2016 Wollombi Sculpture in the Vineyards by Tara Morelos

Undercliff Winery

Sculpture in the Vineyards would like to acknowledge the traditional custodians of this land where this event takes place. We acknowledge the Awabakal people to the east, the Wannaruah people to the north west and the Darkinjung people to the south. Wollombi is regarded as the meeting place for all Aboriginal tribes. The name Wollombi is derived from the Aboriginal word for meeting place or meeting of the waters. SINV would like to thank everyone who assisted in making the 2016 exhibition possible: SINV 2016 Team Tara Morelos : Director Lizzy Marshall : Curator and Exhibitions Manager Laura Heslop: Public Relations Officer SINV Venue Partners Cessnock Regional Art Gallery (CRAG) Noyce Brothers Wine The Endeavour Museum

SINV Committee

Chairperson: Phillipa Heslop Vice Chairperson: Allyson Hoft Secretary: Jane Hamshere Treasurer :Michael Winnick Maria Roe Peter Hamshere Daryl Heslop Peter Hoft

Wollombi Real Estate Wollombi Valley Arts Council Wollombi Choir, Bronnie Aliotti, Liam Benson & Naomi Oliver, Steve Annis-Brown, Adam Drylie, Bronwyn Duncan, Robyn Emerson & ADFAS Pokolbin, Michael Noyce, Barbara Rhodham & CRAG volunteers, Lindsay Self & the Endeavour Museum committee, George Souros. A special and warm thanks to Jess, Summer and baby Joelle to whom we dedicate our SINV 2016 catalogue. We are extremely grateful for their support without which this publication would not have been possible.

Wollombi Progress Association Wollombi Chamber of Commerce Harrisons Photography Publishing by Sculpture in the Vineyards inc. as part of its 2016 exhibition, which took place at multiple venues throughout the Wollombi Valley from 29 October - 4 December 2016. ISBN: 978-0-646-96318-1 ÂŠ Sculpture in the Vineyards inc.

Cover artwork: Ludwig Mlcek - Tanystropheus. wood, 200 x 200 x 900cm , Wollombi Real Estate, Wollombi Village.

Contents Page

Curator’s Foreword .................................................

Undercliff Winery and Gallery .......................

Wollombi Village Vineyards .............................

Wollombi Village • Endeavour Museum............................................. 30 • Old Fire Shed Gallery ........................................ 33 • Noyce Brothers Wine ........................................ 34 • The Forge ................................................................... 38 • Wollombi Real Estate ........................................ 39 Wollombi Wines ......................................................... 40

Stonehurst Cedar Creek Wines ........... 52

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EREIGNIS Curated by Lizzy Marshall

Vicky Browne Julie Harris Ian Milliss Naomi Oliver Keith Rowe Honi Ryan Linda Seiffert Paul Selwood Suzann Victor Kayo Yokoyama Louise Zhang The Motel Sister

28th October â&#x20AC;&#x201C; 4th December, 2016

Curator, Lizzy Marshall has invited contemporary artists whose practice exemplify the diversity of this post medium genre. The exhibition encompasses traditional mediums of glass, steel and ceramics with digital, installation, with conceptual and social sculptures.

Artwork: Riverbank, Kayo Yokoyama

Curator’s Foreword Make our Meeting Place Your Meeting Place! To be welcomed to Wollombi is an act of inclusion -our locals are indiscriminate in their hospitality. A timeless valley bordered to the west by the World Heritage listed Yengo National Park, Wollombi is a part of but separate to the Hunter Valley. While the village may be small in population it is a sophisticated society- layered with rural understanding, regional sensibilities and led by community spirit. It is within this picturesque setting that Sculpture in the Vineyards’ artists, their families and our stream of visitors are welcomed year after year. To say it has been a tough year in the arts industry is an understatement. Arts organisations at every level and arts practitioners in every guise, have felt the pressure of funding cuts. Consequently, never have we been so reliant on private sponsorship and patrons for the arts industry to survive. Sculpture in the Vineyards is a core group of private businesses whose long standing enthusiasm and commitment for the exhibition now firmly plants them as art patrons of Wollombi and for the wider artist community. Over the past fourteen years, Sculpture in the Vineyards has proved that resilience, good will of communities and dedication build authentic experiences that last. With the plethora of open air sculpture exhibitions, it has been taken for granted the opportunities we provide. Regional arts exhibitions, or as we affectionately call them “Regionales”, mean many things to many people. The opportunities provided by our exhibitions cross industries and combine intrinsic and instrumental outputs: including social connections, platforms for political voice, economic wellbeing, celebration of uniquely local cultures and shared systems of values. Without discrimination, they provide opportunities for trained and unschooled artists alike. They provide opportunities for emerging arts practitioners, established artists who are experimenting with materials or those whose installation practice responds to the demands of site and context. Throughout our fourteen year history we have seen the careers of many of our artists prosper and their practice grow. Moving forward it will be independent not for profit associations such as Sculpture in the Vineyards that will fulfil the role of vital progenitor for

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artistic careers as venues for risk taking and experimentation become less accessible. Many major institutions cannot afford the space to exhibit large scale sculptures plein air. Alternative venues are highly desirable to our creative industries especially as sculptural practices continues to evolve. The evolution of the genre of sculpture is especially evident within our partner exhibition Ereignis at Cessnock Regional Art Gallery. Ereignis describes an event comparable to “coming into view”. As sculpture is the fastest expanding genre encompassing installation, video, projection, performance, social sculptures, and the conceptual whilst still embracing the traditional mediums, it seems ripe to challenge our expectations and preconceived assumptions of what sculpture is today. This exhibition showcases the traditional alongside expanded practices under the sculptural pretext of ereignis. Through this lens, we are broadening our understanding of the expanding field of sculptural practices within the post-medium age. The selected artists converge in this exhibition challenging our perceptions of the expected and unexpected. These same themes are mirrored in our outdoor exhibition where digital, conceptual and traditional mediums find their own, highlighting the longevity and lasting resonance of the artworks intentions in our landscapes and heritage village. Finally, we are grateful to all our venue partners: The Endeavour Museum, Wollombi Real Estate and Noyce Brothers Wine. Our heartfelt appreciation goes to Wollombi Arts Council – Fireshed Gallery and Cessnock Regional Art Gallery for all the hard work these volunteer run galleries did in assisting our exhibitions. I am most thankful to all the artists within Ereignis and their representative galleries who generously loaned their works for this exhibition. We are especially grateful to our Sculpture in the Vineyards artists, their friends and supporters for whom this exhibition would not exist year after year.

LIZZY MARSHALL Curator and Exhibitons Manager

1. Nathan Sawczak Central Coast NSW

Flight of the Dragonfly recycled metal car parts, copper pipe, stainless steel, cutlery, 190 x 65 x 65cm Price: $700 Individual Dragonflies $300-500 each The dragonfly has been around for about 300 million years. It is the totem of change. The dragonfly has no choice but to accept change during its life. Maybe we can learn a lesson from this remarkable creature. I have a desire to take something that was once practical and possibly not noticed or taken for granted, recycle, re-used re-purposed, re-think, re-make... Undercliff Winery

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2. Simon Pankhurst VIC

Waterways forged mild steel, 20 x 400 x 150cm Price: $6,700 Water moves. The plants and life along waterways moves. They move with the water, with the wind, with the environment. Steel in a Blacksmiths hands also moves. Thereâ&#x20AC;&#x2122;s something about the bulrush that is recognisable and evocative of waterways. With this work, Iâ&#x20AC;&#x2122;ve made a series of objects intended to be representative of bulrushes, endeavouring to capture their outline, form, and essence in a recognisable way, highlighting their somewhat elegant sentinel nature and giving a visual sense, evocative of waterways.

3. Henryk Topolnicki Dargan, NSW

Prayer Wheels steel, porcelain, 220 x 60 x 359cm Represented by Lost Bear Gallery Katoomba My idea for the sculpture came about after finding discarded porcelain insulators by the side of a major railway line in the Blue Mountains. Because of their shape I was immediately reminded of Tibetan prayer wheels and had the idea of incorporating them as moving parts in a major sculpture. The railway line is used not only to transport passengers but also to freight coal. I am praying that the dirty coal freights stop. My artistic practice combines various forms of creativity. Aside from my personal art exhibited in galleries and private commissions, over the last 20 years I have realised a number of public art projects. In addition to this, I have been a designer-maker working in wood, stone, glass and steal for as many year. I see no distinction between an artisan and being an artist. To me, utilitarian or so called, 'high art' are both about aesthetics and beauty.

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4. Ebony Secombe Parramatta, NSW

Optimism cardboard, laminate paper, dimension variable Price: $200 Optimism has been constructed from cardboard boxes of various sizes covered in laminate paper as a form of partially waterproofing the work. While all care has been taken there is no guarantee that the work will remain un-effected by the elements over the duration of the exhibition. The work explores ideas about joy, childhood, creativity, the imagination and most importantly a sense of optimism. Optimism has deep personal and political connotations, the weathering of the work over the duration of the exhibition acts as a metaphor for the intention or struggle to remain optimistic in all circumstances.

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5. Hannah Quinlivan Canberra, ACT

Enwrap powder coated mild steel, 132 x 88 x 88cm Price: $6,500.00 Represented by .M Contemporary Time and memory flow, entangled like tree roots, scaffolding the architecture of our experience. Currents of memory drift not only forwards but eddy and swirl with a rhythm of their own. Hours and anniversaries, days and decades, cycle back into focus - a lived mark of time. Flickering like candlelight and drifting like smoke, moments are uneven and unbalanced. Vibrations combine poly rhythmically in a visual ensemble of reverberations. Can it be different each time? It must, echoing like shadows in a dance between present and past.

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6. Billy Gruner

Blue Mountains, NSW

The Elements video/monologue, dimensions variable Price: $1,000 Represented by MAP Projectss Video/Monologue: The video work and monologue recording made with the generous assistance of Ian Milliss, John Predergrast, J erel Mani and Michael Schioler Tingsgard. The associated video and monologue titled The Elements is shown in association with the Teaching Trees the History of Geometry installation. The monologue tells the abstract narrative story of Euclid and the first known absolute rules for geometry. The â&#x20AC;&#x2DC;first elementsâ&#x20AC;&#x2122; as Euclid describes them are partially retold in the video work intended to create a certain atmosphere or restaging for the transient studio found elsewhere in the open air. The geometrically inspired video work and related installation, poetically conflate nuances of human systems and natures conditions. The video has been done in artistic collaboration with Ian Millis, John Prendergrast, Jerel Mani and Michael Schoiler Tingsgard.

photo credit: Michael Schioler Tingsgard

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7. Akira Kamada Shoalhaven, NSW

Yura Yura painted, hand-dyed fabric, dimensions: 3500 x 500 x 150cm

Price: Not for sale

Yura Yura is a Japanese onamatopoeia used to describe something rolling or floating in water. Australia has closed its doors to people whoâ&#x20AC;&#x2122;ve lost their homes and fled their countries, seeking refuge and safety from wars and fascism. And now, as we continue along this reckless path towards the destruction of our land, environment and climate, many of our Pacific neighbours have also begun arriving on our shores, fleeing rising sea levels. We have to wonder whether they will receive a warmer welcome or will we be awash with more water-logged souls. The images and colours used in this work, together with the way the sheets are reminiscent of hammocks or rafts, provide the opportunity for people to give a thought to the fragility and vulnerability of those who are forced to seek refuge via the sea.

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8. Kealey Bacic NSW

Kingdom cement stoneware clay, steel, dimensions variable Price: POA Kingdom is a impression of a new world where nature feeds on the materials that make up our industrial landscape; absorbing the aesthetic and structural qualities of the man made world into its ecosystem. Our world consists of limited viable resources, many of which we remove from the cycle of the natural environment and turn into something that cannot be reused or replaced. This alternate kingdom of fungi has adapted to live off of these architectural structures, exploring the possible future of organisms.

9. Ebony Secombe Parramatta, NSW

Conditional Space found materials, dimensions variable Price: $300 The installation is comprised of safety and construction based objects and materials such as hazard tape, parking cones and electrical tape. Responding directly to the site, materials are weaved, knotted, taped into the chosen space, which form part of the aesthetic and conceptual aspects of the work. Based on theories around junkspace, de-constructivism and dada-ism, the work is informed by photographic research I have been undertaking into the accumulation of discarded materials within disused spaces in combination with the cordoning off of spaces due to real or perceived hazards, exploring ideas around the gaps between the ‘planned’ and ‘actual’ uses of space.

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10. Billy Gruner

Blue Mountains, NSW

Teaching Trees the History of Geometry Installation: Wood canvas insulation rope, various artefacts, radio and a separate video with monologue. Price: $5,000 Represented by MAP Projects Teaching Trees The History of Geometry is a small built environment usually called a punk studio (aka artist camp). It is an installation furthering an earlier series of works done since the mid two thousands inside gallery spaces. The general theme of the productions revolves around visitors experiencing a sense of their sudden occupation of an artists open air studio. These makeshift studios are in essence a sculptural form to be visited and walked around. Some have radios playing off channel producing white noise or, and a light on and various other discarded tools or personal effects. The tent structure and appropriated tinfoil shapes are the artistic â&#x20AC;&#x2DC;formâ&#x20AC;&#x2122;, and regardless of how flimsy alludes to temporariness, protection, makeshift housing, and or some necessarily unusual activity. The other visual cues are there to be noticed, and visitors should experience a sensation of coming across a place of occupation where something is actually still happening. The associated video The Elements and monologue produced for this work (seen separately) collectively tells an abstracted story of Euclid and his delivery of his absolute rules of geometry. As he describes them, the saying of the first elements. This media overlay likewise re-stages the real aspect of a transient studio set in the open air, where human systems and natural conditions seemingly conflate.

I would like to acknowledge Fabian Freize as a collaborator on the studio. The video work and monologue recording was made with the generous assistance of Australian artists Ian Milliss, John Prendergrast, Jerel Mani and Michael Schioler Tingsgard from Denmark.

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11. Darragh O'Callaghan Grantham, Lincolnshire, UK

Serosa copper, dimensions variable. Price: $1,000 Using time as process and material, her methods of making serve as an invocation of ideologies, of social identity, of experience past and present. Noted for her direct visceral approach, her environments create experiences that poetically connect architectural presence, recurring actions and concealed dispositions. Actions on the body begin a discourse on resilience and overcoming, emotional stress, and dispondedness. Whether standing brick-laden for hours on end or confined between the surface of two walls, the genesis of O’ Callaghan’s art extends outwards from the primary projections of externalising internal thoughts and reflects a larger social construct whilst still occupying a shared intimacy. Through her installations O’ Callaghan challenges the limits of physical endurance, spectatorship and one’s response to these intersections. By restricting and controlling certain actions and environments, a vignette is formed wherein empathy is released and a source of armistice is obtained. O'Callaghan has exhibited in the UK, Ireland, France, Germany, Japan, Thailand, New York and Australia. O'Callaghan graduated at the Royal College of Art London in 2010 and is currently working on a collaborative installation funded through The Arts Council of Ireland through Arts and Disability Ireland. photo credit: A Shot Above Photography Undercliff Winery

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12. Tracy Smith

Scotland Island, NSW

Hokuleâ&#x20AC;&#x2122;a mixed media, 30 x 69 x 725cm Price: $3,000 Living, working, painting, sculpting, writing on Scotland Island gives me a connection to travelling across water, the tides, the winds and the seasons. The kayak is a symbol that works on many levels, and makes reference to all manner of journeys, including migration via boats as refugees, journeys of exploration and deeper spiritual journeys. Hokuleâ&#x20AC;&#x2122;a makes reference to the practice of navigating by the constellations. For millennia peoples have moved around the planet, there is a palimpsest of maps and ideas. Boats have had spiritual significance Noah in the Abrahamic religions, Manu in the Hindu religion, The Greek god Charon carried the dead souls across the river to the underworld, and the sun god Ra in ancient Egypt travelled across the heavens in a boat. Placing maps on top does not change history or the ownership, maps attempt to define a place, they are theoretical constructs that imply knowledge of a place but it is only superficial knowledge. It is not the naming of these sites that makes them sacred or spiritual it is the place itself and not just the outer layer of that place. The maps and names only sit on top, they fray and disintegrate at the edges. They are a hypothetical, superficial convention to locate you in the universe and they define a place only on one level.

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13. Greer Taylor

Kangaroo Valley, NSW

red line (transect) thread, bamboo, cotton, 290 x 100000 x 35cm Price: POA A north-south transects reflects one of the few straight lines whose placement on the land is governed by natural forces – a line pulled between the 2 magnetic poles of our planet. A red string line emerges from the earth to be lifted by 20 poles aligned north-south across the land. The red transect like a vein against the sky, a homage to the natural forces which govern this planet. Greer Taylor’s work explores wilderness as it relates to both natural places and as a way of thinking. In both contexts wilderness is a place of change and vulnerability, growth and decay, it is complex and simple, brutal and nurturing. Taylor’s work employs simple forms combined with transparency as a means to explore space and the interactions between forms in space; often relying on a buildup of repeated elements to create the whole. It is the intention of Taylor’s work to look inside, to expose the inside of things, to recognize vulnerability and in doing so recognize and embrace change.

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14. Gabrielle Bates & David Hashimoto Sydney, NSW

Illuminatrope polished stainless steel. 150 x 250 x 130cm

Price: $30,000

Illuminatrope takes its title from a blend of words: ‘Illuminate’–to light up; ‘tropism’– the turning of an organism in a particular direction in response to stimulus; and ‘trope’–a recurrent theme or motif. Thoughts, ideas and values only exist if there is consciousness present to perceive, absorb or respond to them. Working symbolically with this notion, the two vines of ‘Illuminatrope’ represent distinct entities, minds or communities, each twisting and turning close to the other but never touching. ‘To illuminate’ is a term often applied to the getting of knowledge or education. The vines are fabricated with multi-faceted surfaces of polished stainless steel, a luminous mirrored finish that causes fragments of reflected light to bounce back and forth between the vines. This exchange represents modes of communication that are beyond direct physical contact. And while the vines may twist and turn, their overall movement is in the same direction, just like tropism, moving together toward the same future. photo credit: Ilia Kotchen: Kotchenography

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15. Helen Dunkerley and Linda Swinfield Lake Macquarie, NSW

Digging the clays: seeking family 2015- 16 ceramic bricks, screen-printed, mono-printed and embossed with various glazes and clay slip, 210 x 120 x 170cm Price: $120.00 each tile Represented by Curve Gallery Newcastle This collaborative work began when Linda Swinfield was Ashfield Council 's Artist in Residence at Thirning Villa between January and April in 2015. As she researched her familial history, the conversation with Helen Dunkerley began about the history of clay and brickmaking in the area. The resulting work utilises both artists’ practices, incorporating Swinfield’s printmaking skills and Dunkerleys ceramic knowledge of the materiality of clay and brickmaking history; referenced within the layered surface and inherent site related material. Swinfield is related to the Mead family who were local brick makers who resided and worked along the strip of land now known as The Cadigal Reserve, otherwise historically known as the Iron Cove Creek that runs through Sydney’s inner western suburbs between Haberfield and Summer Hill. Digging the clays incorporates recent imagery that Swinfield gathered whilst in residence including the motif from her Bridge series 2015. This abstract structure is an emblematic reference to the truss bridge, circa 1880 that straddles the area that once was the home and work site of her family who made bricks to build the domestic dwellings of Sydney’s fledgling suburbs during the 19th century.

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16. Bev Chalmers Lemon Tree, NSW

Spring Has Sprung stainless steel, 5 elements dimensions variable Price: whole set $2,250 or $600 - $400 each This sculpture is representative of the infinite continuity of nature. The uncoiling of new growth that occurs every Spring.

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17. Al Phemister Yass, NSW

Childhood Adventures steel, stainless steel . Price: $ 780 This sculpture evokes my memories of childhood adventures on my bike, the freedom of being outside, exploring my environment and chasing sunshine. This sculpture is a landing net, poised at the moment of anticipation the swing and capture? Or the last minute evasion? It is the simple joy of pursuit. I have used the discards of childhood to recreate this memory. A bike wheel forms the rim and the knitted wire is the extension of the spokes, as if the force of swishing the net has magically blown and morphed the spokes into a net, fit for the purpose of the moment. The dragonfly is also my childhood, trying to escape confinement for as long as possible. Al is inspired by his wife, his family, the natural environment and his local community where love, delight and grace flourish together. His passion for art extends beyond the workshop. He is a leading advocate for local and regional artists, supporting and promoting local shows, festivals and is the curator of a permanent exhibition showcasing regional artists.

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18. Polly Rickard

Upper Kangaroo River, NSW

Is there anybody out there? found steel. Price: $1500 My work is always abstract. I donâ&#x20AC;&#x2122;t start with a preconceived idea or concept and work intuitively with spontaneity. Often a sculpture will suggest something that exists in the real world but the interpretation is always in the eye of the beholder and I donâ&#x20AC;&#x2122;t particularly want to prioritise my own interpretation over that of the viewer. That said, as this sculpture progressed I sensed the central element was our fragile and beleaguered planet, slowly degraded by the burdens heaped upon it and the need to feed growing numbers; the depletion of its natural resources by greed and overconsumption. As the planet fails the asset strippers are already making plans to mine Mars and hoping that another planet will be discovered which might sustain life, so the cycle of destruction can begin again. This led to the title of this work, Is There Anybody Out There?

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19. Linda Scott

NSW Central Coast

Momentum chicken wire, aluminium foil, polystyrene, stainless steel and wire, 200 x 400 cm

Price: $1,500

The motion of a moving body together with the property that a moving object has due to its mass and motion equals momentum. From small beginnings, through escalating forward motion, the energy that creates momentum gains power, achieving an autonomous life force, becoming stronger and faster as time passes.

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20. Selina Hitches Blue Mountains, NSW

Dawn Bather materials concrete, pigment, sandstone, copper and timber, 170 x 70 x 70 cm Price: POA Immerse in ocean blue, Behold dawnâ&#x20AC;&#x2122;s copper sky, Trickling sand beneath, A timeless interaction. When standing on the beach one crisp morning as a child, a vivid memory formed that has stayed with me to this day: the golden sand trickling between my toes as the cool waves rumbled and rolled onto the shore. It was the perfect combination of quiet stillness and dynamic movement. Shades of radiant copper adorned the sky, reminiscent of the hope and purity that I believe would have been present in the first dawns of time. The tranquillity of the early morning bathers as they immerse in an ocean so blue. It was an overwhelming sensory experience; a complete immersion in the moment. Dawn Bather is a reflection of this memory.

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21. Mandy Pryse-Jones and Simon Savage Sydney, NSW

Your World Your Way aluminium rods, sail cloth, electrical cable, 200 x 240cm Price: POA We have developed elements used in our installation from SINV in 2014 and created what looks like an assembled pile of rubbish. This deliberate construction has utilizes the kites which have been bound together with cables, which are ubiquitous in life. The cables represent connection and communication; intertwined with our corporate entities and us. The resultant structure though at first haphazard resembles a growth emerging from the ground. Perhaps, a deconstructed hay bundle or flower. The kites are now attempting to ingratiate themselves directly within the community, (‘Your World Your Way’/’We Live in Your World’), - but where a flower and hay bundle are things of beauty, the kites’ cynical attempt is an ugly disjointed pastiche. This is furthered by the coloured poles, (the colours representing corporate livery of financial institutions) that support, but also impale the bundle, and are bound by various cables. The construction now resembling an imminent pyre, surely a representation of our current financial institutions?

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22. Kelly Milton Sydney

Natural Gravity styrofoam, wood, glitter, brass rings, fibreglass resin, swivels and adhesive, istallation 400 x 800 x 800cm Small -$135, Medium -$195, Large -$225 At some point, we will all need to ‘hang up our keys’. This is pretty much a given notion and reality. The next question, for me is: ‘what next?’. The Natural Gravity installation takes a light-hearted, kinetic spin on what can be quite a morbid and morose topic: death. In this work, the key is symbolic of unlocking, or possibly never unlocking, secrets, mysteries, and unanswered questions posed by our rational selves. It may also be self-referential/autobiographical of my life-long horrific track record in misplacing keys, locking myself out of spaces, and consequently, finding innovative ways of resolving these simple, yet annoying scenarios. Natural Gravity has a slightly trandescent element, given it is unattainable and is not able to be ‘reached’ by the audience. It also embraces notions of weightlessness, the ephemeral, the unknown, and creates a ‘virtual ceiling’ for us mere mortals.

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23. Five Strings Collaborative

Therese Wilkins, Lisa McArthur-Edwards, Emilia Krumm, Lindsay Cameron and Kate Landsberry Central Coast, NSW

Sanctuary ephemeral, approximately 300 x 100cm Price: $600 Five Women Artists, Connecting and Creating, Constructing and Weaving, A Healing Space, Threaded with Story, Bounded in Friendship, Underpinned by Tradition. Much of our individual practice is with found pieces from nature. We also include sculpture, painting, print making, stitching, constructing, screen-printing, sculpting, natural dyeing, weaving, basketry and textiles. As we work together our stories as women and artists develop. We teach each other and learn from each other. Our intention with Sanctuary was to create and weave a healing space. It is about sharing our connection to each other, the materials and the space we create. Our stories as we work together thread in and throughout our piece. We invite the viewer to engage with Sanctuary; to be willing to take time out to enter and stand inside the circle, to view the sky through twig portals, to see nature framed by branches, reeds and grasses; to gain a different perspective perhaps, and to create their own unique relationship to the space. The work is ephemeral and like each of us will eventually break down. However our premise is that this is life at its essence. In letting go of the need for permanence, we allow a new creation to form and emerge. Undercliff Winery

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24. Rod Nash NSW

Stoker steel,mechanical components, 360 x 130 x 150cm Price: $39,000 My art practice is three dimensional object based interactive kinetic sculpture, utilizing elements of performance and engineering. To engage people on a social realist narrative and question commonly held views and present alternative perspectives, by looking at topical current affairs, the thoughts, cracks and obscurities which lie in between societyâ&#x20AC;&#x2122;s fabric where people and ideas become lost and trapped away from the public eye. The sculptures are mostly constructed from fabricated, welded and machined steel, sourced and handmade mechanical components, found objects and occasionally timber. Powered by a combination of petrol and electric motors, wind and hand cranks, harnessed to an array of different transmissions. Stoker is an interactive kinetic sculpture reminiscent of an antiquated steam engine or pump with a furnace shaped frame, a hybrid of industrial and agricultural obsolescent. A civil machine that is socially engineered utilizing time, space and motion to challenge methods of base power electricity generation, scrutinizing the use of thermal coal and how renewable energy resources need to be embraced on a predominant scale. Instigated by the urgency to provoke discussions on environmental concerns and sustainability on how to fuel and propel modern civilization. Activated by the public a hand cranked reduction transmission, slowly rotates a large wheel while a small wind powered rotor attached upon the top of a push rod connected to a crank shaft spins and oscillates up and down and in and out of the chimney stack. It creates an equilibrium between the industrial beauty of another time; how the residue of the past and the future collide. Inviting the viewer to participate in the effort of alternative power generation.

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25. Ludwig Mlcek Rylstone, NSW

Principium wood, steel, 180 x 50 x 250cm Price: $11,600 Represented by Gallery 47 Rylstone â&#x20AC;&#x153;A source of Lifeâ&#x20AC;?- is a stream of thoughts I had in the course of time creating this work I have always maintained that a sculptor is supposed to speak be means of his chisel and the work he has completed and that he has no need to gabble about what he meant.

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26. David Sudmalis Hobart, TAS

Lazarus Taxon sound, 6â&#x20AC;&#x2122;22â&#x20AC;? Price: $5,000 Lazarus Taxon from Thirteen Impossibles for the Desecration of Memory was composed and realised at Bundanon in 2014. Continuing his body of work that considers the difficulty of communication and the unreliability of memory, Aphasia in collaboration with Darragh O'Callaghan; The Joy of Loss, Sudmalis addresses the impossibility of permanence through the development,both sonically and infrasonically, of aurally recognisable gestures that disappear and reappear from and into the realm of audibility.

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27. Dean Winter Sydney, NSW

Organ Donor piano hammer actions, organ parts and extruded aluminium, 300 x 120 x 100cm. Price: $10,000 Part old, part new; exploring the boundaries between the heart of our pastâ&#x20AC;&#x2122;s iconic cultural icons and our new industrial activities. Somewhat intimidating with a mild sense of threatening danger, this figure is also humorous and surprisingly fragile - an odd combination of attributes; a bit like humans I guess. But this is a sculpture of a robot, not an actual robot; a humanoid representation of one. The piano hammer actions represent its rib cage, or possibly its legs, the electromechanical / magnetic tone generator of the upper body, its processing and organ section (it is after all from an old organ) and the face, the arms and hands are the switch inputs from the organ keyboards, the capacitor bank from a different organ on its spine represents its vertebrae and the wiring looms are its nervous or blood systems, all being held together and based upon â&#x20AC;&#x153;mini fractalâ&#x20AC;? aluminium extrusion. It almost looks like it could or should work.

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28. Bev Chalmers Lemon Tree, NSW

Verdure stainless steel, 190 x 90 x 100cm. Price: $3500 Sinuous curves - a landscape of shapes suggesting foliage. Depicting the perpetual movement in nature as it reacts to the elements and the changing seasons.

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29. Jacek Wankowski Wollombi, NSW

ex nihilo stainless steel, weathered corten steel, 107 x 112 x 105cm Price: $9,800 incl base Ex nihilo is a metaphysical floating landscape - a landscape created out of chaos. A Latin phrase meaning 'out of nothing', ex nihilo is often used as a concept of creation in philosophical or theological contexts, as in creatio ex nihilo, meaning 'creation out of nothing'. Situated amongst the carefully-constructed, symmetrically planned farmscape of the vineyards, the disorderly, asymmetrical and unplanned ex nihilo reminds us of the lost wildness of the pre-agrarian landscape.

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30. Jacek Wankowski Wollombi, NSW

Tsunami2 weathered corten steel, galvanised steel,160 x 250 x 140cm

Price: $14,800

Tsunami2 is part of a body of work inspired by the force and intensity of the sea. It explores the dynamic flow and force of waves, currents, storms and tsunami on geographic features: rocks, reefs, beaches and coral. The components are pre-formed and joined symbiotically â&#x20AC;&#x201C; they relate to each other as surfaces, as individual entities and as parts of the whole, an interplay of spaces and the hollows between the components. The sea is represented by the silver steel components, the rocks etc. by the twisted weathered steel. This work represents the landscape at the edge of the sea.

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31. Sean O’Keeffe Blue Mountains, NSW

32°55’54”S 151°08’04”E mixed media installation, dimensions variable.

Price: NFS

“It is not enough to eat. To dine, there must be diversified, calm conversation. It should sparkle with the rubies of the wine between the courses, be deliciously suave with the sweetness of dessert, and acquire true profundity with the coffee.” Duma On a recent visit to Wollombi and later a very entertaining dinner I was struck by a common and oft retold experience of locals. Those that loved living here, (which was almost everyone I met) spoke of a deep and powerful connection with the place. They all expressed this connection differently, some spoke overtly of heartbeat moments and spiritual epiphanies, others more sturdy and circumspect expressed this connection in more subtle ways. All however, whether recent arrivals, generational locals or traditional owners expressed what they saw as a unique and specific quality the local area has. To try and express this idea successfully and universally is always doomed to failure. The unique experiences of these people and the specificity of the connection is what makes the local community so rich and diverse. So as a transient visitor sailing through I have attempted to capture a momentary experience of these encounters in an abstract and metaphorical way. Within the space are installed a collection of thought provoking objects that are designed to foster individual narrative associations.

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32. Fiona Davies

Blue Mountains, NSW

Blood on Silk: Price taker, price maker found objects, video and sound, 220 x 420 x 80cm Price: $4,950 This work is a speculation or experiment about the way things could be organised in an increasingly neo-liberal environment where it is possible that blood, blood products and accessories will be auctioned as cattle and stock are auctioned. In America after the GFC, many websites handing out tips on how to survive, listed â&#x20AC;&#x2DC;sell your bloodâ&#x20AC;&#x2122; as a mainstream and viable option to consider in economic hard times. Those who did sell their blood tended not to be organised and so were price takers, not price makers. To my knowledge auctions of blood products do not exist. In this work it is initially unclear what is being sold. As it becomes more obvious, questions arise - are those boxes actually full of blood products? Where did the blood come from? What happens to the waste? Are the standard or controlled conditions of storage we rely on actually maintained in the world of the black market or privatised supply? Would someone really store blood in a box previously used to transport broccoli? So the dominant response by viewers is unease and fear and in some a call to social justice.

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The Forge - Wollombi Village

33. Ludwig Mlcek Rylstone, NSW

Tanystropheus wood, 200 x 200 x 900cm Represented by Gallery 47, Rylstone Price: POA Having engineering and art qualifications the Constructivism has been for me an attractive art form, for many years. The Constructivism has turned out to be a major art movement of the 20th century, where blurring the lines between architecture, industrial production, art and design was the key to progress, the way art is going to go. Themes are often geometric and minimal, where the whole work is broken down to the most basic elements. Tanystropheus is my constructivistâ&#x20AC;&#x2122;s take on a reptile that dated from Middle Triassic period, some 230 million years ago, known for its hyper elongate neck. Undercliff Winery

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Wollombi Village - Wollombi Real Estate

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34. Rhonda Castle Central Coast, NSW

Birds of a Feather stainless steel, corten base, 270 x 170 x 20cm. Price: $2,700 This piece is a play on Group Nouns being a flock of birds of different species e.g. a Murder of Crows or a Sord of Mallards. Giving it a kinetic element adds to the visual aesthetics of a flock of birds taking flight from their nesting place in the cliffs edge and migrating, soaring through the sky looking for a new nesting place. Birds of a Feather flocking together represents a strength in numbers and survival.

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Wollombi Wines

35. Tuppence: Penny Polkinghorne & Penny Philpott NSW

We will defend this run… mixed media. Dimensions variable Price: POA We will defend this run… is a satirical and somewhat whimsical interpretation of Richard Adams’ book: Watership Down, which explores the themes of exile, survival, heroism, leadership and political responsibility – issues we all face as members of society. As an installation, We will defend this run… features a group of 20+ rabbits spread over a wide area. They seek sanctuary, lurking in the vegetation, veiled by the vines. This group of refugee rabbits have escaped the destruction of their warren and search for a place to establish a new home. Although living in their (un)natural environment, they have anthropomorphised, possessing their own culture, language and mythology – each rabbit possessing its own personality and characteristics. While considered a pest, as a collective, the rabbits are prepared to face any menace or adversary to gain acceptance and find a new home among the vines of Wollombi.

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36. Karen Manning NSW

Portal recycled timber, keys, copper wire, leadlight windows, vintage door handle, 200 x 80 x 4cm Price: $1,500 Portal is inspired by my many trips to the Hunter Valley and my admiration of the often very grand and majestic Cellar Doors. You canâ&#x20AC;&#x2122;t help but be impressed by their craftsmanship and imposing presence in their surroundings. The keys represent the people and the families behind these vineyards who let the public in to glimpse the almost alchemy like process of turning grapes into wine.

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37. Hurlstone Agricultural High School Glenfield, NSW

Portal plywood, enamel, 180 x 120 x 100cm Price: $500 This artwork uses the frame as a portal to an absent one. This portal could allow â&#x20AC;&#x153;the absent oneâ&#x20AC;? to see us too and share with us that moment of reflection and remembering. The frames large size amplifies this path. The use of a variety of textures trigger the senses and enhance the emotional act of reminiscing.

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38. Libby Bloxham Wollongong, NSW

World leaders meet for environmental crisis talks recycled and found materials, dimensions variable

Price: from $1,800

We seem to think it’s all about us and that we can order our environment just the way we think it should be. Do we think we are more important than anything else? As Deep Ecology posits; nothing exists of and by itself. Everything is deeply embedded in its relationship to everything else. Perhaps these particular world leaders will come to the conclusion that humankind’s inability to live within the web with respect for everything else is the root of today’s environmental crisis. On the meeting agenda is the hastening of the paradigm shift that will bring about a new way of living on the planet for humankind and therefore all life.

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39. Doug Heslop Newcastle, NSW

It Starts like this steel, 300 x 200 x 200cm Price: $1,200 It Starts like this is a playful suite of sculptures which find form within themselves. It uses the notion of drawing in space, with a general feeling in mind rather than a predetermined outcome.

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40. Stef Schelbert Lake Macquarie, NSW

Bonaparte recycled steel, red cedar, 230 x 90 x 60cm Price: $2,800 Bonaparte is a creation of found metal castoffs, where the head piece alone inspired the creation and when united with the beauty of carved Australian red cedar, Bonaparte emerged, tall and statesman like! A modern day hero. I simply love to create unique and interesting pieces that provoke a reaction.

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41. Kelly Milton Sydney, NSW

Creatures of the Dell shell, found objects, neon line, glitter, neon and glow-in-the-dark pigment, adhesive, 25 x 65 x 80cm. Price: $140 each Creatures of the Dell explores concepts of groups, or colonies, drawn together and forged through mutual attraction, common interests and/or elements. In this instance, the driving forces are sun, light, and the natural ‘fruitfulness’ of this region. They also party at night, and give off fluorescent, iridescent ‘night glow’ signals to welcome activity of newcomers. And why not? They glitter, gleam and attract others. Creatures of the Dell have ‘hit their peak’ as a new community, or entity. These critters are also individually gorgeous, and others are somewhat average, as happens in any group context. Perhaps an uneven status of relationships, but it works.

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42. Sharon Taylor

Newcastle/Lake Macquarie, NSW

Echo ceramic, glass, 100 x 70 x 70cm Price: $1,650 Echo is inspired by the bush landscape. The vessel form contains an echo of the form as well as the surrounding landscape and sky. When placed in the landscape, the piece both captures and reflects the beauty of the bush, a static piece resonating the life and movement of the forest.

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43. Selina Hitches Blue Mountains, NSW

Solace free formed concrete, 155 x 80 x 80cm. POA

Crowded City roars… Woman stands silently still. Voice: “Where have you been”? It is universal that we find peace in nature. I have drawn inspiration from Japanese Haiku poetry for the statement of my work. It is a simplistic yet layered expression of an emotional manifestation of the human condition. The omniscient narrator does not signify the identity of the protagonist who questions, or the intended recipient. Perhaps it is nature calling you. This Geisha not only reflects the natural surroundings but becomes a metaphor for nature itself embodying the peaceful precision and timeless tranquillity. She is a woman who finds solace in nature as the world calls her back to its violent consumerism. She finds herself both bound and permeated by nature but encapsulated and nurtured, almost hidden from the outside world.

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Wollombi Wines

44. Emilia Krumm NSW

Cavallo reinforced resin, 200 x 60 x 60cm Price: $2,800 The imagery being conveyed is the horseâ&#x20AC;&#x2122;s strength and force. This sculpture is purposefully elevated to initiate in the observer a sense of intimidation, by a majestic and powerful animal.

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45. Bridget Whitehead NSW

Gaze in Wonder concrete, 60 x 60 x 40cm each. Price: $1,200 My art is a natural progression from a childhood interest in rocks and beach combing, through a career as a geologist to working stone as a sculptor. I like to work with natural stone and with stone like materials to make sculpture that is at home either indoors or outside. The concept of home is my central theme. Geography and climate, people and connections, material possessions; what makes a place home? Clear night skies over Wollombi draw the viewer to gaze in wonder at the swathe of stars above. In natural darkness, no artificial light detracts from brilliance of the natural world. How small we are; a speck in the universe, one part of a marvellous whole. So look around and gaze in wonder.

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46. Deborah Redwood

Wollongong, NSW

Whichever steel, 332 x 105cm. Price: $10,000 Created entirely from recycled steel , recovered from council clean ups and dumpsters, the work represents the throwing away of Australiaâ&#x20AC;&#x2122;s manufacturing industries overseas. The spinning top moves according to the wind just as the politicians of the nation abandon our home industries and purchase from whichever country is cheaper.

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47. Graeme Pattison Sydney, NSW

Random Notes polycarbonate, electronics, steel, solar panel, 200 x 500 x 250cm Price: $12,000 Music can fill the air and evoke our emotions. These musical notes have risen from their 2D haunt in printed pages to become a colourful 3D musical instrument in the form of an interactive sound sculpture. The sculpture aligns with the spacious open air and green environment that gives Wollombi its atmosphere. Please engage with this whimsical artwork. An area of special interest to Graeme is interactive sculptures that give added dimensions, perspectives, social comment and foster reactions. Graeme sometimes uses sculpture to increase the communityâ&#x20AC;&#x2122;s environmental awareness. He enjoys the creative thinking that artists undertake before the next stage where they then hand craft materials in new and challenging ways. He has exhibited at Bondi Sculpture by the Sea three times, at Katoomba Scenic World, Rookwood Hidden in 2015 and 2016 and at Sculpture in the Vineyards 2015. Graeme also works as a professional engineer in project management, traffic management, road safety and electronic systems in Sydney.

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48. Kassandra Bossell Sydney, NSW

Wing Tunnel black bamboo, crystal organza, fishing line, 200 x 100 x 350cm Price: $2,100 My art work addresses the fragility and resilience of natural environments. Working alongside scientific exploration, I trace patterns and states of transformation shared by different levels of life and show links between micro and macro worlds. Working with the idea of the cicada, I want to stimulate meditation and conversation around life cycles and the interdependence of life forms within ecosystems. We are used to looking at the world through human eyes. As we walk through the tunnel where the body would be, sheltered by the wings, we may imagine we are the cicada and ask the question – what is a cicada’s eye view? Cicada ‘nymphs’ burrow into the ground and live underground for 2 - 17 years eating tree sap before they emerge into the light and ‘moult’ - shed their exoskeletons, to grow wings and search for their mate. Their emergence from the underworld into flight echoes many different religious dreams of ‘afterlife’, a transcension of the former sphere of life. As a part of nature, we are reminded that the only thing we can rely on is change and transformation. As such, this sculpture pays tribute to our shiny ephemeral lives. My vision is to track and learn from symbiotic relationships in order to develop ideas on collaborative systems, cycles and structures.

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49. Julianne Smallwood, Judith Paddison and Emma Devine Sydney, NSW

Vineyards in bloom mid-fired stoneware clay, coloured underglazes, approx. 20 square metres Price: $6,000 Our installation Vineyards in bloom is a reinterpretation of our original installation “BlueM”. Very early on in the making of this piece we realised it could be adapted to many different environments . Our flowers are like a paint stroke, a pixel in an image that can be manipulated to take any shape . For Sculpture in the Vineyards we have chosen to take advantage of the strong green of the grass making it the perfect canvas to splash the orange and the blue flowers on. Vineyards in bloom in essence is an installation that takes advantage of the imagery that is painted by a fine wine connoisseur with their words “a pleasant bouquet with floral notes and high carbonation making it sparkle and bubble.” Like an abstract painting we are placing our flowers in circles onto the canvas of green. Our brush strokes are painted with ceramic flowers of orange and blue to create our impression of a sparkling wine with a floral bouquet.

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50. Sarah Box

Newcastle, NSW

Mother nature in our hands ceramics and marine ply, 60 x 120 x 20cm Price: $2,500 Expressing a love of nature and a connectedness with the environment is the basis for this ceramic artwork. Using the element of clay as a link to the earth, while the green glaze represents plant life and finding our ‘green thumb’. Spending time in the garden increases intimacy with mother earth, tending to plants and digging in soil is extremely satisfying, like cultivating grapes and being rewarded with wine. Evolving from a desire to create a better world for our children and a want for others to also reach out and give a ‘hand’ to our planet, as there is an urgent need for us to nurture it. Establishing positive interactions with the earth gives a real sense of hope for the future.I’m a multi-disciplinary artist who paints along with creating sculptures from clay. Always inspired by nature, recently exploring the search of belonging to our environment and our sense of place.

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51. Selina Hitches Blue Mountains, NSW

Conviction concrete, pigment, 75 x 45 x 75cm NFS Ode be to thy enduring pain; not but hell carved before thee, lash by lash conviction fell, hard upon thy backs. Sweat, blood, chisel and stone.

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52. Leesa Knights Sydney, NSW

Like a River runs surely to the Sea salvaged fibreglass canoe, rope and paint, 40 x 80 x 400cm Price: $2,000 I am a Sydney based environmental artist working across multiple disciplines including drawing, painting, assemblage, sculpture, installation, photography and public art. Inspired by matters of sustainability my creative practice embraces the art of salvage, reuse and transformation. This is my largest work to date, it was salvaged from Kimbriki landfill in Sydney (Kimbriki is an Aboriginal word meaning place of water reeds). I was initially drawn by its sleek design and simple form. The concept of using it as a canvas only came into play when I suspended it from the rafters of my studio. Each day I would look up and re-connect with the canoe as it perched silently above me. I came to a quiet realization that familiar objects in unusual places can still surprise and delight us. The canoe was cleaned and then primed in readiness for its new skin. I spent weeks creating a complex design for the underside of the canoeâ&#x20AC;Ś only to recklessly abandon this at the last minute in favour of a free flowing story that came from the heart.

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53. Murray and Burgess Sydney, NSW

We are all Strangers hydro-stone, hessian, wire, steel, dimensions variable Price: $200 each Asking for help and extending a hand is particularly relevant today in Australia. Asylum seekers who came by boat are being warehoused indefinitely in off-shore detention centres. Those that seem strangers initially are not all that different to us in wanting a safe home. â&#x20AC;&#x153;We are all Strangersâ&#x20AC;? asks us to look at our human responses to crisis and to empathise with others. Murray has had several solo exhibitions, residencies and been selected finalist for many art prizes and awards. Her work is predominantly installation-based. She negotiates the thorny topics from the news: (un)natural environments, human rights, climate change, unsustainable energy and refugees. Burgess has shown in several group exhibitions. Her art practice is largely process driven, and explores the sculptural and poetic possibilities of materials, especially paper. Murray and Burgess have been collaborating since 2015 and have exhibited together several times.

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54. Ludwig Mlcek Rylstone, NSW

Salvo Spatium wood, 50 x 50 x 270cm Price: $5,000 Represented by of Gallery 47, Rylstone There is no great philosophical notion behind this work. Being a hoarder of materials for a possible future projects I tend to, from time to time run out of storage space. So in order to maximize available space Iâ&#x20AC;&#x2122;ll stack the stuff vertically and while stacking, my aesthetic muse kicks in and stars playing with light and shade, shapes, intersection of planes and geometry. This is her result.

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55. Linda Agresti Hogue Umina Beach, NSW

Fecundity from Earth & Sky mirror & 11 composite forms of 21 ceramic pieces made from porcelain & stoneware, 240 x 20 x 30cm Price: $5,000 Fecundity from Earth & Sky is a ceramic installation comprised of 11 composite floral forms made from 21 hand sculpted pieces displayed on a river of mirror reflecting the Sky. The installation is a meditation on the life giving power of Fresh Water as it flows through the Earth. Fertility is represented by the growth of diverse floral forms which transform their beauty to create seeds for the next generation of life. This sculpture is a celebration of the power of the Earth to transform the Fresh Water which is our gift from the clouds in the Sky.

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56. Alison Mortiss Jilliby, NSW

People are like Stained Glass Windows glass, lead, steel, 200 x 85cm Price: $2,850 In dealing with the passing of loved ones whilst at the same time being confronted with my own health issues, I found solace in the writings of Elisabeth Kübler Ross, these words in particular rang true. “People are like stained glass windows, they sparkle and shine when the sun is out but when the darkness falls, their true beauty is only revealed when a light shines from within.” Being a glass artist I began visualizing the people around me in this context, making it easier for me to come to terms with my own situation.

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57. Sharon Taylor

Newcastle/Lake Macquarie

Bush Temple ceramic, approx. 150-170cm x 50-60 cm x 50-60 cm Price: $3,550.00 Bush Temple is made in reverence to the beauty of the designs of Mother Nature. The forms rise from the earth and patterns of the local bush flora are reflected in the decoration. The leaves and seeds which will fall and decay are preserved forever on the temple, creating a place of serenity, worship and reflection.

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UNDERCLIFF WINERY AND GALLERY A Ferment of Art and Wine

WOLLOMBI VILLAGE VINEYARD Join Maria and Alan for a taste of Italy in the heart of Wollombi. Experience their authentic family recipe Limoncielo di Wollombi & Limoncielo alla crema di Wollombi.

Whilst visiting Sculpture in the Vineyards enjoy the ambience of our historic vineyard. Have picnic. Stay in our Historic Cottage Enjoy fine wines

www.undercliff.com.au

Noyce Brothers Cellar Door is in the heart of Wollombi Village in the historic Grays Inn, between the General Store and Panino Café on Wollombi Road.

Also on offer are both red and white dolzetto, bitter-sweet amaroe liqueur and a variety of seasonal fruit and coffee liqueurs and Shiraz Rosé & Chardonnay wine.

www.wollombivillagevineyard.com.au

CEDAR CREEK VINEYARD COTTAGES

Open Wednesday to Monday and by appointment at other times.

Perfect Escape

comfort, ambience & great wine

www.noycebros.com.au

www.cedarcreekcottages.com.au

IRONBARK COTTAGE A self-contained cottage in a picturesque setting amongst the vineyard at Wollombi Wines. Enjoy a weekend or midweek break in Hunter Valley Wine Country at Ironbark Cottage, just minutes to the historic Wollombi village. www.wollombiwines.com.au

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Centours, digital print on cotton rag, 40cm x 50cm, limited edition 22, $255

LIMITED EDITION Motel Sisters print Sculpture in the Vineyards & Cessnock Regional Art Gallery are very pleased to offer you the opportunity to become the proud owner of one of these gorgeous prints.

This special edition has kindly donated by The Motel Sisters to support and raise funds for both our not-for-profit organisations.

A strictly limited edition of 22 sculptureinthevineyards.com.au for purchase details

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