – T ribal Echo, Campbelltown City Bicentennial Art Gallery, Campbelltown (inc Paul Hopmeier, Jan King, Campbell Robertson-Swann, Harvey Shields, David Wilson and others)

1999 – ‘ Art Omi’ Artist Residency, Omi, Connecticut, USA (Campbell Robertson-Swann)

1999 – Campbell Roberston-Swann, King Street Gallery on Burton

1999 – 2001 – Janik Bouchette studies National Art School

1999 – 5 Easy Pieces, Defiance Gallery, Newtown

1998 – Campbell Robertson-Swann wins Sculpture by the Sea

1998 – B rian Koerber and Dave Teer studied West Wollongong TAFE (formally Illawarra Institute of Technology) under Kevin Norton, Ivor Fabok and Elisabeth Cummings

1998 – Campbell Roberston-Swann, King Street Gallery on Burton

1997 – Jan King, King Street Gallery on Burton

1996 – Campbell Roberston-Swann, King Street Gallery on Burton

1995 – Jan King, King Street Gallery on Burton

1995 – Michael Buzacott, Mary Place Gallery

1995 – Defiance Gallery opens

1994 – ‘Art Omi’ Artist Residency, Omi, Connecticut, USA (Jan King)

1993 – Kevin Norton, Wollongong City Art Gallery

1993 – Jan King, King Street Gallery on Burton

Omi’ Artist Residency, Omi, Connecticut, USA (Paul Hopmeier)

TIMELINE continued

Select exhibitions and important dates

2000s

2005 art OMI australia retrospective NAS

2006 Russell McQuilty collaborates with Tetsuya Wakuda to customise a limited edition of Penfolds Koonunga Hill

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2010 Janik Bouchette wins UWS Sculpture Award.

2011 Abstraction Show at the Drill Hall Gallery ANU

2011 5 Easy Pieces Exhibition

2010–2012 Defiance Gallery Paddington

2007 Ian McKay Covers sold for record auction price

2011 Paul Selwood wins Belnaves Foundation Sculpture Prize 2013 Kevin Norton wins North Sydney Art Prize 2015 Defiance Gallery turns 20

2011–2014 Defiance Sculpture Park, Wollombi 2015 Defiance Gallery turns 20

2015 Michael Buzacott survey exhibition at Drill Hall ANU, Canberra

2016 – Sydney Sculpture, Defiance Gallery at the Yellow House, Potts Point

2016 – Ian Mckay ‘The Flight of the Blackbird’ Defiance Gallery, Newtown

2015 – Defiance Gallery turns 20

2015 – Michael Buzacott, Survey Exhibition, The Drill Hall ANU, Canberra

2015 – Kevin Norton, Defiance Gallery

2015 – 20th Annual Miniature Sculpture Exhibition, Defiance Gallery, Newtown

2014 – Sculpture City at SH Ervin including Paul Selwood, Paul Hopmeier, Jan King, Kevin Norton, Michael Snape, James Rogers and many more

2014 – Paul Selwood, Watters Gallery

2014 – Paul Hopmeier, Defiance Gallery

2013 – Michael Buzacott, Defiance Gallery

2013 – Campbell Robertson-Swann, Defiance Gallery

2013 – Kevin Norton wins North Sydney Art Prize

2013 – Dave Teer, Defiance Gallery

2013 – Paul Selwood, Charles Nodrum

2012 – Michael Buzacott, Defiance Gallery

2012 – Kevin Norton, Defiance Gallery

2011 – 2014 Defiance Sculpture Park at the Gate Gallery, Wollombi

2011 – Paul Selwood wins Balnaves Foundation Sculpture Prize

2011 – Russell McQuilty, Defiance Gallery

2011 – Paul Hopmeier, Defiance Gallery, Paddington

2011 – Woollahra Municipal Council Temporary Art Installation Program commences.

2011 – 5 Easy Pieces, Defiance Gallery, Newtown

2011 – Continuous Conversation, Muswellbrook Regional Arts Centre (Dave Teer, Kevin Norton, Paul Higgs and Ivor Fabok)

2010 – Dave Teer, Defiance Gallery

2010 – Abstraction, Drill Hall Gallery, Canberra (inc James Rogers, Paul Selwood, Jan King, Michael Buzacott, Paul Hopmeier and others)

2010 – Paul Selwood, Maitland Regional Art Gallery, Touring Exhibition

2009 – Paul Selwood, Tin Sheds, Sydney University

2008 – Russell McQuilty, Survey Western Plains Cultural Centre

2007 – Last Sculptors Supper Club, National Art School, Darlinghurst

2007 – Ian MacKay dies

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2010s

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IAN McKAY Ian McKay (1936–2007), began his career as a carver after studying under Lyndon Dadswell at the National Art School in Sydney. In 1960 he completed his first commission The Man From Snowy River, a bronze sculpture installed in the city of Cooma.

In 1961–63 he travelled in Spain, Greece, United Kingdom and Switzerland, seeing for the first time sculptures by Matisse, Lipchitz and Degas, which deeply affected him. In London he attended the St Martin’s School of Art for a short time where Anthony Caro and Phillip King were teaching, but he didn’t come under their influence. He returned to Australia in 1963 and was invited by Dadswell to teach part-time at the National Art School from 1967.

In 1967 two events really registered with him, the exhibitions shown in Sydney, Two Decades of American Painting, and Rodin. Both exhibitions left a lasting impression on him, but it was the humanist approach of Rodin that deeply affected him.

He continued with his carving but in 1969 he began making fabricated wood sculpture in an attempt to marry carving and construction, but soon moved into welded steel sculpture. To achieve his ends McKay was never dictated to by his material, in fact steel became just another material, which he used for all its expressive qualities.

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After a visit by Philip King to Australia in 1976, King invited him to teach at St Martin’s. Once there his meetings with Caro and Michael Bolus boosted his confidence and he made contact with young sculptors exhibiting at Stockwell Depot.

In 1978 he was selected to participate in the Commonwealth Sculpture Symposium at Edmonton, Canada. In 1979 he met the art critic Clement Greenberg in Sydney. This meeting prompted him to move to New York with his family in October, 1981. He was invigorated by an exhibition of Gaston Lachaise work at the Robert Schoelkopf Gallery.

In 1984 he attended a sculpture symposium with 11 other Australian sculptors at Canberra School of Art and was given a career survey show at the Art Gallery of New South Wales.

From 1985 to 2005 he lived at Kurrajong where he built a studio and a house. Most of his sculptures were made outdoors, which gave him the freedom to work without space restrictions. He considers this to be one of his more fertile periods during which he made some of his best sculptures. Most of the work from this period is large scale and includes pieces like Reef (1985), Fourth Stairway (1986, collection National Gallery of Victoria), and Lady on Horseback (1986, private collection, Sydney). —HARVEY SHIELDS

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Ian McKay had his flaws and fears, his ideals and convictions and gave so much in the way of challenges and insight to others. We have not, as a former colleague maintains, made him into an ‘effing saint’, by any means.

Sculpture was his abiding love, from Della Quercia to Delacroix, Degas to David Smith. He kept things in the hand, to the point of self destruction (and destroyed 95% of what he made) but knew, as he wrote in his final letter to me in a shaky hand, “masterpieces are an arrival not a goal.”

There are a group of superb works, mostly rotting away in some forgotten field, that should be seen for what they are, easily the densest and most achieved of the Sydney group of sculptors. But he wanted the fun side, the making, and neglected the longevity side. We have to do this for him, with love. He deserves it.

—MICHAEL BUZACOTT, 2016

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The Flight of the Blackbird, 1988, steel, waxed, 240 x 198 x 113cm

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The Flight of the Blackbird, 1988, steel, waxed, 240 x 198 x 113cm

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Offering, 1984, steel, 202 x 183 x 74, courtesy of a private collection

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JANIK BOUCHETTE

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When creating larger outdoor sculptures in the past I always hoped that they were evocative of a child’s sense of playfulness and unfettered inspiration and that they would invite a child to play and explore within them. This could be the reason why some children serendipitously confuse them with play equipment! I didn’t imagine that I would one day be creating a sculpture that would be inspired by a child’s sense of playful and imaginative construction. I took my cue from my son’s desire to ‘illustrate’ his favourite song lyrics using Lego. Paul Kelly’s “Hasn’t It Rained: ”…the water rose above the trees…the captain’s rolling drunk singing naked in his bunk”. This work is emblematic of a compulsion that dwells within many of us, that is to make a tangible representation of that which intrigues us.

— JANIK BOUCHETTE

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Osé, 2007, mild steel, 70 x 60 x 55cm

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Escapade, 2007, mild steel, 62 x 40 x 48cm

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MICHAEL BUZACOTT

There is the working day, next week, six weeks, six monthly cycle of looking and revising. It is my experience that I’m not able to properly assess what I have made inside five years. What hope then for the casual viewer who may spend a few seconds looking at what had to be lived with over many years.

In my lifetime the AGNSW has been utterly and completely negligent in exhibiting and educating a viewing public. A blurb, no matter how well written, with a photograph are no substitute for the real thing. I compliment Campbell and Lauren for doing what no one else has the conviction and courage to do.

If the past fifty years is any guide this occasion will be ignored. But the sculptors have to do what they do as a way of life; a cottage industry working with their own hands. In this technological age what could be more disgraceful and unfashionable. —MICHAEL BUZACOTT

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Pic to Come?

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Left: High Rise, 2015, steel, 121 x 51 x 20cm Opposite: Large Web, 2013 steel 218 x 250 x 65cm

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PAUL HOPMEIER

Art schools were, and hopefully some still are, unique in what they can and do initiate in students. I spent 6 years at Art Schools in the 70s. My future was influenced by the chance contacts I had with those artists who happened to have been employed at the time. Equally important was the cohort of fellow students I was fortunate enough to share these sanctuaries with.

Some of the artists who were particularly important to me were, Ian McKay, Harry Georgeson, Ron RobertsonSwann, Bill Tucker and Sidney Geist. Most, though not all of these artists, happened to work in steel. They were very generous and open. As well as formally teaching us, we went to their studios, ate with them and met their families.

We worked with them on their sculpture and assisted with exhibitions. There were no illusions left about the consequences of practising as a sculptor. In the end we usually became compatriots in a shared passion.

The prime message I got, or at least took, was the importance of seeking excellence. Pushing for the best possible sculptures I could make. It may sound quaint today but sculpture was seen as a vocation, not a profession.

Maybe we are dinosaurs but we still believe in that. This naturally leads to long periods of doubt and frustration but, occasionally, it produces moments of a particular kind of revelation. Discover and surprise yourself and sometimes there is a worthwhile consequence, that being a sculpture. This for me is the answer to that gnarly old question, ‘Why make sculpture?’

— PAUL HOPMEIER

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Left: Plough, 2012, waxed steel, 31 x 118 x 30cm Below: Bridge , 2014, waxed steel, 37 x 75 x 9 cm

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Morning Tea, 2016, steel, 75 x 111 x 7cms

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JAN KING Making sculpture is both a challenge and a joy. Like dance it involves both physical and aesthetic expression. Gesture and feeling are affected by the use of rhythm and movement, and the use of space. The volume, visual weight, tension and proportion convey the character of the sculpture.

Most of my sculpture is abstract and guided by the formal values of aesthetics. This is like a language, the words of which are the physical material – the stuff to make into sculptures.

It is a process of finding the form. Of trying different ideas with an underlying intention. A metaphor would be trying different phrases or images in a poem. For the sculpture to be successful everything must be integrated to achieve an aesthetic unity and balance.

Sculpture is a visual art. The eye requires forms that stimulate and engage the mind. The interest that is generated is not just a momentary fairground response, but should be an ongoing involvement that develops over time.

Much of my inspiration comes from landscape and from the vast repository of art from the many previous generations of artists who have gone before. I hope to distill an essence of my experience of this and with it to create something new. —JAN KING

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Triad, 2012, steel and slate, waxed, 41 x 19 x 30cm

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Donatello’s Hat, 2007, steel painted, 189 x 66 x 57cm

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BRIAN KOERBER

I begin to make sculpture by selecting elements that have past lives. Things like wood, stone, steel. I clean them up and then use various gauge of steel bar and steel rod as a drawing device, connecting with the chosen elements. I rely on intuition and tenacity to resolve each sculpture. —BRIAN KOERBER

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The Transit of Venus, 2012, mixed media, 44.5 x 41 x 36.5cm

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Roo Alert, 2016, steel, 160 x 50 x 80cm

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RUSSELL McQUILTY

McQuilty uses just two words to describe the single objective he strives for in every sculpture he makes: dramatic simplicity. This description not only echoes the striking steel works he creates, which are pared back to the essential minimum, but also reflects the sense of purpose that drives him. Working on the ‘less is more principle’ and using solely steel and paint while relying largely on intuition, McQuilty searches for structural solutions and eschews decoration in his rigorous search for ‘rightness,’ which is only reached when the work is complete and nothing can be added nor taken away.

McQuilty is fascinated with the interaction of elements, how the planes and angles cross and where the shadows fall. “A lot of my sculpture is about what’s not there as well. Negative space is an element. The steel dictates. When I go into the studio workshop and after the initial forming of a work, the sculpture almost begins to tell you what needs to happen,” he explains.

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Left: Red Mountain at Guilfoyle Park, Double Bay. Below: Pig and Whistle Courtesy of a private collection

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Quadrille 2010, steel, painted, 41 x 52 x 43cm Courtesy of a private collection

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KEVIN NORTON

I would hope any viewer of my sculpture will be able to appreciate the joy that I get from making the work and discovering what I find as I, after its making, discover.

In the making there is no sense of purpose as the place that an artist occupies whilst making is not one of design or of purely conscious intent.

I am informed by a life of making, looking and studying art but in its making there is not a state of mind that could be truly described as a conscious desire or design for a particular. So as inevitably I distance myself from what I consider a resolved work, a detachment, to find the ‘isness’ of the work, a wordless experience of yes it is or no it isn’t.

All art is a continuum of the human desire to place in the world that which has no allegiance to the purely political, social and economic; the stand-alone aesthetic experience; unencumbered by the daily existence. An experience that is not without question but one that absorbs and independently occupies a space of its own; that the viewer can engage and continue to engage in, and in so doing, expand their own experience.

—KEVIN NORTON

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Jacobs Ladder, 1994, steel, 83 x 52 x 35cm

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House of Cards, 2014–15, steel, 225 x 150 x 100cm

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CAMPBELL ROBERTSON-SWANN In his recent sculptures Campbell Robertson-Swann finds a balance between form and threshold to create liminal spaces. Growing out of a longstanding fascination with architectural structures, the works show a serial trajectory of thought and a rigorous process of reduction.

Robertson-Swann’s painted and polished stainless steel sculptures have an intense physical authority. Their responsiveness to light and subtle transitions of plane and surface simultaneously negate and heighten their presence. These works have been distilled to a point where the dichotomies of interior/exterior, open/closed and transient/monolithic are brought together, forming spatial illusions that Robertson-Swann deploys as devices within the works. The relationship between the reflective and, conversely, light-absorbent matte surfaces, make the interaction with their surroundings fluid. The architectural motif of the window frames the space around the works and plays with our perception of voids. These sculptures force our impression of positive and negative space to vacillate, in an experience Robertson-Swann terms “waltzing with the square”. Indeed, these sculptures inhabit a peripheral realm that one almost has to glance at sideways to catch off guard.

Campbell Robertson-Swann’s sculptures are infinitely mysterious and deeply powerful works that belie a subtle complexity through absolute simplicity.

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Above: Still 2013, Stainless steel, painted, 41.5 x 49 x 20cm

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Opposite: Merigal Song 1998, Mild steel shot blasted, zinc sprayed and painted, 124 x 124 x 95cm

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JAMES ROGERS

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I started making sculpture in Sydney in 1980.

Shortly met a cast of characters working in the field and the light from some of that experience, discourse and resultant works, has kept me respectable.

I am enjoying a composition of shifting tonal transitions with a rhythmic linear counterpoint these days. This is a product of force and distance of its line of action from the centre of rotation. If the timing is right, a space opens up and I follow that. A favourable result can be looked back on as some things having come together. That element that arrives after line or shape or colour have been put in play and the wave ridden out.

Though I no longer work in Sydney, its atmospherics still occupy a place in the dreaming space between the sets. —JAMES ROGERS James Rogers is represented by Watters Gallery, Sydney

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Town Beach, 2015, waxed steel, 43 x 40 x 9cm

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Hollow Ground, 2014, waxed steel, 226 x 94 x 40cm

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PAUL SELWOOD

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When the blackbird flew out of site, it marked the edge of one of many circles.

—WALLACE STEVENS

When I was a child of about seven to ten I was a gymnast, I could do forward and back somersaults in the air and land on my feet. This lead to springboard diving, winning several competitions from the three metre board, throwing my body in twists and turns and recovering the movement to make a clean entry into the water. Later in the mid sixties, as an aspiring sculptor at the Royal College in London, the sculptor William Tucker was giving my work a critical appraisal when he suggested that big things up in the air could achieve more drama in sculpture.

I got that it was a frozen dive.

The problem then was, how it was to stand, what was the solution to the clean entry into the water? Up to that time sculpture was connected to an architectural base, a plinth, which raised it into its own special space, separate from the ground where we mortals walk. Challenges to this convention were occurring in the sculptural avant-garde by Anthony Caro and others wanting to confront the viewer by putting sculpture on the same ground that the viewer stands on.

How a sculpture deals with gravity and the balances and counter balances of its parts was an old idea now being rethought with the need for a new authentic expression.

In due course sculpture in the constructed tradition became well and truly grounded or in the case of small sculpture “tabled”.

Abstract sculpture is figurative in the sense that it is evocative. Some of it is romantic geometry, some extends itself laterally as landscape, in some cases we measure it with our body, in our hands, with outstretched arms or by walking around it, which necessarily composes and adumbrates the various views.

—PAUL SELWOOD Paul Selwood is represented by Watters Gallery, Sydney

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Stepping stones 2011–12, Steel rusted and varnished, 83.5 x 90.5 cm [irreg]

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Blue note 2014, Burnished steel, 47 x 39 x 22 cm

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HARVEY SHIELDS

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Sculptors have an innate desire to make things.

We make things called sculptures that look like nothing else. They stem from a visual language that has been learnt intuitively and practically over years, just like our mother tongue. The language analogy is a good one, for just as language has its deep structures, sculpture has structures steeped in historic progenitors. As we create, we are drawing on structural knowledge that tells us where things should go and how things should appear. We are drawing on knowledge about the essentialism of an object, its form, its weight and proportion, its scale, balance and so on.

With each sculpture the maker is aiming for a certain outcome, manifesting embedded concepts. The sculpture will take on a certain autonomy in the world, fulfilling its potential. It becomes a thing in space, evolving in space, enticing us to make subjective decisions about what we are seeing. —HARVEY SHIELDS Harvey Shields courtesy of the artist

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Tempted by the Siren’s Song, 2016, steel, painted, 62 x 112 x 32cm

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Real Presence, 2016, steel, waxed, 48 x 83 x 40cm

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MICHAEL SNAPE

With The Truth and work from the last two years, I have moved back to pared back work that I made in the seventies. With much other recent work being quite busy and ‘figured’, this new work is empty, to make it full of something else.

The Truth is confessional, with nothing to hide behind.

— MICHAEL SNAPE Michael Snape is represented by Australian Galleries, Sydney

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The Truth, 2015, Corten Steel, 144 x 124 x 293cm

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DAVE TEER

I am an intuitive maker. Often, the impetus for my work can be found simply in a line drawing a poem or a piece of music. The catalyst is always something that has struck a chord with me, something that has resonated through both my heart and my head at the same time, for whatever reason. I would like to think that I am a seeker of form; I only need that initial spark to begin.

The work itself can then take hold, come into its own, have its own life. For me it’s not about a preconceived idea, each work is about discovery, a journey. Like all journeys, it has its unexpected twists and turns, providing me with both highs and lows, culminating on the whole, in a worthwhile and interesting experience.

Each work is a learning event that ultimately leads me to the unexplored territory of new work. —DAVE TEER

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Opposite: Echo of Bells, Marine grade Stainless Steel, painted, approx 240 x 360cm, Walker Street Foyer Commission

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Above: Four Fine Bells, 2006, marine grade stainless steel, dimensions variable.

Commission for a private residence

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DAVID WILSON

I don’t feel a need to try to find a reason for the sculpture I make. I am happy for its purpose and meaning to reside in the aesthetic; in, as Susan Langer wrote, ‘Its ability to embody and evoke felt awareness’. Really, that’s as many words as are needed to frame my objective. It has never been otherwise.

— DAVID WILSON

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Wild Twilight, 2012, steel, painted, 28 x 62 x 31cm

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Small Sculpture for a Strip of Sky, 1991, Painted Steel, 76 x 115 x 51cm

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COLLAGE OPPOSITE

Second row, left to right

Third row, left to right

Bottom row, left to right

Top row, left to right

A group of sculptors and friends, 2015.

Photograph by Paul Hopmeier James Rogers, ‘Site Pacific’ 2001.

Photograph courtesy James Rogers top row, left to right – Campbell Robertson-Swann, Harry Georgeson, Michael Snape, Michael Buzacott, Kevin Norton bottom row – Paul Selwood, Jan King, Paul Hopmeier, Stephen Ralph, 2015. Photograph by Paul Hopmeier Bill Wright, Harry Georgeson, Marion Borghelt, Jan King and Paul Hopmeier on the roof of Bill Wright’s apartment building at the Studio School, New York.

Photographer unknown.

Brian Koerber in his first solo exhibition, Defiance Gallery 2004. Photograph by Lauren Harvey Michael Buzacott outside Mitchell College, Bathurst with sculptures to be exhibited at CAS, Adelaide, 1978. Photographer unknown Michael Buzacott, Survey Exhibition, The Drill Hall Gallery, Canberra, 2015.

Photograph courtesy Drill Hall Gallery Paul Hopmeier and Dave Teer after the installation of Dave’s work at Lucio’s Italian Restaurant, Paddington, 2012.

Photograph by Lauren Harvey.

Kevin Norton, Dave Teer, Ivor Fabok and Paul Higgs in Wollongong for the exhibition Continuous Conversation, Muswellbrook Regional Arts Centre, 2011. Photographs by Amanda Teer

Works by Jan King, Geoff Ireland and David Wilson in ‘Great Works for The Great Outdoors’ Defiance Gallery, 2003.

Photograph by Lauren Harvey Paul Hopmeier and Russell McQuilty installing ‘Covers’ by Ian McKay. Photograph by Lauren Harvey Michael Snape, ‘Saddle’ Installation, Gallery A, 1977. Photographer unknown.

Paul Hopmeier with his 1976 work ‘Piano’, 2011. Photograph courtesy of the Drill Hall Gallery Paul Selwood at ‘Abstraction’ curated by Terence Maloon for the Drill Hall Gallery, Canberra, 2011. Photograph courtesy Drill Hall Gallery

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ABOVE Gallery Directors Campbell RobertsonSwann and Lauren Harvey with artists at the Defiance Gallery 20th Anniversary Exhibition, 2015. Photograph by Paul Hopmeier

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PHOTO CREDITS

FRONT COLLAGE Top row, left to right Russell McQuilty signing his work, Defiance Gallery, 2011.

Photograph by Lauren Harvey Ian Mckay, 1984. Photograph by Greg Weight ‘Welcome to Paradise’ with Brian Koerber in foreground, BHP Steel Sculpture Prize, joint winner 2002. Photographer unknown Campbell Robertson-Swann and Kevin Norton at Campbell’s first solo exhibition, Mosman, 1995. Photographer unknown Campbell Robertson-Swann directing the installation of Russell McQuilty’s solo exhibition ‘Rhapsody in Red’, at the Western Plains Cultural Centre, Dubbo NSW, 2008.

Photograph by Lauren Harvey Kevin Norton, Paul Hopmeier, Dave Teer and Campbell Robertson-Swann after the installation of Kevin Norton’s ‘Kimono’ as part of Woollahra Council’s Temporary Art Installation Program. Photograph by Ruth Gold Middle Row Paul Hopmeier with Terence Maloon (Director, Drill Hall gallery) and Shirley Leitch (Dean CBE), in front of Paul’s work ‘Levy,’ installed in the ANU College of Business and Economics building, 2015. Photograph courtesy ANU Kevin Norton at his exhibition, Mary Place Gallery, 2000.

Photograph by Ruth Gold John McDonald at the wheel of Paul Hopmeier’s ‘Post Modern Madonna,’ Defiance Gallery, 2006. Photograph by Lauren Harvey Paul Hopmeier solo exhibiton, Mary Place Gallery, 1996.

Photograph by Paul Hopmeier Russell McQuilty, 1985. photograph by Campbell RobertsonSwann ‘Salaman’ by Paul Hopmeier as part of The Art OMI Australia Retrospective, National Art School, Sydney, 2005.

Photograph by Paul Hopmeier Bottom Row Ian McKay with National Art School (formally East Sydney Tech) students including Jan King, Paul Hopmeier, Michael Buzacott, Michael Snape, Celia Winter-Irving, 1981.

Photograph by Ben McKay Rosemary Foot AO and Rupert Myer AO viewing The Art OMI Australia Retrospective, National Art School, Sydney, 2005.

Photographer unknown Campbell Robertson-Swann and Paul Hopmeier at Millamolong Polo Club, installing sculpture by Angus Adameitis, 2008. Photograph by Lauren Harvey Dave Teer in his Marrickville Studio, 2012. Photography by Richard Freeman Brian Koerber at his first solo exhibition, Defiance Gallery 2004. Photograph Lauren Harvey John Xerie delivering ‘Gateway’ by Russell McQuilty, ‘Burden’

by Paul Hopmeier, ‘Manhattan’ by Campbell RobertsonSwann and ‘Ome Omi’ by Nigel Harrison to Sculpture by the Sea, 2002. Photographs by Lauren Harvey.

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BACK COLLAGE Top row, left to right Harvey Shields, Dirty Pictures Self Portrait. Photograph by Harvey Shields Campbell Robertson-Swann, Lauren Harvey and Jim Remington at The Art OMI Australia Retrospective, National Art School, Sydney, 2005. Photographer unknown Dave Teer’s work in The Art OMI Australia Retrospective, National Art School, Sydney, 2005. Photographer unknown Paul Hopmeier and Russell McQuilty installing ‘Covers’ by Ian McKay. Photograph by Lauren Harvey Campbell Robertson-Swann overseeing the installation of David Wilson’s sculpture at the Defiance Sculpture Park, 2012. Photograph by Lauren Harvey Angus Adameitis helping to install The Art OMI Australia Retrospective, National Art School, Sydney, 2005.

Photograph by Lauren Harvey Middle row Campbell Robertson-Swann and Paul Hopemier at Jan King and Paul Hopmeier’s Rossmore studio. Photograph by Lauren Harvey Jan King in her Rossmore studio. Photograph by Paul Hopmeier Campbell Robertson-Swann in the studio, 2013. Photograph

by Leni Sabol Kevin Norton sculpture for 1978 Young Contemporaries, Institute of Contemporary Art, London. Photographer unknown Campbell Robertson-Swann in his studio, Dunmoochin.

Victoria, 1994, Photographer unknown Bottom row Installing ‘Bridge’ by Michael Buzacott, for the exhibition Australia ’75, Canberra, 1975. Photograph courtesy of archives.act.gov.au Jan King and Paul Hopmeier with Harvey Shield’s sculpture, Off the Wall Exhibition, 2014. Photograph by Harvey Shields Harvey Shields while studying at the National Art School, Sydney, 1973. Photograph by Jan King Ian McKay, Michael Buzacott, Greg Brasil and Vivienne Haley at Mildura Sculpturescape 1973. Photograph Jan King Celia Winter-Irving watches Ian McKay and colleagues install a sculpture, c. 1981. Photographer unknown Lauren Harvey, Lucio Galletto, Campbell Robertson-Swann and Dave Teer after the installation of Dave’s work at Lucio’s Italian Restaurant, Paddington, 2012. Photograph

by Amanda Teer

PHOTO CREDITS – ARTIST PAGES Ian McKay Portrait pg. 19 Ian McKay, 1984. Photograph by Greg Weight (detail) Portrait pg. 20 – Ian McKay, 1983. Photograph by Michael Buzacott Photograph pg. 22–23 – Ian McKay and students moving his work. Photograph by Michael Buzacott The Flight of the Blackbird – Paul Hopmeier Photograph pg. 26 The Flight of the Blackbird at Defiance Gallery 2016. Photograph by Lauren Harvey The Offering – Keith Lo Bue

Janik Bouchette Portrait – Norah Murray; Artworks – Richard Freeman Michael Buzacott Michael Buzacott with his work – Keith Lo Bue. Portrait – photograph by Stephen Oxenbury Artwork images: Keith Lo Bue Paul Hopmeier Portrait – Sophie Hopmeier; Artwork Images – Paul Hopmeier Jan King Portrait and Donatello’s Hat – Paul Hopmeier Triad and Carillon – Michael Bradfield Black and white portrait – Jan King at her Rossmore Studio, Photograph by Ann Liddle.

Brian Koerber Portrait and artist images – Dan Coyne Russell McQuilty Portrait – Lauren Harvey Artworks – Red Mountain – Postcard Sydney Pig and Whistle – Lauren Harvey Kevin Norton Photograph pg. 52 Kevin Norton’s studio Portrait and artwork images – Ruth Gold Campbell Robertson-Swann Portrait – Campbell Robertson-Swann with his work Ned 2006. Photograph by Lauren Harvey Contact Sheet – Campbell Robertson-Swann, 2004.

Photographer unknown.

Artwork images – Stephen Oxenbury James Rogers Portrait and artwork images – Simon Scott Paul Selwood Portrait – Jonathan Carroll; Artwork images – Paul Selwood Harvey Shields Colour portrait and artwork images – Harvey Shields Black and white portrait – Harvey Shields while studying at the National Art School, Sydney, 1973. Photograph by Jan King Michael Snape Colour Portrait – Anthony Browell Black and white portrait – Michael Snape in his first year at the National Art School, 1971. Photograph by Guy Madigan Truth – Jessica Maurer Untitled II – Kalev Maevali Dave Teer Portrait – Richard Freeman Echo of Bells – Lauren Harvey Four Fine Bells – Jason Capobianco David Wilson Photograph pg. 80 – Hope Sleeping at Queensland Art Gallery. Photograph by Lauren Harvey Portrait – Kate Wilson; Artwork Images – David Wilson

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Title: Sydney Sculpture Publisher: Defiance Gallery Pty Ltd Project team: Lauren Harvey, Bridget Macleod and Campbell Robertson-Swann Designer: Stephen Smedley, Tonto Design © Copyright 2016 artists, writers, publishers © Copyright of the photographs is held by the photographers listed in the photography credits page © Copyright of the essay text is held by Harvey Shields © Copyright of the artist text is held by each artist All rights reserved. This book is copyright. Apart from any fair dealings for the purpose of private research, review or criticism, as permitted by the Copyright Act, no part may be reproduced by any process without written permission.

Janik Bouchette, Michael Buzacott, Paul Hopmeier, Jan King, Brian Koerber, Ian McKay, Russell McQuilty, Kevin Norton, Campbell Robertson-Swann, Dave Teer and David Wilson are represented by Defiance Gallery, Sydney.

James Rogers and Paul Selwood are represented by Watters Gallery, Sydney Michael Snape is represented by Australian Galleries, Sydney Harvey Shields, courtesy of the artist Defiance Gallery would like to gratefully acknowledge the work of all the artists involved in this exhibition. With special thanks to Paul Hopmeier, without whom nothing would ever happen!

The following artists taught at NAS: Michael Buzacott, Paul Hopmeier, Jan King, Ian McKay & Paul Selwood, James Rogers The following artists studied at NAS: Janik Bouchette, Michael Buzacott, Paul Hopmeier, Jan King, Ian McKay, James Rogers, Paul Selwood, Harvey Shields & Michael Snape Brian Koerber and Dave Teer studied at West Wollongong TAFE (formally Wollongong College of Art) and were taught by Kevin Norton, Ivor Fabok and Elisabeth Cummings.

Est.1995

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DEFIANCE GALLERY / DEFIANCE SCULPTURE PARK 47 Enmore Road, Newtown, NSW 2042 Directors: Campbell Robertson-Swann and Lauren Harvey Gallery hours Wed–Sat 11am – 5pm / Tel: (02) 9557 8483 www.defiancegallery.com / lauren@defiancegallery.com

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