2015 Wollombi Sculpture in the Vineyards by Tara Morelos

2015

Sculpture in the Vineyards EDUCATION PROGRAM

Artist talks and workshops, guided tours, in-class programs

Full programs: sculptureinthevineyards.com.au/education Email sinthev@gmail.com to reserve a space

Family Picnic Day - Sunday 1st November 11am – 2pm

Curator’s Introduction This year’s Sculpture in the Vineyards is one of the most exciting editions to date, featuring the work of over 40 contemporary artists from around Australia, the exhibition takes place over four beautiful vineyard venues: Stonehurst Cedar Creek, Undercliff Winery, Wollombi Wines and Wollombi Village Vineyard. In an annual calendar increasingly populated with outdoor sculpture exhibitions right across the country, Sculpture in the Vineyards aims to offer a different, more immersive and complete experience. We provide audiences with the prospect of spending an extended amount of time with the art works at our four venues and with the artists themselves through our events and education program, and also to explore the Wollombi Valley, its rich history, culture and scenic landscapes. Visitors to Sculpture in the Vineyards are encouraged to slow down, take time to discover this beautiful place and gain some respite from the hectic speed of daily life, whilst also enjoying the boutique wines for which the region is famed. This year we were fortunate enough to have a large number of entries from women artists, which is for me a distinct pleasure. Increasing participation by women in contemporary art, and in particular in large outdoor sculpture exhibitions, is an important aim and one of my personal career goals. The result of this increased engagement by women artists is a wealth of accomplished, strong and dynamic work for the 2015 edition of Sculpture in the Vineyards. One of the recurring themes in this year’s selection is the transformation of everyday materials, with artists paying particular attention to form, technical innovation and whimsy. While our initial responses to these works include sheer admiration and wonder, our attention is held by the depth of feeling in these works and their strong sense of responsibility, hope and optimism in uncertain times.

This year, the real world exhibition of sculptures in and around Wollombi will be accompanied by a separate exhibition of sculptures in a virtual world – the world of the popular construction game, Minecraft. To bring this about, a rough 1-to-1 scale replica of Wollombi and some of its surrounding vineyards has been built on a specially commissioned Minecraft server and opened up to local kids and other interested young Minecraft enthusiasts who will spend the

I would like to thank our amazing and dedicated artists, our Director Tara Morelos, all of the vineyard owners and their staff, our Sculpture in the Vineyards team, all at Ngurra Bu and the wonderful and hospitable people of Wollombi.

Month of November crafting original sculptures in this virtual Wollombi. A final presentation and judging of their creations will be held on the closing day of the real world exhibition along with guided in-game tours streamed live to the Web. For more information on taking part or viewing the works, drop us a line at sculpturecraftvineyards@gmail.com

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. Kealey Bacic - Steel Gum Trio

$3,200 timber (Gum), steel rods, galvanised steel sheet, silver solder, wire mesh, 200 cm ea.

Steel Gum Trio explores the importance of longevity and advancement in the modern world, and the focus on sustainability within nature and our lives. Today, value is seen in extending the life, purpose and usage in every object and element of society. In a world dictated by consumerism, objects are intentionally made to be obsolete, despite their technological and functional advancements. This body of work pushes the material qualities of both natural and man made structures, and their abilities both individually and combined to extract the most usage from a form. My current art practice is largely influenced by my upbringing and familiar surroundings, coming from a family of engineers and growing up in rural NSW. I find myself working with elements of construction and mechanics combined with the natural Australian landscape and found materials. My art practice as a whole is a reflection of the concept of this body of work as I often revisit previous works and alter them into a completely new structure, their forms are always changing.

2. Robert Barnstone - Line Vessels

mild steel, epoxy paint, thermal & photo chromatic paint, 70 x 90 x100 cm

$15,000 or $6,000 ea

Reminiscent of our industrial past; both linear in shape and in silhouette, slightly pealing and opening at the sides, these shapes begin giving way to the formation of voids and open channels. A linear or surging form on the rocks gesturing to the sea or an inner negative space holding the void in the contour and landscape of forms. These pieces suggest a serpent squirming along the rocks like a trace vestige from the postindustrial mechanical rustbelt. The combination of raw steel and the land is a particularly potent mixture; it recalls the juxtaposition of the an industrial past while also acknowledging imaginings of the impending tentacles of the urban ecological threat. Robert Barnstone is an Associate Professor of architecture from WSU where he taught architectural design, furniture design and architectural theory. He holds degrees in sculpture and architecture from Bennington college, AA, London, Master of Architecture, Harvard University. He is a principal with Ascher/ Barnstone Architects. .

4. Nicole de Mestre - At Knitâ&#x20AC;&#x2122;s End

$1,400 flyscreen, cricket materials stumps, metal frame-all recycled, 200 x 180 x 15 cm

There is no such thing as worthless knitting, simply knitting that is really not to your taste. Nicole can be found either in her overcrowded shed or out on Central Coast streets rifling through kerbside pick-up piles searching for inspiration. Her assemblages reflect a curious attachment to times past and things lost, an increasing frustra3. Bev Chalmers - The Sentinels $1,500 tion with the prolific waste of modern society and a healthy sheet copper, copper pipe, copper wire, timber, fiberglass, liquid iron, obsession with liquid nails. She creates an eclectic range of artistic works, all inspired by environmental concerns and linked 130 x 20 x 20cm, set of 3 through the use of locally-sourced recycled materials and found objects.

Three sentinels, silent, watchful, spirit guardians carrying the symbols of earth,sky and water . A reminder that we must live in balance and harmony with nature. They stand in the present as a testimonial to what was, what is and what should be.

5. Scott Ingram - The language of flowers

$4,200

found materials, chillago marble, 180x 60 x 60 cm

Dysfunctional in appearance, lyrical at heart, this sculpture is alchemy of disparate found objects and materials, a transformation of nothing into something, a flower glowing in its own internal light.

6. Anne Kwasner & George Catsi - Stratum IV $3,900 7. Karen Manning - Stone Chameleons sandstone, earth, coal, concrete, ceramics, found objects, bones, snake and mouse wire, plants and twine, 140 cm

Stratum IV interprets and responds to cultural, historical, social or metaphorical aspects of the Wollombi Valley. Suitcases, when on a journey hold all that is precious, important and valued. They represent the passage of time and movement from one instance to another. In the base suitcase of the artwork is coal, the precious item, that some say, underpins the region. Coal the pariah, breaking though the sandstone layer above it, seeping through the community, morphing into coal seam gas, blending with our precious wine. Wine varietals and coal seam chemicals. BTEX, blend to produce the perfect drop - ‘X’ - A Modern Blend for the New World.

stone, mirror fragments, grout, adhesive. dimension variable

$550 or $20 - $100ea.

After visiting Undercliff Winery with its sloping topography and distinct natural pockets I was inspired to create this piece. I designed it to nestle, chameleon-like within the natural environment and deliberately chose to use mirror fragments to reflect the beautiful colours of the surrounding sky, trees and leaves and ground. Different weather conditions, times of the day and viewing angles all change the way this piece appears as each mirrored stone absorbs the mood of its surroundings.

I enjoy experimenting with different mediums and using re-purposed/ recycled materials and natural elements in my work. Site specific and large scale works are a particular passion of mine Anne is multi-disciplinary artist who has worked as a printmaker as they allow to me to interact with the community and often and draughtsman (drawing) and more recently incorporated incorporate the public into the making of my piece. I come from ceramics and installation. George is an award winning producer, an education background and was formerly a secondary school writer, performer and artist whose installation art and projection art teacher before moving into developing my own pieces. This work counterpoint place and space. Their Stratum series has teaching background has heavily influenced my desire to bring been re-imagined as part of the Nth Sydney, Shoalhaven and art out of the studio and into the hands and hearts of the youth Rookwood ‘Hidden’ art prizes. of today.

8. Ro Murray - Its Black and White

$4,000 permanent marker on acrylic, fishing line, crimps, 200cm high

9 black “figures” cut from gloss acrylic sheet, with continuous writing (upside down) on one side, and blank the other side; suspended just above ground level, attached at the point by fishing line to a steel stake in the ground. The figures are free to rotate in the breeze and reflect the landscape and people.

9. Graeme Pattison - It’s Getting Hotter

10. Tinkie Quinn - Follow your Dreams

The world is warming as we burn fossil fuels with little regard for the long term consequences. Anthropogenic change is not the way to treat a good planet. Is it time for change? Coal is mined and burnt producing invisible pollutant gases and contributing to warming of our planet. This sculpture seeks to make the impacts visible by using a model earth to view the global perspective. The scatter of dark, dirty lump coal on the ground is seen as it really is. In summary this sculpture presents a global environmental problem in a striking way using simple and intuitive visual links.

$5,000 coal, tree branches, steel rod, plastic globe 200 x 300 x 200cm

$3,300 metal, feathers, Sticks, Rope, water proff treated material, crystals, water proff paper, bamboo. 3 metres

11. Deborah Redwood - Sisters

$3000 (1) steel and wood, 380cm (Sister one) 190cm (Sister 2) $1500 (2)

Sisters has been created from discarded materials; We are connected to one another and the world we live the wooden ‘head’ combines discarded offcuts the tall in; our actions effect those around us and the planet we slender flat tubes come from a machine and the tungsten tipped cones at the bottom of the sculptures are taken live on. People are very familiar with the concept of a from rotating sandstone excavators. The different wood dream catcher as an ancient form of magic. I have made varieties and sizes in the ‘head’ represent different one to walk under and become part of. People can come thought processes and the tungsten tipped cones placed together holding hands in a circle, feel surrounded by the in different positions represent defensive mechanisms. magic woven into the work, contemplate and write their The sculpture attracts attention to the fact that sisters are thoughts and dreams onto the paper feathers in the box similar but not exactly the same. provided and place them onto the hanging silk pieces.

I like to use natural materials as much as I can lending opGraeme has a special interest in interactive sculpture and the use portunity for the piece to change. I am also inspired by a world of electronics to foster reactions and add extra dimensions and per- beyond the physical, one that opens the heart and mind beyond spectives that allow for social comment. He uses renewable power sight. I am constantly changing my designs and direction of my style but right now I am enjoying weaving things together whenever possible and sometimes uses sculpture to increase the and the concept of unity, mankind and nature together. I like to community’s environmental awareness. He enjoys the creative use all recycled materials and natural ones, as respecting the thinking that artists undertake to reach the next stage where they environment is crucial to me and displaying this respect in my handcraft and engineer materials in new and challenging ways. art is important.

My art explores the idea of entropy; the breaking down of organised complex objects/systems into chaos. I attempt to use broken (highly “entropised”) parts in my art to minimize environmental impact and because each of these parts has a specific memory embedded in it which when combined with other objects enables a new narrative to evolve. The results of entropy are visible everywhere; rust, patination, corrosion, scratching, rubbing, chipping, cracking, fraying, erosion, decomposition and disease. There is beauty within this process that I harness in recreating an intricate highly ordered work of art.

12. Michael Shiell - Fools Vessel

$3,000

reclaimed agricultural fencing wire, 50 x 500 x 60 cm,

The Ship of Fools allegory, traced back to Plato references a captain-less vessel that floats around without direction or purpose. On board the passengers are oblivious to their lack of direction and seemingly ignorant of their potential fate. This poignant narrative is often used as an illustrative metaphor for mans’ lack of action and direction in regard to climate change. Fools Vessel is intended as a point of reference to humanity. The work is woven reclaimed agricultural fencing wire sourced from farmers in western Victoria. These fences were destroyed in 2011 when the Wimmera River flooded; a once in 200 year event which followed quickly on the heels of a chronic four year drought cycle. Fools Vessel is inspired by rapidity of these dramatic and severe climactic events. Since 1998 I have been creating Ephemeral Environmental Artwork, created on-site outdoors using natural materials that are indigenous to the site. The ephemeral nature of the work allows for the created form to breakdown and retrogress back into the site over time. In recent years my work has adapted this same sensibility to site and materiality to include more man-made materials that are also found at the locations. Having said that thought the environmental concerns that underpin the ephemeral work is still the primary motivation for the recent work.

14. Hannah Surtees - Tall Tales – Sol mild steel 240 cm

13. Ines Stewart - High Hopes

mirror stainless steel, 240 x 60 x 150 cm

$3,000

I’ve always been intrigued by old industrial steel objects like the ones you can see at the ship-building sheds on Sydney’s Cockatoo Island. There is something majestic and sculptural in the rusty old machinery now lying dormant; once busy, noisy and man-handled full of experiences and amazing stories. Tall Tales is designed to combine man-made with nature through material and graphic shapes based on my drawings of objects from the industrial age. These totemic structures stand respectfully amongst nature or sit triumphantly within a man-made environment. The rusty exterior of Tall Tales changes colours with the weather and casts patterned shadows in the sun with their own unique stories to tell.

I am a graphic designer with over 20 years experience in branding for retail interiors where I have gained a good understanding The work is personal, relating to the 3 years that I lived of environments and environmental graphics. I like to draw on a sailing boat. The upright sail represents ‘high hopes’ and doodle and use this to inform my commercial graphics as as giving me ideas to develop through sculpture and other and the bent sail shot full of holes shows what may hap- well mediums. My commercial practice has led me to work with varipen to them. Of course it has further connotations now in ous manufacturers through shopfitting and signage making, thus relation to our refugee policy. giving me contacts for developing my personal sculptural work.

16. Greer Taylor - reciprocity

POA found sticks, webbing, vinyl, steel, stainless steel cable, paint,

A living forest is a network of connections and nodes; a structure that silently but powerfully ensures the forest continues to thrive; a system based on reciprocity. This suspended multilayered grid is a reflection on both the strength and fragility of interconnected systems. An intricately tensioned grid of steel cables sustains the grid; if one connection is broken the whole starts to collapse – like the forest, dependent on a ‘complete’ ecosystem to function. Modern human society regularly ignores and breaks systems which have kept the planet functioning for eons. We are at a time in history where the future of our amazing planet and its inhabitants is under threat if we do not work to restore human-nature reciprocity.

17. Angela van Boxtel - Immortal

$3,000

plastic shopping bags, dimensions variable

The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labour. I sometimes feel like this 15. Mark Swartz - Sails, Fins, Feathers $3,380 when punishing myself to the hard labour of crocheting bamboo, copper Wire 30 x 200 x 220 cm plastic shopping bags into art pieces, so far up to almost 10,000 bags. People don’t understand...though eventuSails Fins, Feathers continues a body of work that ally it will be them ‘crushed’ by their own polluted world in explores the connection between the natural skeletal the not far away future by refusing to change their plastic structures of birds and fish with the universal framework single use consumption habits. The intention of my work is to explore possibilities and generate of ships and flying machines. This work combines all four questions about our existence and relationship to land. Most of there forms into a new imaginative and mythical ‘Bird.’ of the work I do is driven by the idea of wilderness – both as Angela van Boxtel It remains ambiguous as to whether this creature has is an eco artist and a place and as a way of thinking. Transparency, vulnerability, designer whose work emerged as a fossil from the past or as the product of a change, mortality, repetition together with an exploration of explores creative use space are ideas that both stem from my engagement with science fiction future of waste materials. I have been creating unique and sustainable sculptures from a wide variety of materials since 2010. My work extensively explores the connections between organic growth and industrial forms, unifying them into imaginative urban creatures.

wilderness and are reciprocally informed by it. My work employs simple forms (grids, circles, cubes, rhomboids) most often generated by repeated actions such knitting, threading string around constructed structures, drilling hundreds of holes into a wall to be filled with wire, plastic or feathers, stacking… text is also used as a repeated element.

She dreams of a beautiful sustainable world with lots of imaginary play for children to explore.

19. Jake Coghlan - Semblance

timber log, gold spray paint, gold leaf, 160 x 200 x 200 cm,

18. Louise Jarvis and Gioia Viney Gymea Lily Garden

$3000

acrylic rod/ 3mm acrylic sheet /LED lights, dimensions variable

The tall reed-like structures soar at 3 metres taking inspiration from the Gymea Lily (doryanthes excelsa) a flowering plant indigenous to New South Wales. The Gymea Lily Garden reflects the draw of nature. The man-made liles/reeds reflect the environment around them but also allow the viewer to see right through it. The movement of the wind gently sways the structures just as natural reeds would. The reeds ability to light up means that in the right location it can be appreciated as a sculpture day and night. Louise and Gioia are both in the architectural industry and have a passionate interest and involvement with installation art and architecture. They are interested in biomicry, working with natural forms and the surrounding environment. Their previous experience working together at university and on the recent Vivid installation makes the team run very smoothly. Their experience of vivid gives them experience working on small scale projects and the everyday work they do in architecture gives them broader experience in large scale construction projects dealing with people and panels at high level.

Semblance, is both an extension and fabrication of the ritualistic process to wine making and our historical relationship to nature. The log comes from a nearby winery, found on a riverbank washed up after recent floods. I placed the log on top of a pile of old vine pruning, due for an annual burn. Here I set the branch and dead vines ablaze before carrying it smoking, through the rows of grape vines, to a rainwater tank. I quenched the smouldering log with rain water. I then covered the charred surface in gold leaf and erected it. The work has since weathered in the elements and been relocated here, at Undercliff Winery. Making Semblance, I realised we have a remarkable power to alter narratives, in order to make sense of history, find meaning and legitimise the present. Just as the gold leaf will wash away and flake off when touched, revealing the surface beneath, in time, other stories become apparent to us. Though physical, Semblance is a narrative of transformation that questions what we see presently and asks that we look for other histories existing beneath the surface. I am always exploring new practices and modes of representation, often finding myself drawn to making outdoor work. My sculptural work varies from robust steel and stainless steel sculptures to ephemeral site specific pieces. The process is important to production, in every work there is a dialogue between the materials, myself and the site. The transformative effect of realising the potential innate within material imbues the work with a new energy that transcends the commonplace. To be moved by an inanimate object is to experience that transcendence. It is a positive and powerful force that gives relevance to all forms

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. 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

20. Rhonda Castle - Harvest

$4,500

mild steel and stainless steel bolts, 210 cm high

From one generation to another we Harvest knowledge that helps our critical thinking to make connections between what we learn in school and what we see in our everyday lives. For us, sustainability is the potential for long-term maintenance of wellbeing, which has ecological, economic, political and cultural dimensions. Sustainability requires the reconciliation of environmental, social equity and economic demands - also referred to as the 21. Bev Chalmers - The Vine “three pillars” of sustainability. Primarily the sources of my imagery come from what I see every day from nature or a past memory which evokes a process of sketching, writing a passage of thought or taking a photograph to capture that ‘snap shot’ idea. From here I will play with form, materials and dimension, working with a marquette for proof of concept. Each project often consists of multiple works, often in a range of different media, grouped around specific themes and meanings. During research and production new areas of interest arise and lead to the next body of work. With a construction industry background and working in IT and Graphic Design lending itself to understanding the processes of and translating the architecture, geometry and physics into sculpture.

$4,000

stainless steel, perspex, recycled agricultural pipe, fibreglass, liquid iron, 250 x 130 x 90 cm

Grapes in clusters, coiling vines, explosive bubbles, salute the wine! Challenging and changeable; I use a combination of materials, tangible and intangible to embody movement . Inspired by nature, this work’s ethereal quality is achieved by using fine materials and a variety of different spaces. The shadows thrown by the sculpture extend it into the natural environment and are intrinsic to every creation and can at times be unintentionally surprising.

23. Danielle Minett - Many Faces, Many Masks bronze, 40 cm,

22. Nicole de Mestre - Which Banksia?

$450 ea

video tape, tin, copper wire, 100 cm high

Which is it? A tribute to Australian flora? A resurrected childhood tale; a group of bad banksia men basking in the sun and wickedly planning mischief? Or an environmental commentary on the inauthentic nature of our fabricated world? Constructed entirely from discarded man-made resources, these Banksias serve to convey a message reflecting my environmental concerns. Our world is being dramatically transformed. Places we love are changing fast, native bushland is receding and we have increasingly temporary relationships with the things that surround us.

$5,500 $800ea

Daily, each individual hides behind masks - sometimes a different mask for each different situation. Masks are usually light and easily changed, however the masks in Many Faces, Many Masks are heavy demonstrating the idea that in reality they often weigh us down. The materiality also creates a longevity - the idea that as much as we would like to dispose of our masks, they can still remain in tact for the long term, hidden and ready when needed again. Each mask is uniquely different and a certain level of chance has been left in the process of these developing these masks. I let go of some of the control- not knowing what the outcome would be, so also emphasis that although we often feel in control of how our masks look, they evolve over time without conscience input and become something else altogether.

24. Polly Rickard - Balance

$1,100

welded steel, 140 cm high

I have always been fascinated with the malleable nature of steel and the way it can appear to be light as a feather or firmly rooted in the earth. My goal was to get the balance. I bent the stem of this sculpture by hand, with a fulcrum and a vice, and the stem is the only piece which was manipulated and not in its original form.

My practice is to use only found steel and to use it in its original form. Because there is rarely the opportunity to know the original purpose, there is an element of mystery as disparate I am a fine art photographer and sculptor working in both pieces of previously industrial steel come together in a new life mediums equally. Conceptually I am interested in delving into where they have no other responsibility but to contribute to a the hidden aspects of humanity and in particular the parts which sculptural concept. Because my pieces are found I am not able exist but no one really likes to talk about. There is much to be to plan ahead, but embrace the spontaneity which goes with this discovered and so many stories to be revealed. I am also very interested in materiality and the place for physical objects in an approach. Also, the use of old steel is an embodiment my ethos of reclaim, recycle, rebirth. every increasing digital world.

25. Stef Schelbert - Nowhere to Hide!

$12,500

steel pipes & porcelain, 380 cm high

The inspiration for this work stems from my reactions and questions relating to global politics and its potential impact on our world and our environment. Nowhere to Hide provided immense enjoyment, discussion and challenge as the units united into a sculptural form. Whether it is the impact of high density/apartment living and its intrusion into our last private/personal space...? or simply a representation of our modern world where everyone is totally exposed, accessible and vulnerable? Could this be representative of modern society and its acceptance of 24/7 accessibility? Nowhere to Hide! Swiss born Lake Macquarie based sculptor who uses objets trouvés to create three dimensional structures that evoke powerful reactions to inspire, entertain and compliment the environment into which they have been placed. The inspiration, for my creations, has been found through the selection and combination of a variety of pre-loved materials defined by their unique shape, or location and the quest to know what they might become when united as a sculptural form. My creative journey has had many unexpected twists and turns as the elements are worked, welded, reworked, combined, carved or painted; but the rewards are many as the final work emerges and the once forgotten elements, are united into a unique and exciting assemblage.

26. Ingrid van der Aa - Homeward bound

POA

plywood and termite nest, 50 cm

Homeward Bound addresses the interconnection of different structures and cultures. In the current connected world, identities need to be fluid and open to constant change, so as to be flexible with the movements across borders. I introduced the Dutch clog as an iconic Dutch symbol and as a reflection on form in association with my identity. In Australia I stumbled across the termite nests and their interesting forms and shapes. The transformation process is demonstrated in the artwork through the interconnection of the Dutch clog with the Australian termites and their nests. This process has resulted in the work Homeward Bound, an installation of hybrid objects. Homeward Bound is an up-scaled model of a clog, with a rib-like structure as a house or boat is built. At the same time the work embodies a nest or shell to protect and surround viewers. Ingrid van der Aa is a Sydney based artist. She holds a Masters degree from Sydney College of the Arts and was a 2015 prize winner at Harbour Sculpture Prize and the Art Abstract Palm Awards at Verge gallery. In the past 10 years Ingrid has exhibited in Sydney, Melbourne, Central Coast, Newcastle and The Netherlands across painting, sculpture and installation.

27. Pamela Lee Brenner and Johannes Muljana FanfAir (working title)

$3,000 re-purposed found fan blades; pvc, polyurethane, carbon fibre, aluminium and wood , 250 x 150 x 200 - 250 cm

The sculpture references an airship in its lightweight and delicate appearance and explores the idea of using available energy, namely wind, to create movement. The turning of the fan blades by the wind creates the illusion of a ship mid-flight “floating” on the wind, going towards some unknown destination. Pamela Lee Brenner and Johannes Muljana are artists with backgrounds in interactive media, graphic, web and set design, as well as the more traditional forms of painting and sculpture. Both artists have collaborated in projects with other artists as well as with each other in developing installation, interactive and experimental works over the last ten years. They like to work with recycled, reclaimed materials and technology.

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.

28. John Ramsay - Man of Steel

Ephemeral work reinforced cardboard, gum tape, Porters rust paint, 530 cm

Man of Steel references man in the age of the industrial revolution striding towards the future, eroded by time and ultimately destroyed by the elements. Images of coal miners inform my work as they stand strong and proud, pivotal in the history of the industrial revolution. We are still employing the same principles that were formed two centuries ago. Our needs and the needs of the planet are changing, but still we play by ‘out of date’ rules in an ever-changing environment that requires direction in accordance with a sustainable future, rather than a profitable one. My practice is generated by an idea or concept and the materials are dictated by the form. Political, historical and environmental issues are the inspiration for my practice. I endeavour to re-evaluate, invigorate discussion and open doors in people’s minds where they may not ordinarily go.

Wollombi Township

29. Aaron Anderson - suburban folly #14

$1,700

wood, 300 cm high

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

I am exploring “ruin lust”, or the latent desire to see society in decay. As if to wish it a thing of the past, the memorialized “white picket security fence” ruin site is meant to highlight inclusion/exclusion in Western society. Thematically, my work centres around the underlying angst associated with contemporary living. I work in a variety of mediums, including constructed sculpture, experimental screen printing, drawing and photography.

32. Keith Chidzey - Forest for the Trees

$2,500

mannequins, dimensions variable

30. Kylie Bowles - Muffled Men

$500 ea

recycled car parts, 200 cm high

Muffled men symbolises the many thousands of men, women and children who rely on Australia’s automotive industry for their livelihoods. Australia’s automotive industry is an important part of our economy, providing thousands of jobs. Rising fuel prices, cheaper overseas imports, climate change and the carbon tax have all had impact on this industry in recent times, with car production steadily declining. This in turn has led to many thousands of workers becoming unemployed. By creating images of man out of these old car parts I aim to draw attention to the large scale dependence on the automotive industry for survival. I am inspired to make art from what would normally be discarded as waste.

This installation seeks to highlight the widening gulf between those who have the means to help and the increasing numbers of those who need that help. Oxfam reported that the world’s 100 richest people earned enough money to end extreme poverty worldwide four times over. A direct result of this condition is rampant 31. Rhonda Castle - Overlord $5,500 materialism and a consequent increase in “more anticorten steel and stainless steel, 200 cm high social and self-centred behaviour. One of the effects of a materialistic disposition is a greater tendency to treat History is littered with examples of the groundswell of the people changing and adopting new processes in an people as objects to be manipulated and used.” These multi-coloured mannequins placed in a manicured forest innovative and productive manner. Equality, peace and justice are inextricably linked and neither can flourish in setting highlight the pervasive underlying attitude of the absence of the other. Through the combined power many that other people are not important – they are just of individuals united in society and freedom of choice we other objects. have an all prevailing energy in which the most amazing I am a sculptor and land artist, driven by imaginative juices results can be achieved. flowing from our creator God. This takes the form of: prophecy The body of work I’m presenting at present is stainless steel and corten sculptural pieces that are characterised by clean flowing lines that reflect light and their surrounds, picking up a kaleidoscope of colour and taking on a life of their own. Often combined with sandstone or timber to give warmth and character.

through art; highlighting environmental responsibility; and promoting social justice issues. Materially, I generally specialize in timber and bronze, but am effective across a wide range of mediums. I particularly enjoy engaging in commissions to help realize other’s dream and visions.

33. Emilia Krumm - Forest Cathedral

$7,500

perspex and stainless steel, 400 cm high

Creating sculpture is like unpacking a treasure chest from deep within myself; an interpretation of memories accumulated over the years from my experiences. My Italian heritage, African upbringing, life in Australia, all have had a symbiotic effect on my work. My sculpture Forest Cathedral, the message is all about the sacred space that is created, it emulates those sacred spaces in nature where one is transported to a spiritual place. Working with perspex and stainless steel, my work seeks to develop a â&#x20AC;&#x2DC;Chiaroscuroâ&#x20AC;&#x2122; effect which enhances the modelled forms and gives them depth resonant of the Renaissance period. The use of negative and positive spaces fascinates me and creates a particular kind of tension in my sculptures. I love to work with different mediums and enjoy the challenge of construction. It is a privilege to create a large space that is pleasant to be in and around. I aspire to capture the light and reflect the environment around the sculpture to enhance the message of emulating nature. It is important for me to interpret my initial idea into reality and that is, of transporting the viewer to a special place, with the use of light and colours.

34. Ro Murray - Fire Warning

recycled perspex, acrylic, steel, 140 cm

$20,000 or $2,500 ea.

Last summer, Vanessa Oâ&#x20AC;&#x2122;Hanlon on ABC News 24 presented unforgettable info-graphics showing nearly all of Western Australia or South Australia red for extreme fire danger, orange for severe, and yellow for very high with patches of black for catastrophic; a frightening picture of large areas of Australia under threat. The ratings are prompts for people to stay safe and put their Bushfire Survival plan into action. Bushfires are becoming more severe and frequent through extreme temperatures and winds, which are a subsequence of Climate Change.

35. Phillip Relf - Pumpkin Vine

wire, steel, hessian, kerosene 300 x 300cm

NFS

Fire was no stranger to the ancient Celts. Samhain or Halloween was celebrated as one of the four great festivals, long before it was taken up by the new colonists of Americas. The grinning face of the Jack-o-Lantern is seen now amongst the grapes in a vineyard as the festival is transported yet once again, to new shores.

I have long been interested in the use of fire in community celebration and ritual. The ability to make fire separates us from all other animals on the planet and it is difficult to image a social gathering without it. The fire-sculpture embodies the elements of the living flame in a recognisable form, dancing in the dark Ro Murray makes visual comment about contemporary issues of night. Fire symbolise transformation, the crossing from one in the media. She has a diverse art practice from drawing to installation. Over the last few years she has been drawing in-situ state to another, the eternal cycle that is as much an ending as a beginning. on glass doors and windows with markers.

36. Jimmy Rix - I still call Australia home

$8,500

38. Selena Seifert - Resilience

corten steel, chain 184 x 150 x 50cm.

I have spent years living overseas and I was always grateful that I was Australian. I definitely yearned for the $8,300 day that I would return. Over the last few years watching 37. Stef Schelbert - The Black Knight the boat people debate, it really has made me question timber and Steel, 270 cm who is really Australian and who deserves to live here? The symmetry and precision of this discarded steel I grew up on a rural property on the Darling Downs in Queens- drum sieve lent itself to the creation of “The Black land and from an early age I learnt to weld. The farm was Knight”. Our “Knight in Shining Armour” is dressed for littered with old rusty pieces of machinery which was a source success! of materials and inspiration. At the age of 18, I attended painting and drawing classes at Metro Arts in Brisbane but I soon realized sculpture was my calling so I became a private pupil of a ceramic artist and later a bronze sculptor. I have made three large-scale public commission works for Landcom and NSW Transport in Sydney and have shown multiple times at Sculpture by the Sea in Bondi and Cottesloe. I have been awarded the major prize at Lake Lights Sculpture Prize in 2014 and 2015 and the Delta Sculpture Prize in Wyong in 2012. I currently live and work in Wollombi.

The inspiration for my work stems from my reactions and questions relating to global politics and its potential impact on our world and our environment. Recycling and up cycling are fundamental components of my creative journey. My creations are formulated through the selection and combination of a variety of pre-loved materials defined by their unique shape, or location and the quest to know what they might become when united as a sculptural form.

$9,500 recycled glass mosaic on concrete, steel and fibreglass 150 cm

Resilience is a response to environmental change and transience, entwined by the mystery and eternal truth of nature. Inspired by the graceful Venus de Milo; goddess of love and beauty, the aestheticism of beauty and nature blur into a reflection on Aphrodite and an attempt at understanding the hidden life of plants and their fragility. The entwining vines grow over the bustled skirt symbolising growth and regeneration. Selena is a multi disciplinary artist and educator. She works with a range of materials including industrial offcuts and recycled glass to create contemporary sculptures, paintings, mosaics, and public artworks. Selena has exhibited her work across Australia, Europe and USA. Selena’s public artworks are dotted across Sydney, The Blue Mountains and the Central West of NSW.

39. Hannah Surtees - Tall Tales – Sentry 5mm mild Steel, 60cm

$4,200

These totemic structures stand respectfully amongst nature, or they can sit triumphantly within a man-made environment. The rusty exterior of Tall Tales changes colours with the weather and they cast patterned shadows in the sun, they have their own, unique story to tell.

40. Sharon Taylor - Encircled

ceramic and timber, 150 cm high

$ 2,800

Encircled is a monument to the beauty of trees, the strength, resilience and grandeur of the forest, enclosing ageless hidden mysteries. I am a Ceramic Artist, constantly inspired by my natural surroundings. I enjoy the endless possibilities of working with clay, bringing ideas to life in three dimensional form. My large pieces are always textural and tactical,made to be touched as well as admired.

41. Angela van Boxtel - Tree of Life

plastic shopping bags, dimensions variable

$3,000

The tree of life is a common motif in various world theologies, mythologies, and philosophies. It alludes to the interconnection of all life on our planet and serves as a metaphor for common descent in the evolutionary sense. Tree of Life represent our current state in the ‘evolution’. Wondering what fruit it will bear in the near future? Angela van Boxtel is an eco artist & designer whose work explores creative use of waste materials.

43. ACAB collective -

Panacea

pine wood, plastic drop sheet, living plants, artificial plants, solar powered LEDs, spray paint, expanding foam, plastic bottles, dimensions variable

The chair is the place of power; the wings symbolize the Seraph - angelic heraldry who held aloft the seat of the most powerful. The chair is a metaphor for the relationship and balance of power that exists between humans and birds . A careful balance in the vineyard between birds and the grapes on the vines .

Panacea is comprised of natural and artificial materials that are first deconstructed and then reconfigured in an exploration of what constitutes our natural world. Crystalline greenhouses have been constructed to house our flora sculptures alluding to agricultural control of growth and development in nature. Panacea explores the merging of our hand with the natural world as an extension of human intervention in the ecosystem. Our practice aims to challenge the prevailing ideology of nature as a balanced, regenerative system, which is then disturbed by human activity and instead propose that we are collective participants in what nature is becoming.

I am on an art road, a traveller who captures images and weaves a visual narrative through printmaking and sculpture. Narratives are woven by employing both traditional and innovative printmaking methodologies such as overlaying images, multi-plates, collage, the use of tonal variation, and mixed media. The use of a variety of man-made and ephemeral materials is evident in my sculptural work which harkens back to earth and the stories of the land, sea and air. Birds feature heavily in my sculptural work.

tions reinventing locally sourced materials by accumulation and transformation. ACAB engages in the ecological dialogue about the relationship between nature, technological progress and contemporary cultures obsessive consumption of commodities. By attempting to both re-present and synthesize materials seen as being endemic to either the natural or artificial worlds, ACAB explores the forecast of our taste for more. Are our swollen landfills the start of a new evolution in nature?

42. Therese Wilkins - Winged Chair

$ 700 wood, paint, resin, feathers, glass beads, steel, galvanised wire.

44. Louise Jarvis and Gioia Viney Gymea Lily Garden

$3000

acrylic rod/ 3mm acrylic sheet /LED lights, dimensions variable

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.

45. Kylie Bowles - Wind of Change

$1,500 relief printed feathers on material, wire, fishing line, beads, 200cm

We walk through a world filled with meaning. As you walk around my work, breathe deeply, let go of all anxieties. Let the feathers take them into the wind towards that blue feather of change, finding your own path to serenity. The creation of this work has been a journey of personal discovery. The feathers transform my emotions enabling me to find freedom and peace, and to soar into the next phase of my life. May you feel the touch of a feather on your cheek as you walk by.

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.

I enjoy responding to the environment, whether it be to issues of sustainability, the beauty of life or the breath of the wind. ‘Wind of Change’ however was much more personal, exploration the changes occurring in my life, and finding my way back to my artistic practice. I enjoy exploring ways to combine methods of sculpture and printmaking.

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

46. Aaron Anderson - suburban folly #15

$1,800

wood, MDF, found objects, carpet, dimensions variable

I am exploring “ruin lust”, or the latent desire to see society in decay. By fabricating sanitized ruins, known as follies, I am attempting to inject melodrama and faux significance into the mundane objects and structures that surround us. They are fast-tracked, prefabbed ruins for an impatient culture needing to control and romanticize its own future history. This work is meant to represent a pre-ruined dining room table, listing to one side. Through a neatly cut hole in the table top, black found objects will protrude, lending a melodrama to a the scene constructed with benign household items. Thematically, my work centers around the underlying angst associated with contemporary living. I work in a variety of mediums, including constructed sculpture, experimental screen printing, drawing and photography.

49. Belinda Clarke - Heads Will Roll ceramic, glaze and autolac paint.

47. Kylie Bowles - Pod

wire, fiberglass, mosaic tiles, dimensions variable

Our facial expressions often show what’s going on inside our heads and sometimes this is at odds with the words coming out of our mouths. Text-based communication technology removes facial cues entirely and consequently misunderstandings in email and text are common. We need to find a way to bring humanity back into our communications. Heads Will Roll is a study of the subtleties of human contact through face to face connections.

$30,000 $10,000 ea

Whales are majestic creatures. If you blinked you could easily miss that quick flick of their tales. I have attempted 48. Bev Chalmers - Symphony to capture this magical moment in my sculptures.

$1000 $350 ea

$4,000

red gum, stainless steel rods, sheet, pipe,brass, electrical tape,

23 x 60 x 150 cm I enjoy responding to the environment, whether it is issues of sustainability, the beauty of life or the breath of the wind on your skin. ‘Pod’ explores how our natural marine environment could This piece is influenced by musicians and the differdisappear in the blink of an eye. The use of a material destined ing orchestral instruments they use to unite and create for landfill only highlights further my environmental concerns inspirational performances. with our materialistic lifestyles.

The changes in modern life astound and surprise me. I like to explore these differences and express them through my sculpture. I am very interested in the physical action of sculpting and I often use clay for its unlimited possibilities.

50. Gordon DoGsWooD

Utopia: past - present - future

NFS

52. Selina Hitches - Vintage

POA free formed concrete, mixed media, sandstone, recycled hardwood,

wire, glass, hessian, wood,steel, 500 x 500 x 300 cm

“ Opaque and obscured agendas hide behind thin veiled walls.” DoGsWooD “The job of the artist is always to deepen the mystery” Francis Bacon.

Working under the name of DoGsWooD affords me the unconscious and unbridled liberty to fully engage with the artist within. As an informal philosophical anthropologist, my fascination is with those intrinsic elements which connect, divide, unite and drive us as individuals and as a collective. These elements inform, inspire and drive my creative process and expression. Working within multiple planes of interest; literal, interpretative and abstract, I am driven to create works that engage with notions of discovery, narrative, meaning and play. The variety of techniques I employ reflect these interests, as well as demonstrating an engagement in the exploration and evolution in my own creative personality.

51. Adam Galea - Warhorse Metamorphosis

$5500

steel, fibreglass, cement, marine plywood, exterior paint, 200 x 200 x 100 cm

Warhorse Metamorphosis is about the progression of technology. As a species, we often create new technology that is overly convenient to a point where it can cause new problems. Taking this to a hypothetical extreme, the work combines two elements of early 20th century warfare: the cavalry and the gas mask. Put the two together and a worthy adversary is created. But it is also something that could be seen as an abomination or sublime.

How does my love age; On vine and with tenderness, Time spent to ponder, Once opened, belong. Free formed concrete with its pliability and versatility has a life of its own, it is all about timing, process and the environmental elements that effect the final outcome. In my work I introduce the audience to materials that they have grown accustomed to seeing in cold, utilitarian, unsympathetic ways. My goal is to take the viewer beyond the materials by transforming something impersonal and inanimate into something that is both physically and emotionally beautiful, that encourages a moment of reflection. I have always welcomed a challenge and working with the aesthetic side of the building industry has provided a strong foundation for my process. I love to ascertain the manifestation of emotion and uniqueness in the most unlikely of places.

54. Akira Kamada - Cornering the Milky Way

POA

vine, rope, wire, thread, dimensions variable

Since times long past the night sky has been an inspiration to many, a mesmerizing and endless source of reflection and meditation. Gazing up at the Milky Way we can feel a connection with people around the world, and across the ages, and with our inner selves, as we are 53. Scott Ingram - Windows of perception $9,250 dwarfed by the immensity of the galaxies beyond. Our steel, chillago marble, stainless steel , 200 x 70 x 20 cm connection with others, in and beyond our own spheres, and with the natural environment that sustains us, is Form, light, space and time relate through ideas, imagi- an important concept in much of my work. I am also concerned about the impact of human behaviour on the nation, energy, emotion and memory. When the portal natural environment. The main drive behind much of my opens between these phenomena and the windows of perception are cleansed “everything would appear as it artistic practice however, is simply to seek out and reveal is, infinite. For man has closed himself up, till he sees all the beauty of everyday materials or objects. I believe that everything has it’s own beauty but we often can’t see it things thro’ narrow chinks of his cavern.” when we’ve pre-judged it as being nondescript, ordinary, William Blake. The marriage of heaven and hell My art practice is spent drawing ideas from memory and obser- or as having no value. vation, exploring what may come from the ether. I am drawn to the physical nature of sculpture. When something is laid down on paper or canvas it happens quickly, but making it become sculpture is demanding. Materials and concepts are explored to discover their nature. Stone/marble are my favoured material, although difficult to work, it is totally organic has a life of its own.

Recently I have created a range of different works using vine, primarily grape vine. I use simple, organic shapes, of various dimensions, either resting on the ground, or suspended above it. Each has its own narrative. This piece invites the viewer to make their own connections

55. Polly Rickard - Movement in Landscape

$950

found steel, used in its original form, 145 cm high

This welded steel sculpture has a forward movement that suggests the title, Movement in Landscape. As it was constructed with found steel there is an element of surprise and eclecticism as each piece brings something of its other life to the new creation. At last, pieces of steel that I had hoarded for years had found a home. My practice is to use only found steel and to use it in its original form. Because there is rarely the opportunity to know the original purpose, there is an element of mystery as disparate pieces of previously industrial steel come together in a new life where they have no other responsibility but to contribute to a sculptural concept. Because my pieces are found I am not able to plan ahead, but embrace the spontaneity which goes with this approach. Also, the use of old steel is an embodiment my ethos of reclaim, recycle, rebirth.

56. Alex Scheibner - Remember Remember forged mild steel, recycled strata support bolts, chemical rust patina and cast concrete, 140 cm high

$3,800 $300 ea.

The poppy is a powerful symbol used to remember the men and women that sacrificed themselves during past conflicts. By rusting these twenty oversized poppies I’m questioning whether a memory as important as past sacrifices ages as the generations pass. Perhaps by reminding ourselves more often of the past we can avoid the same mistakes and honour those that earned their place in the annuals of history. I hold two trades, blacksmith and fitter, bo th of which I use to form materials I sculpt from. I love the way direct metal sculpture is created, it’s such a dynamic exercise, so much force and effort go into shaping it and can result in something that looks organic and genteel. The same material can be used for the hard lines of a geometric sculpture or a flowing plant form. The tools I need to work, I can make from the same material I’m forming. Metals are the most versatile medium and can truly be beaten from a sword to a plough shears.

57. Selena Seifert - Fragmented Soul

recycled glass on fibreglass and steel base 130 cm high

$7,500

58. Jill Gibson - Tie Me Up, Tie Me Down

Foam, steel, PVC, elastic, 250 x 50 x 15cm depth

$3,400

“Think ... of the world you carry within you.” Rainer Maria Rilke

As part of a historical continuum much of my practice is rooted in the emerging Feminist movement of the second half of the 20th Century that endeavours to challenge and question the role and status of woman as artist and A free thinker, deep in thought contemplating the world without and within. Her organic patterns; a metaphor for woman in a domestic context. The piece looks at a specific type of fastening used widely in female corsetry– the growth depicting her thoughtful and tangled soul. Fraghook and eye. This form of fastening first appears under ments are falling into the mirror and reflected back at her; she lives as a fragmented soul in fragmented times; the name of “crochet and loop” in 14th century England. The first reference to the modern term appears in Ausearching for unity, shared values, morals and ethics. Mosaics are often thought of as fragmented pieces, but brey’s Brief Lives in 1697, which describes a ‘restraining’ the pieces also make up larger pictures to become whole corset being attached with “hook and eies” again. As she ponders the pieces of herself , the mirror Often sculptural, yet performance, installation and painting, Jill’s reflects the sky, trees and clouds. Her unity with nature work is underpinned by process and research. Her interest is in and the divine are in encircling conversation. the drawn line as sculpture, a ‘physical’ body, moving from the Selena is a multi-disciplinary artist and educator working in a range of media creating contemporary sculptures, paintings, mosaics, and public artworks. Selena has exhibited her work across Australia, Europe and USA

confines of one area and into the next yet bound by certain convention and rules. She often work with rubber (utilising old bike inner tubes) and foam which can be manipulated and formed into shapes which adopt human characteristics yet take on a form of their own folding, bending and occasionally collapsing.

Join experienced Aboriginal guides on a tour of ‘the map site’ at Finchley - a significant rock engraving site used by Aboriginal people for thousands of years in traditional lore and ceremony. Tours begin with a smoking ceremony, followed by a tour of the carvings. Guests will have the opportunity to hear Dreamtime stories and ask questions about the history of Aboriginal people in the Wollombi Valley. $50 per person includes tour guide, wine and cheese watching the sun set over Mt Yengo. (2 hours + travel time – approx 45mins each way) Saturday 7, 14, 21 November 2015 Bookings essential – call 4998 3322 to reserve your place 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. Director: Tara Morelos • Curator: Christiane Keys-Statham • Education Officer: Mark Swartz • PR and Marketing: That Messenger Bird and their partners, friends and family who supported them in supporting us. Photography: Harrisions Photography & courtesy of individual artists. Front Cover: Remember Remember by Alex Scheibner Wollombi Valley Progress Association