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CONTENTS 3
Curator’s Note & SINV Ambassadors
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Education
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Undercliff Winery
13 Wollombi Village Vineyard 18 Wollombi Wines 25 Stonehurst Cedar Creek 33 Small Show at Wollombi Valley Arts Council
2013 SINV Awards • Award for Innovation in Methods and Materials - $3,000 • Environmental Strategies & Undercliff Winery Site Specific Award - $2,000 • The Greater Emerging Artist Prize for artists still undertaking their studies or in the first 5 years of practice - $1,000 • Wollombi Wines Artist Residency Award - $2,500 value • People’s Choice Award - $1,000 value • Cessnock Regional Art Gallery Exhibition Award Group exhibition at Cessnock Regional Art Gallery - 2014 • The BERN Rooftop Award Group exhibition at Marrickvilles newest sculpture garden - 2014 2
Cover Photo credit: Todd Fuller /Artwork: Mark Booth - Stonehurst Cedar Creek Wines Above: Installing Bronwyn Berman’s Portal at Wollombi Wines with Albert Kraan from Wollombi Sandstone
From our Curator An invitation has been extended to visitors of the Wollombi Valley Wine Trail to explore and celebrate this year’s Sculpture in the Vineyards festival by engaging with the innovative and challenging collection of artworks installed across four local vineyards. Artists in this year’s exhibition respond to wide-ranging issues creating dynamic sculptural works that unfold, reveal stories of nature, the environment and local history. Three ambassadors installed artworks in Wollombi in June to showcase this year’s festival. Louisa Dawson encourages audiences to engage with the way public space is utilised with installation of Reclamation at Wollombi Village Winery. Inspired by science Jacek Wankowski’s large scale sculpture Pauanui exhibited at Stonehurst Cedar Creek represents repetitive elements found in nature. Figure in Landscape by Tim Kyle is featured in the village and challenges audiences to reflect on the human condition. These ambassadors were nominated to participate in this year’s program to acknowledge their commitment to the world of sculpture, which exemplifies the key characteristics of the Sculpture in the Vineyard festival. Celebrating its eleventh year, this survey show reveals the strategies of different artists in the continued response to the picturesque locations across the valley. Encouraging wider circles of the community to participate in the festival, the artworks in this exhibition provide moments of joyful contemplation, visually introduces the audience to a range of music, offer insights into the histories of Wollombi and comment on sustainability through the use of reclaimed objects. Experimentation and considerate negotiation of public space are key features of this year’s program while presenting broad contemporary art practices. Danella Bennett
2013 SINV Ambassadors TIM KYLE Working in a range of materials, figurative sculptor Tim Kyle challenges audiences to reflect on the human condition. Sydney based, Kyle uses cumbersome stereotypes to pose questions and create figures that prompt contemplation. Kyle’s Figure in Landscape can be seen in Wollombi Village. Kyle has exhibited extensively in both group and solo shows, has received highly commended in a number of national prizes, most recently the Wynne Prize.
Tim is represented by Ray Hughes Gallery, Sydney 3
JACEK WANKOWSKI The anticipation of revelation is a key feature of Jacek Wankowski’s practice. Inspired by scientific discovery and marine biology, his large-scale steel sculptures, represent the repetitive elements and patterns found in nature. Working in a variety of steels, the mark making process is represented and maintained in the ‘industrial’ nature of the surface of the work. Pauanui , the Maori word for ‘big abalone’ is featured at Stonehurst Vineyard. Pauanui embodies movement and anticipation – a sense of unfolding . . . of unwrapping. Jacek Wankowski exhibits with Brenda May Gallery, Sydney
LOUISA DAWSON Louisa Dawson uses modified industrial and domestic objects in her practice to create absurd and ironic sculptures that challenge ideas about renewal and urban environments. Recently returning from artist residencies awarded by the Australia Council in the UK and Germany, she continues to use her art practice to invite audiences to question the social inequities that relate to public space. Reclamation encourages the viewer to engage with the way in which public spaces are utilized. Wollombi Village Vineyard hosts Dawson’s work as part of the 2013 Sculpture in the Vineyards Ambassador Program.
2013 SINV Ambassadors 4
EDUCATION Program 2013 Launch This new addition to the Sculpture in the Vineyards program has received a positive response locally with over five hundred students from primary and secondary schools in the areas surrounding Wollombi booked in for guided tours, workshops, artist talks and activities. Sculpture in the Vineyards will also host a number of weekend activities for children and families, including a Free Family Picnic Day. Weekend Family Workshop Days Sunday 10th and 24th November Limited spaces, bookings essential. Email sinthev@gmail.com to reserve a space. Family Picnic Day Sunday 17th November Undercliff Winery All Welcome For full details visit www.sculptureinthevineyards.com.au Sculpture in the Vineyards would like to thank Copyright Agency limited for its support of the Sculpture in the Vineyards Regional Education Program.
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Geo Pods
Circuitous
copper, stone, 1600 x 120 x 150 cm $25,000
stainless steel, copper, resin, plastic, 170 x 100 x 100 cm $15,500
1. Bronwyn Berman
2. Col Henry
The primary reference of these forms is found in nature, their shape is the archetype of a seed pod or cocoon. Containing seeds of new life or the promise of transformation to new form, the pod can be seen to occupy the fluid space between states, or the transitional space between successive material incarnations.
This work explores the potential of ‘Taking Up Space, Without Taking Up Space’, a theme and concept developed by the artist over recent years. The work relies on gravity and the breeze to move subtly, suggesting primal connections and enigmatic imagery. Although conceptually connected to the energy and force of the ‘Circle’, the work allows the viewer to draw on their experiences and culture, to ‘Tell Their Story’, often unexpected and personally valid.
Undercliff Winery 6
To be free
Corten steel, 180 x 40 x 40 cm $6,200
3. Russell Treverton The inspiration behind this piece is the true story of a women’s quest for survival and represents the light at the end of the tunnel scenary for many abused women to strive for. This sculpture holds dearly to the artist’s heart and the story it tells covers scars and reveals beauty.
Water
bamboo, vine, 150 x 200 x 200 cm NFS
4. Akira Kamada While 70% of the earth’s surface is covered in water, only 0.007% of the planet’s water is clean, fresh and accessible. De-forestation leads to desertification, which means less evaporation and less rain. The industrial pollution of lakes and rivers, the over mining of groundwater, the over use of water for manufacturing and our habit of dumping all our used water in the oceans all mean that we are heading to a huge water crisis. Against this background private companies are allowed to bottle fresh spring water and sell it for profit so for an increasing number of people around the world clean water is no longer a realty - its just a concept. Where will we be in even 40-50 years?
Columns in Space
forged Steel, 180 x 75 x 75 cm $10 000
River Strings
pvc steel, 240 x 0.6 x 240 cm $4800
5. Stephen Short
6. Will Maguire Vertical forms delighting in their own mingling interactions strongly made yet almost fragile in appearance.
These scupltures were inspired by the bold forms of the mangrove seed pod, with long finger-like shapes that hang from its branches. With the use of play The artist created these new works that takes on forms evident in nature. 7
Ghost II
mixed media, dimensons variable POA
7. Liz Bradshaw The artist’s work directly addresses the nature of objects and materials, their histories, and the ways subjectivity can be constituted and challenged by our encounter with the art object. She explores the way we use the Other to construct meaning and identity: whether through the object, place or memory. This has guided the development of a diverse practice concerned with the fabrications of history, and cultural nostalgia for past times and other places. Bradshaw’s work expresses something about both the obsolescence and lingering ideology of the industrial production/consumption machine. At the same time it is increasingly reflective of her interest in Australian history and the legacies of colonialism; and of a particularly Australian vernacular and humour. 8
Dromornis stirtoni Going Going Gone laser cut aluminium QR code virtual poetry, 200 x 180 x 200 cm NFS
Untitled
mahogany acrylic paint steel, 150 x 150 x 900 cm NFS
8. Cassandra Daw + Lou Steer
9. Catherine Kingsmill
20,000 years ago the last of Australia’s megafauna the Demon Duck of Doom aka Dromornis stirtoni became extinct. For over 40,000 years it had coexisted with the Indigenous people and may have been the origin for the bird-like bunyips that were seen around water holes. The sculpture is accompanied by poetry of a hunting Demon Duck in primordial Australia. To access the virtual poetry scan the QR code.
Kingsmill’s work is informed by past discourse and guided by nature. When starting a sculpture, she searches for the initial component in the bush or by the sea. Most of her works start out with a single tree branch, guided by the natural form of the object the work is then allowed to grow organically. Works relate to each other like a collection always with some esoteric overlap of sentiment or meaning in them, often referring to an historical or cultural event. The artist likes the idea of a work not only occupying a public space but providing a private reverie.
Presence
sticky-tape, 160 x 40 x 60 cm $200 each
11. Students of Hurlstone Agriculutral High School, Stephanie Cody and Jo Ross
Nature’s way by any other name… mild steel and glass, 180 x 150 x 150 cm POA
10. Erica Izard As humans we aspire to cultivate and germinate. Through the breeze comes a seed that lays its claim on the land. From the landing place springs a weed that makes its place in any space, Breaking through the garden layer, nature’s revolution.
These ethereal figures hang from trees, swinging eerily in the breeze. They allude to the past and present simultaneously. Their simplicity and anonymity makes the figures universal: a familiar symbol that any visitor to the garden could relate to. The translucent bodies are concurrently reminiscent of ghostly visions – perhaps of prior visitors to the site; or maybe apparitions from deeper into the past. It could be the silent and gentle swaying that challenges our sense of reason while intriguing the audience. Viewers find themselves engaged by their beauty, yet these sticky-tape skins tend to place us ill at ease. Although the figures are constructed of a material completely foreign to the landscape, there is a sense of harmony within the work.
A Journeys Beginning
cast Iron, Corten steel, 141 x 65 x 39 cm $6,000
12. Peter Tilley This androgynous figure is about to embark on an uncertain journey. Reluctant to let go it lingers yearning for a past just gone and apprehensive of the future. Courtesy of Brenda May Gallery, Sydney 9
WithDrawn Spaces (i&ii)
round bar and reclaimed steel 206cm x 225cm x 59cm & 203cm x 221cm x 59cm $2,000 each
13. Simon Hodgson An examination of the triangular relationship between the body, landscape and the built environment within the context of the sculpture space. Combining of an interest in architecture and landscape, Hodgson’s sculpture fuses the two languages to create environments that establish an uneasy tension between the logical and the visceral. His sculptures are about how we exist as bodies in space and seek to investigate the way in which we inhabit space both internally and externally. They invite the viewer to explore these ideas about space in both a physical and imaginative way; they are a correspondence between the real and the imagined - the connectedness of the inner and outer self. 10
Flight of Fancy Dinewan(Emu) and Bahda(Kangaroo)
welded steel and horseshoes, 200 x 250 x 400 cm $15,000
14. Kenneth Smith This work was created with a view to reminding us of the hunting life of Aboriginal people in the past generations of this area.
paper cane bamboo steel, 10 x 100 x 70 cm $110 each
15. Phillip Relf Flight of Fancy is a whimisical look at possible alternative evolutional processes. Here a school of 13 flying fish exhibit a bizarre assortment of wing types as found in nature. The question is ‘if it works for a butterlfy why not a fish?’
Growing the Spirit (emu egg) and Emu Dreaming heble, ochre $1,700 each - large
Nest
branches, 100 x 250 x 250 cm $7,000
16. Phillip Skelton Bird’s nests are almost perfect in function and form; they are at once a circle, a bowl, a cradle, a nursery, a history and a home. The original idea came about after a walk along the cliffs in the Royal National Park near Bundeena. The artist happened upon a large wooden bowl about a meter in diameter which he first assumed was man-made but then discovered it was the nest of a Sea Eagle. Each piece of wood meticulously flown up from the coastline below and woven together to create a secure structure to nurse her chick. Skelton’s first attempt at making a nest took 3 weeks of collecting branches, weaving then pulling them apart because they wouldn’t hold the form. He wanted it to be strong and large enough to support the weight of a grown person.
A Poem for You
used car tyres stencilled paint, 75 x 2500 x 8000 cm $1,500
17. Anne Gaulton In this work Gaulton has taken a text entitled “Death by Water” from T. S. Eliot’s poem “The Waste Land” and stencilled the words onto tyres with white oil paint so that the text sits in a rich and raised topography on each rubber form and then repeats on the oars. Sculpturally, she only wants to ‘suggest’ the form of the work - that of a boat - to talk about the act of sculpture making and viewing as well as the play involved in those acts. She counterpoises the value of making and viewing against the need to have a sculpture that is resolved and clear in its intention.
Yella’ Belly $1,000
Kangaroo, Yella’ Belly, Goanna, Little Emu $ 550- small
18. Adam Drylie Adam is a Wiradjuri man born and raised on the Central Coast of NSW. He is a well known Aboriginal dancer and cultural teacher and works full time as the senior cultural officer of Ngurra Bu. These works represent some of the totem animals of NSW Aboriginal people including the king of the muddy water river systems of the red dirt country, Yella’ Belly and the emu and the kangaroo. The full story for each piece will be included with the work on purchase. 11
Seed Form 5
stainless steel, 130 x 100 x 50 cm $25,000
Clytie
steel, 200 x 250 x 250 cm POA
19. Sandy Blim This work plays with notions of scale and the emotionally generative power of the infant form. Referencing the 3000 year old Central American, Olmec giant gaurdian heads and classical Greek mythology. Clytie is a water nymph who, like the flotsam of so many sea creatures, ends her days as a carapace washed ashore, to desiccate on the land. Reflective of the complex set of emotions evoked by the sight of a broken and discarded toy, Clytie speaks of a lost childhood rediscovered through play.
20. Rae Bolotin In nature there is no seed that would be similar to Seed Form 5 and yet it was inspired by tiny seeds Bolotin found close to her studio on the edge of Wollemi National Park and the photographs in botancial books taken with the help of powerful microscopes. She imagines this seed flew in from another galaxy landed on a green patch of grass containing the secrets of a place far away. If little seeds have enough information in them to become large trees then what will become of the Seed. This scuplture is made from stainless steel formed by hand using ancient Chinese technique of metal beating that goes back thousands of years but is rapidly disappearing now. Represented by Stella Downer Fine Art Gallery am constantly drawn to creating works which fof its form.
Holubic
steel, aluminium, irigation pipe, shrink plastic, found plastic, wire mesh, lighting and latex, 350 x 190 x 400 cm $2,800
21. Elissa Jane Smolinski Holubic (the Polish word meaning ‘to hug’) has become a household name and reference to the people around me. It has been called “Huggy” for short. The concept is to encourage this into a sentient existence by demonstration and public exposure. Huggy comes to be another family member and a welcoming companion after getting to know it. Although it’s features undefined, it has many limbs reaching out for attention and recognition. Humans do the same thing everyday subconsciously as it’s human instinct to seek companionship, as we are naturally social beings. 12
The Missing Piece of Evolution
stoneware, ceramic, glaze and wood, 75 x 140 x 140 cm $2,400
The Three Tenors
painted steel, dimensions variable $2,500 each
Little Boxes
wood steel and plastic, 15 x 12 x 30 cm $75 each
22. Phillip Relf Little Boxes reflect the eclectic nature of people. A suspended collection of wooden boxes each containing a once cherished and now discarded object. Slowly twisting and swaying in the breeze, it evokes distant memories of faintly perceived desires and hopes.
23. Jenny Herbert-Smith The artist’s work is intrinsically about shapes defining and activating space though forms made of steel. Although it is never her intention, abstract and figurative elements often emerge from within the works. Ultimately she aims to engage the viewer with a sense of playful spontaneity in contrast to the industrial materials of the works form.
24. Anna Fitzgerald This piece is interactive and designed to move in the same way as the popular kids’ puzzles, with 4x4 grid of ceramic tiles with 1 tile missing, so that the squares can be shuffled around the grid, with only 1 tile being able to be slid at any one time. This means that the more destructive minded of us can play and disrupting the pattern, while the more constructive minded will not be able to help but try and reconstruct the skeleton.
Wollombi Village Vineyard 13
Sco-sco
powder-coated mild steel , stainless steel, 130 x 80 x 80 cm $750
Shoo-wap
powder-coated mild steel, stainless steel, 70 x 70 x 160 cm $900
Doo-waap
powder-coated mild steel,stainless steel, 130 x 250 x 240 cm $1,500 as series of 3. Individual $750, $800 & $450
The Forbidden Hero
steel, solar panel, iPod, 190 x 80 x 70 cm $16,000, Video NFS
25. Blaze Krstanoski-Blazeski The sculpture is a testimony to the courage we attempt to emulate within ourselves which reflects those who have preceded us as conceptually created heroic embodiments.
Wrought Iron Rocking Horse mild steel, 100 x 60 x 150 cm $7,800
26. Tobias Bennett Inspired by the birth of the artist’s son, exploring art for fun’s sake to rekindle the child in everyone.
27. Sara Givins
Givins’ art practice explores concepts of language, physicality, synaesthesia and pleasure. This work is part of a recent series that reflects upon the cacophony of domestic sounds - from language and technology, everyday objects and people. Reconciling sculptural qualities in formal physicality with concepts of elusive, spontaneous and randomness Givins’ art evokes a visceral urgency.. 14
The Ring
20 recycled plastic noodle bowls, 45 x 200 x 200 cm POA
SCREENSAVER mild steel nylon threads resin, 400 x 300 x 300 cm $1,200
28. Christine Simpson Screensaver is a three dimensional, partially woven sculpture which employs light, colour, space, and air movement to transcend the computer as object to a form of energy exchange, in this case insidious invasion into nature. Human mind energy resonates strongly with technological reception, this exchange having the potential to supersede our connections to nature and our being in the natural world. This work questions the wisdom and invasive quality of this energy field. 15
30. Pamela Lee Brenner Johannes Muljana - Frolic & Gambol La Foglia – The Leaves
perspex, stainless steel, galvanised iron, 200 x 150 x 150 cm $3,000
29. Emilia Krumm Light catches the leaves and casts a dappled reflection. The shades of blue leaves ‘dance a playful dance’ with each other in contrast with the stainless steel stems, which attempt to keep them ordered. In nature we have chaos and order and we are challenged to interpret these natural shapes as we perceive them.
The Ring is based on the form of a Fairy Ring; a naturally occurring circle of mushrooms often accompanied by dead or dark green grass. They are steeped in mythology which tells of danger and of fortune for those that enter. The artist’s “fairy circle” is composed of 20 “mushrooms”. The “caps” of the mushrooms are made from reused takeaway noodle bowls. On the top of each is a QR code which when viewed through the code reader on mobile phone displays a haiku telling tales of modern mythologies. The mushroom caps are hand painted with photo luminescent paint so they can also be “read” in the dark, giving the circle a soft glow at night.
The wobbly wall my bricky…….
Lightning Strikes
concrete and recyled glass, 115 x 125 x 33 cm $3,500
31. Veronica Andrus-Blaskievics During her lifetime Andrus-Blaskievics has had and continues to have an ongoing interest in finding beauty in things that are imperfect and incomplete. She creates art from many different materials and for various reasons, to convey an emotion in response to the work around her, as a form of meditation or perhaps for the simple act of creating. This sculpture examines the perfect/machine-made, the imperfect/transcendant man-made, the beautiful and the repetitive architectural forms. As machines become more and more efficient and perfect so it will become clear that imperfection is the greatness of man. She is interested in the way the repetitive action of accumulating and organizing can create its own poetics. What does the eye see? What does the mind see?
steel cement bases, 200 x 60 x 60 cm $6,000 pair or $3,000 each
Spring Flowers
pvc tubes, steel wood, paint, 300 x 90 x 90 cm $6,000
32. Ludwig Mlcek No great philosophical notion behind this piece. Some years ago the artist purchased the property ‘Springvale’ with cars, trucks, springs and other implements spread around the property and he comes across them as he is cutting the grass in Spring. He also loves Vivaldi’s Spring from the Four Seasons which he physically translates into flower stems, its musical harmonies represented with different hues of warm and cool colours and the majesty of composition announced by the vertical monumentality.
33. Louise Steer Steer’s sculptures rely on pushing geometric forms to extremes in particular using the curved form to distort straight edged geometric forms such as triangles. The sculpture looks best in matt black as it shows off the form to its best advantage, especially outdoors against a green background. She uses readily available materials such as steel and concrete to form into organic shapes reflecting her inspiration in the natural world. These sculptures were inspired by lightning rods as a symbol of the way in which the artist finds inspiration and creativity in the world around her. These sculptures balanced on a pole turn in any direction when blown by wind or touched by hand ready to discover and trap inspiration wherever it strikes. 16
Hunting and Gathering Sculpture in the Vineyards EXHIBITION AWARD SHOW 14th Nov - 8th December 2013 16 Vincent Street, Cessnock Study in Brown
timber, found objects 150 x 180 x 180 cm $5,000
100. Terri Hills Jack
Corten steel 150 x 180 x 180 cm $15,000
34. Odette Ireland Jack is a concept that plays with the idea of transforming familiar objects into the unexpected. Ireland is particularly interested in exploring themes relating to innocence and challenging the familiar notions that were once associated. Taking the Jack out of its usual context and altering its scale and construct a once innocent object is transformed into something quite different. The game has changed. 17
Hill’s work explores the relationship between Jungian archetypes and recycling culture. With influences as diverse as Machiavelli and John Lennon, new insights are distilled from both traditional and modern textures of the universe. Ever since she was a toddler she had been fascinated by the ephemeral nature of the environment remarking that what starts out as triumph soon becomes debased into a tragedy of lust, leaving only a sense of what could have been and the dawn of a new order. What began as vision soon becomes manipulated by a manifesto of power into leaving only a sense of what could have been and the unlikelihood of a new understanding.
Stevie Fieldsend Flossie Peitsch Jenny Herbert-Smith James McCallum Penny Philpott Nardja Williams
Birds Lights - Terbanglah
Raark
painted steel, 185 x 40 x 85 cm $8,800
35. Jimmy Rix The Wollombi Valley is a very significant place for the eastern Aboriginal people. Having a property and workshop here Rix has endeavoured over the years to understand some of their ways and in particular their connection with plants and animals. His property is home to the endangered Glossy Black Cockatoo, which feeds on the abundant casuarina trees there. The first Australians would imitate the noise of certain animal species to communicate with them. Raark is the sound made by the Glossy Black.
steel sheet metal, 105 x 110 x 60 cm $1,500
36. Jayanto Damanik Birds Lights – Terbanglah celebrates the eternal cycle of creation and its openess to the divine influence of nature. This project reminiscence of the artist’s homeland and his personal reflection on death. Each “Bird” contains a memory of either his family or his friends and tells a story of daily life’s grievances and joys. He created this work with scrap waste being fascinated by the mysterious intimation of the past, whispered by these materials. Damanik treads lightly in his environment and by using discarded materials embraces their history and intertwines it with his own. Courtesy King Street Gallery on William
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Wollombi Wines
Love and Arrogance
waxed steel, 198 x 74 x 64 cm $3,500
37. Jenny Herbert-Smith Herbert-Smith’s work is intrinsically about shapes in space, defining and activating space though forms made of steel. Although it is never her intention, abstract, figurative, elements often merge from within the works. Her aim is ultimately to engage the viewer with a sense of playful spontaneity, which is in contrast to the industrial materials of its form.
Left Behind
ceramic, dimensions variable
38. Oliver Tanner
Ribbon Reeds I
pvc steel, 240 x 60 x 60 cm $3,800
Tanner’s practice explores the possibilites of metal casting and construction. Interested in texture and form - the works often reference nature and natural materials spanning many materials and construction methods.
Ribbon Reeds II
He is a graduate of National Art School and recently undertook a residency with Red Gate Gallery, Beijing. He has exhibit in commercial and regional galleries as well as completing a number of private commissions.
These scupltures were inspired by the bold forms of the mangrove seed pod with long finger like shapes that hang from its branches. These works are inspired by forms evident in nature, shells, ripples, waves and petals etc.
pvc steel, 240 x 40 x 240 cm $3,800
39. Stephen Short
Waymarker
hot forged steel, 200 x 50 x 300 cm $17,000
40. Will Maguire and Jake James (Canada) There are moments in time when experimentation is necessary. This is one of those moments.
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Kindred
recycled plywood, fibreglass, paint, dimensions variable NFS
41. Joanna O’Toole This site specific sculptural installation is a continuation of current ideas reflecting the history, individual people and families who have lived worked and grown together amongst the land of the Hunter Valley. Recently O’Toole read and learnt about her ancestors from the Hunter Valley Region. In doing this it gave her a great sense of connection to the past generations who have lived and farmed this land. Many families have untold stories of survivial, love and productivity. She hopes you take a moment to walk amongst this installation and reflect on its relationship with you and the history of this land. 20
Bower
eucalyptus sticks, wire metal stand, assorted objects eggshells, 280 x 270 x 100 cm $1,000
42. Nardja Williams Over recent years Williams’ fascination and admiration for birds and their habits has grown immensely. In particular she has marvelled at the structure of bird nests and the materials used to create them. It is incredible how a creature with no arms or hands can build something so strong and yet so delicately beautiful. This work focuses on the bower bird and pays homage to its engineering expertise.
Primordial Axe
plaster resin, 150 x 40 x 150 cm NFS
43. Cassandra Daw Multiple double-headed axes some of which are partially buried suggesting an ancient burial site for axes – this is a whimsical work implying that hundreds of years ago some race, maybe Vikings came to Australia and left an axe burial ground. The axe shape was constructed from bones suggesting primordial origins, then reproduced multiple times.
Picture Plane
line marking paint, 15 x 10 m NFS - commissions taken
Portal
aluminium wire, stainless steel, 190 x 190 x 30 cm $8,500
44. Bronwyn Berman A portal is defined as a ‘door gate or entrance of imposing appearance’. The re-used aluminium cable used in this piece was in its previous life a vehicle of communication and energy. Portal invites the viewer to enter the landscape with a sense of reverence. It is a point of transition of impending transformation..
45. Anthony Sawrey The title is an oblique reference to the imaginary space within the frame and its importance to some painters for creating the illusion of depth and perspective. However with this installation picture plane means nothing because the work is applied directly to the environment. In doing so it shifts the act of painting from an isloated activity in a studio to one that is part of the world beyond.
Treedon
Corten steel,120 x 120 x 50 cm $5,700
46. Russell Treverton The inspiration behind Treedon is a simplistic look at the life of a tree albeit fixed in its life long postion, visually alive and free in its natural form. The trees awakening in this piece evolve from the Corten mild steel material producing 3D imagery peeling out from within the background sheet. 21
Okyo
basalt Corten steel, 100 x 110 x 77 $34,000
49. Senden Blackwood
Ambivalent
stainless steel, 180 x 100 x 180 cm $4,400
47. Rhonda Castle In believing it is more important to create one’s own choices instead of trying to fit into the ones that have been decided by society that denies our tendencies. The choice may be, not to choose but to remain in-between, creating a space where conflicting feelings/ideas are confronted and re-evaluated. 22
Silver Ghost
aluminium (horse shoe) ,steel frame, 190 x 80 x 140 cm $7,000
48. Kenneth Smith This sculpture pays homage to the ancient marine life that once swam the seas of the supercontinent of Gondwana.
To Blackwood, life and death are cycles of energetic exchange. Each molecule existing in a living being has been part of many cycles of creation and decomposition in the history of the universe. The energy held in a living system passes through many parts and transforms to be used by other systems. Okyo is about connection, the relationship between different energetic bodies and the forces that bind them. Energy takes the path of least resistance as it weaves through streams of life and death, creating cycles that bind all of life into a complex matrix of connections. Represented by Brenda May Gallery, Sydney
The window of my soul opens in fresh delight’
Gone Fishing
hand built ceramic, oxidation fired stoneware, 97 x 45 x 47 cm $3,520
bamboo, recycled plastic, twine, polystyrene $5,000 (10 pieces)
50. Mojgan Habibi
52. Ro Murray
The sculpture The window of my soul opens in fresh delight displays both calmness and restlessnes. It expresses transformation within a spiritual context and speaks about eternity, time without beginning or end. Habibi want to express an affininty of spirit and give the impression of light flowing out into space.
Gone Fishing was once a note tacked to the door excusing you for nicking off. Fishing has a different context today: heavy metals polluting harbour waters and long line fishing drowning turtles, dolphins, sharks and birds; fishing with dynamite. The Great Pacific Garbage Patch an enormous gyre of plastic and toxic chemicals, twice the size of Texas threatens a delicate ecosystem. Low oxygen levels mean that fish will not reach mature size. Fish farming is the new way to feed the earth’s growing population. Overcrowded pens for any species creates problems: stress means disease, hormones and antibiotics.
The internal and external parts of the work express both life and spirit and a harmony between inside and outside. The work is an investigation into how spirituality can be understood in a positive way by using the symbolic coding of the spiral as a representation of infinity.
Mangrove
woodfired ceramic, 80 x 4 cm NFS
51. Carol Rowe As an artist Rowe is provoked by the natural process of the environment - its beauty balanced by its distructive force and its wonder of regeneration in the timeless cycle of life. The spirituality of the indigenous links with the land.
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HIDDEN – A ROOKWOOD SCULTPURE WALK is an annual sculpture exhibition set amongst the gardens and graves of the historic Rookwood Cemetery. Wandering through themes of life & death, love & loss, memory & mortality HIDDEN breathes new life into Rookwood by showcasing the rich social and cultural history of the site. For more information join us at facebook.com/hiddensculpturewalk or visit www.hidden.rookwoodcemetery.com.au
Brahmarina_menorama 24/7 (redux)
polypipe, stainless steel, indigenous plants (Baumea articulata), solar LED lights, 100 x 850 x 700 cm $25,000
53. Simon Cook Brahmarina_menorama 24/7 (redux) is a branched vascular structure, an invitation to dance with swans, to explore the attraction and repulsions of oil and water. While furthering design of calligraphic inspired forms this habitat friendly construct infers the two-way movement of nutrients and pollutants with imagined choreography of water birds arriving and leaving their ‘marina’. The ‘menorah’ candlestick is in one sense a metaphoric multi-jet exhaust for the super charged consumption of hydrocarbons burning 24/7. In another sense the formalistic tree structure acknowledges the source of divine order, truth and mercy fulfilled in Christ rising from the ‘root of Jesse’ in the context of health and holiness of oil and wine. The work in light pipe, reads as the inverse of script, a pip organ like instrument; a holy relic and pleasure craft animated by breeze, with sedges to filter and invite bird nesting, torch lit by solar headlights.
HIDDEN is proudly brought to you by Rookwood General Cemetery Trust. The trust is passionate about connecting with our local community through engagement projects like HIDDEN, Honour with Arts Days and Dusk Ceremonies.
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The Arrivals x 2
steel, plywood, acrylic paint, 100 x 80 cm $1,650
55. Catherine Kingsmill The Voyage
cast Iron, Corten steel, steel, 128 x 80 x 34 cm $6,000
54. Peter Tilley Tilley’s work can be seen as a voyage through time rather that space where an ordinary journey takes on symbolic values and meanings for life. Represented by Brenda May Gallery, Sydney
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The inspiration for these pieces came from a sculpture which originated from a single branch of spotted gum found in the Barrington State Forest. The silhouette of the sculpture was manipulated and used to create a series of drawings, then ultimately a screen print entitled ARRIVAL. The image represents an alien object suddenly appearing, breaking one’s reverie. The organic elements of the tree branches are recognisable but the ultimate form they have taken is unsettling while at the same time familiar. The mirrored stainless steel reflects the environment while suggesting a portal to an alternate world, fantastic and familiar; the red solid form, an unknown entity. Kingsmill has embraced this form in other media and take comfort in its totemic nature.
Stonehurst Cedar Creek
Ghost II
mixed media, dimensions variable POA
56. Liz Bradshaw The artist directly addresses the nature of objects and materials, their histories, and the ways subjectivity can be constituted and challenged by our encounter with the art object. She explores the way we use the Other to construct meaning and identity: whether through object, place or memory. This has guided the development of a diverse practice concerned with the fabrications of history, and cultural nostalgia for past times and other places. Bradshaw expresses something about both the obsolescence and lingering ideology of the industrial production/consumption machine. At the same time it is increasingly reflective of her interest in Australian history and the legacies of colonialism; and of a particularly Australian vernacular & humour.Â
Endangered Species
Light gatherers
ceramic. glass, resin, dimensions variable $1,950 each
wheel thrown SWP clay oxidation stoneware, 60x115x120 cm $6,350
57. Claude Jones These ceramic and mixed media creatures are hybrid combinations of rabbit, fox, deer, dingo and kangaroo – all animals that are hunted or “culled’ in Australia. These animals are seen as pests to flora and fauna and a threat to the increasingly illusive anthropocentric construct of a balanced ecology. Some of these animals, have colonised other countries for better or for worse yet unlike our colonist selves, they are not permitted to thrive at the expense of others. Both introduced and native species are therefore “endangered” - suffering at the hands of humans forever wanting to interfere in a “natural” world that has always changed and evolved. Represented by Artereal Gallery, Sydney
Gratitude
q cell resin, stainless steel, stone, 200 x 30 x 100 cm $4,500
58. Leasha Craig Craig has used art throughout her life to express her emotional experiences. Early in her journey, her art practice was a vehicle to release the emotions of fear, sadness and hopelessness. It however also gave her the chance to pursue her dreams and passions and she learnt to use art to express her gratitiude, belief and strength. This piece is symbolic of Craig’s present mood and represents her gratitude and appreciation of both her private and professional life and continued journey of expression.
59. Mojgan Habibi The expression of movement is enhanced by showing the work as a concert of ceramic pieces, a group installation creates a meditation based on the suggestion of movement and stillness at the same time. It is important that the works be viewed from all sides. Only then can one get a sense of the range of interaction between spaces and lines that came into play during creation. Also to investigate the spiritual journey of individual thought and sensation to reach love and perfection. The sculptures encapsulate the whirling movement of the figure as a spiral form with curves to enhance the appearance of movement in the form. This spiritual message is universal and continues to speak about change and transformation. 26
Synergy
Corten steel, 120 x 135 x 90 cm $6,900
61. Russell Treverton
Stand
ceramic, timber, installation - dimensions variable $1,700
60. Sharon Taylor The mystery of the forest, from the outside in.Trees stand in splendor, protecting and sheltering the interior.
The direction of elements taken from the ground represents the scuplture, Synergy. In its founding inspiration it explores natures recycled growth rejuvenating from its origin and evolving within to pacify the foundations of life’s natural materials. The piece is solely made up of Corten mild steel and will weather over time to produce and enhance a symbolic glowing patina of rust.
Forest
Synergy has been developed to throw opposing opinions into light and collaborate the different shapes extracted from its maker to form a single synergetic piece of art symbolizing a connection.
In this work, completed after spending some time on Maria Island, Tasmania, the artist seeks to evoke an immediacy of response and an emotive interpretation of landscape.
ceramic, 140 x 8 x 5pieces $1,800
62. Carol Rowe
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Join Me for a Cup of Tea
wooden table, chairs, ceramic, plaster, 200 x 250 x 400 cm - Mugs $10, small teapots $50, large teapots $1,000, whole artwork $5,000
64. Students of Hurlstone Agriculutral High School, Margo Gabsi and Jo Ross
Banksia Women
copper, stone, 120 x 30 x 30 each $12,000
63. Bronwyn Berman The pod form is deeply known as an encapsulation of life to come, a concentration or distillation of all that is complex in nature, containing seeds of new life or the promise of transformation. The materials are re-used copper cable and river stone from a quarry that is undergoing remediation. 28
This work is an invitation to come and sit and share story. Many of us have memories of a tea party. The appeal of a table to sit at with a tea pot in the centre, is an appeal which is as much a part of culutral histories as our own childhood. The Victorian etiquette of taking tea, the Japanese wealth of tradition and the madcap playfulness of Alice in Wonderland have equal sway. Little girls imagine their prince and the boys steal the hat from the Mad Hatter. Mothers and daughters bond with delicious scones and cream and strawberries. It is a place for reminiscnece and hope. So welcome and take a cup of tea. Materials & technical support by Blackwattle Pottery
Full Circle
branches, ribbons, cable ties, dimension variable NFS
65. Akira Kamada The bush traditionally offers us the means for healing and regeneration on many different levels - physically, spiritually and aesthetically. It also provides the means for our planet to heal and regenerate itself. This circle of ribbons celebrates the regeneration of the local bushland, that in turn nurtures and maintains the functionality of our planet.
Germination: Stage 1 - 2 - 3
Shy
wood (natural/processed), twine, lacquer, wire, o rings, o screws, 250 x 250 x 750 - NFS
Corten steel and cast iron, 175 x 60 x 60 cm $9,900
66. Dogswood
67. Jimmy Rix
recycled steel, 150 x 150 x 100 cm $8,500
A question asked, is a potential for growth. This conceptual piece is part of Dogswood’s ‘Evolution’ work. Germination: Stage 1 -2 - 3 explores the practice of growing genetically modified organisms and the support systems and structures needed in order to grow and developed these organisms.
Shy is a little pony we pass in a field.
68. Tobias Bennett
We notice its beauty and its fragility but behind its exterior there is a history. This work reflects on the artist’s childhood memories and his connection to the past.
In this piece Bennett endeavours to capture the beauty and majesty of one of natures beasts by using an old material and giving it a new life rather than taking one.
King Stag
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REPLACE IMAGE
Crysalis
mild steel, 70 x 70 x 130 cm $5,500
69. Laine Hogarty A cocoon like metal sculpture shaped like a grape, calls to mind the form of a crysalis. It’s materiality suggests the hard edge of fabricated industrial materials however the curvature and lace-like patterning reference the organic. The decorative patterning includes a silhouette of a butterfly wing offering a symbol of change. The work celebrates our capacity for transformation and adaptability. 30
Handkerchief Tree
Extinction is Forever
polymers 100 cotton handkerchiefs, buttons, steel, 250 x 200 x 200 cm $750
marine ply, ceramic ,aluminium, canvas, tape, steel 6 figures $8,000
70. Sally and Peter Aplin
71. Ro Murray
The handkerchief has a long and varied history both for adornment and function. The artist’s work is inspired by the Handkerchief Tree (Davidia Involucrata) its common name comes from white bracts falling over the flowers. Originally from China it is now grown more widely in temperate climates. This structure loosely follows patterns of tree growth. The colour blue shifts the work from an imitation of nature to a sculptural object contrasting with the lush growth of the vineyard. In contemporary Western Culture the use of a handkerchief is often considered unhygienic however the tactile and durable qualities of the fabric remain attractive.
The artist has a Sea Shepherd t-shirt with “Extinction is Forever” under a skull and cross bones reinforcing there is no coming back after death of a species. Sea Shepherd is an eco-pirate organisation which defends ocean wildlife worldwide. Amongst their many pursuits is “Operation Requiem”, a mission to save sharks. Murray’s connection to marine wildlife through her grandmother, whose name was Turtle. Many varieties of turtles are critically endangered through long line fishing, ghost nets and the ingestion of plastic bags. These bound figures in Extinction is Forever are a reminder of the fragility of life.
Double Welt
steel, tumbled coal POA
orange<22.300-88°>
pvc pipe, epoxy enamel paint, 130 x 165 x 145 cm $8,500
72. Mark Booth Booth’s sculptures are concerned with the appropriation of ready-made components and their formation into compositional construction through systematical processes of repetition and pattern. They replicate the module in a non-referential, non-objective manner. Their appearance addresses issues of transience and non-presence. His practice uses commercially produced plastic piping that teases out aspects of minimalism, installation and the immaterial.
73. Catherine Kingsmill The template for this sculpture is that of a gown linked to the Hunter and dated 1845. The artist “met” this dress over a decade ago when she catalogued and conserved the textiles collection of Morpeth Museum during a Masters placement and was instantly drawn to “her” historic qualities. The power and memories attached to an item so intimately connected to its owner/s can be mesmerising, reflected by the growing interest in the collection of items of clothing and the Powerhouse Museum’s Australian Dress Register.
The shape is cut from mild steel with pieces of tumbled coal attached to the “gown” with stainless steel screws and bolts. The materials and form of the work reference a number of issues including post-colonialism, feminism, industrialism and environment and serve to bridge the gap between the museological and the popular. Through contemporary sculpture, the wunderkammer of Australian history can be entered through an alternative door . By reinterpreting the historic object, the importance and relevance of institutions such as Wollombi Museum can be reassessed and reaffirmed.
Wollombi Endeavour Museum
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Atavism:Ancient Fragments I
Threads for a sacred space
74. Melissa Laird 2012 Wollombi Wines Artist in Residence
75. Melissa Laird
perspex and metal, 220 x 5 x 120 cm - $2,000
glass found objects, 120 x 5 x 150 cm - $2,000
This glass panel is comprised of a series of graphic emblems imbued with Victorian sensibilities; collage as a unique narrative. Created within the framework of collecting, it reflects the particular synergies provided by the use of found elements, and reinforces the signficance of designing with elements already invested with emotive memory. The panel is an abstract assemblage of the found; feather and fillgree, flowers, photographs, drawings, recycled cloth, reclaimed silver and metals and gemstones all of which were procured to reframe historical memory from the Victorian period (1837-1901). Sensate qualities such as texture touch tone and surface embrace the aesthetics of decay. Each element is pressed by the ‘conjurer’s’ hand onto its brittle background with consideration to composition and colour, creating a textured surface. 32
The glass lacework is emblematic of the notions of women’s gendered work and death in nineteenth century Australia. Created in homage to the life of Alice Fry, buried in the ‘Pauper’s Portion’ in 1867, Internment 119 Rookwood Necropolis, the sculptures are fragile cloth-like ornament transferred onto unyielding glass. Placed in the sacred, yet untamed exterior edge of the Wollombi General Cemetery precinct, the sculpture dignifies a colonial women’s life about whom more is known through her death, than in her life, Produced and inspired from the fragmentary remains of lace and cloth embrodiery, the sculpture is a fusion of ancient symbols and modern methods, rendered as metaphors for love and death. Notions of the feminine are suggested through the craft of lace-making and embroidery; the labour of needlecraft.
Wollombi General Cemetery
Tobias Bennett Steel Stallion steel 60 x 40 x 20 cm $3900
Tobias Bennett
Topographical globe steel 50 x 40 x 40 cm
oxidation fired stoneware Various $1,750
Pamela Lee Brenner Johannes Muljana Lightshroom Ring
Jimmy Rix Horse Helmut
glazed & stoneware fired 40 x 25 x 30 cm approx $650
Jimmy Rix Pegasus Helmut
Glass, LED lights,
glazed & stoneware fired 40 x 25 x 30 cm approx
$2,800
$250
$660
Mark Booth
Rae Bolotin Seed A (acer capillipes)
Jimmy Rix Bone Mask
green[grēn]<18.90-90°> PVC pipe, acrylic paint 33 x 49 x 46 cm
$1,250
Cassandra Daw
Primordial Chalice Ciment Fondu 12 x 12 x 13 cm $550
Sara Givins Red Oooo
Perspex,plywood,stainless 190 x 180 x 10 cm
$2,400 33
Mojgan Habibi Dancing with every rhythm
Stainless Steel 43 x 25 x 6 cm $1,600
Kenneth Smith 2 Very Little Turtles
glazed & stoneware fired 40 x 25 x 30 cm approx $660
Anne Gaulton
horseshoes, rio bar 20 x 25 x 15 cm
Cage found object 145 x 55 x 55 cm
$100
$650
SMALL SHOW Wollombi Cultural Centre Nov 9 - Dec 1 Saturday & Sunday 10 - 4pm
LUDWIG MLCEK Owl wood 80 x 50 x 25 cm
cast iron, reclaimed timber 24.5 x 60 x 13.5 cm
$1,900.00
$1,800
TIM KYLE Standing Figure Study
AKIRA KAMADA
LIZ BRADSHAW Ten canoes
Yuzen paper, antique scientific glass 9.5 x 9.5 x 12 cm $375
CAROL ROWE Escarpment
archival epoxy 95 x 45 x 35 cm
Construction (Green 8) recycled bamboo, paint Dimensions variable
ceramic approx 30 cm x 3 pieces
$2,200
$800
$450
NARDJA WILLIAMS Bower Power
ADAM DRYLIE Kangaroo
RHONDA CASTLES Odyssey
Banksia, marine lacquer 100 x 50 x 60 cm
$1,300
materials heble 50 x 21 x 5 cm $550
BELINDA CLARKE Shrines
SENDEN BLACWOOD Death Star Egg
Stainless steel 160 x 40 x 40 cm
$1,100 JENNY HERBERT SMITH
The Georgia
mixed media
40 x 20 x 20 cm
Carrara marble, car tyres. 60 x 60 x 45cmÂ
Steel 41 x 33 x 23 cm
$400 each/ $1,000 set
$9,500
$650
ODETTE ISLAND Jack
electroplated bronze 50cm x 50cm x 50 cm
$2,500 34
PETER TILLY Almost unattainable
SMALL SHOW Wollombi Cultural Centre Nov 9 - Dec 1 Saturday & Sunday 10 - 4pm
Undercliff Winery and Gallery
Stonehurst Cedar Creek Wines
Undercliff Winery was built in 1993 and is nestled in a tranquil valley only 1.5 kilometres from Historic Wollombi Village. The cellar door was constructed to complement 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.
Stonehurst Cedar Creek is located on the land originally granted to Napoleonic War Veterans in the 1820â&#x20AC;&#x2122;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. Their vision is to produce premium quality wines through sustainable viticulture â&#x20AC;&#x201C; 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 named the Settlers Cottage provides unique accommodation for guests. 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. The Cedar Creek Cottages, which are selfâ&#x20AC;&#x201C;contained with all modern amenities, are built from old timber slabs and convict brick to the rich heritage of Wollombi. Now in its 7th generation of farming, the vineyards continue to maintain a very healthy environment in this wonderful part of the world.
The cellar door is open daily 10 am to 5pm
152 Yango Creek Road, Wollombi, NSW, 2325 Ph: +61 2 4998 3322 undercliff.com.au
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You are welcome for tasting at the Cellar Door, 7 days a week 10 am to 5pm 1840 Wollombi Road Cedar Creek NSW 2325 Phone: +61 2 4998 1576 cedarcreekcottages.com.au
Wollombi Wines Vineyard
Wollombi Village Vineyard
Wollombi Wines 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.
Wollombi Village is located only 200 metres from the centre of the village for easy access. It may only be 5 acres but its very fertile creek flats produce abundant crops of chardonnay, shiraz & lovely table grapes available from the cellar door. Originally this land, as part of the original Wollombi village, was 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 making it a historical, central location. When purchased in 1988 by owner’s Alan & Maria Roe the block was simply open vacant land. Their first vines were planted in 1996 and were completed in 2000. The cellar door was opened in September 1996, following the owners’ Alan & Maria’s retirement.
Wine tasting: 7 days a week 10am to 5pm 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 are especially sought after). Fridays (10 am - 4pm) Saturdays (9am - 6pm) Sundays (9am - 4pm) and long weekends. 2971 Payne’s Crossing Road Wollombi NSW Ph 0419 997 434 wollombivillagevineyard.com.au
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Proud supportors of Sculpture in the Vineyards in 2013
Environmental Strategies specialises in: • environmental assessments of soil and groundwater, • environmental monitoring and reporting, • soil and liquid waste management and permitting. Please contact us to find out more about what we can do for you and your property. Suite 15201, Locomotive Workshop - 2 Locomotive Street, Eveleigh NSW 2015 T: 61 (2) 9690 2555 E: admin@environmentalstrategies.com.au W: environmentalstrategies.com.au
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• Landscaping • Eco-tourism in PNG • • Rooftop Studios in Marrickville • Photography • BERN is a collaborative group providing a number of business services in Sydney and Papua New Guinea. We are licensed construction landscapers, horticulturists, designers and photographers who make supporting community and green options easily accessible and affordable to our cliental. We design and create green space, we share our own space, we take people to amazing places and capture all of these treasures on film.
bern.com.au 38
Acknowledgements: Sculpture in the Vineyards is a not for profit organisation which relies upon volunteers, professional pro bono support and the much needed financial and in kind support from sponsors and partners. Directors: Tara Morelos and Todd Fuller Curator: Danella Bennett Education Officer: Rebecca Holmes PR and Marketing Manager: Kat Ringrose Installation assistants: Flynn Doran and Liz Bradshaw Volunteers: Stephanie Cannon, Amy Hill, Amelia Morgano and Cecilija Rubenis And their partners, friends and family who supported them in supporting us. Photography: Todd Fuller, Kat Ringrose, Danella Bennett, Rebecca Holmes Back cover image courtesy of Christine Simpson Sculpture in the Vineyards is a regional flagship event funded by Destination NSW
Wollombi Valley Progress Association 39
sculptureinthevineyards.com.au Photo credit: Todd Fuller /Artwork: Christine Simpson - Wollombi Village Vineyard, 2013
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