Hybrid - Sculpture 2009 exhibition

TOYOTA COMMUNITY SPIRIT GALLERY presents

Hybrid sculpture 2009

7 October 2009 to March 2010 Toyota Australia 155 Bertie St, Port Melbourne, Victoria Gallery Hours Mon- Fri 9am to 5pm or by appointment Inquiries Ken Wong 0419 570 846

TOYOTA COMMUNITY SPIRIT GALLERY

The

Toyota Community The space is provided free of

Spirit Gallery is an initiative of Toyota Community Spirit, Toyota Australia’s corporate citizenship program.

Toyota Community Spirit develops partnerships that share Toyota’s skills, networks, expertise and other resources with the community.

charge to exhibiting artists, no commission is charged on sales and Toyota provides an exhibition launch and develops a catalogue for each exhibition.

The gallery has now shown works by over 490 artists. This project is mounted in consultation with the Contemporary Sculptors The Toyota Community Spirit Gallery Association, Hobsons Bay City aims to provide space for artists, Council and the City of Port Phillip. especially emerging artists to show their work.

$10,000 Toyota Community Spirit Artist Travel Award 2009 All exhibitors in the Toyota Community Spirit Program are eligible to apply for the $10,000 Toyota Community Spirit Artist Travel Award. The Artist Travel Award is an initiative designed to provide artists with an opportunity to advance their career and expand their horizons through travel. The award invites artists to conceive a project involving travel either interstate or overseas that they believe has the potential to significantly enhance the development of their artistic career. There is also a $2000 Encouragement Award presented to one of the finalists.

Finalists and their proposed projects Sophie Bray Study tour and residency through UK, France, ltaly and America attending first international exhibition in London.

Julie Collins & Derek John Shared Journey- a residency and exhibition at National Sculpture Factory, Cork Ireland.

Annika Koops Korea, France and the Netherlands involving artistic research, exhibiting overseas and curating an exhibition of emerging Dutch artists.

Louise Lavarack England to gain first hand experience of important sculptural works in the landscape and research ways we experience landscape.

Tim Craker

Natalie Ryan

Malaysia and Turkey for residency and researching Islamic and other patterns in everyday life .

Europe and America researching key anatomical and natural history museums to develop hyper real anatomical specimens and drawings.

Bronwen Hyde

Dave Tacon

UK and USA, including workshops, mentorship, collaboration and exhibition facilitating new international networks.

China – document the lives of women from farm workers, ethnic minorities, and ‘factory girls’ to government officials and the nouvelle riche.

The Toyota Community Spirit Artist Travel Award project is mounted in consultation with the Australia Business Arts Foundation, Contemporary Sculptors Association, Hobsons Bay City Council and the City of Port Phillip.

For further information about the award winners, visit www.watcharts.com.au

Toyota Community Spirit in association with the Australian Academy of Design present

skin deep the inaugural Emerging Sculptor Award exhibition featuring 2009 award winner

Penny Parkinson The Emerging Sculptor Award is a new initiative produced in partnership between Toyota Community Spirit Gallery and the Australian Academy of Design which provides a sponsored solo exhibition to the awarded artist at the Clement Meadmore Gallery. curator Malcolm Thompson

7 – 15 October, 2009 Clement Meadmore Gallery Australian Academy of Design Level 1/ 220 Ingles Street Port Melbourne Victoria gallery hours mon - fri, 9am – 5pm phone 9676 9000

Wisdom thru excess, 2008 (detail) Penny Parkinson Photo Lee Bodan

Hybrid sculpture 2009

Feeaturing the works of Sam Anderson Peter Andrianakis Charles Aquilina Marynes Avila Kylie Baudino Jodi Blokkeerus Louise Blyton Katy Bowman Russell Brazier Jen Butler Kate Caish James Cattell Craig Cole Dianne Coulter Mark Cowie Maria Coyle Tim Craker Sarah Deed Patrick Delbosc Julia Dunn

Thanks To

Ben Fasham Tanja George Gillian Govan Liz Henderson Brian Hosking Chris Ingham Tyrone Jaspers Gaby Jung David Marshall Sue McFarland Anton McMurray Natalie McQuade Michael Meszaros Adam Mills Annee Miron Leanne Mooney Martin Moore Penny Parkinson Susanne Pearce Kristen Phillips

Loretta Quinn Geoffrey Ricardo Gayle Rodgers Peter Rosman Serge Rudakov Fatih Semiz Veronica Sexton Joan Stojcevski Jennyfer Stratman Brendon Taylor Suzannah Terauds Andres J. Uribe-Hidalgo Chris Vassallo Kate Vivian Robert Waghorn Carmel Wallace Dawn Whitehand Gunther Wilhelm Pam Wragg Kevin Young

Tania Blackwell, Hobsons Bay City Council Phil Hall, Contemporary Sculptors Association Helen Kaptein, Australia Business Arts Foundation Louisa Scott, City of Port Phillip Toyota Community Spirit Gallery Committee Katarina Persic, Toyota Australia Steve Blakebrough

Catalogue Editing Ken Wong (watcharts.com.au) Pre Press & Graphic Design Sandra Kiriacos IMAGE: (FRONT COVER) Sweet Talk (detail),, Liz Henderson, Mixed media, Approx 42-64cm diam. 2008/9 INSIDE COVER, Image Colony (detail), Marynes Avilia, Paper, 100x100x100cm, 2009. IMAGE THIS PAGE Black Forest (detail), Carmel Wallace, Beachfound cargo wedges on ply, acrylic paint, 90 x 90 x 35cm, 2009 The opinions and points of view expressed by participants through the artworks and artists statements in this exhibition and catalogue are those of the individual person or persons and are not intended to reflect the position of Toyota Australia.

ken wong curator Ken Wong CURATOR

This project

is the This exhibition is the fourth annual indoor outdooralong sculpture and the eighteenth in a with aexhibition stable relationship between the continuous program of Toyota exhibitions for the Toyota two Community Spirit Gallery since it commenced 21st exhibition for the Community that is capable of sustaining us into the operations in July 2004. milestone by Spirit Gallery, a significant

future. any standard, but it is also our 5th Annual Cryptozoology, in search of the missing link features the works of 56 artists exploring the I am pleased to say that as an entity, Toyota Indoor Outdoor Sculpture Exhibition, diversity and excellence of sculpture practice in our community including for the first time, the Community Spirit Gallery is exploring a path showcasing diversity andartists. excellence of works of two the interstate guest of new partnerships with local business and sculpture practice in Victoria. includingsomething a new initiative, the The practice of art is on many levels, always a community search to express that is missing, intangible, something that through theofact of making the artist seeks Award to say with for themselves and Emerging Sculptor local tertiary Hybrid traverses a broad spectrum others that goes beyond words. institution, Australian Academy of Design. sculpture practice across a multitude of contemporary and traditional themes The pursuit of this search often involves an enormous amount of researchtoand disciplined study, We are also continuing provide andexamine mediums. thethe works of language 61 to and Through understand visual that has been created throughout the millennia opportunity and nurture the careers of artists it provides snapshot of theInmyriad of human existencea and expression. fact it is the practice of art, through cave paintings and artists involved in the gallery program, with perspectives and complex relationships artefacts that gives us our earliest insightsthat into our ancient ancestors and the development of the our ongoing commitment to the $10,000 human animal. go to make up contemporary society.

Toyota Community Spirit Artist Travel Award.

However, regardless whether the artist is a trained professional or not, the making of art is always It is hardly surprising that themes As arequires company, Toyota a naĂŻve act of faith. By definition the act of creation, us to take is thatcontinually blind leap,striving to try to concerned with global warming, discover or express something that in the moment to before doesofnotitsexist. meetcreation the needs customers, as

consumerism, sustainability, biodiversity evidenced by the upcoming release of a and modern the natural arebeings common The worldenvironment we as human have created filled with many and for Beyond those of newisAustralian madewonders, hybrid vehicle. us lucky that enough to live an affluent society, of worldly goods to service our every threads reflect theinchallenging and everan abundance that though, it is through programs like desire.

Forworld all thatwethough, missing. changing inhabit.there seems to be something Toyota Community Spirit Gallery that reach outtoand on a personal level, that to We can only hope that those among us who profess be engage artists, continue to find the courage In order to survive and prosper we need new connectusand take that naĂŻve leap of faith that is required in search of opportunities the missing linktobetween all. grow with to find new directions, to modify and adapt to maximize resources and find a global Welcome to Cryptozoology. harmonic balance that not only provides a stable economy but also a stable ecology;

our rich and diverse local community are created.

Welcome to Hybrid.

Ken Wong is the Director of Watch Arts, a Melbourne Victorian based hashas worked in basedcontemporary contemporaryarts artsconsultancy. consultancy.HeHe worked the finefine artsarts industry for for overover ten ten years in both commercial and and community arts,arts, curating and managing a hosta in the industry years in both commercial community curating and managing of projects including gallery and outdoor sculpture exhibitions. host of projects including gallery and outdoor sculpture exhibitions.

Exhibitors

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Sam Anderson Peter Andrianakis Charles Aquilina Marynes Avila Kylie Baudino Jodi Blokkeerus Louise Blyton Katy Bowman Russell Brazier Jen Butler Kate Caish James Cattell Craig Cole Dianne Coulter Mark Cowie Maria Coyle Tim Craker Sarah Deed Patrick Delbosc Julia Dunn

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Ben Fasham Tanja George Gillian Govan Liz Henderson Brian Hosking Chris Ingham Tyrone Jaspers Gaby Jung David Marshall Sue McFarland Anton McMurray Natalie McQuade Michael Meszaros Adam Mills Annee Miron Leanne Mooney Martin Moore Penny Parkinson Susanne Pearce Kristen Phillips

50 51 52 53 54 55 56 57 58 59 60 61 62 63 64 65 66 67 68 69

Loretta Quinn Geoffrey Ricardo Gayle Rodgers Peter Rosman Serge Rudakov Fatih Semiz Veronica Sexton Joan Stojcevski Jennyfer Stratman Brendon Taylor Suzannah Terauds Andres J. Uribe-Hidalgo Chris Vassallo Kate Vivian Robert Waghorn Carmel Wallace Dawn Whitehand Gunther Wilhelm Pam Wragg Kevin Young

IMAGE: Desiring Objects (detail), Sarah Deed, Aluminium, Bronze, Concrete, Resin & found objects, 50x30x30cm each, 2008-09

S

culptures are located in four separate areas; Atrium, Gallery, Bistro and Outdoors.

OUTDOOR

BISTRO GALLERY

Auditorium

ATRIUM Bertie Street Entrance

Sam Anderson

My practice has developed

along a variety of lines, but is sometimes instinctive and flows naturally without a predetermined plan. Inspiration is often found in following this organic process.

In this case, I thought I would cut a few circles – two weeks later I was still cutting.

Sphere Steel, 190 x 180 x 180cm, 2009 $10,000

Sam was born in Devonport and grew up on the North Coast of Tasmania before moving to a farm near Wangaratta. After working as a wool classer, station hand and many other jobs throughout Australia, he finally decided to follow his creative ambitions.

In 2003 he started a diploma in silver-smithing and jewellery design, which he successfully completed in 2004. From small things, big things grew. Jewellery design evolved into significantly larger works which has now become a full-time sculpture practice. He exhibits regularly at Muse Gallery in Milawa and in 2008 won the Gardener’s Choice Award at the Wangaratta Current Sculpture Biennial.

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Peter Andrianakis

To understand

the outside world and other people, it is sometimes necessary to be silent and to go within.

Peter was born in Greece in 1947 and migrated to Australia in 1955. He was awarded a scholarship and obtained a Diploma of Youth Work, going on to work with the Brotherhood of St Lawrence. His lifelong fascination with art led him to studies at RMIT. He eventually became a Master Builder to finance his artwork, setting up his studio alongside his building business at 274 Fitzroy Street, Fitzroy.

Peter then established The Fitzroy Gallery at this site. This enabled him to pursue his art full time whilst providing a venue for other artists to show their work. The Fitzroy Gallery has also been a venue for plays, choral concerts and other musical events. Presently Peter is working as a full time artist, painting and sculpting for commission and exhibition.

Silence Ceramic, 240 x 50 x 35cm, 1996, $20,000

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Charles Aquilina

My art is predominately

inspired by things that capture my imagination or intrigue me. These ideas are stored and churned over.

Sometimes the ideas are the easier aspect of my work. The process of making these ideas take form is a challenging one. Through that challenge a level of satisfaction comes with completing the works and helps in starting the next piece. The simplicity of Picasso’s line drawings, where no more than three lines were used to produce the images of bulls, was the starting point for this work.

Bucis Black marble, stainless steel & granite 140 x 40 x 100cm, 2008, $4400

Charles is based at Mount Macedon and has been developing his sculpture practice and exhibition profile over the past twenty years. His public commissions include several projects for the Macedon Shire and his works have been represented in various exhibitions including the Melbourne International Flower and Garden Show and the Toorak Village Sculpture Festival.

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Marynes Avila

My practice involves

the use of multiples as “data connectors”.

By investigating the uniqueness of each unit and its interrelationship with the group, I explore the resonance of multiples in the public realm, their purpose and symbolism; thereby providing a basis for the rethinking and redefinition of the object and its social/cultural function. This work continues my research on the complexities of multiplicity. Bizarre and rhythmic, ‘Colony’ creates a tension between the familiar and the unknown.

Establishing a peculiar dialogue with each other, these mutant ‘organisms’ seem to infinitely emerge, expand and multiply.

Colony (detail) Paper, 100 x 100 x 100cm, 2009, $2500

Marynes completed a Bachelor of Education in Buenos Aires, Argentina and migrated to Australia in 1988. In 2005 she graduated with a Diploma of Arts -Visual Arts from Chisholm Institute, Frankston and was recently awarded a Masters of Arts - Art in Public Space with distinction from RMIT University. She has participated in forty-five group shows including Agora Gallery in SOHO, New York and McClelland Gallery and Sculpture Park and has held seven solo shows in Melbourne and at the Embassy of Argentina, Canberra. She has completed 21 public art projects including ‘Metamorphous’, a collaborative work for the foyer of the Australian Centre for Contemporary Art and works for the Frankston City Council; City of Greater Dandenong and Shaanxi University of Art and Textiles in China. She has received several awards and publications include ‘Selected Contemporary Artists of Australia’ by Michael Berry and numerous newspapers articles including The Herald Sun and The Melbourne Age.

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Kylie Baudino

Maximum Growth

is a site specific artwork that is a metaphor for maximising resources while existing in harmony with the environment. Draped, as though a three dimensional flag, Maximum Growth explores a number of aspects that inform the Toyota ethos. The blooms celebrate Toyota’s achievements and the non doctrinaire use of mediums highlight the creativity employed to offer a point of difference. Such elements are nurtured within the atrium, a space akin to a conservatory or hothouse incubator that germinates giant plants of maximum growth.

Maximum Growth Plastic flower pots, plastic watering cans and plastic laundry tubs, 600 - 800 x 300 x 100cm, 2009 $4700

Kylie is an artist and arts consultant who lives in Melbourne and works from her St Kilda Studio. As a contemporary sculptor she has a strong interest in conceptual art and writing, consulting to artists and galleries in Melbourne. She is a graduate of Griffith University, College of Art, where she completed a Bachelor of Fine Art (Visual Arts) in 2005 and was awarded the University Medal for Academic Excellence. Kylie currently works within the Melbourne Art Scene as a Fine Art Business consultant and writes reviews for online art publications.

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Jodi Blokkeerus

Every so often when 'Augustine'

feels the shadows pulling at his cuffs, he looks over his shoulder, to check ‘Sade’ is still there, following, not far behind.

Latter he wonders why was he so afraid in the first place?

Shadow eater (detail) Mixed media, 36 x 50 x 18cm, 2009 $700

Jodi is a Melbourne based sculptor and illustrator. She completed her Bachelor of Art at Victoria University in 2006 and self-published her first children’s book ‘Chasing feathers’ in 2008, which follows the story of Yogi and the creatures who operate the traffic lights. Jodi has been exhibiting her sculptures in a number of group shows over the last couple of years and is currently working on her fourth picture book. Most of Jodi’s ideas come from environmental observations and imagining creatures hidden beyond the surface of our reality.

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Louise Blyton Represented by Dianne Tanzer Gallery, Melbourne

Working with traditional

materials of linen and pure dry-ground pigment, I seek to create fragile yet bold forms. The simplicity of composition and colour invites quiet meditation. My work explores the fragility of beauty, which is mirrored in the delicate surface. From a distance appearing flat, upon closer inspection, they can be recognised as the mark of the human hand.

A Small Parcel of Memories Pigment on Linen, 61 x 150 x 6cm, 2007, $3500

Louise was born in Melbourne and graduated a Bachelor of Fine Art at RMIT University in 1988. She has exhibited widely in numerous group exhibitions and has also curated group shows. She has produced eight solo exhibitions of her works and has lived and worked in France and England. In 2008 she completed a Redgate Studio Residency in Beijing, China.

Publications include “Contemporary Art Studio�, produced and edited by Beijing Art Media Centre for Hunan Fine Art Press. Her work is held in private collections in England, France, Portugal, China and the USA.

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Katy Bowman

A wing suggests Our challenge is transcendence through its links with flight and the spirit and by association to angels. The overlapping gloves bring to mind the overlay of feathers and the empty gloves reference the body and the ideas of creativity, work and caring that the image of the hand evokes.

to think beyond fossil fuels and to develop sustainable ways to fuel our cars and other machines for the future of our world and for the future of our children’s children.

Wing Found object assemblage; Found ironing board & found & collected second hand gloves 130 x 30 x10cm approx, 2009, NFS

Running on Empty Found object installation: second hand oil cans 200 x 120 x 37cm approx, 2009, NFS

Katy is an artist working in the areas of site-specific installation and found object assemblage and is a current Master of Fine Art candidate at RMIT. Her background is in visual theatre as a performer and performance maker.

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Russell Brazier

My work

is a constant, evolving exploration of human form guided by personal observation and inspired by Fra Angelico, Blake, Carrington, Dali and Varo.

Russell was born in Melbourne in 1952. He made his first sculpture at fourteen years of age and was heavily influenced by Henry Moore. Advised to get a real job, he entered an apprenticeship with a respected printing house before going to live in London in the mid 1970’s, working various odd jobs. On return to Australia, he became involved with Poor Toms Street Poets. He worked in the newspaper industry but began making sculptures in his spare time, firstly at home, and then in shared studios. He began exhibiting in 1991 and since then has paticipated in 65 group and solo exhibitions. His sculptural works have utilised many mediums, including clay,galvanised iron, copper, brass, steel, bronze, wood, paper and epoxy. In 2005 he obtained a Diploma of Visual Arts and his works are held in public and private collections.

How are things in Jacana?

Brass, glass, copper, redgum, cord, 240 x 156 x 50cm, 1994 $900

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Jen Butler

My current practice

is concerned with and titled ‘The Colourful Disruption of Space’. It is informed by the migration of birds, specifically parrots, into the city and suburbs of Melbourne after the bushfires.

Jen’s work has been concerned with the Australian landscape since 1985 resulting in a major solo installation entitled Australian Landscape in the School of Art Gallery, C.I.T.A. in 1990.

Two large installation pieces were also included in Unfamiliar Territory, the Adelaide Biennial of Australian Art at the Art Gallery of South Australia in 1992. Her work has its roots in Minimalism and is concerned with structures, multiple elements and a mixture of materials. Her PhD exhibition Structural Thinking: Thinking Structure continued this line of investigation, but also engaged with coming to terms with the death of her partner.

Just As Wood, PVC tubing, line and card, 90 x 41 x 3cm, 2009 $5000

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Kate Caish

Im fascinated

by the art of construction and the play of light and shadow on white surfaces. As I paint various blocks of wood white, the light changes, a sense of mystery evolves and new stories can be told. An idea for my work often evolves from this or the chance encounter of disparate materials. The challenge is in finding the right juxtaposition of texture and tone or colour to interpret the idea. Much of my work is narrative, whether it’s a small story of people in an environment or more abstract work that deals with relationships and balancing acts of physical materials or formal elements. I enjoy handling materials, mainly using found objects and recycled wood. Texture is important to me and I like to maintain a roughness or handmade quality to some of the materials.

Under Construction Wood, clay figures, 210 x 60 x 50cm, 2009, $1350

Kate is a full time teacher and Head of the Visual Arts at St Paul’s Anglican Grammar School in Warragul, Victoria. Over the last couple of years she has rediscovered her love of sculpture and uses any spare time to work in her home studio with a view to a more focussed pursuit of her practice in the near future. Her husband is a furniture designer/maker, allowing access to a lot of scrap/recycled wood which provides inspiration and informs her art practice.

Balancing Act Recycled wood, 130 x 86 x 8cm, 2009, $900

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James Cattell

I like to incorporate

and automate re-cycled fragments that tantalize the viewers’ imagination and enable them briefly to slip into another world. This work is a maritime fantasy resulting from too many years dreaming and beach-combing.

Turning the handle recreates the moment when the Piscean Emperor Dicotylichthys IV learns of the complete rout of his navy by the forces of Ferdinand, the Holy Emperor of the Southern Ocean. Spectator interaction is encouraged and completes the experience of the work.

Piscean Emperor Timber, steel, brass, recycled silver cutlery, shells, bones Crank handle operated, 70 x 50cm diam, excl stand, 2009 $3200

James studied law, history, philosophy, literature and art but left university without a degree of any kind, determined to be a sculptor. He worked for ten years as a puppeteer and street performer and lived surrounded by dusty sculptures and paintings. In 1988, he and his partner, Dorelle Davidson, started an art business producing murals, mosaic and site-specific sculptural works. While continuing with his own studio practice, he has also written and illustrated children’s picture books. Recently he has been obsessively producing kinetic works ranging from tiny jewelled automatons to large scale public sculptures and play pieces. One of these works was awarded the major Prize at the 2009 Toorak Sculpture Exhibition.

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Craig Cole

"The Nineties

were a hard, long decade riddled with recession and the prospect of millennial annihilation. Coincidentally, the world is again gripped by panic and a ‘global economic meltdown’ conjuring up images of the last slump and what it came to mean for those of us that managed to get through it. It’s timely that Craig Cole is reflecting on that decade, its effects and icons.”

Brendan Lee October 2008

I don’t want to grow up Hand painted wood, dimensions variable, 2008, $6000

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Craig is a Melbourne based painter and sculptor who has been practising since 1999. He has participated in numerous group exhibitions and has also presented seven solo shows since 2003. He currently works from his studio and is also co-director of Shifted Gallery, Richmond.

Dianne Coulter

Earthforce, Bitumen over ceramic form, gravel, earths,120 x 160 x 360cm, 2007, $34,000

Working with earth

,

I’ve taken the form of the tyne or prong used to scarify and break up the earths surface and inverted the shape, making it a monument to the earth. Each of the pieces has been covered with bitumen and then embossed with coloured earths, gravels, scoria, sands and all earth related textures.

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Dianne trained at Swinburne and Caulfield Technical Colleges and has been exhibiting her works since the 1970’s, throughout Victoria, New South Wales and South Australia. In 1982 she was awarded a commission for Australia Post stamp designs and set up “Mad in Australia” Design Studio in Melbourne the following year. Her work has been exhibited as part of the Australian Bi-Centennial Travelling Art Exhibition and the work featured here was part of the Contempora Sculpture show at Docklands in 2006. This year she was awarded the inaugural Blake Prize for Human Justice for her sculpture Cousin of Elizabeth NT.

Mark Cowie

I work predominantly with mild steel

, stone and wood and have found that these outwardly rigid materials can be manipulated, re-defined and transformed into abstract pieces that essentially represent the organic intuitive structures of nature and the elemental patterns of the human psyche. As is the case with paradoxes, steel can indeed be treated in such a fashion so as to coerce a softer, more emotional representation. As harbingers of inspiration and creativity these fishlike shapes mimic the impulses of free expression and the release of emotions, which have dynamic and redeeming effects on spiritual nourishment.

Dance of Life Mild steel, redgum & marble, 75 x 44 x 20cm, 2009 $600

Mark has exhibited in a number of solo exhibitions and numerous sculpture competitions throughout Victoria, including the Moreland Sculpture Show (2004, 2006, 2007, 2008), the Toorak Festival of Sculpture (2005, 2006, 2008, 2009) and the Tesselaar Sculpture Prize (2008 & 2009). In 2008 he was awarded the Mt Buller Art Prize for sculpture. His works and commissions can be found in a number of private and public collections.

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Maria Coyle

Inspired by the beautiful

contours and movement of the human body, my sculptures are hand-built hollow clay constructions ranging from small to life-size, with a variety of surface finishes including oxides, glazes, stone dust, molten metals etc. The movement and fluidity of the bronze/gold glaze flowing down over the face and upper torso of this ‘golden girl’ gives an insight into the intense thermal forces required to produce her, and contradicts the strength of the clay beneath. This can be true of people also, who work hard on the face they show the world disguising the strength or weakness that lies within….things are rarely what they seem.

Melting Moment Ceramic – gold/bronze glaze, 72 x 39 x 26cm, 2009 $3000

Maria has been working as a professional sculptor for over fifteen years, exhibiting throughout Australia and overseas whilst continuing to study and train in various mediums. Her sculpture can take up to three months from design concept/construction to completion - allowing for several weeks of natural drying, a 24 hour kiln firing followed by glazing/surface finish and another 1150c firing. This facilitates incredible strength and integrity, ensuring the work can be displayed in interior or exterior spaces.

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Tim Craker

In my studio the other day

Take(n) Away (detail) Plastic take-away food containers, nylon thread, aluminium tubing & metal swivels, 400 x 350 x 350cm approx, 2009, $3000

Tim is a painter, sculptor and installation-artist, living in Seddon in Melbourne’s inner-western suburbs. Following an Honours Degree in Fine Art from RMIT (graduating in 1993) he has exhibited widely in Melbourne in both group and solo shows. His earlier works were based on the meaning and appearance of language and text. An artist’s residency in Malaysia in 2006 saw a significant change in direction, in both subject matter and materials. The residency led directly to the exhibition dot-net-dot-my in Melbourne in 2007, and to a touring exhibition dot-net-dot-au in Malaysia and Singapore in 2008 with Melbourne artist Louise Saxton. In 2010 he will be showing both paintings and sculpture at Gallery 101 in Collins Street.

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,a friend asked if I’d had to work out the mathematics of the objects I was creating for TAKE(N) AWAY. “Not really,” I said “- didn’t you make cubes and pyramids and stuff out of paper when you were a kid?” He shook his head. The conversation made me realise that I was that sort of child who stuck together with sticky-tape laboriously cut-out pieces of paper to make the three-dimensional forms …and that not everyone else was!

Common everyday articles – whatever they might be - hold a peculiar fascination for me, en masse. It’s a self-imposed constraint, too, practical as well as conceptual, that the materials I use are easy to find and cheap to buy. And it’s a small form of subversion to use – or misuse – an object, and release it from its everyday function, while discovering in it a hitherto unsuspected aesthetic quality. Among other things, the title alludes to the possibility that the viewer might be momentarily taken away themselves, from a corporate foyer in Port Melbourne, to somewhere else altogether.

Sarah Deed

I am exploring the boundaries

of the tactile body in the virtual world with cannibalised objects, hybrid assemblages and traditional form. A commercial artist for over a decade, I worked within corporate machines saturated in popular culture and social form.

I am interested in how conditions of reality and rules for living in the current urban universe diminish the primordial experience and deprive sensual encounters. I hope to investigate the body’s primary experience of somatic sensation in a hyper- real world and locate how living in virtual structures affects tactile connection with real world materiality.

Measuring the world from our own bodies we embrace a culture of cuteness‌the proportional formula of youth and symmetry dominates our emotive states.

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Desiring Objects (detail) Aluminium, Bronze, Concrete, Resin & found objects all set on casters, 50 x 30 x 30cm each, 2008-2009 $2800 Bronze & Aluminium / $1000 other media

Graduating from Wellington Polytechnic NZ in 1986, Sarah freelanced briefly in New Zealand before moving to Melbourne and working as a commercial artist and then a currency designer for Note Printing Australia.

In 2008 she completed a Bachelor of Fine Art Sculpture at RMIT University and is currently in the 2009 Honours program.

Patrick Delbosc

What interests

me is to work with space, forms, materials and texture to investigate subjects commenting on personal feelings, emotions and social concerns and to produce works that are narrative and capture the continuous interaction between people and their social environment, investigating a theme over time through series, families, groups or patterns. Made in copper, “Lola” engages in an emotional conversation about love and seduction and the changing loving relationship between persons within a family. The warm copper material, changing colour over time and light conditions, aims at enhancing this expression of change, discovery, excitement and pleasure.

“Lola” (the skipping girl) Polyurethane foam, fibreglass, copper sheets & copper rivets 77 x 75 x 65cm, 2009, $3500

Patrick has worked for extended periods of time in several countries around the world (Gabon in Africa, New Caledonia, Tahiti, Lebanon and France) and also travelled widely in the South Pacific, the Middle East, Asia and Europe. These experiences of cultural differences have influenced and nurtured his artworks.

His engineering background is also an integral contributing element to his artworks through working with techniques and materials including polyurethane foam, copper, fibreglass, wood, paint and other mixed media, with the assistance of sketches, drawings, maquettes, digital camera and computer modelling. He recently completed a Graduate Certificate Visual Arts at VCA and has exhibited in various group exhibitions including the Montalto Sculpture Prize, Williamstown Festival Contemporary Art Prize and Toorak Festival of Sculpture, taking out the Ola Cohn Memorial Sculpture Prize in 2008.

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Julia Dunn Julia has over thirty years experience in the design and fabrication of stained glass, leadlight and etched glass (sandblasted) work, as well as expertise in oil and gouache painting and graphite drawing.

Her love for the medium of glass was set whilst working as designer for a leading stained glass/ leadlight business in Melbourne. Her interest, knowledge and skill in the area of glass as an art medium grew, through her fortunate opportunity to collaborate with internationally renowned glass artist, the late Klaus Zimmer, on a number of his highly significant commissions.

She has exhibited regularly in the past few years, including being a finalist in the 2008 She national art competition and her works feature in the book 50 Distinguished Contemporary Artists in Glass, Intelligent Layman Publishers, London.

More of her works can be viewed at http://web. mac.com/jd.art

Paddock Sheds Glass, recycled timber, red gum base & straw, 24 x 50 x 42cm, 2009, $450

I am, for the most part

, self-taught, but I have been a practising artist for almost all my life. I now specialise in glass collage and sculptural art that often incorporating traditional and/or experimental glass surface treatments or techniques. Mention Australia and one can visualise some very distinctive images that cannot be found in any other country. Much of my recent work has been based upon the uniqueness of this land, including this work from a series of sculptures inspired by rustic farm buildings, old miner’s cottages and other constructions in corrugated iron.

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Ben Fasham

This work

reflects the piercing of balance when interruption occurs.

In the universe many aspects are circuitous and flow in balance interacting with each other.

Comfortable balance is the ultimate, but as experience shows unexpected interruptions often occur. This is reflected in the disruptive spear, disturbing the balance of the situation.

Interruptions can be positive or negative; they can be accepted and melded to improve the circumstance, or remain like a disruptive spear, disturbing the harmony of the situation.

Attitude is often the determining factor.

Piercing Balance Corten & Stainless Steel, 120 x 330 x 120cm, 2009 $15,280

Ben was born in Victoria in 1976 and has qualifications in carpentry, building and construction. He is an experienced sculpture fabricator and has been involved in the construction and installation of many of Victoria’s prominent and well-known large outdoor sculptures. He has collaborated with many of Australia’s finest and most respected sculptors in developing sculpture concepts and is very experienced in developing solutions relating to the removal and renovation of historical sculpture.

Recently Ben has begun to explore his own sculpture practice and his work has been selected for major exhibitions including Montalto Sculpture Prize, Williamstown Festival Contemporary Art Prize, The Helen Lempriere Sculpture Award at Werribee Park and Tesselaar ‘Sculpture among the Tulips’.

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Tanja George

This work is from a series entitled Metropolis Naturalis.

Man in nature, or more likely: Humans out of place in nature.

This sculpture contains its own narrative with a touch of the absurd and surreal. A businessman who, on top of a mallee root, catches for the first time a glimpse of the opportunities that life holds. A diver, ready to take the plunge into the great unknown, a man, a prisoner of himself, crawling out his captivity; all trying to untangle their lives.

Tanja was born in Vienna, Austria but grew up in Germany where she worked as a journalist for Esquire magazine. In 1989 she moved to Australia where she received her Bachelor of Film and Television and worked in the film industry. In recent years, her creative instinct has found a new form of expression through a steadily developing sculpture practice. Her work can be found in collections in Australia and overseas.

Untangle Wood (detail) Bronze, wood (Mallee root) & steel, 70 x 15 x 15cm, 2009 $1500

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Gillian Govan

Gillian was born in England in 1945, where she trained as a nurse before emigrating to Australia in 1968. She continued her career as a nurse, travelled and raised a family before beginning art studies in 1990, completing a Degree in Fine Art from Royal Melbourne Institute of Technology in 1995. She is now a full time painter and sculptor and works concurrently from her home in East Bentleigh, studio in the city and property in North East Victoria.

Bracing the Elements Cold Bronze 220 x 100 x 200cm, 2009 $7700

I practice sculpture

in a variety of mediums but have found cold bronze both suitable and acceptable for the theme of my present works.

This work is an emotional piece; it is realistic in that it physically appears to be battling the elements and yet at the same time is an allegory for a way of facing life and all that it has to offer. My main purpose for making art is to enjoy expressing my own life, personality and responses.

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Liz Henderson

Memory, sexual attraction,

and social interaction are all affected by our sense of smell at both a conscious and unconscious level; my practice investigates memory and sexual attraction. The objects created for Sweet Talk have a definite fetishistic quality, created with pins, silk and plaster, they form a fantastic botanical landscape. Are they fragrant or foul? Sweet Talk relies on the evocation of scent - the visitor will be immersed in a fantastic botanical world where pungent corpse flowers sit alongside fragrant roses and lilacs, their virtual scents mingling in an intoxicating mix of foul and fragrant.

Liz completed a Post-Graduate Diploma in Fine Arts at the Victorian College of the Arts in 1997, going on to complete her Masters in 2003. She is currently a PhD candidate at Monash University. Her area of enquiry is the aesthetics of olfaction; the investigation focusing on the connection between femininity, fragrance and the fetish. Her objective is to readdress the hierarchy of the senses and highlight the significant part olfaction plays in our personal histories.

Sweet Talk Mixed media, Approx 42 - 64cm diameter, 2008/9 $250 – $500 / Black & White NFS

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Brian Hosking Brian is based in Bendigo where he studied Printmaking at La Trobe University in the late 1990’s, obtaining a Bachelor of Visual Arts with Distinction in 2000.

His printmaking utilised the mediums of etching, drypoint and collagraph as well as the more sculptural medium of woodcut. In his early work Brian utilised natural and found objects and recycled materials to create plates to print from. He continues this theme in his sculptural ideas using natural and found materials as the basis to his work.

Seed (detail) Limestone, 86 x 38 x 38cm, 2009, $750

My sculptural work reflects

my deep-rooted interest in the connection between people and nature. I am particularly interested by the way humans are able to make small but long lasting modifications to natural systems and environments, often without realising it. Our interaction with our world also leads me to question the way we design and construct the environment around us. I enjoy using natural materials such as timber and stone. These materials which display a subtle history, or an insight into their past, such as the shell fragments in limestone or the growth rings of a tree really appeal to me. I am also inspired by the natural processes of growth and decay and often find that creating sculpture is like some sort of discussion between the material, myself and the environment in which the piece is created.

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Chris Ingham

This irritable little man

is on the phone 24/7 aggressively manipulating other minds to advantage his needs and wants. He is tied to this existence, never acknowledging his misery. Unable to recognize that his lifestyle will not provide inner satisfaction, instead he just wants more and more options.

This ‘Little Man Syndrome’ provides a mistaken sense of power when he is actually but a slave to his greed.

Chris was born in Adelaide 1974, moving to Melbourne 1999, where he has exhibited in numerous solo and group shows, working with the traditional mediums and methods of bronze sculpture and printmaking which led to a Collie Print Trust Scholarship in printmaking at Australian Print Workshop.

During this time he worked full-time firstly as a scientific glass blower, then a foundry technician at Fundere Fine Art Foundry. He also teaches bronze casting at the Centre for Adult Education, all the while learning more about the whole process of lost wax casting, mould making and expanding his knowledge of other casting and sculpture practices.

Little man Syndrome Bronze and steel wire, 60 x 20 x 60cm, 2009, $1200

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Tyrone Jaspers

This work is designed to provoke,

engage and challenge the general public about the role of the current economic system in our society.

It is a window into the past, present and future.

Ancient civilisations like the Aztecs and Mayans enjoy ed a rich thriving culture and yet today we can only appreciate their culture through their ruins and theorise on how and why they collapsed.

One accepted theory is that they grew to a size that exceeded their resources and technology to provide for so many people in one area. All that is now left are ruins and artefacts reclaimed by nature. Today’s society is consumed by the belief in a social and financial system that has fuelled consumerism and a throw away society. To quote Paul Hawken* “Rather than distributing the wealth of the present, we are stealing the wealth of the future to enrich a society that seems nonetheless deeply troubled about its good fortune”. *Paul Hawken, Author, The Ecology of Commerce Economic Growth?

Steel & galvanized wire, 300 x 150 x 100cm, 2008, $4800

Tyrone has been exhibiting wood carvings since the early 1990’s and has worked as a craftsman, builder, designer and furniture maker. In recent years he has become interested in environmental issues and sustainability, and in 2006 founded a company dedicated to sustainable design and construction. He has also further developed his interest in creating sculptural pieces for commission and exhibition that enable him to explore these themes. In 2007 he was the winner of ‘Median to Rare’ outdoor sculpture exhibition and competition in Mansfield, Victoria.

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Gaby Jung Gaby was born in Berlin, Germany, emigrating to Australia in 1979 and eventually settling in Melbourne in 1986. She started as a self-taught sculptor working mainly in stone in 2002. Since then she has been in nineteen group exhibitions including Toorak Sculpture Festival and Yering Station Sculpture Exhibition, where she was awarded third prize and won the Peoples Choice award. Her works are in private collections in Germany and Australia.

Grosse Fische – Kleine Fische, Mixed media, 130 x 60 x 200cm, 2008, $21,000

My passion and concern for our environment

is the driving force for my artworks, as expressed in my work “Grosse Fische – Kleine Fische” (Big Fish – Little Fish). It investigates the everincreasing popularity of Japanese Sushi (“Little Fish” - Sushi Soy containers) in Western Society. Our ’hunger’ for this delicacy is directly responsible for the over-fishing to the point of imminent extinction of (Big Fish) Bluefin Tuna and related species. This work points to the inherent inter-connection and ultimate inter-dependence between “Grosse Fische” and “Kleine Fische” within our delicate eco-system.

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David Marshall

Ancient forests

have become today’s oil, feeding our insatiable demand for an endless array of consumables. Our overindulgence of this finite resource has placed our world at risk. Nature, in an attempt to revert the spiralling problem has called in her carbon credits. Sadly, we have travelled too far down the climate change continuum.

Not even Mother Nature can bring back the epicormic growth once present in our eucalyptus forests after fire. ‘With the imminent collapse of the matrix in which we exist, the long chain of molecules extracted from the earth will reinfiltrate the natural world emerging as polymer regrowth’.

Petecormic Growth (detail) Burnt Redbox, Pete bottles, water & dye, 280 x 425 x 80cm, 2009, NFS

This work

is the second in a series exploring environmental issues using the Match as a metaphor for climate change. Since industrialisation, growth, in all its manifestations has been the measure of our success. Our preoccupation with compounding prosperity over a subsistent existence has left us perched on the edge of an environmental precipice. We have become fossil fuel junkies in need of weaning from our carbon addiction. As custodians facing total engulfment there is no time for dress rehearsal, complacency, denial or confusion.

Self Combustion Reclaimed timber & granite, 180 x 80 x 50cm, 2009, NFS

David has worked as a landscape contractor for the past twenty-seven years, specialising in the design and construction of Japanese gardens/interiors. Now semi-retired, he has been developing his ideas and concepts in recent times and is pursuing opportunities in the field of contemporary sculpture. In 2008 he was Highly Commended in the current Outdoor Sculpture exhibition at Wangaratta. His works have also been shown this year in the Toorak Sculpture Exhibition and the Williamstown Festival Contemporary Art Prize.

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Sue McFarland Sue completed her Diploma of Art & Design at Caulfield Institute and her Diploma of Education at the State College of Victoria in the 1970’s. She has worked as a teacher of Art and Craft and Ceramics in secondary and tertiary institutions including Box Hill TAFE where she currently teaches the Diploma of Arts – Ceramics.

She has attended numerous ceramic workshops conducted by prominent International and Australian ceramic professionals and also completed Ceramic Study Tours to Japan and South Korea. She is the immediate past President of Ceramics Victoria Inc. and has exhibited her works nationally and internationally including being selected for the 2006 International Competition in Koblenz Sslzbarandkeramik, Germany. Collections and commissions include private collectors, City of Whitehorse and Stanthorpe Art Gallery, Queensland.

Mounds 1 Ceramic & wood, 40 x 60 x 43cm, 2008, $2350

The ceramic surfaces

on the forms of this installation are the result of wood firing…an ancient and timeless process of transforming clay into an everlasting and solid substance. The stand is constructed from old and aged Japanese pine. The marriage between the two materials reflects our eroded and worn terra firma which at times creates some of earths’ most spectacular views. That notion is the inspiration behind this work.

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Anton McMurray

This piece is part of a body of work exploring the fundamental structures of organic growth.

Anton was born in London, but moved to Australia with his family for an adventurous childhood in the hills east of Melbourne. He studied sculpture at the Victorian College of Arts and the Emily Carr Institute in Vancouver, graduating with a Bachelors degree in 1998. In 2003 he represented Australia in the Inami Sculpture Symposium in Japan. Anton currently lives and works in Melbourne creating artwork for exhibition and private commission, with a new major work due to be unveiled in October as part of the 2009 Lome Sculpture Exhibition.

The First Agreement Atlantic Cedar (concrete base) 330 x 36 x 40cm (base 20 x 84 x 84cm), 2008 $22,000

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Natalie McQuade

My work traverses sculpture,

installation and sound in a siteresponsive, site-inspired practice.

I am interested in cusps of things intersections, thresholds, meeting points - points at which a person’s perception may be questioned. I explore the potential for shifting awareness between the spatial and temporal realms and dissolving the distinction between the two.

Natalie completed a Master of Fine Art at RMIT University in 2008, having an undergraduate degree in Music Composition and Psychology and a Diploma in Visual Arts.

She was recently a finalist in the Churchie National Emerging Artist Award and has exhibited in both solo and group exhibitions over the last five years. She is looking forward to continuing the cross-disciplinary and crosscultural dialogue that informs her work when she travels to Spain to complete a residency early next year.

Untitled (barcodes), detail Acetate, adhesive & perspex, 205 x 30 x 30cm, 2008 $2400 Photography: Christian Capurro

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Michael Meszaros

I work in cast bronze

, fabricated copper, stainless steel and brass, wood carving, low relief panels, plaques and medallions. I live mainly on commissions but have produced and sold many exhibition works all over the world. With each work I seek to make a worthwhile and intelligible comment on the relevant subject.

This piece is the third of a series inspired by the tenacity of eucalypts to hang on to life and send out new shoots when they look almost dead. While it is asymmetrical I wanted it to have balance from all directions.

Survivor III, Bronze, 44 x 20 x 24cm, 2009, $3500

Michael is a professional Australian sculptor whose body of work spans almost forty years. He graduated a Bachelor of Architecture from University of Melbourne in 1968 but has worked as a sculptor with solo exhibitions commencing in 1970. He has produced twenty-six major public commissions and exhibited nationally and internationally including Melbourne, Canberra, New York, British Museum, Stockholm, Budapest, Gotha and been awarded prizes for his work in Italy, France, U.S.A. and Melbourne. He was a member of the Bicentennial Committee for Coins and Medals 1981-1987 and has served eleven terms as President of the Association of Sculptors in Victoria.

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Adam Mills

Purpose built packing crates

facilitate the secure transport of works of art around the world.

“Cavallo” is a re rendering of Maurizio Cattelan’s sculpture “novecento” using the packing crate as art object.

Adam was born in Geelong in 1975 and graduated a Bachelor of Biological Science from Deakin University. His practice as an artist began some years later informed primarily by forays into industrial design and fabrication, as well asian interest in architecture and construction methods. His works combine simple, clean geometric forms with a slight ‘cartoonish’ aesthetic.

Cavallo Wood, steel, leather and resin, 130 x 50 x 100cm, 2009, POA

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Annee Miron Annee completed a Bachelor of Fine Arts at RMIT University in 1997 and lives and works in Melbourne’s west. Her works have been presented in group and solo exhibitions nationally and internationally.

In 1999-2000, as a curator and artist, she presented the (re)construction touring exhibition and forum series investigating concepts of memory at the Yarra Sculpture Gallery, Melbourne, and at regional galleries in Mildura, Maryborough and Benalla. In partnership with Magdalena Moreno, Annee presented Mi Museo (My Museum), in Melbourne 2002 and Santiago, Chile 2003. Her projects have received grants from the Chilean Govt., Dame Elizabeth Murdoch, Arts Victoria and the Myer Foundation and she has been shortlisted for various prizes including the Montalto Scultpture Prize 2005.

Where was that? (detail) Concrete, coals from wood fire, steel, sheet metal & paint 200 x 300 x 300cm, 2005, $2750

I am continually drawn to themes

around the marks we make on the land and that it, in turn, makes on us. In 2008 the man delivering recycled timber for my floor showed me a piece of dark and light, finely striped timber. He tells me no-one has been able to identify it. It is thought to be one of the species lost from the Australian landscape in the short time of Anglo European occupation and deforestation. What he has shown me is a remnant of a history no longer visible in the landscape but still embedded in our buildings.

My artwork endeavours to make visible the connections between a place and the kinds of growth once endemic there.

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Leanne Mooney

Leanne has been exhibiting since 1985 and completed her Masters in Fine Arts at Monash University in 2009. Over the last seven years she has worked as a sculptor for the Nillumbik Shire Council, the Shire of Yarra Ranges and Whittlesea Council. Her work is included in the collections of Geelong Regional Gallery, Box Hill Council, Nillumbik Shire, Parks Victoria and various private collections.

You can’t see the Trees for the Wood Eucalyptus, aluminium tags, recycled steel bases, 250 x 300 x 300cm, 2008 $15,000

My reverence for the world of nature

is explored through installations using natural materials in multiple units. The repetition of the many reveals the intrinsic beauty of each, displaying distinguishing qualities and differences, large or small. Recently my work has been addressing concerns regarding the loss of indigenous species and the impact on the natural environment by human intervention. In Australia the landscape has been mapped, explored, discovered, divided, collected, named, labelled and categorised by Europeans; this process has led to a divided way of observing nature.

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Martin Moore

We are constantly 'reading'

and assessing objects, our eyes tend to focus on a single point, making sporadic and fleeting glances to one or two other points. The human eye has only a small focal point, so our brain has the ceaseless task of spotting, assessing, focusing, filling in and reassessing. How we look and how we read forms interests me. My working process is explorative and can be as much about revealing as masking a form. Currently I am focused on animal and machine forms.

Breaking down and reassembling shapes, creating degrees of distortions, grids that follow or run against the flow of the form.

Pelicdrome (shown as work in progress) Urethane & timber, 98 x 14 x 17cm, 2009 $12,000

Martin completed his Masters at Royal College of Art in 1995 and has over sixteen years experience as a commercial artist/sculptor and designer, working extensively in London with Jim Henson’s Creature Shop, the TV series Spitting Image and as assistant sculptor to artist, Anish Kapoor and also the late Sir Eduardo Paolozzi, (sculptor to the Queen). Since arriving in Australia in 2003, he has worked at Mothers Art as principal sculptor, designer and project manager, developing and incorporating site specific artworks for projects including: Rouse Hill (Bovis), Caroline Springs (Delfin), Taronga Zoo and Werribee Zoo. Martin has since launched himself as an independent artist and designer.

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Penny Parkinson

I am fascinated

with the human condition in our post-industrial age. I have a particular interest in our materialistic, consumerist behaviour, and the way it will evolve in our rapidly changing world. Developments in the sciences and technology are happening quickly, whilst the reality of our environmental challenges is becoming apparent. Fascinatingly, humans respond to challenges in a variety of ways; emotionally or logically, quickly or slowly, selfishly or selflessly. My art is a response to the imperfect human spirit in this time of change. For the past 18 months I have been working with stockings and industrial materials. I am particularly drawn to skin coloured stockings; to me they represent people.

Earthling (detail) Nylon stocking, filling & embroidery threads, 208 x 85 x 85cm, 2008, POA

Penny was born in Echuca and completed a Bachelor of Art in Industrial Design at RMIT in 1983. She has spent most of her life in various design and technical roles within the clothing industry, but has recently developed an interest in art and is currently studying for a Diploma in Fine Art at La Trobe College of the Arts.

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Susanne Pearce

A major part

of my art practice is the construction of abstract assemblages in which I merge the pictorial and the sculptural.

I use a range of materials with varied tactility and texture, and components often appear to slip or slump under the force of gravity, thus emphasising the concrete stuff of our world. In the wall sculpture Influence I am inviting consideration of the nature of painting and of sculpture, and commenting on the influence of Kasimir Malevich on 20th Century abstract art.

Influence PVC cloth over bubble-wrap, wood 135 x 81 x 25cm, 2009, $600

Susanne began to study art seriously in 2004 after a career in science, public policy and administration.

She obtained a BA (Fine Art) with Distinction in 2006 and a MFA in 2008 from RMIT University. Susanne has had five solo shows and participated in a number of group exhibitions. In 2005 she received a Travel Grant from RMIT and in 2006/7 was a finalist in the Lou and Mary Senini Student Art Award at the McClelland Gallery. In 2008, she was awarded a Siemens-RMIT Fine Art Postgraduate Scholarship, a RMIT School of Art MFA Prize and was also selected for exhibition in the Williamstown Contemporary Art Prize.

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Kristen Phillips

I am involved in a renaissance

of bespoke art making in order to sharply contrast the soulless reality of modern working life. My methodology and medium significantly informs the work as wax is meticulously modelled and moulded, taking the works’ components through a facsimile stagecopies of copies are used to generate palimpsesticversions of the original form. The fluidity of the wax leaves lick marks and meltedflows on the works. I appropriate and disrespectfully refurnish the family antiques into candelabra vanitas. The work comments on the age old morass of opportunities lost whilst conforming to social conventions, the melting candles illuminating life’s ephemeral nature. Moments are cast in time, absurdly creating new momentos for the family mantle collection.

Something’s missing Bronze, 53 x 34 x 33cm, 2009, $3100

Kristen completed her Honours of Fine Art at RMIT in 2005. Her practice is comprised of sculpture, video and installation. She has shown previously at TCB Melbourne, Canberra Contemporary Art Space, Gertrude Contemporary Art Space, Seventh, Upstairs at the Napier Hotel and the Carlton Hotel. More of her work can be viewed at www.arterycoop.com.au/kristen

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Loretta Quinn

Loretta was born in Hobart where she began her art studies at the University of Tasmania. She has been a lecturer and teacher in Sculpture at Victorian Universities since 1985, including the Victorian College of the Arts, Monash University, University of Melbourne and RMIT University where she is currently employed. Her over eighty exhibitions have included fourteen solo shows and she has received numerous awards and funding grants. Her work is represented in collections nationally and internationally, including the Australian National Gallery Canberra, Melbourne City Council and the City of Port Phillip, with five permanent public sculptures in prominent locations throughout the Melbourne CBD, including Beyond the Ocean of Existence, a six metre bronze work at the corner of Flinders Lane and Swanston Street.

Palaimon Plaster, aluminium, fabric & sealants 94 x 51 x 44cm, 2009, $12,000 Photo Phillip Allan

Palaimon

was a young sea god who came to the aid of sailors in distress. He was originally a mortal child. The Romans identified Palaimon with Portunas, god “of the harbour�.

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Geoffrey Ricardo Reprensented byAustralian Galleries

Born in a previous century

, raised in a not so small country town somewhere between here and there,… thought it might be good to try and make sense of the world ... went to an art school … learnt a bit more about printmaking…. started to learn to dance after many years of being the strange quiet guy on the dance floor...continued trying to make sense of the world and somehow use this to make a few pictures …did some painting and sculpture…going forwards backwards and backwards forward which is easier to live with than inertia and I might accidentally get it right one day. Now after more than 20 years I am still doing it. How successful all of that is will hopefully be apparent with time. Still trying to learn how to dance, but I am not sure if the ladies are laughing with me or at me.

Menagerie Mixed media, dimensions variable, works may be sold separetely, POA

Geoff has a Masters in Fine Art and has exhibited in solo and group shows across Australia. He has studied and lectured in several Melbourne tertiary art schools and his works are held in many public and private collections. His current solo show Anno Domino, Antartica and The Anatomy Lesson is at Australian Galleries in Collingwood until 11 October.

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Gayle Rodgers

Gayle graduated from Box Hill TAFE with a Diploma of Arts (Ceramics) in 2005.

Since then she has exhibited in Melbourne and also in South Korea. In 2008 she was selected for the Yering Station Sculpture Award and publications include Australian Ceramics magazine (April 2006) and Ohio Potters online, USA (March 2007).

Shed at Ceduna # 2, Ceramic & custom decals, 70 x 90 x 5cm, 2009, $1800

My current interest

is in exploring the surface of corrugation. Using a plaster form mould to form ceramic panels, I have custom made decals from photos taken in my travels, and then fired them onto the corrugated panels. These images depict a series of old rusting sheds, water tanks and fences, capturing the erosion of the Iron and patination marks made by the deterioration of the surfaces in the harsh Australia climate. This shed in Ceduna was a particularly lovely subject as the colours were unusual and the surrounding debris hinted at its past life.

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Peter Rosman

Peter has his home base and studio 110km out of Melbourne in the small town of Taggery but he is presently living in Prague in the Czech Republic after visiting Turkey, India and Japan and subsequently spending three months hiking in South America. He is interested in the art of different cultures and how contemporary artists are working in other countries, traditions and cultures outside his own.

Domestic Landscape 2009 Part 1 Lawn, chalk, aluminium, concrete & generator shed Sculpture installation 200 x 300 x 200cm approx, 2009, NFS

This installation revisits the site

of my 2008 exhibit in terms of a domestic landscape and the strange circumstances of 2009. The work explores the temporary through the use of chalk drawings and signs upon a fixed room like structure. This structure is overlooking a family, with female and child outlined on the front lawn, and a man and his dog on the back lawn. The work will be maintained over the period from October 2009 to March 2010 by redrawing on top of the chalk diagrams etc.

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Serge Rudakov

Resting strap, silenced strings.

This piece is a tribute to great musicians that walked this earth and departed, leaving their great works resonating within our souls.

Serge completed a Diploma of Arts at the City of Novorossiysk Art College in his native Russia before going on to a Diploma in Mechanical Engineering and eventually an Apprenticeship in Hand Cutting and Crystal Design. He migrated to Australia in the early 1990’s and worked restoring damaged antique crystal and glass pieces before moving into the stainless steel fabrication industry. He is very passionate about art and has created many pieces over the years but this is the first time he has had the opportunity to exhibit his work as an artist.

Requiem Stainless Steel, 90 x 40 x 15cm, 2008 $3500

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Fatih Semiz

My work explores the nature of shapes

and the creation of different forms based on linear geometry. I take a simple shape or line and develop these to a more complex form.

These works are constructive and tend to follow the lines of the geometric form, which allows me to continue to explore the shape to its conclusion or to infinity.

Coralium Painted steel, 96 x 34 x 20cm, 2009 $3900

Fatih studied sculpture at the Mimar Sinan University in Istanbul. He became interested in Scandinavian art and has studied and worked in both Turkey and Sweden, with several works on public display in both countries. In 2005 he came to Australia as an artist in residence at a private school in Melbourne and three of his pieces are displayed permanently in the school grounds. Around this time he developed an interest in working with metal and geometric shapes to explore the recurring patterns found in both life and nature. Fatih is now based in Melbourne and over the past twelve months he has shown his work at various exhibitions and competitions in Victoria.

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Veronica Sexton

In recent years

I have allowed my strict classical training in Gothic, Baroque and Rocco woodcarving to evolve into a more relaxed and free flowing style that forms the basis of my sculpture practice. I predominately work from salvaged timber from the Dandenong Ranges, trees that have blown down or have died a natural death.

Unlike classical carving where it is important to have an unblemished piece of’ timber, my work has evolved through the woods natural characteristics and imperfections. I believe that we should work with mother nature, rather than making her work for us, which is why I leave the bark on and work with knots and cracks and incorporate them in my overall design. Feminine energy and the fusion of cultures also play a significant role in my work.

Veronica received formal training in traditional in furniture restoration at London College of Furniture in 1994 and later obtained a Higher Diploma in woodcarving and gold leaf gilding at City and Guilds of London Art School, winning the William Wheeler prize for outstanding work. She was chosen as part of a selected group of artisans to work on the five-year restoration of Windsor Castle which was severally damaged by fire and she has worked on a number of commissions in England, USA, Malaysia, Ireland and Australia.

Tree of life Wood & rocks, 300 x 80 x 7cm, 2008, $15,000

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Joan Stojcevski

This work in mixed media explores my love of mythology and

mythological creatures. It is a window to another world where I can discover the inner child and the freedom of no limits or boundaries to my creative expression.

Neptune’s Bride Cotton, acrylic & steel, 140 x 120 x 70cm, 2008 $2500

Joan has been pursuing her love of art through the mediums of painting and sculpture with classes at Hunt Club Community Art Centre over the past few years. A one-year sculpture course with Richard Borg led her to work on a group sculpture for the Shire of Melton called Many hands one spirit. Her first solo exhibition was held at the Hunt Club In 2008. The work shown here is from that exhibition.

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Jennyfer Stratman

Jennyfer grew up in Phoenix, Arizona. In 1997 she graduated from Arizona State University with a Visual Arts degree. Her work has been shown in group and solo exhibitions in the United States and internationally.

In 2001 she migrated to Melbourne, Australia and now divides her studio practice between the two countries. Currently her work is represented in galleries in Australia and USA. Horizon 3 Steel, Painted Fibreglass, 220 x 228 x 123cm, 2006, $13,500

Seven figures create an undulating horizon line

by appearing to be buried at different points of the body. The profile of the group suggests a distant view of a mountain range. They have essentially become their own “landscape”. Horizon can be interpreted as the interconnection we have with the land and as one’s personal stages of development along their own “horizons”.

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Brendon Taylor

We know the heart

is a big muscle in our chests that pumps blood around our bodies. But the heart is also a metaphor for many emotions. I have been exploring the relationships and connections between the physical and emotional meanings of heart and turning them into visual forms.

Brendon was born in Victoria in 1960 but grew up in Devonport, Tasmania. He always had a keen interest in art and when his parents passed away he took up an invitation to live with relatives in Gippsland by stowing away on the Devonport to Melbourne Ferry. He worked in heavy industry for a short time before enrolling in visual arts at Gippsland Institute of Advanced Education, receiving his Post Graduate Diploma in 1987. He currently works with Museum Victoria and pursues his sculpture practice in his spare time. He has twice won the Local Artist Award and also the People’s Choice Award at the Williamstown Festival Contemporary Art Prize. His work has also been awarded at the Toorak Festival of Sculpture in 2003 and 2004.

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Heavy Heart Lead, MDF, brass & stainless steel cable 32.5 x 18 x 14cm, 2009, NFS

Suzannah Terauds

Accumulated aspects of dependency,

balance and growth when carefully assembled, arranged and applied to a basic structure create a mutually symbiotic relationship. A textural, tactile and seductive surface creates a plane for the viewer to relate to the object, and consider the relationship of the extensions to the form.

Untitled Fused Glass, 40 x 40 x 1cm, 2008, $400

Suzannah was born in Melbourne and completed a Bachelor of Fine Arts/Glass (Hons) from the Faculty of Arts and Design, Monash University in 2007. She has been commissioned to complete major projects for a Perth based mining company and for various interior designers. In 2008 she was awarded the Pilchuck Partnership Scholarship from Monash University and attended a master class at Northlands. For the last five years she has worked with a number of Australian glass blowers and has assisted in teaching short courses in glass blowing. This year she was a finalist in the Ranamok Glass Prize national touring exhibition and is currently completing her Masters of Fine Arts/Glass.

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Gold Shift Blown Glass, 37 x 45 x 7cm, 2009, $1000

Andres J. Uribe-Hidalgo

Contemporary art

, in my opinion, has provided the right conditions for the medium of painting to transcend its historical presence into a method or tool of investigation. In my work, the investigation is manifested by juxtaposing two-dimensional and three-dimensional methodologies; investigating notions of sculpture, architecture and installation art. As an artist and object maker, I cannot help to wonder about the object and its content, its intent, and more than anything, what it says about our culture today. Whether it operates in the private or public space the object becomes the iconic representation for the times, the symbol of culture and a mediator of social consciousness. This experience moves erratically through time, like a spoken sign, a linguistic sign that grapples for meaning in extremely complex times.

Accentus Oil paint, enamel paint and acrylic paint on stretched linen Panels 245 x 160 x 190cm approx, 2009, $10,000

Andres was born in Chile, South America in 1973. He studied and exhibited in Perth before moving to Melbourne where he is currently completing his Masters of Fine Arts by research at Monash University. His works are held in private collections in Melbourne and Perth.

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Chris Vassallo

The idea that underpins

much of my work is a desire to use one shape to form an object which in turn creates another bolder shape in positive or negative space.

I work in corten, stainless steel, copper, zinc and brass to create large scale three dimensional pieces that continue this notion of repetition throughout. Sotto (meaning ‘underneath’ in Italian) transforms and reveals different parts of itself as you encircle it, laying bare its inner workings.

Sotto Corten steel, 180 x 120 x 60cm, 2009, $7700

Chris was born in Melbourne in 1976. He studied design at Swinburne University of Technology in 1994 and completed an Associate Diploma of Computer Aided Art and Design in 1995. His works have been awarded at England’s prestigious Chelsea Flower Show, The Melbourne International Flower and Garden Show, the Tesselaar Tulip Festival and the Toorak Sculpture Festival. His works are in collections across Australia, USA, UK, New Zealand, Papua New Guinea, Fiji, Singapore and the United Arab Emirates. Chris lives in Collingwood and owns and runs Lump Sculpture Studio in Abbotsford.

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Kate Vivian

Prior to returning to study, Kate’s work mainly involved drawing and photography. However the opportunity to study ceramics and engage with a tactile threedimensional medium proved irresistible. She began study at the University of Ballarat in 2003, completing a Bachelor of Visual Arts with Honours in 2008 and is currently engaged in masters research.

Modified Landscape (detail) Found clay, Nanya, Sth Wst NSW steel rod & ply, 120 x 240 x 120cm, 2008/09, $550

An extra unit

of study involving found clay and glaze minerals led to an exploration of landscape through its primary building block and my focus changed from the production of ceramic vessels to interpreting landscape. The primary function of the clay became to represent it’s landscape. Imaging the landscape in any medium reveals and reinforces conscious and subconscious prejudices which shape our own and others response to the environment. This work is a sample of a site specific installation of a field of 500 flowers which explored issues of colonisation and the intervention and interaction of immigrant Australians at a former grazing property. The ceramic flowers were cast from a domestic object, a glass flower shaped dish. The choice of this stereotypical representation of a flower has many associations both as a culturally and naturally determined symbol. Flowers at once both attractive and strange created out of the land but not of the land.

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Robert Waghorn

A moment in time; a split second

Split second Painted wood & plastic, 52 x 49 x 24cm, 2008, $2000

Robert was born in 1957 in Ballarat, Victoria, graduating with a Diploma of Fine Art 1984. In 1985 he travelled and studied art throughout Europe, the United Kingdom and Egypt, returning to complete a Graduate Diploma in 1986. Since 1987 he has completed fifteen solo exhibitions and participated in over thirty-six group shows. Originally trained as a painter, he now combines these skills with his whimsical sculptured forms and over the past few years his works have been selected for the Yering Station Sculpture Exhibition, the Woollahra Small Sculpture Prize and the Toorak Village Festival of Sculpture. In 2007 he was the winner of the Moreland Sculpture Prize and his works are represented in collections throughout Australia, Japan, Britain, Austria, Sweden and Korea.

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Carmel Wallace Reprensented by Gallery 101, Melbourne

Carmel’s academic qualifications include an Arts degree from La Trobe University and a PhD from Deakin University.

She has regular solo exhibitions in Melbourne and has been selected for numerous group exhibitions including the Blake Prize, the Lorne Sculpture Exhibition, and Wynne Prize at the Art Gallery of NSW. Her work is represented in private, corporate and public collections including the State Library of Victoria, and the National Gallery of Australia. Recent major sculptures include one of five made for the Fresh & Salty Regional Arts Victoria state-wide project, and A Seat for Vida, a public sculpture commissioned by the Historic Buildings Restoration Committee in Portland Victoria.

Black Forest Beach-found cargo wedges on ply, acrylic paint, 90 x 90 x 35cm, 2009, $3500

My art practice focuses

on the advantages of multi-disciplinary exploration of place and its ramifications for environmental awareness and ethics. Much of it evolves from time spent in the elements and the objects I find while beach-walking near my home in Portland on the southern coast of Victoria. This piece is a response to the devastation of last summer.

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Dawn Whitehand Dawn completed Honours with High Distinctions for her Bachelor of Visual Arts in ceramics in 2004 and recently completed her PhD at the University of Ballarat in regional Victoria. Her current practice explores the natural environment through the sculptural possibilities of clay. The recently published 500 Ceramic Sculptures included an image of her work entitled Water Spiral and she is represented in the Ballarat Art Gallery collection and the Kakunaka Corporation, Japan.

Boxed Earth Ceramic, wood & glass, 10 x 20 x 30cm & 10 x 20 x 30cm, 2009, $480

The Enlightenment

driven growth of urbanisation and industrialisation witnessed an increase in popularity in landscape art because it represented the world as it used to be. It also, however, reduced the landscape to an item to be consumed.

Portrayed by an outsider, it was placed passively within a frame, manipulated and detached.

This trend has continued, so that today our environment is in ever-increasing danger. This work presents fragments and images of the landscape, boxed and framed, to be consumed via the gaze of the viewer, a visual commodity, removed and dismembered from its origins.

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Gunther Wilhelm

Channel: form; material; passage; change.

In the channel we find the flow of water, an ocean passage, an odyssey.

The Channel Series signals the path.

Factors held in dynamic equilibrium discarded, reclaimed, made new groundheavy, windlight stillness, movement light, shadow, reflection Diffuse into the solid and occupy the empty spaces.

Channel 7 (detail) Steel, perspex & industrial paint 215 x 130 x 90cm, 2009 $9650

Gunther was born in Mannheim, Germany. He emigrated early, and the Australian environment imprinted bold colours and a sense of rhythm and space into his work along with a fascination with light and its seasonal and diurnal fluctuations in the Australian landscape. Growing up in outer suburbia, the environment was one of a never-ending construction site. Those architectural structures became the basis of his lifelong investigation into shape and form, also precipitating much of the precision and detail in the construction of his works. Gunther studied at Prahran and the VCA in the seventies and early eighties. He works in his studio in the Central Highlands and exhibits regularly.

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Pam Wragg Represented by Kazari Collector

Pam was born and educated in Brighton and remembers being drawn to the work of English sculptor Caro long before she began to study art. She attended RMIT and during the 60’s she founded an experimental art group for children and teenagers.

In 1974 she returned to studies and began working with found materials, especially fabricated steel off cuts. These simple geometric forms became the basis of her developing visual vocabulary. In 1977 she began post Graduate studies at Victorian College of the Arts and continued her exploration of spatial relationships. Her recent practice has been prolific with six solo exhibitions in the last three years and several group exhibitions including the Yering Station and Montalto Sculpture Prize. Her works are represented in several regional art galleries throughout Victoria.

Osiris Huon Pine, 38 x 42 x 26cm, 2009, $10,000

Essentially

I am an abstract artist being interested in form and the relationships that occur between the various shapes that make up the sculpture. Constructions of all types have always been an important source for my ideas. For me fabrication offers great flexibility in the way in which I can make the necessary transitions and connections which give the sculpture its emotional impact. Forms have an expressive quality of their own. I like my sculptures to be viewed from all directions with each “view “ developing in a connected way with the whole. This process is basically intuitive but if the sculpture is successful it will stand up to analytic examination. It is always the emotional or felt feeling which inspires me to pursue an idea in the first place.

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Kevin Young

On the 7th February 2009

Victoria endured Australia’s worst bushfire, Black Saturday. The fire extinguisher, fire hose and taps represent the demand on one of our natural and most precious resources’ - water! They also are representational of the supply and demand of equipment needed to defend the community against such events. The broken axe handle is representational of the static communications between government authorities and their departments, the failure of technology and fire fighting policies.

The axe and shovel is a physical representation of the enormous human resource’s, firefighters/communications and equipment required to fight bushfire, and those extraordinary individuals who volunteer their services for the community.

Kevin’s interest in art has evolved over many years. He is largely self taught in the arts and is currently seeking a fine arts degree. His interest in sculpture has strengthened as time and space has allowed. “Sculpture often takes on a life of its own all judgment is suspended and the unintentional is often a reward”. For Kevin, art is a way of communicating his thoughts; “a place where coffee goes cold and time is lost”.

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Supply and Demand Steel, fabric, plastic & paint, 180 x 45cm, 2009, POA [unique]

Sales enquiries

for any of the works in the catalogue can be made by contacting the curator Ken Wong on 0419 570 846.

If you are interested in becoming involved

in the Toyota Community Spirit Gallery program or wish to be added to our mailing list to be kept informed of upcoming events, email info@watcharts.com.au or visit www.watcharts.com.au/toyota.html or phone 03 58214548.

IMAGE: Balancing Act (detail) Kate Caish, Recycled wood, 130x86x8cm, 2009 IMAGE BACK COVER: Modified Landscape (detail) Kate Vivian, Found clay, Nanya, Sth Wst NSW steel rod, ply. 120x240x120cm, 2008/09