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CONTENTS 3 Curator’s Introduction and Education 4 5 6 7 8 9 10 11 12
Undercliff Winery / ACAB Collective / Cathie Alexander Aaron Anderson / Sophie Clague / Jake Coglan NIcole de Mestre / Itzick Fisher / Ross Fletcher Michael Garth / Anne Gaulton / Mojgan Habibi Scott Ingram / Freya Jobbins / Joanna O’Toole Frolic and Gamble / Sallie Portnoy / Carolyn Rendle Sharon Ridsdale / Selena Seifert / Melanie Todd Felicity Yorston / Greer Taylor / Elyssa Sykes-Smith Ludwig Mlcek
12 13 14 15 16
Wollombi Village Vineyard / Keith Chidzey and Warwick Saxby Kerry Cannon / Jayanto Daminik / Sandra Millard Deborah Redwood / Stef Schelbert / Larissa Smagarinsky Michael Garth / Sharon Taylor / Mick Martin Mike Kitching
Cover photo credit: Asaf Sultan Artwork: Elyssa Sykes-Smith, Undercliff Winery Above: Installing Nigel James’s Claret Bottle at Stonehurst Cedar Creek with Albert Kraan from Wollombi Sandstone
16 Endeavour Museum / Alison Mortiss 16 Wollombi Real Estate / Mark Swartz 17 18 19 20 21 22
Stonehurst Cedar Creek / Stephen Hogan / Nigel James DoGsWooD / Kealey Bacic Akira Kamada / Mike Kitching / Will Maguire Ludwig Mlcek / Mandy Pryse-Jones, Simon Savage / Phil Relf Stef Schelbert / Peter Tilly / Bev Chalmers Penny Philpott / Janine Clark / Flynn Doran
23 24 25 26 27 28 29
Wollombi Wines / Rhonda Castle Belinda Clark / Mitchell Ferrie / Lyndsey Hatchwell Amanda Hills / Stephen Hilton / Emilia Krumm Jacqueline Lewis / Mick Martin / Ludwig Mlcek Jannese Parkes / Stephanie Powell / Anthoney Sawrey Peter tilley / Larissa Smagarinsky / Morgan Shimeld Lou Steer / Stef Schelbert / Lucy Watson
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Sculpture in the Vineyards EDUCATION PROGRAM
Curator’s Introduction... This year’s Sculpture in the Vineyards brings together the work of over sixty contemporary Australian sculptors. Showcasing their work in the stunning and historic landscape of the Wollombi Valley is a challenging proposition: the works are at the mercy of the elements and will inevitably respond to their environments in unpredictable ways. As a curator, this unknowable element in the exhibition programming is simultaneously a delight, a cause for concern, an adventure and a gift. To their credit, the artists in this year’s show have embraced the unknown and worked in collaboration with me to place their works in the best possible sites.
Artist talks and workshops, guided tours, in-class programs and online resources for primary and secondary school groups.
We were spoilt for choice. Our four venues – Wollombi Wines, Undercliff Winery, Stonehurst Cedar Creek and Wollombi Village Vineyard – are all wonderful venues and provide a range of interesting natural and manmade settings.
Family Picnic Day - Sunday 26 October 11am - 2pm Wollombi Wines - All Welcome
For full programs details visit www.sculptureinthevineyards.com.au/education Bookings essential. Email sinthev@gmail.com to reserve a space. Monday 27 October - Friday 28 November
Sculpture, of all the visual arts, is where artists conduct some of their wildest experiments and where we can see the definitions of art being stretched in the most exciting directions. These are works that one reads with one’s body – and with this in mind, I aim to provide visitors with the opportunity to have special, ephemeral encounters with some of the best contemporary art in Australia. The continuing success of this brilliant event is due to the artists, administrators, vineyard owners and local community who have pulled together and joined forces every year since its beginning. I would like to extend my most sincere gratitude to our Director Tara Morelos, to the generous and hospitable vineyard owners for all their support, our amazing core team who have been there to assist and guide me this year, to my wonderful family and last but definitely not least, to our incredible artists who have inspired me with their visions and beautiful work.
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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Undercliff Winery and Gallery Built in 1993 the winery 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. 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.
152 Yango Creek Road, Wollombi, NSW, 2325 Ph: +61 2 4998 3322 undercliff.com.au
1. ACAB Collective - The Mushroom Trail
solar LEDS, expanding foam, silicone, forest trail, dimensions variable, single set (6-8 per solar panel ) $80 installation POA
The forms of mushrooms are generally naturally occurring, yet these mushrooms are constructed out of some of the most artificial materials in the human world; expanding foam, fluorescent spray paints, silicone and LED fairy lights. The bright rainbow ice cream rainbow colours are set against the sublime natural landscape of the Hunter Valley, challenging the binary of the artificial and nature. The mushroom’s existence within this perceived dichotomy generates a conceptual oscillation as to whether they are artificial objects trying to be natural, or are they natural forms trying to be more artificial? We like to think the work can operate in both ways. 4
2. Cathie Alexander - Whales Eye Four recycled/new western red cedar & oregon woods, marine grade stainless steel rods and bases, 260 x 65 x 45 cm $17,500
The next in the Whale Eye series Number Four. Based on the idea of the Whales eye representing the “All seeing Eye”. The four sphere shapes hovering in and above the water represent a pod of whales observing and entrusting humanity to do the right thing in appreciating and preserving all marine life now and for the future generations. Cathie graduated from The National Art School in 2006, and her full time career in Fine Art business has grown to encompass the creation of small and large scale sculptural works for public exhibition in NSW, QLD and Victoria.
Undercliff Winery
4. Sophie Clague - A Dying God
steel bar, coal, bitumen, honey, grapes, honey, wine, 210 x 120 x 120 cm $2,250
3. Aaron Anderson - Suburban Ruin #11 wood, steel, fabric, 240 x 130 x 300 cm $4,166.673 . Aaron Anderson
In an attempt to fast track historical relevance and inject melodrama into the mundane existence of contemporary suburban life, I am fabricating ruins. They are presented in a state of sanitised “decay”. This particular work makes gestural reference to “The Sea of Ice”, painted by German Romantic artist Caspar David Friedrich in 1823-24. The painting depicts the fictional drama of a sinking ship during an expedition to the North Pole. By referencing this work, it is my intention to point to the absurdity of comfortable, safe, and banal contemporary living, devoid of the risks/rewards of life on the frontier.
The sculpture is based on Michelangelo’s ‘Bacchus’, a marble sculpture in the classical style, in which the Greco-Roman god of wine Dionysus reels and leers in intoxication. In my interpretation, the figure is realised as a sketch in steel bar, infused with coal from the pile on which it stands. I found the contrast between the idyllic rural vineyards and the grimy, industrial port of Newcastle to be quite interesting. Both substances are the result of fermentation and decay, of the transformation of one organic substance into something else - yet in both cases this ‘decay’ skyrockets the value of the substance. With the addition of fresh wine poured over the coal as the exhibition continues, as well as honey and bitumen, A Dying God will simultaneously attract and repel, and situate itself within the cycle of extraction, consumption, growth and decay into which we are all physically and 5symbolically bound.
5. Jake Coglan - learning curve vine prunings
Working intuitively, the shape of this work has emerged from features inherent in the vines, coupled with a consideration of the natural forms surrounding the site. My works respond to philosophical ideas associated with notions of truth, reality and transience. I seek to express these concerns in a manner that is both emotionally and conceptually engaging. My technique varies depending on key aspects of the idea I’m presenting. To express the ideas regarding of transience which is both an emotional and mental state, I have often worked in a representational manner that evokes personification and emotional engagement. When considering other concepts like reality and truth I have explored more geometrical forms such as self similarity and emergence patterns.
Undercliff Winery
7. Itzick Fisher - Steel got the blues corten steel, 230 x 350 x 120 cm POA
6. Nicole de Mestre - Don’t drink the water found and recycled materials, pumice, plastic, wire 400 x 100 x 40 cm NFS
Every small pool of fresh water contains the most astonishing life forms. What looks like filthy scum floating on a pond becomes quite beautiful under the microscope. My floating art forms use recycled materials to make visible the mysterious, hidden, microscopic elements of pond life. You can usually find me either in my overcrowded shed, or out on my local streets rifling through kerbside pick-up piles, searching for inspiration. My assemblages reflect an increasing frustration with the prolific waste of society, a curious attachment to times past and things lost and a healthy obsession with liquid nails.
‘Steel got the blues’... ‘steel life’ on my mind... for a while now I have been cutting figures out of thin bits of steel, they are all of me in some way. By shaping the cut outs into 3D figures I give them life and that reflects what’s on my mind at that given time. It isn’t a new thing for me to draw with my snips as I cut the thin plate, I call it ‘steel life drawings’. As one do, I always have in my possession a sketch book so I can draw when I can. However, I also carry with me wherever I go some thin sheets of steel , a pair of cutters and pliers. When I go out, and see what I see.. a concert or a band, a cow in the paddock or whatever it might be, I draw with my snipes as I cut out and the form. It’s like Plein air but in 3D form.
8. Ross Fletcher - Ponder
sandstone, boulder opal, copper wire, 54 x 35 x 22 cm (plinth not included) $1,000
This sculpture is inspired by a Salvador Dali painting Metamorphosis of Narcissus featuring the egg, meaning to me the birth of ideas. I was reminded of the process of discovery we go on as we ponder life and its journeys, walking in the bush or sitting on the lounge. As I predominately work with sandstone, when ideas arrive they have to be adapted to suit the structural tolerances of the medium and some sandstones don’t accommodate fine edges.
I am interested in figurative and abstract sculpture, enjoying the marriage of the two but sometimes deadlines push for a simple image. I learnt in Italy the importance of modelling in ‘Steel got the blues’ was inspired by a gig I saw at the clay before committing to stone but once again time pushes Deus Ex Machina cafe in Sydney. It is where I cut and me to draw straight on the stone and let the image develop as I shaped my steel maquette during a live performance chisel. This process can lead to discovery but can also mean a longer work process, so my artistic practice is still developing. as a lead up to making ‘steel got the blues’ . 6
Undercliff Winery
9. Michael Garth - Apparatus for Sending Message of Love to those who will not Listen
10. Anne Gaulton - Untitled
plaster, fabric, steel, recycled timber, 310 x 200 x 60 cm $7,500
wrought steel, fibreglass, rubber, brass fitting aluminium tube, found object, 200 x 100 x 100 cm $6,000
A figure. slightly bent over, wearing a wide Japanese hat and a large cloak, gathered up by the wind. It carries a stout walking stick, has bare feet and stands on My grandfather had a shed filled with objects and artifacts that had beautiful handwritten labels that de- an isolated remnant of a bridge. This image is taken scribed the item and its function. Most of these things from a woodblock print by Japanese artist Hiroshige had broken or missing parts but I loved the way they “The Mie River near Yokkaichi Station”, 1833. In it Hiroshige explores a landscape with a violent whirlwind. made me feel about the continuance of the creative My work takes a section of the print in order to examspirit and how in the past it was important to make ine a particular figure that is looking at something. My a quality item not just cheap one. With this in mind I sculptural figure, has its back to the viewer so that hoped to stimulate the viewer into making their own we can ‘t see what it is looking at. It is an isolated, assumptions into how the sculpture should function. uneasy figure standing on top of a fragment of bridge which sits out into the water. The sculpture aims to Many years of exhibiting, making and teaching sculpture has make the viewer follow the figure’s ‘’trajectory of looknot decreased my passion for the subject. ing’ and to take up the figure’s role in the landscape, to enter into the work and experience it. 7
11. Mojgan Habibi - Behind the Curtain
oxidation-fired stoneware, 70 x 45 cm each $2,750 (set)
I am exploring the notion of change. The spiritual message of my work aims to speak of transformation and hope. The concept of hope can only exist where improvement is possible. Hope is a human sentiment, which is developed when we identify our imperfection. Change occurs when hope is translated into action. With the works in this exhibition I am reflecting on the precise moment where hope is expressed, but is not yet translated into action. This is the moment in time when the potential for change is the greatest. The exhibited figures are defiant in the face of adversity. They express the solidarity and recognition of belonging to a group.
Undercliff Winery
13. Freya Jobbins - Museum of Childhood Memory vintage 1960s caravan, plastic children’s toys, 230 x 280 x 190 cm $15,000
12. Scott Ingram - Magic swirling ship
string, architectural titanium G1 (Guggenheim finish), marble, steel, timber $13,400
Our memories are triggered by sight, smell and sound. The Museum of Childhood Memory is a physical look into a memory related to childhood. The caravan itself is a small dark round shape, it is contained, it represents a stored memory – a memory you peek into. This sight memory trigger, will be stimulated for viewers of all ages and bring brief glimpses of their past.
14. Joanna O’Toole - Misfits
recycled copper pipe and cable, paint, dimensions variable $100 each (x3) or $1200 set
Last year as artist-in-residence at Wollombi Wines, I had the opportunity to continue researching my ancestors and the history of their working life within the Hunter Valley. The residency gave me time to talk to local people, and to draw, paint and work on ideas for future sculptures. It was a very productive time, with Born in Johannesburg South Africa, I work from my studio at lots of Wollombi inspired work since completed. home in Lakesland, outside Picton NSW.
An installation composed of a constellation, quasar I have a fulltime arts practice, creating my plastic assemand shuttle. A mosaic of ethereal colour bound by the blages, sculptures and installations. I also work casually as an arts facilitator at various venues. earth falling from the sky. The title is a line from the Bob Dylan song, “Tambourine man” 8
This work expresses the awkwardness I felt while researching - a feeling of not quite belonging. These flowers are symbolic of diverse people, their not so perfect lives and how hard it can be fit in.
Undercliff Winery
15. Frolic and Gamble
17. Carolyn Rendle - What’s Left
Pamela Lee Brenner and Johannes Muljana Fountain of zero
recycled plastic bottles and bamboo, 150 x 150 x 150 cm $1,200
16. Sallie Portnoy - Nascentai Blades
recycled copper sheet and wire, 100 x 150 x 200 cm $3,000
What’s Left references Agnes Varda’s film The Gleaners and I (2000), a French film about the ancient My intention here is that as the viewer moves through tradition of gathering remnants of crops after harvest. Fountain of Zero is the embodiment of a couple of interrelated concepts. Firstly, it is a play on the word these blades of glass he or she becomes diminI am an urban gleaner salvaging materials from the roadside ished; the everyman shrouded by the enormity of zero that is used in the marketing of soft drinks, implying low calorie.Our sculpture is of light materials nature. Transfixed in the environment they evoke the and recycling items which would otherwise go to waste. I interdependency of man with his ecosystem and the live and work in Sydney and studied sculpture at Sydney and the space within it makes it appear to “float” on College of the Arts (USyd). I exhibit regularly and was a life force with cosmic energy. The surreal height and finalist in the Woollahra Small Sculpture Prize and the the surface. the ability to conduct light reflect notions of growth, Mosman Art Prize. For some time my practice has involved potentiality and cycles of life in stark contrast to the Secondly, it is based on the fact that the materials making three-dimensional objects from redundant and recycled material and textiles. I have been influenced by used in the making of the sculpture are predominantly realities of current environment issues. These Nascentias tower not only as harbingers of environmental members of my family who were wood carvers, milliners and reclaimed materials, hence creating an almost zero carbon footprint. Could this be a call for zero carbon- ruination, but simultaneously as totems of transcend- embroiderers. ence and transposition, nascent in potentiality. nation? cast glass, 240 x 10 x 10 cm $12,000 each (x3)
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Undercliff Winery
19. Selena Seifert - Regeneration
fibreglass, glass, mirror, 245 x 80 x 100 $9700
18. Sharon Ridsdale - Pi-ces School of the Air
The surface of the torso features intricate hand cut recycled glass and mirror. The translucent and reflective qualities of glass and mirror play with light echoing its setting of vines, gardens and plants. Entwining vines around the female form are a metaphor for growth. 20. Melanie Todd - Fukushima Fish The vines and flower patterns wrap and blossom rope net, wire and wire mesh, 50 x 250 x 50 cm $300 This installation is inspired by the flying fish sequence around the outstretched female form, forming subtle in the movie The Life of Pi. It made me wonder what and decorative patterns around the torso. goes through the mind of a flying fish the first time Three years after the Fukushima nuclear disaster the some primordial urge forces it to leap out of the water Selena describes her work as ‘naturescapes’ because readings are still high in the waterways and in the and fly over the waves before plunging back into the they are snapshots of pieces of nature and reflect her ocean. Fish caught were allowed for sale in Septemenvironmental concerns in the use of materials. Her works comforting depths . ber 2013, then in Januray 2014 a Black Sea Bream are always inspired by her love of colour, texture and nature. caught off the coast was tested at 124 times the level She graduated from the National Art School in Sydney and Is there an incentive? Hence Pi-ces’ School of the safe for food consumtion. continued on to complete a Bachelor of Art Education at Air where the beginners are out on their first flying COFA. Selena is a prominent mural artist and her public lesson, the instructor in the lead and the incidental artworks are dotted across Sydney, The Blue Mountains and Fukushima Fish draws attention to the need to be incentive ( the shark fin) bringing up the rear. It is a aware of the potentially longer lasting affects of the the Central West of NSW. She has held 5 solo exhibitions and her work is held in numerous collections. case of launch or be lunch. disaster. glazed ceramic, wood, plastic, wire, approx 30 cm $200 each. $3000 (set of 30) + Shark Fin.
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Undercliff Winery
21. Felicity Yorston - Rush Hour
steel, plate glass, dimensions variable 200 - 300 cm $200 each or $800 (5)
Rush: an acute transcendent state of euphoria. I enjoy making work that responds to or sits in the environment - unexpected or hidden, or in your face and thought provoking. For a few years now I have been thinking about making an artwork to install at the lake at Undercliff and thought “bullrushes”. The years pass, my memory fades. This year I woke up at 7.50 am on Monday 31 June 2014 with the thought ‘bullrushes’ and a clear concept of what I could make. I often leave things till the last minute or the final hour and enjoy a deadline - the adrenalin rush must be the motivation that spurs me on to succeed. Sometimes my work is whimsical or thought provoking, trying to bring awareness about conservation, or social justice issues, it depends what I’m feeling passionate about at the time.
22. Greer Taylor - Inclusion
aluminum, automotive paint, spectra cable, zinc plated brass $26,000
23. Elyssa Sykes-Smith - Emotional Evolution recycled timber, $3,000 each
This site-specific installation explores complex emotional situations that can overwhelm. The figures A continuous pink line is drawn through space, creat- reflect my intuitive response to the strong movement ing its own shapes and interconnections. The space and drama already existing within this site. They between these pink lines is explored and questioned attempt to overcome obstacles while maintaining a connection with one another. It focuses on the by the threading of blue string. The shapes, curves journey with no destination; the goalless indulgence and cavities created allude to multi-dimensional space – the possibility of dimensions beyond the four in experiences felt through our relationships when we are present enough to actively immerse in them. that we knowingly exist within. In its transparency this work blurs the edges as it floats, both in and on the landscape throwing up questions of connections within and without. My practice encompasses installation, sculpture, ephemeral works, painting and writing. Most of this work is driven by the idea of wilderness – wilderness both as a place and as a way of thinking. represented by MARS
11Gallery, Melbourne
The timber is a natural but modified material. Cut into geometric shapes it is an ideal medium to translate the space, movement, form and plane that exist in the body. The act of painting on the timber pieces highlights the form and movement in the figures and draws a relationship to the surrounding colours of the environment. .
Undercliff Winery
Wollombi Village Vineyard Located only 200 metres from the centre of the village for easy access, this vineyard may only be 5 acres but its very fertile creek flats produce abundant crops of chardonnay, shiraz & lovely table grapes.
24. Ludwig Mlcek - Bird Man
western red cedar, 300 x 70 x 50 cm $9,800
As a child, I was told from Wallachian mythology about the Bird Man, by my grandma. I dreamt about this person that lived with and could speak the bird language and this is how I visualised it. Then, and now. Giving form to the images that arise in our mind’s eye and our dreams is the most satisfying. Wood is my favourite material. It has aroma, energy and is always alive. The human body is my favourite subject, be it in a minimalist, abstract or classical form. Creating in wood is like an adventurous journey for me because at every moment I have to decide what to do next - mostly irreversible actions.
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. The cellar door is open not just for wine tasting & sales, but also for the well known liqueurs Maria hand makes (Limoncello & Passione are especially sought after). 2971 Payne’s Crossing Road Wollombi NSW Ph 0419 997 434 wollombivillagevineyard.com.au
25. Keith/Warwick and Chidzey/Saxby Interrogating the Subject
recycled steel, recycled ducting material, perspex $6,000
We humans tend to be a judgmental lot. Whatever it might be, a bottle of wine given to a politician, a child left in a car that was stolen, we so often look to apportion blame and meat out punishment. This work provides an oportunity to think about this as a social and personal process, assessing what part each viewer may play in it. As such it is quietly interactive, hopeful, not didactic, allowing time to reflect on what it means to be one person amongst many in a highly critical world. It consists of multiple individual figures reminiscent of the human form, each figure having a ‘face’ which is highly reflective. As you move among and examine the figures, their stance and positioning suggest a story is being told, yet their thoughts and feelings are inaccessible. Their faces reflect, they do not speak.
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Wollombi Village Vineyard
27. Jayanto Daminik - White Seeds recycled plastic NFS
26. Kerry Cannon - Poodle Love
bronze, titanium patina, decorative ribbon, 66 x 50 x 31 cm $5,500
From the Forbidden Love series. The sculpture depicts a man’s love for his poodle. I call myself a narrative artist which means my bronze sculptures tell stories. The cartoon element is strong in my stories and cartoony violence seems to underline nearly everything I create. represented by Ceramic Break Sculpture Park
White Seeds embraces the value of everyday materials and represents represents the delicate state of the environment and the starting points of life. These works process the rare ability to combine the universal and the specific, the intimate and the distant.
28. Sandra Millard -The Rhythm of the Curve My art work is about celebrating. I am an artist who has eucalyptus branches, copper wire, reinforce dsteel, compassion for humble materials. I have worked with recy200 x 200 x 170 cm NFS cled newspapers, plastic bags, house dust and human hair. For the past 10 years, used tea bags have been my major material. I feel that the work I do now with its focus on nation The piece is about opposing forces which are evident of memory and collective grief brought my tension about “my in the materials and their treatment. homeland” and “my lost family”. My practice is about exploration, a sense of adventure that keeps me excited about my work. 13
Wollombi Village Vineyard
31. Larissa Smagarinsky - Achievement
29. Deborah Redwood - Spring Chicken Eggs compressed spring mattresses, dimensions variable $1,500 set or $500 each
The “eggs” have been created from a collection of 32 discarded mattress springs. Mattresses are often discarded on the street and the number that can be recycled is limited so I decided to use them as a source material. The work refers to a failing system. Redwood’s practice encompasses sculpture and installation which evoke a sense of play and comment on society’s waste. She graduated from the College of Fine Arts (Sydney) in 2006 and was awarded a one year exchange program at Alfred University, New York.
30. Stef Schelbert - La Bomba steel, stainless steel, 270 cm $3,400
aluminium, acrylic resin, stainless steel, two pack metallic paint, 280 x 100 x 110 cm $27,000
Symbolic of neverending, always changing, moving circle of life.This work was inspired by Franz Sparklers always generate great colour and excitement. The exaggerated size of the La Bomba sparkler Shubert’s song “In movement is my happiness, in movement... ” The circular form is the symbol of life represents a lasting memory of good times. itself. The top part of the work in its simplicity of lines Objets trouvés provide the inspiration for my creations, their and proportions is also aiming to show the beauty of selection is defined by their unique shape, form or location a female body. and the quest to know what they might become when united as a sculptural form. I will combine materials through a single or multiple process e.g. cutting, carving, welding or painting - whatever will best suit the material and the final result. 14
I started practicing sculpture at the age of fourteen and have created many monumental works in Russia. I continued my passion for large scale sculpture in Australia, fifteen of which are on permanent display. I use a variety of materials - bronze, stone, wood, clay and synthetics. My smaller sculptures have found their way into public and private collections around the world.
Wollombi Village Vineyard
32. Michael Garth - Vineyard Bull
found objects, springs, vat strapping, plumbing fittings, 180 x 200 x 120 cm $1850
The sculpture is comprised of materials I found at a vineyard, springs, vat strapping and plumbing fittings. Utilising discarded objects and transforming them into a new form to give these objects an extended exsistence. For over 25 years I have been creating all forms of sculpture for exhibition, commissions, public art and some times just for the joy of making. My position at the University of Newcastle within the School Of Fine Art surrounds me with like minded people and gives me the opportunity to share and instruct on a subject I am passionate about.
34. Mick Martin - Thunderbird sawing
sandstone, recyd\cled rock drill bit, metal car springs, cross cut saw blade, 300 cm $1,800
33. Sharon Taylor - Reach For the Sky
earthenware ceramic, dimensions variable $3,300
The Thunderbird is displaying its strength and power originating in the impressive base elevating up to the enormous wingspan as it majestically soars stirring the wind.
Reach for the sky is a salute to the sun, survival in the landscape depends on sunlight, the grasses defy gravity, stretching up to the sunshine. Mick’s sculptures are inspired by a lifetime of working I am a ceramic sculptor, My work is inspired by the landscape and the Australian bush. 15
with timber and metal and reflection on what is discarded by today’s society whether it be materials, tools, skills or methods.
Wollombi Village Vineyard
Wollombi Endeavour Museum
Wollombi Township
35. Mike Kitching - Miss Mango Moon
36. Alison Mortiss - Once Was
37. Mark Swartz - Feather Hull #1, #2, #3
polyester resin, timber, steel pins, 300 x 200 x 70 cm $70,000
glass, wood, metal, 120 cm $3,800
Mother Earth spins days into nights whilst her daughter the Moon reflects the Sun’s light into our night skies.
bamboo, 270 x 200 x 120 cm $4,800, $2,900, $1,700
This work aims to draw connections between the skeletal structures of creatures of flight and water The images ‘embossed” into the glass represent with the industrially designed and built structures of historic items of the area, because the glass is clear airplanes and ships. The armature structure mimics So together we make our yearly orbital pilgrimage and the ability to see the images is light dependent an upturned ship’s hull but also alludes to a fish’s through the four seasons. they take on a ghost like appearance. Did you see it? skeletal structure. The construction style is based on Is it really there? Is it real? traditional bamboo fishing traps seen across Thailand As the Moon changes colour and shape to attract and and South East Asia. The bamboo used creates a For the past 25 years I have worked in glass, be it leadlight, lightweight shell that might be used for either floating embrace lovers high in the treetops. stained glass, slumped, fused, cast or combined. Some or an imaginative flying contraption. work is functional, some decorative, a lot is both. 16
Stonehurst Cedar Creek Located on land originally granted to Napoleonic War Veterans in the 1820’s, this property has 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 – no insecticides and only organically approved fungicides are used. 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 self–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. 1840 Wollombi Road Cedar Creek NSW 2325 Phone: +61 2 4998 1576 cedarcreekcottages.com.au
38. Stephen Hogan - The Australia Policy
39. Nigel James - Claret Bottle
The Australia Policy features a lonely figure imprisoned in an isolated cell, held by bars at the front and a rabbit trap at the rear. He is cut off from family, from country. On one level this work speaks to our history of separating indigenous people from their families, their land and their culture. He is held in a place completely foreign to the one he has known. Devoid of hope he will wither and die. 200 years later people, who have lost their land, their families and their culture are coming to our shores and still we separate and incarcerate them. We have learnt very little.
Homage to old Australian vignerons using the name Claret to describe their bottles and red wine varieties & blends.
steel, 150 x 40 x 40 cm $1,800
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3 mm mild steel with a polished finish $3900
Nigel James is a trades assistant and consultant to select artist as well as a professional plumbing contractor and builder.
Stonehurst Cedar Creek
42. Kealey Bacic - Foal
steel, enamel, 120 x 70 x 50 cm $2,000 ($4,800 as a pair)
41. Kealey Bacic - Horse
steel, 180 x 200 x 280 cm $2,200
I’m currently exploring ideas of space, how we perceive the density and volume of objects by the wire, wood, twine, buttons, mirrors, fabric, glass (sand blasted), amount of our surrounding space of which they occupy. From any one angle the form is difficult to 500 x 500 cm NFS perceive, and circling the sculpture reveals the forms detail and shape. The multifaceted weblike structure Inspired by the environment in which it sits, Utopia allows the viewer to see through the form from every is a work that celebrates the beauty and wonder of nature and the whimsy of the thoughful mind. Reflect- angle to the other side and then beyond the whole sculpture to the landscape/vineyards. I’ve used the ing upon itself and its surrounds, this work speaks horse as my subject matter because I know their of form and structure, connection and complexity. Like a poem or song, its a work that I hope will evoke shape and form so well. I feel I can more accurately elevated thought, feeling and emotions in those that represent a physical occupying of space, as a living organism, rather than a formulaic approach to form. experience it.
40. DoGsWooD - Utopia
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Horse and Foal explore the way we understand and create a sense of space with familiar forms and shapes. These pieces reveal what is left when negative space and mass are removed, transforming them to 3 dimensional drawings in space. Currently studing a BFA at the National Art School. A third year sculpture major with studios both at university and a private workshop in the rural Hills District. I am very fortunate to have mentors such as Ron Robertson-Swann and Jim Croke, and my father’s foundations in metal-working and career in civil engineering allow me easy access to the materials and tools that are the basis of my sculptures. A rural upbringing has strongly influenced my current work and is reflected in both my subject matter and material.
Stonehurst Cedar Creek
43. Akira Kamada - Hira Hira
fabric, hessian tape, 300 x 300 cm, NFS
Hira Hira is a Japanese onamatoepia representing the movement of something falling or fluttering in the wind. It suggests weightlessness, and freedom. Over the years I’ve created a number of hanging pieces called Hira Hira. I’ve used different materials, including recycled CD discs, and circles of calico, framed with cane. Both these pieces were hung amongst the trees at Stonehurst. This year I felt I’d like to create a larger piece, stronger and bolder. It symbolises the renewed energy and freedom that come with a freer and more conscious stage of life.
44. Mike Kitching - Gai-um-Garm
cast in pigmented polyester resin, timber, steel pins, 290 x 200 x 200 cm $85,000
My interest has always been in the creativity of art and science to see the meaning in the world around us. On the 4th July 2005, a NASA rocket was programmed to collide with a comet passing between the Earth and the Sun. In the spectrum of light passing through the ejected debris, generated Akira Kamada is a sculptor and installation artist whose by the collision, scientists on Earth identified the central concern is the impact of human behaviour on the en- presence of the four elements that could evolve into vironment, combined with an artistic respect and reverence living entities. This scientific voyage corroborated for the beauty of nature. the ancient indigenous Australians, belief in Gai um - Garm - that “Life came from the Stars” 19
45. Will Maguire - Run out of puff steel, copper, 190 x 40 x 40 cm $3,000
This work depicts the life cycle of an inflated balloon and the metaphors that can be associated with this concept. I am a contemporary blacksmith, forging and manipulating steel, striving to create forms that are beautiful, genuine and new.
Stonehurst Cedar Creek
48. Phil Relf - Leonardo’s Fish 47. Mandy Pryse-Jones and Simon Savage We Live in Your World
bamboo, cloth kites, board, computer, dimensions variable,
This is a site-specific work consisting of installed ‘kites’ in the form of abstract ‘craft’ and an accompanying video installation, both of which investigate the idea of collective idiocy. Our lives are massaged There is a connection between Australian bush and into a near blind acceptance of the behaviours phoenix, long lived bird in Greek mythology. They of corporate institutions, and we are immersed in both are cyclically regenerated, arising from ashes. corporate rhetoric that persuades or massages us Wood is my favourite material. It has got aroma, energy and into accepting that such institutions are relevant, is always alive. And human body is my favourite subject, necessary, constructive and therefore enhance our may it be in minimalist, abstract or classical form. Creating lives.
46. Ludwig Mlcek - Resurrection
wood, copper, 300 x 120 x 120 cm $9,800
in wood is like an adventurous journey for me, because at evey moment I have decided what to do next, which way to take. Mostly irreversible actions.
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cane, cotton, steel, brass, wood, dimensions variable $1,200 / $380 each
Leonardo’s Fish follows upon my previous kinetic work “Flight of Fancy” a whimsical look at possible alternative evolutional processes of flying fish. Here, the design sketches of Leonardo de Vinci are given physical form in 3 hybrid flying fish, part fish, and part flying machine. Soaring just above the water, constantly turning towards the wind, in suspended imagination. I have been working with natural materials for most of the past 20 years, constructing structures from cane, bamboo, paper and wood. When set in the open landscape, they sit between both the natural world and the constructed reality of modern society. I find working with these materials helps anchor me to natural world and thereby informs the art making process itself.
Stonehurst Cedar Creek
50. Peter Tilley - Many rivers to cross cast iron, corten steel, 150 cm $9,000
49. Stef Schelbert - Mr P
steel, 225 x 75 x 50 cm $ 7,500
An eclectic mix of tortured, weathered and machined steel combine to create the many faces and shapes of Mr P. standing aloft, wide eyed and thoughtful. A Swiss-born Lake Macquarie-based sculptor who uses objets trouvés and abandoned tree trunks to create three dimensional structures that evoke powerful reactions to inspire, entertain and compliment the environment into which they have been placed.
At one level the work is about the imagining of a journey and obstacles life puts in the way of realising that journey. My work includes arrangements of found objects, mixed media assemblages, small bronzes and larger cast iron and steel sculptures. It continues the theme of utilising my own experience as a raw material and the basis for the narrative in what I refer to as ‘still life tableaux’. represented by Brenda May Gallery
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51. Bev Chalmers - Fantasia & Phantasm stainless steel, recycled copper, galvanised pipe, 30 x 150 x 100 cm $5,000 each
After attending East Sydney Tech and working as an illustrator, it is only in the last 7 years at the Col Henry Sculpture Studio that my strong passion for sculpture has been encouraged and developed. During this time I have been selected as a finalist and prize winner in Sculpture on the Greens, Mistletoe, and Sculpture in the Vineyards.Although inspired by nature,I try to achieve an ethereal quality through the use of light materials and spaces.
Stonehurst Cedar Creek
52. Penny Philpott - Memories
53. Janine Clark - H2o Wave Disciple
54. Flynn Doran - Obsolescence
What memories have been left behind by the white settlers of the Wollombi Valley? Is it possible that in these memories we find a treasure – the treasure that lies in their stories of survival, courage and strength? We find it in the discards of their memories that are accumulated yet scattered across the land. They are memories that have been delved into and discarded, or remain tightly locked for later recall. These memories represent the spirits of those who settled the valley and developed the vines. If we take the time to listen they speak to us: it’s for us to discover their stories through the detritus of these discarded memories that will link us to their lives.
H20 Wave Disciple attempts to capture an emotion. Its origins comes from prose Janine has written, which gives voice to the sublime experience a surfer and wave have when they unite in perfect form to enjoy a blissful ride together. These objects present contradictions as they interact with the natural light (through shadows and tonal changes) – although static, their formation appears to be full of rhythmic life. They are suggestive of liquidity and a fluid wavelike motion. The contradictions continue in that H20 Wave Disciple attempts to capture an ephemeral moment, but the trajectory of forward movement suggests the continuation of both the wave and life.
Obsolescence is a reflection upon my art practice, questioning the value of monument building versus the transient spaces we try to occupy. As artists we endeavour to create artworks, almost a proxy version of ourselves that will live longer than our physical presence. I try to exemplify this through using mild steel that will deteriorate over time, the form becomes mortal embodying the brevity of life and the finality of death. It is not a passive witness to be treated as an artefact but an active participant. More humble than a monument, mortality means it exists only within this time and like all people will become a story and a photograph.
ceramic, 150 x 150 cm POA
timber, plaster, wire, paint, dimensions variable $2,500
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steel, 120 x 120 x 80 cm $2,000
Wollombi Wines 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.
55. Rhonda Castle - Eagle Eye
56. Rhonda Castle - Totems
Like an origami sheet of paper, we are shaped and melded throughout our lives. We forge ahead seeking strength, courage and wisdom keeping an ever vigilant Eagle Eye on our goals and objectives.
In homage to our ancestors and the land, we look to the skies searching for answers to something right at our feet. Totems have as many meanings as there are cultures. With Totem I am seeking to capture the essence of spirit and will, to make our presence meaningful in this very moment.
stainless steel, mild steel, 160 cm $2,300
25 Charlton Street (entrance off Wollombi Road) Wollombi NSW 2325 PH: +61 2 4998 3427 www.wollombiwines.com.au
My imagery comes primarily from what I see everyday in nature or from a past memory. Through a process of sketching, writing a passage or taking a photograph to capture that ‘snap shot’ idea or image, I play with form, materials and dimension, working with a marquette for proof of concept. Some of my ideas move on to larger pieces or may just be right as a small scale piece. 23
hardwood, mild steel, 220 x 180 cm $1,200
I have a good understanding of the processes involved in translating architecture, geometry and physics into sculpture. This body of work is characterised by clean flowing lines and reflective surfaces that pick up from their surroundings, a kaleidoscope of colour taking on a life of their own.
Wollombi Wines
57. Belinda Clarke - Companion
polystyrene, paint, ciment fondu, steel rod, 70 cm $600 each
My work explores our relationship with our pets. We provide them with food and shelter, but a much more emotional exchange takes place as well. They listen, console and literally carry our emotional baggage without complaint. They absorb our feelings and soothe us when times are tough. I wanted to acknowledge this powerful gift, they share willingly with us daily. I am inspired from the constant stories that come from the human experience. How we share life with humour is what makes us truly alive. I like work that causes a smile or a reflection of a memory. I love sculpture as it occupies the space we share.
58. Mitchell Ferrie
Viewers Discretion Considered
59. Lyndsey Hatchwell - Ned Turns a Corner
metal, fabric, fabric hardener, paint, foam, 170 cm $5,500
chilligo white marble, glass mirrors, 165 cm $6,800
This work uses optical illusion to engage audiences. As the sun travels from east to west, the work will evolve and change as light plays and bounces off the polished surface of the marble. I’m a Sydney based artist and formally trained heritage stonemason, specialising in banker masonry. After ten years of working in the field, I decided it was time to pursue my sculpting career. Marble is my preferred medium as it is easily manipulated and has an extensive range of finishes. I have also begun exploring the use of mirrors and other base materials to heighten the senses.
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“A story arising out of the bush and ending in the bush” (Sidney Nolan 1948). I have been obsessed with Nolan’s Ned Kelly series since first laying eyes on it and pay homage to Nolan and Kelly, both of whom followed their chosen paths, pushed boundaries and divided public opinion. Ned is on his horse, roughly pulled to a stop with arms a kilter, which “corner” will he turn and what fate will arise from that decision. My art practise is best described as intentionally eclectic. I am drawn to those who walk their own paths and try to follow my own. Growing up in a creative household guaranteed I would make artworks as I learnt to paint in oils, draw and carve from my father .
Wollombi Wines
60. Amanda Hills - Tendrilite
62. Emilia Krumm - Asudem
copper wire, 200 cm $2,600
Reflecting on the adaptation of the technological to the biological world, as rivalry between technology and nature, the network of hexagonal copper wire cells envelop the host tree like an industrial strangler fig, or as a series of hanging ‘epiphytes’. This work is a continuation of explorations into the potential of energy to move, transform, and cycle through the environment. Through sculpture and ephemeral installations my working processes speculate on the symbiosis and struggle of technology with nature. Studio manipulations of man-made materials reveal a reverence for the diversity of genetic expression on our planet, and the complex relationship we develop with the environment in the technology age. The game is always the same: survival.
perspex and reinforced resin, 160 cm $3,800
61. Stephen Hilton Nharrang
fire mains elbows, steel plate, rod/drive chain, 200 cm $6,000
Nature and history joined together to help teach the young and old of what was. Born in NZ – practising artist for 20 years, represented in private collections in Hunter Valley, Sydney, New Zealand and Australia. I love working with wood, steel and stone and in the last 5 years have mostly used chain and steel from recycled materials mixed with new. 25
Based on the myth about Medusa, instead of gazing at the horrific ugly snakes, the intention is that you gaze upon the snakes of Asudem and are set free and feel happy The colourful snakes encourage an unexpected reaction from the viewer, one of perhaps amusement and joy but definately not damnation and fear. Creating sculpture starts with a source deep inside me,where a wealth of experience has shaped who I am. A retrieval of fading memories of my cultural heritage: South African, Italian and Australian fuse to fine form, to translate my experiences into the physical, becoming tangible and present and something treasured. Integral to experiencing my cultural traditions is the notion of myth and fables, particularly Italian and Greek.
Wollombi Wines
63. Jacqueline Lewis - Spirit Men
clay, fired slip, dimensions variable $150 - $350 or $12,000 group (x54)
64. Mick Martin - Wind Vane
recycled metal and timber, 270 cm $2,500
65. Ludwig Mlcek - Object in Landscape II wood, 290 x 96 x 60 cm $11,200
Functional and fun - Mick Martin’s Wind Vane ‘symIntrigued by the contrast of forms, changes of light bolises’ life on a rural farm in a time gone by. No apps and shade, relation of organic shapes and intersechere, just like ‘the old days’. tions of geometrical planes. Creating sculpture is an adventurous journey in the open space of dream and Mick’s sculptures are inspired by a lifetime of working with fantasy. From taking a lump of wood to see where timber and metal and reflecting on what is discarded by I work intuitively, influenced by organic forms and a strong it is going to take me ... or where I’m going to take spiritual connection to the natural world. My sculptural works today’s society whether it be materials and tools or skills it ... which way to take ... what to do next ... utilising and methods, the challenge is changing its prior existare designed for the boardroom, foyer or garden. I handbuild gum blood veins ... insect trails... geometry ... colour, ence into a sculpture that reflects his interest in Australian in clay and the surface treatment is multi-layered and through to works involving sketches, detailed drawtextured. I fire to diffferent temperatures to achive vaired ef- flora and fauna. Combining his travels to the Outback to ings and precise machining. fects. The forms are an exploration of space and movement. source unwanted and discarded farm implements, tools My spirit men invoke responses from laughter to peaceful contemplation. They are designed to sit quietly in the garden and bring joy to the viewer.
and machinery leftover from a previous time, most of Mick’s sculptures begin with one piece being the inspiration, and then exploring the possibilities... will the audience know their original uses? 26
Wollombi Wines
68. Anthony Sawrey - Chaos Latticework grass paint, dimensions variable NFS
Chaos Latticework is a grass painting consisting of a series of long flowing lines in various colours wood, paint, glass coat, 160 cm $1,500 cement and steel, 150 cm $6,600 painted on a large grassed area. They overlap and intersect forming random conjunctions evoking This work, with its three different rasta characters, maps or wiring diagrams. The final composition is reflects my love of clay modelling and particularly por- The work is inspired by my young children. My aim is unknowable and depends entirely on the landscape traiture. The whole concept has been fun to develop to create a fun piece. For adults it may bring a feeling it emerges in and the mood of the artist on the day. of nostalgia or inspire memories. When we are chiland expand around the theme of Afro-Caribbeans, Such a work is intended to stand as a counterpoint dren our toys seem so big but when we see them as to both traditional sculpture and painting because it reggae and drumming. To create three heads of adults the seem so much smaller. Size is relative. different character, each of which must also relate is neither permanent nor has any preconceived plan. one to another as members of a group, has been a It comes to life on the day of its installation and the I am a multi award winning artist and fashion designer. I challenge I have thoroughly enjoyed! act of creating it is as much a part of the work as the work in various mediums from sculpture to wearable art to completed image.
66. Jannese Parkes - Rasta Steel Band
67. Stephanie Powell - Toddler Toy
I am a clinical hypnotherapist, and sculpture is my passion. I somehow connect these two fields and attend supervision sessions with art therapists. Over the past five years, I have trained with Damien Lucas (of Tom Bass lineage)and I have exhibited my work at “Swell� on the Gold Coast, and at The Bentley Art Prize, Northern Rivers.
painting. I do not like to be limited to one method.
Anthony Sawrey is an Australian artist who started out as a studio painter but has since expanded the scope of his activities to include the canvas of the very landscape itself. Termed Environment Painting, this form of practice is a specific response to a given location, making the artistic process a constantly evolving and challenging activity. 27
Wollombi Wines
69. Peter Tilley - In Search of the Sea cast iron, corten steel, 186 cm $12,000
At one level the work is about the the imagining of a journey and the obstacles life puts in the way of realising that journey. My work includes arrangements of found objects, mixed media assemblages, small bronzes and larger cast iron and steel sculptures. It continues the theme of utilising my own experience as a raw material and the basis for the narrative in what I refer to as ‘still life tableaux’. represented by Brenda May
70. Larissa Smagarinsky - Movement
aluminium, acrylic resin, stainless steel, two pack metallic paint, 280 x 100 x 110 cm $26,000
The sculpture represents Australians love for water sports. Symbolic steps show the connection of effort and achievement. In the lines and proportions of the figure - eternity of youthful beauty. As a sculptor I have over forty years of experience working with different materials, in a variety of styles and sizes, depending on surrounding environment, topic and medium used. I have a number of public installations (awarded through open competitions) 28
71. Morgan Shimeld - Escarpment
steel, corten steel, polyurethane, 110 cm $10,000
The work of Sydney based sculptor, Morgan Shimeld, is primarily concerned with the aesthetic and theoretical concepts of the interaction of internal and external spaces. Escarpment, characterised by attention to structure and form, incorporates welded and fabricated corten steel.
Wollombi Wines
74. Lucy Watson - Onwords!
72. Lou Steer - Hollow Throne
polystyrene, paverpol, MDF, 175 cm $2,500
steel, brass, wood, clay, copper, 160 cm $250
This work is a caricature of the creature people and societies become when they have decided to trudge forward, having forgotten or never known what the purpose was to begin with, and in doing so, have lost their sense of self and humanity. The work visually references the image of Atlas holding up the world. The world within this work is a large spherical cage where the rib cage should be. The creature has been carrying a hefty internal weight for so long that its vertebrae and essential organs have become like clouds, morphing into bird shapes, restless, no longer Objets trouvĂŠs provide the inspiration for my creations, their in alignment, and ready to take flight and disperse. selection is defined by their unique shape, form or location and the quest to know what they might become when united But rather than stop and listen to the movement of as a sculptural form. I combine materials through a single or the internal energies, this character continues trudging, Forwards! through snow, clouds, mud, Officemultiple process e.g. cutting, carving, welding or painting whatever will best suit the material and the final result. works, and oceans.
The Hollow Throne is a sought after object, a symbol of the highest achievement. But this throne is a beau73. Stef Schelbert - Metrosexual Pirate tiful object which can be admired and gazed upon steel, 200 cm $3,700 but not put to use. The meticulously machined throne remains an object of desire and awe. When people view the Metrosexual Pirate hopefully he will bring a smile to their face with his cartoon like Lou Steer is a multidisciplinary artist whose theme is the features and promote discussion and fun as he is counterpoint between the natural and human worlds, expressed in diverse media including sculptures, new media viewed from different angles and perspectives. and paintings. Lou has been represented in numerous public and national art exhibitions including Sculpture in the Vineyards, ANL National Maritime Prize (Melbourne), Lake Light (Jindabyne), Hidden Cities Hybrid Identities (Rome), Cementa 2013 (Kandos), Sydney Fringe Festival, Marrickville Contemporary Art Prize, Riverworks and Cooks River Festivals and Rockdale Outdoor Art Prize 2014.
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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
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.
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: Christiane Keys-Statham Education Officer: Rebecca Holmes Education assistants: Laura Carey, David Hampton, Amy Hill, Amelia Morgano PR and Marketing Manager: Veronia Chambers Installation assistants: Flynn Doran, David Keys-Statham And their partners, friends and family who supported them in supporting us. Photography: Harrisions Photography, Christiane Keys-Statham & courtesy of individual artists Sculpture in the Vineyards is a regional flagship event funded by Destination NSW
Wollombi Valley Progress Association
sculptureinthevineyards.com.au photo credit: John Harrison / artwork: ACAB, The Mushroom Trail - Undercliff Winery, 2014