This is Planet Earth @FED SQ. Melbourne CBD. In the Atrium opposite the NGV entrance Open 7 days a week 11.00 - 5.00pm Also visit us at & Gallery @Sorrento 163 Ocean Beach Road, Sorrento www.andgalleryaustralia.net gallery@djprojects.net Enquires: 0417 324 795 @FED@SorrentoSQ. 19 August - 14 September 2022
No one could have imagined what the Industrial Revolution of the late 18th and the early 19th century would ultimately bring. The development of the steam engine and iron founding marked a major turning point in human social history, influencing, initially, the nature of Western Civilisation and, in latter years, and the whole of mankind.
What the scientists, inventors and engineers have given us in the past three hundred years are technological advances that are staggering in their scope, giving us the ability to challenge the limits of nature. Using the outcomes of the Industrial Revolution, we have overcome many of the challenges of earlier times; the ravages of diseases, periodical hunger and extremes of climate, and we have conquered the tyranny of distance. With access to the internet we can be globally informed, breaking down cultural and physical barriers to communication.
As a result of the advancements of science and innovation since the Industrial Revolution many of us have everything we need and often everything we want. However, with these advancements, comes a price. In the 21st Century we enjoy unparalleled benefits of progress and innovation, but it is beginning to become apparent that we may have gone too far. The world is showing signs of sickness, due to uncontrolled population growth, unparalleled energy and resource consumption, and an apparent disregard for the balance of nature. …This is Planet Earth.
Curator - Julie Earth
ThisCollinsis Planet
Recent awards, residencies and grants include; invited artist Chiang Mai International Sculpture Symposium (2018), Echigo Tsumari Australia House Residency, Japan (2016), Australia Council Tokyo Studio (2016), artsACT project grant (2017), Transfield Invited Artist, Sculpture by the Sea Bondi (2018). She has been a finalist in significant prizes, recently including; Sculpture At Scenic World (2019 winner), Ginninderry Drawing Prize (2020 winner), Deakin Small Sculpture prize (2022, 2021). Wendy works as a freelance artist from her studio at Murrumbateman NSW.
Wendy Teakel has held 38 solo exhibitions in public and private galleries and had work curated into over 80 selected exhibitions in Australia and overseas. She holds a Masters by Research, RMIT, 2004 and was head of Sculpture at the ANU, 2008-2017. Her work is held in significant collections including the NGA and regional galleries in Australia.
My practice questions relationships between cultural and natural spaces, particularly referencing rural settings. In these sculptures a river stone, formed through time by natural forces balances on fabricated human structures. The sculptures look a bit like agricultural storage faculties where we humans stockpile resources through both greed and necessity. Equally the works advocate the necessity to support and future-proof the natural world and to elevate the natural (stone) above the human (fabrication).
Wendy Teakel
1. Wendy Teakel Reserve 2022 River stone, steel 34 x 11 x 11cm $2,200
2. Wendy Teakel Reservoir 2022 River stone, steel 41 x 18 x 14cm $2,200
3. Wendy Teakel Replenish 2021 River stone, steel 27 x 9 x 9cm $1,800
David Jensz
At the heart of each of these sculptures is a river stone, formed deep within the earth and shaped by time and geological forces. Time appears constant and linear, but its nature is mercurial, changing constantly, stretching and folding throughout the universe. Bilateral symmetry creates biomorphic references of a possible hybrid life somewhere in space and time.
David Jensz lives and works in Murrumbateman, NSW. He has held 29 solo exhibitions in Australia, America and Thailand, including Belconnen Arts Centre (2019), Chiang Mai Arts Centre, Thailand (2018), McClelland Gallery (2016) and O. K. Harris Gallery, New York (2010, 2004, 2000, 1997). His work has been selected for for survey exhibitions including: Palmer Sculpture Biennial (2020), Sculpture By The Sea (2019), McClelland Sculpture Prize (2012, 2003) Helen Lempriere Sculpture Award (2005, 2006) National Sculpture Prize, NGA, (2001, 2003, 2005). Grants awarded include: Asialink Scholarship Thailand (1994, 2001) Australia Council New York Studio (1995) and Tokyo Studio (2000). Public Sculpture Commissions include: “Spatial Dimension” Newcastle (1998), “Raised Pinnacle” ANU (1998) “Fractal Weave” (2006), “Life Cycle” (2010) and “Culture Fragment” (2012). David taught at the ANU School of Art (1988 - 2017) and has work in national collections including the NGA.
4. David Jensz Perimeter, 2021 Stone, Steel 28 x 37 x 40 cm $3,200
5. David Jensz Collar, 2021 Stone & Steel 17 x 31 x 21 cm $3,400
6. David Jensz Time Segment, 2021 Stone, Steel 15 x 35 x 32cm $3,100
These works attempt to reanimate some of the famous illustrations that his wife painted (not him) all from stuffed specimens, most of which Gould shot, skinned and ate.
Robert Hollingworth has held more than forty solo exhibitions in Australia, and exhibited in USA, Singapore and Hong Kong. His work is included in more than a dozen public collections and he has won many awards including the Mt Buller $25,000 Art Prize 2008, and the Sulman Prize AGNSW. For many years he was a lecturer and teacher of fine art at RMIT University, Melbourne. Hollingworth is also an established author having written eight works of fiction. Winner of the London Magazine international short story award. He studied Professional Writing in 1991 and completed his Master of Fine Art in 1995, both at RMIT University, Melbourne, Australia.
These small works continue my obsession with environment and the decline of Australian species. I am attempting to create a dialogue with the famous colonial naturalist John Gould, reassessing his acclaimed legacy.
I won my first art prize aged nine, a bird drawing submitted to The Gould League of Bird Lovers. This important organisation was set up in 1909, with members pledging to protect birds and not collect their eggs. Ironically, it was Gould who killed thousands of Australian birds, collecting their eggs, nests and young. Vast numbers of birds and animals died to supply Gould’s needs, and in the early 1800’s, some Australian creatures were already disappearing due to white invasion, for example the Paradise Parrot. “The graceful form of the new parakeet, combined with the extreme brilliance of its plumage render it one of the most lovely of the Psittacidae yet discovered.” (Gould). This bird is now extinct.
Robert Hollingworth
7. Robert Hollingworth Pink Galahs (You loved the birds, arranged in a glass case.) Acrylic on canvas 71 x $3,00092cm
8. Robert Hollingworth Trogons (Why didn’t you say that Eliza illustrated the birds and not you?) Acrylic on canvas 71 x $3,00092cm
9. Robert Hollingworth Numbats 2 (When you received another crate of skins, did you ever feel sad?) Acrylic on canvas 71 x $3,00092cm
10. Robert Hollingworth Numbats (What made you think you could breed them in London?) Acrylic on canvas 71 x $3,00092cm
11. Robert Hollingworth Bluebonnets (Shot for science. Now they are trapped on the Nullarbor for pets.) Acrylic on canvas 71 x $3,00092cm
12. Robert Hollingworth Gouldian Finch (Named in your wife’s honour. But her family name was Coxen.) Acrylic on canvas 71 x $3,00092cm
Collaborators in life, love and art, Julie and Derek have been creating sculpture for over 35 years exhibiting in Australia and and internationally. Julie has been a professional sculptor since 1987, exhibiting across commercial, public and artists run galleries. Derek is a steel fabricator by trade & has 30 years experience in assisting artists with creative outcome and has been collaborating with Julie on sculptural projects since 2001. Julie has exhibited in 28 solo and 120 group exhibitions including collaboratively with Derek since 2001. Their Sculptures are held in public and private collections throughout Australia and internationally. Together they are djprojects who are the people behind & Gallery Australia. www.djprojects.net
Julie Collins & Derek John
13. Julie Collins & Derek John Memento Tree & Clay 30 x 35 x 35cm $ 700
14. Julie Collins & Derek John In The Not Too Distant Future Mixed media 124 x 244 x 8.5cm $20,000 The Great Pacific Garbage Patch is a collection of floating plastic and marine debris in the North Pacific Ocean. It covers an estimated surface area the size of Western Australia. Although attempts are now being made to clean it up, nothing is really being done to address its sources. What if... it made it’s way to Antarctica, the last pristine continent on earth, would the world take action then?
15. Julie Collins & Derek John The Failed State Mixed media 90 x 215 x 90cm
The$25,000reality of Covid -19 has meant we couldn’t travel as freely as we once did, limiting our cultural exchanges and experiences. What if... a solution was to move all the significant monuments, architecture, landmarks and art to one location, a Covid safe zone? Selling the dream of one stop cultural theme park seemed like a good idea at the time until we finally realized that the people and their land are culture and the rest is just a consequence.
16. Julie Collins & Derek John Evidence Based Research Souvenir #2 Mixed media 35 x 35 x 10cm $3,500
Peter Gardiner
Peter Gardiner grew up in Geelong, moving to Newcastle at age 17. He then graduated from the University of Newcastle in 1990 and still lives and works in Newcastle. Gardiner won the Kilgour Prize in 2016, the Callen Art Prize in 2011, the Musellbrook Art Prize in 2009 and the Maitland Art Prize in 2003. He has been selected as a Finalist in the Kilgour Prize, the Wynne Prize, the Dobell Prize for Drawing and the Mosman Art Prize.
Peter Gardiner’s work is held in important public collections including the Newcastle Regional Gallery, University of Technology Sydney, the Deakin University, Newcastle University, Muswellbrook Regional Gallery, Gippsland Regional Gallery, the Macquarie Bank Collection and Art Bank.
17. Peter Gardiner Beacon #3 All your seasick sailors heading home. Oil on canvas 150 x $11,500120cm
18. Peter Gardiner Beacon #4 All your seasick sailors heading home. Oil on board 120 x $7,500900cm
19. Peter Gardiner Beacon #8 All your seasick sailors heading home. Oil on board 120 x $7,500900cm
20. Peter Gardiner Bridge Oil on Canvas 500 x $2,500400mm
21. Peter Gardiner Wave Oil on Canvas 400 x $2,500500mm
22. Peter Gardiner Lightning Study (Standard Stoppages) #2 Oil on Canvas 500 x $2,500400mm
23. Peter Gardiner Lightning Study (Standard Stoppages) #1 Oil on Canvas 500 x $2,500400mm
24. Peter Gardiner Lightning Study (Standard Stoppages) #7 Oil on Canvas 500 x $2,500400mm
25. Peter Gardiner Lightning Study (Standard Stoppages) #6 Oil on Canvas 500 x $2,500400mm
Amanda Emmett
In a world in transition, the fragility of the environment, our social behavior, what we consume and the pollution we create are dilemmas faced in mapping out a pathway of sustainable living and resilience.
Amanda grew up in a family of arts professionals encouraging her to explore what lies beneath the surface – to give feeling, form and function to abstract emotions and concepts. “Interconnected natural and technological elements reflect the need to acknowledge ourselves, and the modern way we live, as part of the planets ecosystem.“ Is the focus for this body of work. Compelling us to linger, carefully considered details reveal the disturbing truths we often do not see but know. The repercussions of the choices we make, the reality we have created and where we are heading, inspiring us to consider positive changes for remedy and renewal.
26. Amanda Emmett Scraped Acrylic on aluminuim 80 x $4,800120cm
27. Amanda Emmett Cutting Short the Future - Razed Acrylic on aluminuim 80 x $4,800120cm
28. Amanda Emmett Scarred Acrylic on aluminuim 80 x $4,800120cm
Robert Hollingworth Regent Bowerbirds (How do you wash the blood from their feathers?) Acrylic on canvas 71 x $3,00092cm Supplementary Works
Robert Hollingworth Blue Wrens (So tame they sat on the end of your gun barrel.) Acrylic on canvas 71 x $3,00092cm
Robert Hollingworth Lyrebirds (They were never going to taste as good as swans.) Acrylic on canvas 71 x $3,00092cm
Robert Hollingworth Lorikeets (Shipments of skins. Bounty beyond a birdlover’s wildest dreams.) Acrylic on canvas 71 x $3,00092cm
Robert Hollingworth Gliders (I don’t blame you for the killing. It was a trophy collector’s paradise.) Acrylic on canvas 71 x $3,00092cm
