2012: Sculpture in the Vineyards Catalogue

2012

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CONTENTS 3

Director’s Note

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SINV Ambassadors

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SINV Awards

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What is Site Specific Art?

10 Exhibiting artists - alphabetical 39 Film & Photography 40 Host Venues

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Photo credit: Michael Lynch /Artwork: Steve Croquett - Wollombi Wines, 2012

Cover Photo credit: John Harrison /Artwork: Akira Kamada- Undercliff Winery, 2012

Director’s Note

Welcome to Sculpture in the Vineyards 2012.

Celebrating our tenth year this year is an exciting milestone. With over 60 finalists & such a huge variety of work, it is our biggest exhibition yet. Our vision to create a special event, which is engaging & informative for visitors, & a fabulous opportunity for artists at all stages of their careers, is what gives SINV such a unique place in the cultural calendar.

The five wineries that support & sponsor the exhibition & awards are exceptionally generous with their time, finances & sometimes patience to make this exhibition possible. Their commitment to SINV is an exceptional example of community spirit... From slashing & mowing to baking & making us all feel welcome, dealing with hundreds of emails & phone calls & countless meetings while making beautiful wines, these art loving folk are truly wonderful.

Over 130 artworks were considered for the event & we are now the only organization in Australia to offer a site-specific award. I do hope you enjoy the wonderful works, the pristine environment & the generous hospitality of this very special valley & thank you for visiting Sculpture in the Vineyards.

Tara Morelos Director

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2012 SINV Ambassadors

Sculpture in the Vineyards 2012 saw the launch of the inaugural ambassadors program. The program was designed to acknowledge the work of sculptors who have made a significant contribution to the industry through their innovation and leadership. These prominent sculptors have been present in Wollombi since July, acting as beacons of the Sculpture in the Vineyards festival and a year long reminder of the importance of sculpture to Wollombi. Sculpture in the vineyards would like to take this opportunity to credit and celebrate the works and achievements of its four ambassadors: Col Henry, Jane Gillings and Gary Deirmendjian.

Featured in the main street of Wollombi, Col Henry is a prominent figure in the Central Coast Sculpture community who is now the driving force behind Sculpture on the Green. He has been a long term supporter and exhibiting artist in Sculpture in the Vineyards and is a technical master of a myriad of materials. Meanwhie at Stonehurst Cedar Creek we find the imaginative photo opportunity of Jane Gillings. Through quirky assemblages of found objects she utilises detritus materials to create colourful creatures of reality, the imagination and beyond. As a pioneer of reinterpreted materials she continues to remind us of our the potential of the everyday object and even the easily discardable. Similarly Geoff Harvey, featured at Undercliff Winery, is the master of Australian iconography using our k9 companions in a way which is unmistakably Geoff Harvey. His creatures, both laser cut and assembled are playfully charged with personality through unexpected collaborations and juxtapositions of object as well as a well refined linear quality. Wollombi Wines features a well respected SINV artist. Lastly Gary Deirmendjians piece, proudly exhibited at Stonehurst Cedar Creek, is a testament to the artists witt and sophistication. Utilising scale and responding to his surrounds while fluidly moving across materials, Deirmendjians international acclaim clearly reflects the strength of his artistic practice.

Todd Fuller 2012 Provenance wood, metal, metallic gilt, discarded plastic, 200 x 300 x 25cm - $8000

Jane Gillings... Another artist once posed this question to me, “Aren’t all our

works just trying to say the same thing? Differently?” I realised that at least for myself, this was true. My work is always about over-consumption, waste, and being surrounded by seemingly endless stuff. I’m drawn to it, but am overwhelmed by it and its possibilities.

In response to this mass consumerism, I primarily use discarded waste for making my artwork. This could be anything, but is mostly plastic waste. I like plastic for its colour, diversity, durability & abundance. I also like the inherent politics of plastic. Our reliance & addiction to plastic as well as its effect on our natural environment makes it a material heavy with metaphor. The idea for this work began with an idle flip through the real estate pages of the Wentworth Courier. jane.gillings.com.au

Courtesy of NG Art Gallery, Sydney 4

Pierre the French Bulldog, steel - 108 x 73cm - $3300 Buster, steel 96 x 142cm - $3300 Rover, steel 92 x 142cm - $3300

Do Not… mixed media, 2m x 2m x 2.4m - NFS

Geoff Harvey is best known for his whimsical

sador for Sculpture in the Vineyards 2012 for his provocative work which was conceived to invite debate. “As an artist and citizen, as a partner and father, as a human being … I object to your ways, you regulating priests of caution and conformity.”

depictions of dogs Harvey has exhibited widely & he is well represented in many State & regional Galleries including the National Gallery of Australia as well as important corporate & private collections throughout the world.

Totem, stainless steel, 600 x 120 x 120cm - $15000

Col Henry’s new work is part of a new series, exploring line, form & sensuous movement, using minimal positive space to create enigmatic imagery that conjures thought from deep within the viewers subconscious. colhenry.com

Some artists take themselves far too seriously & in so doing often miss what Picasso referred to as the “ joy & pleasure of making art.” But this has never been the case with Harvey, who insists that for him “a strong work of art should reveal the artists joy of creation in the finished work.” geoffharvey.com.au Courtesy of Robin Gibson Gallery, Sydney

Gary Deirmendjian was selected as am ambas-

Superficially speaking the work takes its form & language directly from the actual warning signage developed & used extensively by Sculpture by the Sea. However to the artist it represents not only a site & event specific proposition but more significantly, a personal protest against what is quite simply a “sign of the times”. How is one able to do anything anymore? garo.com.au

Courtesy of the Yuri Humeniuk Collection

Courtesy of Artereal Gallery, Sydney 5

2012 SINV Awards 2012 is a landmark year, not only our 10th anniversary, but it also the launch of Australia’s only site-specific award.

JUDGES COMMENTS Dani Marti

Artists at all stages of their careers were invited to submit large scale works (over 1m in any direction) which are suitable for long term outdoor survival or designed to be ephemeral and site specific.

As an Artist judging the exhibition, it was exciting for me to witness the variety of work, materials and concepts at play. Some of the works showed an incredible finesse in their execution, some of the ideas and narratives were very engaging and others fostered s real magic. For example:

Donated by our generous hosts, these awards are designed to promote excellence and innovation, experimentation and discussion while celebrating the unique local environment.

• Undercliff Award for Site-Specific Art $2500

• Noyce Brothers Award

Innovation in methods and /or materials $2500

≈ Rae Bolotin’s exciting use of material and its potential, I am excited to see what’s coming next. ≈ The playfulness of Ro Murray’s work, and the use of every day objects and materials ≈ The mysterious and ghostly narrative behind Flossie Peitsch’s work ≈ Narja Williams installation of ‘quasi’ tribal figures walking up the hill has a strong presence. ≈ Felicity Yorston and Cassandra Daw’s engaging installations, with a sense of play and fun, and how it extentds its content into the digital domain.

≈ Dianne Gerlach’s experiment is powerful and I am excited by its potential

• Wollombi Wines Artist Residency Award

≈ Stevie Fieldsend’s exquisite finish and sensuality brings many poetic readings to the work

• Stonehurst Cedar Creek People’s Choice Award

≈ Jenny Herbert-Smith’s excercises of drawing red in space

$1500 value

Selected by Allyson Hoft, Vigneron

$1,000 value

• Kid’s Choice $250 value

• Cessnock Regional Art Gallery Exhibition Award Group exhibition at Cessnock Regional Art Gallery 2013 Artists selected by John Barnes, Director CRAG 6

≈ Emma Wise’s subtle and poetic interventions in the environment ≈ James McCallum’s brutal strength and presence and how the steel and wood work together.

Dani is a multidisciplinary artist working in a variety of media. He has an international reputation, and is the subject of numerous publications and recipient of many awards and residencies. He has exhibited widely and is collected by many national and international institutions. Dani is a great ambassador for the region’s local talent as a resident of Cessnock.

Represented in Sydney by BREENSPACE.

Sarah Johnson I enjoyed the great range of material presented in this year’s exhibition. Many artworks successfully refabricate and re-imagine the materials used; credit should be given to the curatorial team for their imaginative of use of outdoor space - this evidenced the strong relationship built between the artists and the team.

It ‘s very important for artists to push the parameters of what sculpture is, thereby leading the public to rethink the concept of sculpture and public space.

Stevie Fieldsend’s artwork shows complex thinking and a technical process which deserves a high level of merit. The tree trunk and glass fabrication is well balanced and fuses beautifully organic and non-organic forms to achieve a surface that’s both sensual and tactile.

You can judge too!

Pick up a peoples choice voting card at any of the venues and have your say. Kids can also vote!

Vote on our facebook page with a photo of your favourite work and you could also win a super prize!

Installations by Emma Wise and Felicity Yorston and Cassandra Daw thoughtfully considered embedding art into parts of our lives that could just as easily have been passed by. However, once the audiences are captured by them, they discovered many levels of intellectual responses. Emma’s subtle excursion is elegant and beautiful while Felicity and Cassandra’s environmental consciousness is infused with a great sense of humour.

Melissa Laird’s work takes viewers on a personal journey through the history of women in Wollombi. Melissa’s artwork demonstrates a diligent level of research and sophistication. It successfully produces a high level hybrid of art and artefact, uncovering the untold and hidden stories.

Sarah is a senior curator of contemporary art at the Newcastle Art Gallery. With over 15 years experience in the museum and gallery sector in NSW, ranging from federal level museums to local government museums and galleries. Sarah has broad networks in the regional arts sector and in the visual arts, design and museum sectors.

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John Barnes

Alyson Hoft

I have chosen six artists as the recipients of the Cessnock Regional Art Gallery exhibition award whose work I believe will support and compliment each other I look forward to working with them in creating a truly memorable exhibition in twelve months time.

The generous sponsor of the Wollombi Wines Residency, Allyson Hoft states “Melissa’s effort to relate to history is touching and Nardja’s work is beautiful and graceful, both artists have shown great potential.”

The works have to be worthy within themselves and also be able to support and complement the sculptures of the other artists in order to create an exhibition that will be both engaging and perhaps confronting.

The artists I have chosen are Flossie Peitsch for her Arc of the Covenant, Nardja Williams for Custodians, her procession of charred timber figures which quietly echo Stevie Fieldsend’s Solve et Coagula whose slumped glass globules surmount their burnt and blackened poles. In a great example of material transformation Penny Philpott’s Chained gives us piles of heavy duty forged metal chains that reveal themselves to be light and delicate ceramics while there is no deception in the muscular physicality of James McCallum’s Kicking the cat. To complete the group I have selected Jenny Herbert-Smith for Figuratively Speaking and In Search of Common Ground, whose formal, red metal abstract ‘lines in space’ will perfectly compliment the other works.

These are all young and emerging artists whose individual practice is well advanced and who have demonstrated the ability to transform abstract conceptual thinking into fully resolved concrete expression. While all the artists are coming from different technical, material, conceptual and aesthetic positions I believe the individual qualities of their work will tie together to form a robust exhibition of strength and subtelty.

Recently appointed Director of Cessnock Regional Art Gallery, Dr John Barnes is dedicated to leading his gallery with a keen eye on representing his region and it’s artists. John is the former director of Newcastle Art Space and in 2011 completed a PHD in Fine Art. John’s history as a farmer provided the inspiration for his PHD works, which focused on the Australian landscape since British colonisation.

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Jane Hamshere Undercliff Site Specific Award co-judge Jane Hamshere enjoyed Emma Wise’s aquatic installation at Wollombi Wines for its thought provoking and meditative qualities.

She was also impressed with Penny Philpott’s ceramic chain installation at Undercliff. Her reference to the local history of the site and its proximity to the convict brick pits, as well as the subtelty of the work is to be highly commended.

“The quirky ‘road signs’, foot prints and interactive QR code component of Felicity Yorston & Cassandra Daw’s Ichonotraces is a standout Site Specific entry giving a history lesson on the extinct megafauna of Australia and in particular a local giant goanna.’

What is Site-Specific Art ?

In its largest sense, the term Site-Specific Art applies to a work made by an artist in the landscape either by radically altering the terrain to produce an “earthwork” or by creating ephemeral or removable tableaux along particular pathways so the terrain is not permanently altered. No matter which approach an artist takes, site-specific art becomes part of its locale restructuring the viewer’s conceptual and perceptual experience through the artist’s intervention.

After hosting Sculpture in the Vineyards over the past 9 years, Jane and Peter Hamshere of Undercliff Wines have developed a keen eye for works which are sensitive to the environment. The couple have donated the $2500 prize money for this year’s award, the only prize of its kind in Australia. ≈

2008 SINV Artist: Sue Callanan - Water x Air Site specific installation at Undercliff Winery Sue has a history of creating site specific installations, using minimal interventions to point to and enlarge the span of the viewer’s gaze. In this instance she uses the wine bottle to suggest an interface between human activity and natural elements. She configures bottles in such a way as to zipper up the lake at Undercliff defining the body of water and the island contained within it. This zipper, or stripe, which merges colours of the bottles with those of the surrounding terrain, is intended to prompt the viewer to move along its path, taking in details of the landscape through which it courses.

Photo credit: John Harrison /Artwork: Sue Callanan - Undercliff Winery, 2008

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Wool Sheds wool, corrugated iron,found objects, dimensions variable NFS

Wool Sheds Prototype wool (felted, knitted, crocheted), corrugated iron, 80 x 80 cm NFS

Something Fishy carved limestone, steel base, 130 x 40 x 70cm - $15500

1. Betsi Beem

2. Betsi Beem

3. Senden Blackwood

The advent of European settlers & their livestock has transformed the Australian landscape & inspired vernacular architecture with tin sheds ubiquitous in agricultural Australia. This work draws on how the social & economic context alters & is altered by the environment.

Through time the iron oxide from the rusted corroguation seeps through, discoloring & damaging the wool. The installation like the Australian landscape will be transformed through time & exposure to the elements with both the wool & the objects it covers co-evolving to an unknown final state.

We conveniently ignore that our daily lives affect the oceans. Our lifestyle choices, whether we eat seafood or not, impact countless birds, fish & other marine life. The chemical run off from industrial farming practices destroys aquatic habitat & creates large swathes of uninhabitable ocean areas.There is definitely something fishy going on.

sendenblackwood.com Courtesy of Brenda May Gallery, Sydney 10

Seed Form stainless steel 316, 120 x 80 x 63 cm - $25 000

Descending the Mountain corten/high weathering steel, 300 x 230 x 200 cm - $45000

Imagine metal, 120 x 105 cm - $850

4. Rae Bolotin

5. Linda Bowden

6. Lea Bullock

This work was inspired by tiny seeds I found near my studio on the edge of Wollemi National Park, & photographs taken with microscopes I found in botanical books. The colour is a chemical modification of the surface of stainless steel. It is done in a vacuum chamber with the use of a variety of gases pumped in at different time intervals. This technology was first invented by Russian spaceship engineers. It is this juxtaposition between art & science, organic & steel, where I tease out the meaning of the static forms bringing them to life.

The creative process is much like a spiritual act of ritual. Like Moses descending from Mt Sinai, the artist returns from the peaks after a consultation with a higher power undertaken in isolation. They return to the masses with the fruit of this process.

Imagine developed from my love of good music & the arts. I have thoroughly enjoyed working with metal due to its versatility. Having finally found myself in ART, I realise I spent too many years looking & not realising my dream.

raebolotin.com Courtesy of Stella Downer Fine Art, Sydney & Gaffer Gallery Hong Kong

Since graduating from the National Art School, Darlinghurst, NSW, Australia, in 1999 Linda has been actively pursuing a career in teaching & making sculpture. She has exhibited in various group shows, solo shows & has been awarded a number of prizes including a UNESCO residential fellowship at the atelier Four-Winds in Provence, France in 2005. Â lindabowdensculpture.com 11

Incy Wincy ‘THIS’ steel, found objects, 240 x 60 x 450 cm - $1500

Mr Proud, Mr Ponder, Mr Percival ‘THIS’ steel, 70 x 85 x 50 cm - set of 3 $800, individualy $250 each

Scarce Flight steel rod, timber, 90 x 80 x 155 cm - $1800

7. Craig Burrell

8. Craig Burrell

9. Rhonda Castle

Craig Burrell’s sculptures embody his imagination & highlight his artistic flare. His works are prime examples of putting recycled & discarded steel to good use, not only benefiting the environment, but also the public. This particular sculpture was my wife’s idea. We spent some time throwing ideas around &came up with a free standing 2.5 metre high spider web, based on the theory that a spider’s web is as ‘strong as steel’.

Thanks to his visually stimulating entries in exhibitons: Waste As Art, SINV & Waste Not Want Not, Craig’s works are beginning to speak for themselves.

Scarce Flight symbolising the eagles power & inner strength, not that of physical beauty but that of faith & the spirit of tenacity. It is the gift of clear vision.

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Storm Boy - a timeless story bringing together two cultures, a heartwarming Australian classic.

Everyone knows the story & has seen the movie at some point in their lives, either as a small child or an adult. As a tribute to my childhood memories &the story which I intend to pass onto my son Tavyon, I bring Mr Percival & his two famous brothers to life in the form of these recycled steel sculptures.

Fanciful stainless steel sheet & rods, metal anchors & weights, 150 x 160 x 60 cm - $3200

10. Rhonda Castle Fanciful - unrestrained, made of stainless steel & polished reflective surfaces plays with light yet melds into its surrounds. The form of wings represents freedom of movement with its central body looking towards the sky.

Who Are We? ( In Between-ness) ceramics, glazes 115 x 60 x 45 cm - $1800

She steel, 143 x 86 x 134 cm - $2500

11. Kazuko Chalker

12. Janine Clark

My heritage & life comes from a cultural durability- in between-ness in my work & I constantly pose the question: “Who are we?”. Often what we are is not what we appear. The clothing we wear represents the way we live & our likes & dislikes, but the real self is veiled.

She is a comment on the female role in the modern world. An abstract figurative sculpture that is reflective of the modern-day woman who attempts to have it all. Purposely striding forward on tiptoes – She is reminiscent of the elegance of the high-heeled trotting corporate type, but jodhpur-like leg coverings harken to her nature-nurturing desires.

Japanese Haiku text represents the base of my heritage & describes the different qualities of the outer & inner self. It is close to the skin & expresses my deep Japanese roots, yet my assimilation into Australian culture. kazukoandceramics.blogspot.com

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Minutia resin, scale models, nylon rope, 25 x 24 x 10 cm each plus rope $550 each or $1350 for three

13. Belinda Clarke “Minutia explores what lies within, inside a drop of water or inside a pool, it reflects a personal journey of how we see. As I am ageing I find for the first time my eyesight is altering & this caused me to examine the world more closely via new glasses, enabling me to see details again. I began to think of our concept of scale & what dramas we don’t see within our shrinking world.”

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An Unsustainable way of Life cold cast iron, 160 x 68 x 63cm - $2500

Sushi Fish cast white cement (5 pieces), 19 x 82.5 x 37.5cm - $200 each

14. Will Coles

15. Will Coles

Stating the painfully obvious yet saying something that doesn’t seem to percolate down. Society is so thoroughly brainwashed & addicted to consumerism that it can’t see that it’s destroying the environment & therefore itself.

I made a larger version three metres long & installed it hanging from a crane on Cockatoo Island in the middle of Sydney harbour.

Our current way of life requires infinite resources yet ours are very finite.

As I stood on the ferry ramp I realised that in amongst all the driftwood & rubbish there were lots of little plastic soy-sauce fish bottles washing up around my feet. So many of these are being thrown away into the harbour & sea we pretend is so precious to us forming little shoals of artificial fish that beach & unbeach themselves with the tides.

willcoles.com

willcoles.com

Courtesy of Brenda May Gallery, Sydney

Courtesy of Brenda May Gallery, Sydney

Victim cold cast iron, 51 x 134 x 131cm - $1500

The Edge timber, steel & bronze 147 x 53 x 89 cm - $1100

Unearthed round steel bar, 130 x 80 x 80 cm - $3300 each

16. Will Coles

17. Leasha Craig

18. Steve Croquett

We’re used to seeing the casual display of limbless, often decapitated mannequins, essentially sexualised clothes-horses. These are our physical realisations of a sexual ideal, thin like we want to be, shaped how we wish we were, wearing what we can’t afford - idols of our lifestyle. That serial killers & fetishised sexual violence are a by-product of modern life has been explored in the etchings of George Grosz & the dolls of Hans Bellmer. This sculpture is merely the modern continuation of a theme, taking in the violence of 20th century art as well as acknowledging the classical art ‘porn’ of several centuries of rich male art patronage.

I believe one of the roles of contemporary artists is to engage with the audience & open up a visual communication in an effort to instigate social change, development & understanding.

Emerging from their ancient past to reveal their happy disposition, these works are inspired by the mysterious giant carved monoliths of the Moai on Easter Island.

Within my work I am depicting my perception of the feelings that depression & anxiety induce, which I share with the audience to encourage sympathy.

The Edge is my interpretation of the fragility of life.

willcoles.com Courtesy of Brenda May Gallery, Sydney 15

In Between fabric, rope, sticks, tent pegs, paint, & wire 200 x 300 x 550 cm - NFS

Shadow Dancing steel, recycled polystyrene, newspaper, paint, glue 300 x 150 x 300 cm - $2500

19. Suzanne Davey

20. Suzanne Davey

A site specific response to the landscape of the Hunter Valley & the delicate balance between its natural surroundings & the activities of cultivation & the wine industry.

Shadow Dancing examines the tensions between the economic importance of the coal industry to the Hunter region & nostalgia for its natural beauty.

A large black glistening form hovers ominously, casting a shadow on the earth below. The form references the sedimentary nature of the geology in the Hunter & its coal. The work was developed in response to ‘solastalgia’, which is widely used to describe the effects of the hunter valley’s coal industry infrastructure on the human psyche when returning to the region. ‘Solastalgia’ describes the feeling of homesickness one gets when one is still home but the environment is changing.

In Between explores the tensions between containment & the wild, settlement & nature, agriculture & the bush. Referencing man made structures, created from natural materials, it moves in response to its environment.

suzannedavey.com.au 16

suzannedavey.com.au

Eugene cement, phonebooks, stocking, cotton, 170 x 70 x 30 cm - $16000 Mystro expanding foam, styrofoam, stockings, cement, wood, steel, 180 x 90 x 40 cm - $18000

21. Stefano Di Lorenzo No comment.

Urban Nature timber, sticks, stones, twine, wire, lacquer, 250 x 25 x 550 cm POA

It’s all about the light III glass, 137 x 35 x 35 cm - $3500

Head in the Clouds: Stormy Weather steel rod, wire & plinth, ceramics, 120x 150x 80cm - $3200

22. DoGsWooD

23. Julie Donnelly

24. Harrie Fasher

In this piece, frames become windows, windows create a wall, the wall becomes a representation of a built urban landscape. Within these windows individual sculpture pieces reside, covered with twines, sticks & stones represent the individual & collective groupings that dwell within. Form, structure & external expression are explored.

My current work involves the use of glass objects, vases, bowls, decanters, etc. I’m exploring the themes of light in all its many interpretations & metaphors. These “candlesticks” are a beacon of light & represent new beginnings. They have taken on a completely new identity, going from the mundane to the extraordinary.

Head in the Clouds is a narrative about losing your way. It describes the contemporary human condition of people seeking direction by juxtaposing the manipulation of the weighted, static qualities of ceramics with the tensile qualities of steel & the energy created through using drawn line to create physical form. This tension is mirrored in the sculpture’s narrative. harriefasher.com.au Harrie would like to acknowledge the sponsorship of Buttsworth Industrial Supplies, Sth Windsor.

Courtesy of Maunsell Wickes Gallery, Sydney 17

Defined Space commercial graded acrylic sheets, 110 x 150 x 150 cm - $6800

A Sculptor’s Portrait: Horseman. salvaged steel, enamel paint, 230x 78x 68cm - $ 9500

25. Neil Douglas Laredo

26. Harrie Fasher

Defined Space is a two dimensional line drawing taken from the drawing board & given form that defies gravity as the line is suspended in mid-air. It maybe the analytical Right or the abstract Left, but as you move around the sculpture the line defining edges move & create form within the changing plains. Solid surface areas appear to become open & transparent, while empty spaces appear to be solid, an optical illusion maybe, but challenging what is real & what is not. Which space do we live in?

This line drawn steel figure wearing a horse’s head & neck stands quietly waiting with a second mask.

It invities dialogue, raising the possibility of a larger unseen tale. The work has a distinct energy with attention to both anatomical accuracy & whimsical narrative. Harrie is an emerging artist, a National Art School graduate who won numerous prizes during her studies & has recently returned form a residency in Iceland.

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harriefasher.com.au

Solve et Coagula series glass, wood, dimensions variable - $1900 - $9000 each depending on size (8 pieces)

27. Stevie Fieldsend In working with materials that embody the process of transmutation, such as molten glass & charred wood, a type of performance takes place close to the furnace, & inside my body. A ritual that leaves more than a trace, it leaves a place of where there is a possibility of transformation. Solve et Coagula, slumps thick biomorphic molten glass over & inside a series of dark, truncated vertical forms. The hot glass itself assumes & picks up an imprint memory of the wood grain, is separated,& then when cooled is laid back down over the standing forms.

Harrie would like to acknowledge the sponsorship of Buttsworth Industrial Supplies, Sth Windsor.

steviefieldsend.com.au

Courtesy of Maunsell Wickes Gallery, Sydney

Courtesy of Artereal Gallery, Sydney.

The sky is falling

Obsession 316 polished stainless steel, 230 x 150 x 200 cm - $24000

You Wish 304 stainless steel, 100 x 180 x 24 cm - $19000

welded steel rod & sheet metal, 120 x 120 x 20 cm - $1000 each

28. John Fitzmaurice

29. John Fitzmaurice

30. Margo Gabsi & Gianni Galluzzi

High heels, everyone loves them, some more than others. A twisted look of the female ‘slavery to fashion’ attitude & the high heel stiletto.

You Wish is a monocoque sculpture inspired by the natural shape & sensual lines of a wishbone.

Margo Gabsi: I like the quirkiness of using a familiar phrase from children’s nursery tales & adapting that to a visual & spatial work. Imagination & image work together to create a story.

johnfitzmaurice.com.au

Through the use of polished stainless steel, & the over scaling of the piece it is transformed into a modern abstract interpretation of an organic form.

Gianni Galluzzi: When I use my hands to create or repair objects it is most typically for a functional purpose, whether tools for the garden, chopping firewood or repairing cars. Putting these skills to work in an artistic context is refreshing & creates a space separate where my mind can be freed from everyday concerns to focus on the abstract & beautiful.

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Beautopia

painted galvanised steel, 105 x 70 x 225 cm $39000 pair or $22000 each

recycled plastic wine glasses, wire, acrylic rope & mesh, speakers, sound, mp3 player, 80 x 120 x 200 cm - $2000

Lets face the music & dance

Chairs of Jakarta recycled chairs, steel poles, wood, electroluminescent wire 190 x 50 x 50 cm - $600 each

31. Jenny Green

32. Pamela Lee Brenner Johannes Muljana - Frolic & Gambol

33. Pamela Lee Brenner Johannes Muljana - Frolic & Gambol

Strung like a glittering contemporary necklace or a spider’s web glistening with dew, these disposable vessels clink & jangle in the wind. Cloudlike structures of repurposed plastic wine glasses gather in the meeting place where historically & currently people join in celebration & relaxation.

Chairs of Jakarta seeks to look at the contrast between the raw & the manufactured, the wild & the civilised. The chair is a recognised symbol of civilised society with embedded connotations such as; position in society & hierarchical importance.

Today we are bombarded with the quest for beauty – perfect body, agelessness & intensity of experience. Beautopia subverts this idea of manufactured beauty. I collect discarded steel & bring it back to life. That ‘junk’ can be transformed into objects of beauty is for me, a compelling passion.

jennygreen.net 20

They dance the night away, visible either still or in motion by the light of decorative phosphor.

The soft sounds of glasses clinking may be heard as they nestle each other. Listen closely as they ring like bells sharing stories of festivities past, present & future.

Originally inspired by the scandal of Indonesian government officials who spent millions in public money on imported chairs, when their own country has many fine artisans & forests of beautiful timber.

Frolic & Gambol would like to acknowledge the sponsorship of Electroluminescent Wires.

Is that all there is? recycled plastic, metal, wood, wire, dimensions variable - $750

Walking in your Footsteps recycled steel, plastic bags, tyre, concrete, epoxy - $3000

Evolution steel, 220 x 50 x 500 cm - $7500 (three pieces)

34. Dianne Gerlach

35. Jesse Graham

36. Jesse Graham

There are microscopic organisms inextricably involved in the growing of grapes & the making of wine. Some are for the good, such as botrytis, but some are not so good, such as downy mildew.

Everything in the work is recycled (the steel that makes up the frame & rest of the work is all found/ recycled.) except the epoxy resin that holds the plastic bags together.

This work responds to the mostly unseen appearance at a microscopic level of these organisms, which can be at once strangely beautiful, chaotic & threatening. The materials used are deliberately ephemeral & recycled reflecting my desire to create something of value however transient, from what is perceived as junk.

The closer we come to depleting earths oil resources (represented by plastic bags), the closer the tipping point comes. Have we reached the environmental pinnacle that could see us falling into extinction?

This series of dinosaurs shows the construction method of the work itself  in stages as well as 3 different forms of welding from brazing to arc welding & then finishing with the final completed work that used the more modern mig welding approach.

Jesse; frequently seen wearing his undies on the outside of his pants & as a result often mistaken for a superhero. However currently sculpts full time in the bush at Eden NSW surrounded by the constant song of bellbirds!

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Kelly’s Wardrobe steel stone, soral, wood, plastic, tin copper, shell 140 x 50 x 700 cm - $12000 or $1000 each

Donut Selection ceramic - 4 x large at $450 each, 7 x medium at $300 each 14 x small at $80 each & 14 x tiny at $40 each

37. Jesse Graham

38. Madeleine Hayes

You can never have enough variety.

“I am an artist who draws upon many influences; my own life, gentle humour & the transient & ephemeral nature of all things. My hope is to continue to make work with an open mind & heart.”

Madeleine regularly conducts creative art workshops in the Sydney & Hawkesbury regions, including working successfully with at-risk youth. madeleinehayes.blogspot.com

Courtesy King Street Gallery on William 22

Dream Catcher Trilogy stainless steel, copper, 240 x 240 x 240cm - $15000

39. Col Henry By working with stainless steel in a fluid & intuitive way, Col has created this suite of kinetic wind driven works. Drawing on his metallurgical knowledge, skills & imagination, he plays by literally sketching in three dimensions. These whimsical & ambiguous works encourage audiences to draw meaning from their own experiences. The concept of taking up space, without taking up space, has fascinated the him for many years. Negative space is as important as the positive & these drawings exist as a testimony to the technique. Col believes drawing to be the highest art-form an artist can pursue & drawing in three dimension raises the bar. colhenry.com

Figuratively Speaking painted steel, 180 x 108 x 87cm - $2500 In Search of Common Ground painted steel, 176 x 136 x 79cm - $2600

Rhythms of the Wind wire, timber, marble, found materials, 110 x 70 x 70cm - $7500

Seven Gods of Good Fortune – From the Bottom of Memory wood, 150 x 100 x 350cm - NFS

41. Scott Ingram

42. Akira Kamada

40. Jenny Herbert-Smith

Accompaniment: spring rhythm section, backbeats flow, swing grass harp pirouette, arabesque winds blow, rhythm section, backbeat! Piano harmonies shuffle, colour dissolving into light! Ensemble!

Patterns move & change forever tickled with delight.

Through the traditional shichi fukujin gods, I pray for the people who suffered from the disasters of Japan, remembering the stars in the Northern Hemisphere that I looked at as a child.

My work is intrinsically about shapes in space, defining & activating space through forms made of steel.

Although my work is non representational, l am often surprised at the unintentional figurative elements within the work. Figuratively Speaking evolved as a series of shapes which, at its life-size form, refers to the abstract figure without any formal representation. My aim is ultimately to engage the viewer without any narrative but purely on the visual form maintaining a sense of playful spontaneity which is in contrast to the industrial material of its form.

I am constantly drawn to creating works which fof its form.

Scott is known for both his organic & figurative forms as well as for creating interactive & connected sculptures where craft & ideas matter. As an independent artist continuing to explore different mediums & concepts, he creates a relationship with his audience that has an equal, intuitive & endearing capability. akirakamada.com 23

Sky, Land and..., bamboo, vine, 150 x 300 x 200 - NFS commissions available

Hira-Hira cane, cloth, resin, rope, dimensions variable - NFS

The Timeless Clocktower timber, stainless steel, 100 x 100 x 100 cm - $1500

43. Akira Kamada

44. Akira Kamada

45. Jiri Kripac

Akira Kamada has studied widely in photography, painting, ceramics & sculpture in Tokyo & Sydney.

In 2006 he first entered Sculpture by the Sea, receiving the Clitheroe Foundation Emerging Artists Mentor Program in 2008. He has since exhibited regularly in Sculpture by the Sea, UWS Sculpture Award, Woollahra Small Sculpture Prize & Sculpture in the Vineyards.

Take a breath, take your time & turn with the wind...

On arrival to Australia in 1969 I spoke my first English sentence which I learnt on my journey over.

I announced to the immigration officer, “Time & Tide Waits for no Man!” I am still following this quote!

akirakamada.com

akirakamada.com

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Hira Hira is a Japanese onomatopoeia for the way something turns with & flutters in the wind. In society it can be a metaphor for being free. In the end though, the wind will outlast everyone. This is a statement about the temporal or ephemeral nature of things.

As a professional jazz musician & visual artist, Jiri has a passion for classic jazz & sculpture created with found objects; in particular pianos. Having played Jazz from the early 60’s & developing his drawing skills since the 70’s, Jiri has been fascinated since the 90’s by the metamorphosis of one beautiful object – the piano & its visual sounds.

Symbiosis resin, copper, 200 x 300 cm - $4800

46. Emilia Krumm Symbiosis: The association of two living organisms living attached to each other or one within the other to their mutual advantage.

In nature we find plants & animals living on or off each other amicably without doing harm to each other. In this trio of sculptures, there is a natural flow of movement from one to the other, nurturing one shape & yet allowing it to take from the other. emiliarisikrumm.blogspot.com.au

Breath timber, wrought iron, sandstone, perspex 400 x 200 x 200 cm $2000

Music Box - Anti Music Box mechanical music box, electronics, electric motor, photovoltaics plywood, 240 x 90 x 60 cm - $8250

47. Melissa Laird

48. Michael Lewarne

Breath is a celebration of mortality, framed on the historical significance of the local cemetery - Wollombi community Ă­s a quiet landscape of death. A memorial to the women of the district, the installation evokes Victorian stylistic ideals, church windows & funerary architecture; a contemporary vanitas designed for a unique rural township.

This work draws inspiration from physics & is the continuation of a body of site-specific projects.

Further, it is an examination of the boundary condition - a black hole; the Event Horizon. Music Box – Anti-Music Box generates a soundscape in response to the site as aural/spatial experience & receiver of sunlight & sound.

melissa-laird.com

 Five solar armatures are dispersed across a site.

As the audience move through the field they are surprised by an illusive musical refrain, a brief tune which escapes easy identification.& leaves the briefest of impressions.

Courtesy - Desert Equinox 25

Skinny Dipper forged steel, 315 x 12 x 205cm - $20000

Kicking the Cat steel & wood, 72 x 182 x 61cm - $2500

Fossil (Fuel) concrete, steel, scrap metal, 20 x 200 x 160 cm - $9000

49. William Maquire

50. James McCallum

51. David McGuinness

A tribute to the individual.

Born in Sydney 1989, James McCallum finished a fine Arts Honours degree in 2011 at the National Art School in sculpture. During the same year he was awarded the Clitheroe foundation mentorship program for Sculpture by the Sea, Bondi.

When the last drop of oil on earth is consumed, hydrocarbon-fuelled vehicles everywhere will rest forever where they lie, rusting monuments to a bygone age. Population explosions based on a superabundance of resource must collapse when that resource is depleted. Mass extinctions follow, along with rapid changes in conditions that only the most adaptable species survive. Ironically, such events in geological history have created the oil deposits that have allowed the human race to usher forward its own mass extinction. Cars are dinosaurs.

Hydrocarbon based civilisation is a dinosaur. & if, as seems likely, we are unable to change our ways, humans will become dinosaurs.

willblacksmith.com.au

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He has been inspired by jazz with such artists as Thelonious Monk & Jimmy Smith influencing him to improvise in unique ways. He has shown work in a number of group shows at the Defiance Sculpture Park, Mills Gallery & the Armory Gallery.

Chrysalid irrigation piping, variable installation - $3000 (30 pieces)

Moon Flower found cast iron, corks, steel, water, 60 x 240 cm dia circle - $7000

Harvest garden piping, steel, variable height $1000 each (3 pieces)

52. Ro Murray

53. Ro Murray

54. Ro Murray

This work represents pupae of butterflies ready to emerge with favourable climate conditions. They are optimistic symbols for transformation & imagined transient beauty for what they will emerge into in a world without pesticides & toxins.

Moon Flower is inspired by the circular moon gates in Chinese gardens. This flower is horizontal & has florets at random spaces, either tangential or radial.

These pods reflect the Moon which revolves around the Earth & whose pull of gravity affects water from ocean tides to menstrual cycles.

These bundles represent sheaths of wheat, traditionally symbols of plenty, prosperity & blessing.

Ironically the international seed & agrochemical company Monsanto Corporation has patented genetically modified sterile seeds (potentially for all cultivated crops) to aggressively consolidate the world seed market. Genetically engineered plants are dubbed “terminator technology.” These new seeds have diverse implications, including the altering of the earth’s biodiversity & have possible impacts on human health & native flora. Farmers will no longer be able to save seeds from year to year, or cross breed to adapt crops for local conditions. Crop uniformity increases vulnerability to pests & disease & heightens potential mass famine.

Chrysalid is a made up word & notably The Chrysalids being the title of a science fiction novel by John Wyndham in 1955 which is also called ‘Re Birth’.

romurray.com.au

The Moon marks the months of our yearly calendar, & was a guide for those that lived with the land: for the best time to fish, to plants seeds or to harvest.

romurray.com.au

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Polymorphs plastics, steel, 180 x 120 x 120 cm - $10000 each (3 pieces)

Ark of the Covenant recycled fence palings, marine rope 100 x 300 x 600 cm - $6000

Left Behind ceramic, dimensions & price variable

55. Mike Patton

56. Flossie Peitsch

57. Penny Philpott

This work follows a developmental line that began for me 3 years ago & presents a variety of imagined plant/ animal forms derived from existing natural form, yet are evolved through an imagined narrative of a potential future beyond the time of man. In this future the planetary forces have transformed the industrialized waste materials of our time into new creative life forms.

Finding Noah’s Ark in Australia would be unlikely, still this miniature hut suggests the washed up remnants of a ship. Made of recycled fence palings & coffin-sized with ‘hanging noose’ rope travel handles it represents the weighty problem of over-population, material possessions & environmental survival.

Like our hoarded belongings, it’s impossible for a person to carry. The wooden bundles of the ‘ship shape’ make a small shelters if constructed. Many early immigrants to this area imported their homes as ‘kits’ from overseas. What have we done to keep God’s covenant after emerging from the ark? God promised the world would not be destroyed again.

Have we selflessly served & cared for the world we live in? Maybe it’s time ONCE AGAIN to look for higher ground.

As we wander the vines spirits speak to us of the past & tell us their stories, stories of industry & of strength. They speak to us through the chains that link us to their lives, links that remain & connect us.

The materials in these works are partially recognisable as the original industrial products, yet are transformed in purpose & invoke new associations & relationships.

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flossiepeitsch.com

As a ceramic sculptor my work affords me the opportunity to manipulate the tactile qualities of clay & be inspired by nature to create a presence in the landscape.

Ghost Net bamboo, rope, nylon, cork, plastic, 900 x 250 x 350 cm - $1750

60. Phillip Relf O Deer paper maché - egg cartons, joint compound, pva glue, clove oil, sticks, micaceous paint, glass, wood, 100 x 15 - 30 cm $400 - $600 each

This Olympic Marking Configuraion bio degradeable safe lawn paint, size variable

58. Hildreth Potts

This is a site specific marking that merges the familiar with the unfamiliar to create a juxtaposition of two & three dimensional form. What is taken to have urban or sport connotations, for instance the running tracks or swimming pool lines of the London Olympics has been removed & manipulated into a remote setting.This ‘Olympic’ line work subdivides & orders time old grape vines. Mandy Pryse-Jones & Simon Savage have been working together for the past five years as lecturers & creators within the design industry. This collaboration was born out of a mutual fascination of the interplay of two & three dimensional structures & design elements, in this case within a rural setting.

I always wanted to learn how to weld metal & after raising 3 children I went to the National Art School to study sculpture for 4 years.

Afterwards, however, finding myself without a welding bay, I turned to the wonderful, non-toxic & amazingly strong medium of paper mache. Because there is a dialogue between all the materials one uses, the paper often looks like metal. hildrethpottsart.blogspot.com

59. Mandy Pyrse-Jones & Simon Savage

A Cargo Cult inspired structure rises from the ground. An abandoned section of fishing net hangs from a massive bamboo pole adorned with found items, Sacred Objects, fashioned into sea creatures.

Intended to bring back the fish & birds, now so few in number, the builders have unwittingly chosen the very items that are responsible for destroying the natural world around them. Ghost Net explores modern society’s impact on the natural world. Ghost Nets; are sections of fishing nets cut loose or lost at sea. Near invisible, they can drift for years through the world’s oceans, entangling & killing fish, marine animals & sea birds (ghostnets.com.au). Marine Plastics or marine debris is a major environmental issue. Each year millions of tons of plastic find its way into the oceans. Digested by large marine animals & birds or entering the food chain as microscopic particles, plastic threatens the entire marine ecosystem. (plasticfreeocean.org) 29

Rainbow Noose rope, paint, 200 x 50 x 10 cm - $1200

Framed powder coated aluminium, 195 x 370 x 220 cm - $9500

Mega Fauna steel, foam, concrete, render, 100 x 80 x 120 cm - $3500 each

61. Alun Rhys Jones

62. Sue Roberts

63. Dóra Á. Rögnvaldsdóttir

According to a recent report, suicide is now the ”leading cause of death by injury in Australia”. For Australian men suicide is now the greatest cause of death. The Australian Bureau of Statistics reports that the greatest increase of death from suicide was men aged 15 to 24 years.

By creating a series of square & triangular frames, Roberts seeks to alter the perception of the vista each frame exposes. The frames provide a mental shortcut or schema to invite the viewer to interpret the message contained within them & to focus the eye on the altered visual image the frames expose.

We do not look at “nature” & apply a frame to it.

Rather we only do so when we see nature in the form of a picture presented to us.

Evolution is a process that we look at as tracks of development through time. In this period of human domination we are manipulating this path in order to expand productivity for short term gains. It has been theorised that dinosaurs evolved into birds. Are we playing the architects of time, further designing the dinosaurs to the ultimate size & shape?

In rural areas male youth suicide is double that of metropolitan figures, & same-sex attracted youth are six times more likely to attempt suicide than the population as a whole. This sculpture is designed to reflect upon these facts & enable communication, change & acceptance. alunrhysjones.com Courtesy of Iain Dawson Projects 30

suerobertssculpture.com

Hopscotch biodegradable grass paint, 10 m x 10 m - $2000 installed

Worlds Apart biodegradable grass paint, 3.5 x 3.5 m - $700 installed

64. Anthony Sawrey

65. Anthony Sawrey

Hopscotch is named after the child’s game encountered on footpaths every where & evokes the generally suppressed impulse to jump in & follow the squares. The work is similar to the eponymous pastime only in name, but is intended to instil a similar pleasure to what one experiences when coming across its traces in urban environments. Hopscotch invites the viewer to enact a performative response to the work by stepping or hopping from square to square, creating their own paths, & immersing themselves in the installation. Environment paintings take colour & line & arrange them in response to the surrounding countryside. The landscape becomes a canvas but each design. The artistic process & the final result an unpredictable & ephemral pleasure.

These works are made using organic grass paints similar to those used for creating logos at football matches to be broadcast on television. They do not harm wooded vegetation or grass & leave no residual toxins in the soil. Once dry, they will not stain clothing or sluice into waterways.

The work will eventually grow out & grass clippings can be composted as normal. The design can be reasonably expected to last for four to six weeks even with mowing & relies on this temporary & ephemeral quality for its impact. sawrey.com.au

Transitory Dwelling aluminium armature, anodised aluminium pressed metal 110 x 50 x 120cm - $5000

66. Kathryn Sherer My art practice encompasses the making of both objects & painting. My formal training has been in Jewellery & Object Design & in Sculpture, all areas informing & enriching each other. The smaller work often acts as a maquette for the larger, allowing for a development of understanding of the concept.

There is a meditative aspect in my work which has its starting point in the work process itself that lies somewhere between the meditative & the obsessive & which I feel permeates the work. kathrynsherer.com.au 31

Converge corten, steel frame, 120 x 180 x 280 cm - $10000

Converge Traced mild steel, enamel, 120 x 180 x 280cm - $5000

67. Morgan Shimeld

68. Morgan Shimeld

These objects are like architectural forms or a series of abstract still life studies. They are strong & grounded monolithic shapes, using perspective & precisely angled planes. Across my practice I have worked to take away & add segments, creating channels, tunnels & facets that have a quiet & still presence to them. These geometric elements act to draw the viewer into the work & often opposite sides of the one work will have quite a different sense of balance & perspective...

...I then observe these objects & recreate them in wire, sometimes altering them or inverting some of the shapes during the process. This work challenges the viewer to see the solidity of the shape through its emptiness. If it is viewed from one angle the lines can appear to flatten causing the shape to collapse.

However viewed in the round, the multi-faceted surfaces begin to emerge. Consequently the perception of form is read in terms of their positive & negative spaces, differing from solid unambiguous form.

morganshimeld.com

morganshimeld.com

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Timothy and Thomas horseshoes, rio bars, steel, 60 x 53 x 95 cm Large turtle - $3000 / Small turtle - $2000

69. Kenneth Smith Kenneth Smith has lived his whole life in the Yarramalong Valley working as a log cutter & sawmiller. Kenneth is a Central Coast based artist who specialises in welding metal & steel. His most recent work is a series of turtles a&a replica horse made from horse shoes.

Kite horseshoes, copper wire, steel, leather saddle, bridle, stirrups, 185 x 60 x 220cm - $20000

70. Kenneth Smith I began welding steel at an early age & have developed an extensive knowledge of this medium.

The artwork I create is inspired by day to day life & a vision to reclaim recycled metal & steel. This has led to the construction of my life-size animals & figures that are formed by welding together everyday metal objects.

This is my passion & I hope others will enjoy it too.

Whirlybird steel, found objects, 280 x 140 X 1,20cm - $3500

Spun Out zincalume steel sheet metal, concrete, 150 x 120 x 70 cm - $4000

71. Roz Stampfli, Kathy Rosenmeyer

72. Ella Szpindler & Pam Dunne

& Jan Shaw

Roz Stampfli, Kathy Rosenmeyer & Jan Shaw are independent sculptors who met at the Workshop Arts Centre, Willoughby about 10 years ago.

A scavenged exhaust extractor found in a council clean up initated a joint project culminating in Whirlybird. The work reflects the increasing inter-connectivity of the Australian wildlife with the urban environment. Birds in particular have become intergrated into the urban environment by roosting in any nook & cranny - a suburban house, high rise building or industrial zone. They have not only colonised the built environment but often feed from human generated refuse.

Defiance – represents the strength & resiliance of Australian trees. They fight to grow & survive in our harsh environment on rocks, sand, grass &in both wet & dry, hot and cold conditions. The energy & strength needed to survive is represented by the steel in the structure.

Ella was born & educated in Poland where she studied sculpture at the Kenar Art School before moving to Australia & completing the Art Certificate course at East Sydney Tech. Pam was born & educated in Wales & studied art at Furzedown College London UK whilst doing teacher training. Pam later completed a Diploma of Fine Arts at Seaforth TAFE in Sydney & now calls the mid north coast home.

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Spun Out zincalume steel sheet metal, concrete, 150 x 120 x 70 cm - $4000

Distant Hills ceramic, timber, 100 x 68 x 68 cm - $1170

Ridge Line ceramic, timber, 100 x 40c x 120 cm - $1650

73. Ella Szpindler & Pam Dunne

74. Sharon Taylor

75. Sharon Taylor

Living in our much faster, spinning, dynamic world of today, Spun Out represents a whirling force of energy, which is releasing a build up of tension allowing a thrusting force of energy to escape.

Distant Hills is not a replication of a particular place, it’s more of an impression, reproduced from the snapshots of breathtaking views held in my memory.

The landscape is divided into blocks & then assembled again to confirm the unity & strength of the Australian landscape.

Ridge Line is a piece inspired by another typically Australian view where the hills give way to mountains & the rugged ridge lines form a silhouetted barrier to anything that lies beyond. The shapes, colours & textures mirror the intriguing lines of the ranges.

The pieces are hand built from recycled earthenware clay body, oxides & glazes have been used for colour.

The collection of ceramic pieces ties together to form a unified landscape, just as the elements of the bush blend & meld into the panorama that surrounds us.

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Favourable opportunity cast iron, corten steel, 155 x 40 x 28 cm - $12000

Emerge clay, 55 x 33 x 65 cm - $950

76. Peter Tilly

77. Hidemi Tokutake

The androgynous figure is my every person; it is reluctant to let go, yearning for a past just gone, apprehensive of an uncertain future. Just as life is uncertain so too is the endeavour the figure is about to embark upon. There are issues of doubt when confronting the unknown. I try to achieve a simplicity in these still life tableaux that is incisive and intuitively accepted yet capable of complex layers of meaning. There are many possible interpretations depending on the viewer’s own journey through life.

My work has been influenced by the Australian natural landscape, in particular by the forms of plants & seed pods. I believe that the delicate & brittle nature of my work viually sympathises with someThis point has been a fundamental principle in my practice but it is now clear to me.

hidemitokutake.com.au Courtesy of Brenda May Gallery, Sydney

Rift 1 hot-dip galvanised mild steel ,weathered corten steel, 200 x 150 x 250 cm - $6500 (inc plinth), $11,500 for both (inc plinths)

78. Jacek Wankowski Rift1 & 2 pursue a moment between balance & flight where the precise distribution of mass, form & space activate the sculpture. Inspired by observation of the natural marine world, it is intended to embody complexity, movement & a sense of thrust & violence - all reduced to their simplest elements.

Jacek exhibits with the Espacio Gallery in Bethnal Green, London, is an Associate Member of the Royal British Society of Sculptors & The Sculptors Society (NSW). straylightstudio.com Courtesy of Brenda May Gallery, Sydney 35

Rift 2 hot-dip galvanised mild steel ,weathered corten steel, 200 x 150 x 250 cm - $6500 (inc plinth), $11,500 for both (inc plinths)

Water Birds acer, camphor laurel, jacaranda, rio bar (10 pieces) dimensions variable - $6250

Custodians charred camphor laurel, dimensions variable - $11500 (10 pieces)

79. Jacek Wankowski

80. Nardja Williams

81. Nardja Williams

Jacek shares his time between the Hunter Valley & London & originally trained & worked internationally as a marine biologist. Since graduating in 2006 from the National Art School in Sydney, he has exhibited his sculptures internationally & nationally in over 50 group exhibitions.

Since moving to the Yarramalong Valley, I have been given the opportunity to learn how to carve timber using a chainsaw. This has opened up a whole new world for me & now when I look at pieces of timber, I see its subtle beauty & character. This is what I try to highlight in the artwork that I make. I am influenced by nature & the environment I live in & my aim is to encourage people to see this beauty too.

Nardja is a Central Coast based sculptor. She travelled Australia & was inspired by the diversity of its landscapes. Nardja has a BA in Creative Arts & a BA in Art Education & whilst living & teaching in Katherine NT, she was once again overwhelmed by the beauty of the bountiful environment & its people.

These experiences have influenced her work & led her to create her first sculpted series ‘Custodians’, which are a group of figures carved from Camphor Laurel & some are then charred over a fire drum.

straylightstudio.com Courtesy of Brenda May Gallery, Sydney 36

Occupation #2 fishing floats found along the coast of Japan, synthetic line, dimensions variable - NFS

82. Emma Wise All over the world there are instances of man farming the ocean in distressing ways. As I write, we are still fighting over our rivers, as fishing boats the size of tanker close in on our fragile fisheries. We fight over water. We fight over land. We claim our territory. We occupy.

I collected these floats & more from one beach on the west coast of Japan over three days. There, typhoons fight back, destroying nets & lives. In this work, these fishing floats will subtly occupy the waters of Wollombi. A single float here, a line there – a small statement about big things. Perhaps they are beautiful. But do they belong?

Blossom bronze & steel, 210 x 60 x 70 cm - $8000

ICHNOTRACES: Tree Climbing Crocodile, Marsupial Lion, Road sign, lawn paint dimensions variable

83. Efat Yahyaoglu

84. Felicity Yorston & Cassandra Daw

I try to find connection between myself & nature through sculpture .

Ichnotraces is a response to the concerns of habitat fragmentation & destruction. Over the last 200 years, more than 100 species of Australian animals & plants have become extinct. This artwork pays homage to the creatures that once inhabited this vast continent & are remembered through the oral histories of indigenous people & more recently through fossil records.

Blossom is a transition al growth from physical to metaphysical dimension which implies perpetual change & endurance.

Use the QR code reader on your mobile phone to scan the codes on the works. Discover the story behind the extinction of these animals - especially the Giant Goanna from the Watagans!

Sponsored by Roads & Maritime Services Ichnotraces & Jim Russell.

Special Thanks to Cameron.

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ICHNOTRACES: Giant Wombat; Demon Duck of Doom & Giant Goanna Road sign, lawn paint dimensions variable.

Viewpoint recycled items, found objects, steel. 200 x 60 x 50 cm $200 - $250 each

Trojan Car FJ Holden recycled packing pallets (donated by EDI Downer) steel, paint - NFS

85. Felicity Yorston & Cassandra Daw

86. Felicity Yorston & Cassandra Daw

87. Newcastle TAFE

Giant Goannas called the Mungoon Galli feature in an Aboriginal Creation Myth. The Aboriginal people believe that the Giant Goanna is not extinct, & sightings by farmers in the local area are as recent as the mid 1970’s. To this day the Aboriginal people & some local farmers maintain that these reptiles still inhabit the dense forests of the nearby Watagans mountain range, & periodically stray from their mountain habitat into Cessnock &the surrounding areas.

Every person has a unique viewpoint. As children a small house seems huge, as adults the same house cramped & minscule. As we grow & are exposed to a greater world view, our perceptions & perspectives change & develop. The decoration of each frame references a different culture. This artwork explores different viewpoints influenced by both physical & cultural perspectives of the viewer.

Using packing crates, the students of Newcastle Tafe have constructed a replica FJ Holden.

Thank you Will !

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The replica includes a pedal mechanism & has been a regular feature around the Hunter St Campus in Newcastle.

Silent Communion

Julia Burns

2010, HD Video, 1:38mins

Screening throughout November at Noyce Bros Wines cellar door in Wollombi.

Special Thanks: Evan Papageorgiou - cinematographer Mira Mansell - choreographer Charlie Mallie and Trent Slabb - dancers

Filmed at the site of the first Catholic Church in Wollombi, one of the earliest sites of Christian worship in Eastern Australia, this lyrical work depicts an unconventional scene of Aboriginal spirituality and male intimacy within a traditional Christian context.

It refers to the adaptability of believers to find spirituality in religions that may not have originally been their own and asks the viewer to consider their own ability to adapt. juliaburns.com

Michael Lynch - PHOTOGRAPHY We are also pleased to launch a new initiative giving photographers the chance to strut their stuff as part of Sculpture in the Vineyards. Each year, a new photographer will be selected to use innovative techniques and the sculpture in the exhibition as their inspiration to produce a work for the back cover of our catalogue. An edition of postcards of five works will be printed and available throughout our cellar doors all year round. As well, there’s the opportunity to exhibit editioned prints. If you would like to take a shot at next year’s spot, email sinthev@gmail.com or drop a link to your portfolio on our facebook page.

Michael Lynch is our poster child this year and we are delighted to have him on board. Check our venues for super postcards of his nocturnal visions. michael.l@ozemail.com.au 39

Undercliff Winery

Stonehurst Cedar Creek

Noyce Bros Wines

Undercliff Winery was built in 1993 is nestled in a tranquil valley only 1.5 kilometres from Historic Wollombi Village. The cellar door was constructed to compliment the existing heritage values of the Undercliff Estate, where the external slab walls superbly set off a cedar cathedral ceiling. The wine making equipment was built specifically for the winery, as was the impressive 6 metre table used for vintage lunches and other functions.

Our vineyard is located on the land originally granted to Napoleonic War Veterans in the 1820’s and which become renowned for its horticultural produce. The Heslop family farmed deer and cattle on the property for many years before establishing the vineyard in 1995. Our vision for the vineyard is to produce premium quality wines through sustainable viticulture – no insecticides and only organically approved fungicides are used.

Proclaimed and settled as a farm in 1846 the property still retains the original timber slab sheds and homestead, the latter is now unique accommodation for guests named Settlers Cottage. The clay quarry for the 19th century Wollombi brickworks is adjacent to the vineyards and is now a billabong fed by a subterranean water table providing irrigation for the vineyard.

The family homestead, Cellar Door and wine cellar are all built of sandstone quarried on the farm and old convict stone. Our cedar creek cottages, which are self–contained with all modern amenities, are built from old timber slabs and convict brick to the rich heritage of Wollombi. Now in our 7th generation of farming here, we continue to maintain a very healthy environment in this wonderful part of the world.

The Noyce family have been farming in the Wollombi Valley for 40 years, and our wines are cultivated on land first settled in 1823. Our aim at Noyce Brothers is to explore ways in which technology and tradition can push the boundaries of taste.

Our cellar door is in the magnificent old sandstone Grays Inn (where we also offer stunning accommodation), next to the General Store in the heart of Wollombi Village, with lovely restaurants close by and our variety of outstanding wines at great prices, we know you will enjoy Noyce Brothers Wines.

The cellar door is open daily 10 am to 5pm Undercliff are the generous sponsors of the Undercliff Site-Specific Art Award, Australia’s only award for site-specific art.

Undercliff Winery and Gallery, 152 Yango Creek Road, Wollombi, NSW, 2325 Ph: +61 2 4998 3322 undercliff.com.au 40

We welcome you for a tasting at the Cellar Door, 7 days a week 10 am to 5pm Stonehurst Cedar Creek generously provide the annual People’s Choice Awards of $1000 to the most popular work.

1840 Wollombi Road Cedar Creek NSW 2325 Phone: +61 2 4998 1576 cedarcreekcottages.com.au

Opening Hours: Wed - Mon 10.30am to 5pm Noyce Bros Wines provides the $2500 Award for Innovation. Artists using materials in a new and innovative way, or pushing the boundaries of sculptural medium and conception are eligible for this award.

2884 Wollombi Road, Wollombi NSW 2325 02 4998 3483 noycebros.com.au Gray’s Inn graysinnwollombi.com.au

Wollombi Wines Vineyard

Wollombi Village Vineyard

Wollombi Wines Vineyard is situated adjacent to the historic village of Wollombi and bordered by the beautiful Wollombi Brook. Family owned and operated by proprietors Allyson and Peter Hoft, the vineyard produces quality wines with typical Hunter flavor and characteristics, including three delicious lower alcohol wines. Self catering accommodation is available at the super Ironbark Cottage. Come and enjoy the beautiful views, picnic facilities available.

Located only 200 metres from the centre of the village for easy access & lots of main road frontage, Wollombi Village Wines may only be 5 acres in total, but is very fertile as it is creek flats, so produces abundant crops of chardonnay, shiraz & now lovely table grapes available from our cellar door.

Originally this land, as part of the original Wollombi village, was apparently used as the ‘Governor Gipps Inn’ back in 1841, as well as ‘Sloan’s Bakery’, the Cricket grounds as well as the Wesleyan School grounds – so quite a historical, central location. When purchased in 1988, owner’s Alan & Maria Roe remember the block was simply open vacant land. Their first vines were planted in 1996 & were completed in 2000. The cellar door was opened in September 1996, following the owners’ Alan & Maria’s retirement after 32 years in the plumbing supplies stores.

Wine tasting: 7 days a week 10am to 5pm Alyson and Peter are the generous sponsors of an artist residency award, which provides encouragement and inspiration to one of the talented Sculpture in the Vineyards artists who can spend a relaxing and productive time at the Ironbark Cottage on this pristine property.

25 Charlton Street (entrance off Wollombi Road) Wollombi NSW 2325 PH: +61 2 4998 3427 www.wollombiwines. com.au

Wollombi Village Vineyard cellar door is open weekends, not just for wine tasting & sales, but also for the well known liqueurs Maria hand makes (Limoncielo & Passione especially sought after).

Fridays (10 am - 4pm) Saturdays (9am - 6pm) Sundays (9am - 4pm) and long weekends.

2971 Payne’s Crossing Road Wollombi NSW 2325 Ph 0419 997 434 wollombivillagevineyard. com.au

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Discover the Noyce Brothers Wine cellar door in the historic Grays Inn in the heart of Wollombi village.

The Wollombi Valley, with its intense summer heat and crisp winter mornings, produces the beautiful grapes used to create Noyce Brothers Wine’s award winning flavours.

All Noyce Brothers wines are available for tasting and purchase including semillon, verdelho, chardonnay, semillon/sauvignon blanc, sparkling chardonnay, shiraz, sparkling moscato and a wonderful late harvest semillon.

Grays Inn is a lovely two storey 19th century sandstone Georgian building with beautiful ensuite accommodation on the first floor.

While staying at Grays Inn you can relax in the recently landscaped and private back garden or take it all in from the front balcony.

Contact us

Noyce Brothers Wines Grays Inn accommodation

Cellar Door Mobile Open Web Email Accommodation

02 4998 3483 0416 245 655 10-30am to 4-30pm every day www.noycebros.com.au sales@noycebros.com.au www.graysinnwollombi.com.au

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Acknowledgements: Sculpture in the Vineyards is a not for profit organisation which relies upon volunteers, professional pro bono support and the blood sweat and tears of many as well as the much needed financial and in kind support from sponsors and partners.

Special thanks to...

The organisers: Tara Morelos - Director for the past 6 years who holds it all together Todd Fuller - who does it all with such grace, amazing energy and initiative Cash Brown - whose hard work is matched by her humour Arthur Chan - our colourful curator Oliver Tanner and Joanna O’Toole’s - invaluable hands on help and support Trudy and the team at Vim and Zest for a super PR campaign And their partners and friends who have supported them in supporting us.

Photography: cover image/front - Harrisons Photography, cover image/back - Michael Lynch.

All other photo credits: Todd Fuller, Cash Brown, Peter Hamshere Sculpture in the Vineyards is a regional flagship event funded by Destination NSW

Robin Gibson Gallery gallery 47

sculptureinthevineyards.com.au

Photo credit: Michael Lynch /Artwork: Ro Murray - Wollombi Wines, 2012

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