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TOYOTA COMMUNITY SPIRIT GALLERY PRESENTS
THE 2007 INDOOR OUTDOOR SCULPTURE EXHIBITION
the Garden Path
EXPLORING THE COMPLEX RELATIONSHIP
BETWEEN HUMANITY AND NATURE
October 3 to November 14, 2007
Toyota Australia,155 Bertie Street, Port Melbourne
Inquiries phone Ken Wong 03 9690 0902
Gallery Hours Thu & Fri 1pm to 6pm or by appointment

Toyota Community
Spirit Gallery
The Toyota Community 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.
The Toyota Community Spirit
Gallery aims to provide space
for artists, especially emerging
artists to show their work. The
space is provided free of 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 260 artists. This project is
mounted in consultation with the
Contemporary Sculptors Association,
Hobsons Bay City Council and the
City of Port Phillip.

the Garden Path
EXPLORING THE COMPLEX RELATIONSHIP BETWEEN HUMANITY AND NATURE
Tony Adams
Ruth Allen
Don Barrett
Shawn Begley
Judith Ben-Meir
Jodi Blokkeerus
Chris Bold
Russell Brazier
Mark Cowie
Mat de Moiser
Robert Delves
Sean Diamond
Rowan S Douglas
Andy Dudok
Ursula Dutkiewicz
Lesley Ens
Susan Fell-Mclean
Exhibiting Artists
Monica Finch
Tanja George
Louise Harper
Christopher Headley
Liz Henderson
William Holt
Rudi Jass
Gaby Jung
Ash Keating
Stone Lee
Angela Macdougall
Fleur McArthur
Darren McGinn
Marianne Midelburg
Leanne Mooney
Carlo Pagoda
Flossie Peitsch
Loretta Quinn
Anne Ronjat
Fiona Ruttelle
Julie Shiels
Roh Singh
Vipoo Srivilasa
Jennyfer Stratman
Jill Symes
Ashley Turner
Jos Van Hulsen
Robert Waghorn
Cyrus, Wai Kuen Tang
Michael Walsh
David Waters
Dawn Whitehand
Lih-Qun Wong
Curator Ken Wong
T hanks to
Tania Blackwell, Hobsons Bay City Council
Julie Collins, Contemporary Sculptors Association
Sharyn Dawson, City of Port Phillip
Katarina Persic, Toyota Australia
C atalogue Editing & Prepress Watch Arts (watcharts.com.au)
G raphic Design Sandra Kiriacos
IMAGES FRONT COVER main image Lih-Qun Wong, When there was time to dream (detail), mixed media 2007, 20x50x60cm; Christopher Headley, Fall
(detail) mixed media 2007, dimensions variable. INSIDE COVER Russell Brazier, The Liberticide Force (funerary object) (detail), mixed media 2007,
31.5x11.5x56cm. THIS PAGE Monica Finch, The Gateway (detail), clay & steel 2006, 167x55x55cm. FACING PAGE: Loretta Quinn Simulacra in Landscape
(detail), aluminium & duco 2003, 3 x 140x30x30cm.

the Garden Path
Ken Wong is
the Director of Watch
Arts, a Melbourne
based contemporary
arts consultancy. He
has worked in the fine
arts industry for over
ten years in both
commercial and
community arts,
curating and
managing a host of
projects including
gallery and outdoor
sculpture exhibitions.
Ken Wong
CURATOR
This is the third annual sculpture exhibition for the Toyota
Community Spirit Gallery, this year featuring indoor and outdoor
works by fifty Victorian based artists. The aim of the exhibition
is to provide opportunity to both emerging and established
artists, showcasing the diversity and excellence of sculpture
practice in Victoria. Our program continues to develop and the
launch of this years show will also see the announcement of the
winner of the second annual Toyota Community Spirit Artist
Travel Award.
The Garden Path is an exhibition that through the works of the
participating artists, explores the relationship between humanity
and nature, in many ways traversing the development of that
relationship throughout history and into contemporary times.
Our relationship to nature has always been complex, and the
works not only explore how we interact with and utilise natural
resources and the environment, but also how we interact with
and relate to our own nature and each other. As a species, we
are arguably the most successful to ever have lived on Planet
Earth. We have developed knowledge and technology that has
given us unprecedented control over our environment and a
lifestyle that would seem to be the envy of past civilizations.
What it seems we have failed to realise on this path to technological
development however, is that the natural world has it’s
own complex relationships with us. These relationships exist as
a delicate balance that must remain in harmony if they are to
continue to provide a stable and plentiful environment that is
capable of nurturing and sustaining life. An understanding that
we need to co-exist with our environment is something that was
central to the philosophy of many ancient indigenous societies,
but it is a knowledge that until recently has been largely lost or
ignored.
With the evidence around global warming and our diminishing
resources becoming more and more apparent, it is time we as a
species re-thought the path we are on. In our rush to control
nature and provide more and more material wealth, we have
walked away from the motion of wisdom and succumbed to our
own greed and the promise of an easy life. Maybe the real
challenge, the real struggle is now to come to terms with our
own nature; and find way of living in the world that allows us to
step forward but leave behind a footprint light enough to sustain
the generations to come.
Welcome to the Garden Path.
03

Artists& Works
the Garden Path
TONY ADAMS
10–15 knots on the bay, winds S to SE, swells 1 - 2 metres
Mixed media, 250 x 300 x 25cm, 2007 POA 10
Page
RUTH ALLEN
Mary go round – Synergetic Series
Glass, MDF, stainless steel hooks, 90 x 180 x 23cm, 2007 $3300 11
Page
DON BARRETT
Poppet Head
Cypress pine, 460 x 190 x 310cm, 2007 $6500 12
Page
SHAWN BEGLEY
Ignite
Compressed cement, 40 x 100 x 180cm, 2007 $4500 13
Page
JUDITH BEN-MEIR
Love is Blind
Bronze, 66 x 36 x 23cm, 2007 $5500 14
Page
JODI BLOKKEERUS
Swimming with Clouds
Mixed media, 74 x 135 x 100cm, 2007 $1850 15
Page
CHRIS BOLD
Detail 3 Pairs
Mild steel, clay & wax, 65 x 28 x 10cm, 2006 $750 16
Page
RUSSELL BRAZIER
The Liberticide Force (funerary object)
Copper, brass, iron & stone, 31.5 x 11.5 x 56cm, 2007 $700 17
Page
MARK COWIE
Rising
Mild steel, 64 x 65 x 28cm, 2006 $1290 18
Page
MAT DE MOISER
Damaged Goods
Ikea furniture parts, 120 x 60 x 20cm, 2007 $2500 19
Page
ROBERT DELVES
Blind Faith
Mixed media, dimensions variable, 2007 POA 20
Page
SEAN DIAMOND
Raptosaur
Mild steel & found objects, 180 x 340 x 170cm, 2007 NFS 21
Page
ROWAN S DOUGLAS
I love a sunburnt country
Polyester resin, 33 x 275 x 400cm, 2007 $2500 22
Page
04

Artists& Works
the Garden Path
ANDY DUDOK
Bonsai
Fabricated steel, 46 x 44 x 32cm, 2007 NFS 23
Page
URSULA DUTKIEWICZ
Ghosts of the Past
Mixed media, 39 x 90 x 35cm, 2007 $1200 24
Page
LESLEY ENS
Fragility
Porcelain clay, dimensions variable, 2007 $140 each 25
Page
SUSAN FELL-MCLEAN
Herculaneum Finds–Amphorae, Mixed media, dimensions variable, 2006 $950
Finds, Mixed media, 30 x 40 x 15cm each, 2006 $600 26
Page
MONICA FINCH
Balanced, Clay & steel, 40 x 30 x 30cm, 2005 $750
The Gateway, Clay & steel, 167 x 55 x 55cm, 2006 $2000 27
Page
TANJA GEORGE
Swinger, Metal & wood, 54 x 52 x 50cm, 2006 $550
Nesting, Metal, plaster & wood, dimensions variable, 2007 POA 28
Page
LOUISE HARPER
Wear and Tear
Plaster & wool, 200 x 150cm, 2005 $4000 29
Page
CHRISTOPHER HEADLEY
Fall
Mixed media, dimensions variable , 2007 $10000 30
Page
LIZ HENDERSON
The Scent of the Wolf
Velvet, acrylic fur & embroidery, 140cm x variable, 2006 POA 31
Page
WILLIAM HOLT
Royal Flush
Recycled picture frames, 90 x 60 x 60cm, 2007 $500 32
Page
RUDI JASS
Landscape
Corten & stainless steel, 120 x 90 x 50cm, 2006 $4600 33
Page
GABY JUNG
The Guardians of Life
M1compound mounted on mild steel, 160 x 320 x 320cm, 2006 $18000 34
Page
ASH KEATING
Waste Audit Samples
Mixed media, dimensions variable , 2007 POA 35
Page
05

Artists& Works
the Garden Path
STONE LEE
Trivialness #2
Mixed media, dimensions variable, 2006 $1400 36
Page
ANGELA MACDOUGALL
Vitus Vinifera
Cold cast resin & paint , 132 x 143 x 140cm, 2007 $5500 37
Page
FLEUR McARTHUR
Inner Glow
Acrylic, laser cut miniatures, 100 x 12 x 12cm, 2007 $1200 38
Page
DARREN McGINN
Suburban Identity
Mixed media, 60 x 155 x 90cm, 2007 $3300 39
Page
MARIANNE MIDELBURG
Coral Reef
Wool & mixed media, 40 x 150 x 60cm, 2003 $1400/or $300 each 40
Page
LEANNE MOONEY
Memories of Loss
Eucalyptus branches & paper,
dimensions variable, 2006 $10000 41
Page
CARLO PAGODA
Leopard Man, Ceramic, 120 x 60 x 30cm, 1997 $1800
Balance, Bronze & steel, 180 x 40cm, 2006 $2500 42
Page
FLOSSIE PEITSCH
Wordhouse
Wood, 56 x 66 x 40cm , 2005 $12000 43
Page
LORETTA QUINN
Simulacra in Landscape, Aluminium & duco, 140x30x30cm ea, 2003 $12000 each
Memory of Dreams, Aluminium, 262 x 74 x 74cm, 2002 $18000 44
Page
ANNE RONJAT
Lineage - Ancient Beings I, II, III
Glazed ceramic, dimensions variable, 2007 (can be sold separately POA) $3600 45
Page
FIONA RUTTELLE
I Destroy All I Do Not Understand
Cypress pine & steel, 230 x 25 x 10cm, 2007 $2900 46
Page
JULIE SHIELS
Aftershock, Mixed media, dimensions variable, 2003
$350 each
Half empty/half full, Mixed media, 150 x 150 x 50cm, 2006 $1450 47
Page
06

Artists& Works
the Garden Path
ROH SINGH
Hoodwink, Mixed media, 116 x 60 x 38cm, 2007 $6600
Thylacine, Mixed media, 145 x 55 x 160cm, 2007 $8800 48
Page
VIPOO SRIVILASA
Go Fish
Southern Ice porcelain paperclay, 51 x 26 x 19cm, 2006 $1201 49
Page
JENNYFER STRATMAN
Balance of Growth, Bronze & steel, 215 x 50 x 62cm, 2006 $19900
Nexus, Bronze & steel, 157 x 74 x 21cm, 2006 $9900 50
Page
JILL SYMES
Images of the Sea (Sail, Hull & Fish) , Ceramic (set of 3), 2006 $2500
(Sail 45x37x23cm, Hull 26x 54x 20cm, Fish17x70x 16cm) can be sold separately POA 51
Page
ASHLEY TURNER
Moonscape
Brown Verdite stone, 33.5 x 31 x 10cm, 2005 $2400 52
Page
JOS VAN HULSEN
God spelled backward, Mixed media, 44 x 61 x 17cm, 2007 $1600
Hello Dolly , Mixed media, 37 x 34 x 14cm, 2007 $1500
Fruits of Progress, Mixed media, 292 x 70 x 175cm, 2007 $11000 Page 53
Cow, Mixed media, 34 x 41 x 14cm, 2007 $1500
ROBERT WAGHORN
Power Grid
Painted wood & ceramics, 72 x 46 x 20cm, 2007 $2000 54
Page
CYRUS, WAI KUEN TANG
Finding Wonderland
Old building materials & glass, 2 cubic metres, 2007 $1500 55
Page
MICHAEL WALSH
Divergence II
Stainless steel, 20 x 60 x 20cm, 2007 $360 56
Page
DAVID WATERS
3 Champions, Foam rubber, 113 x 38cm, 2007 $4500
Upper Right Back Leg, Polystyrene & concrete, 450x90x100cm, 2007 $12000 57
Page
DAWN WHITEHAND
Equilibrium
Stoneware clay, 44 x 33 x 20cm, 2007 $430 58
Page
LIH-QUN WONG
Anterior, Mixed media, 170 x 120 x 120cm, 2006 $1200
When there was time to dream, Mixed media, 20 x 50 x 60cm, 2007 $800 59
Page
07

Locations
TOYOTA COMMUNITY SPIRIT GALLERY
the Garden Path
Sculptures are located in the following areas
1. O utdoor
1
O utdoor
2. Gallery
3. A trium
B istro
2
Gallery
Reception
3
A trium
Bertie
Street
entrance
08

11
1
the Garden Path
Locations
Tony Adams
10–15 knots on the bay, winds S to
SE, swells 1 - 2 metres
Don Barrett
Poppet Head
O utdoor Works
TOYOTA COMMUNITY SPIRIT GALLERY
1
8
Shawn Begley
Ignite
2
3
2
4
Rowan Douglas
I love a sunburnt country
Tanja George
Nesting
5
4
10
6
Christopher Headley
Fall
Gaby Jung
The Guardians of Life
6
12
Ash Keating
Waste Audit Samples
3
Angela Macdougall
Vitus Vinifera
8
7
5
Jos Van Hulsen
Fruits of Progress
9
7
Cyrus, Wai Kuen Tang
Finding Wonderland
10
9
David Waters
Upper Right Back Leg
Bistro
11
12
09

Tony Adams
the Garden Path
Port Phillip Bay (detail) exhibited at the Yarra Sculpture Gallery, 2007
Tony studied sculpture at the National Art School in Sydney and
completed a Masters of Visual Art at the Victorian College of the Arts.
Over the past fourteen years, his sculptural practice has utilised
materials and objects from his immediate environment including;
industrial waste, plant matter and rural waste and more recently urban
waste. These materials have been refigured into objects, installations
and ephemeral site specific works. Tony is currently working on a
Masters by Research at Monash University called Anatomy of Waste. This
project involves exploring the notion of artist as archaeologist, or more
precisely a 'flotsamotolgist'. In collecting and working with the refuse
and junk of modern society, this work is inherently involved in political
and social commentary. Importantly, Tony's project is also concerned
with reusing and revealing the aesthetic qualities of these materials.
Tony recently won the Montalto Sculpture Prize with an ecological work
entitled Vanish [collaboration with Caitlin Street]. Tony's works are held
in various private and public collections.
‘10-15 knots on the
bay' explores the
geographic form of Port
Philip Bay utilising the
flotsam and jetsam
collected from its shoreline.
Over a period of two years
these materials were
gleaned from one site -
Middle Park Beach.
During this time I have
used and re-used these
materials in a number of
installations which have
dealt with the interventions
of cataloguing, displaying
and storage, as well as
engaging with the
aesthetics, history and
meaning of these
neglected and discarded
objects. This continued
refiguring of the materials
is essential to my concern
with developing a
sustainable art practice.
10

the Garden Path
Ruth Allen
My relationship with the material
glass is the catalyst for the design
science of my ideas. This symbiotic
relationship between maker and
material, technique and process allows
the physical idea to come to fruition.
Focused research has nurtured the
scientific, theoretical and conceptual
contribution to the development of my
expression. I strive to challenge
perceptions of the potential of the
medium, glass. Grounded in traditional
hot glass techniques, I choose to work
sculpturally and within an installation
context. The ‘Synergetic Series’ is
strongly influenced by the philosophies of
Buckminster Fuller, whose theory of
‘Synergetics’ was an attempt to create a
scientifically based poetics of experience.
I work with natural phenomena, heat,
gravity, leverage and the nature of the
material. I choose to engage in repetition,
reproduction and the singular as well as
the interplay between pattern and
randomness. The works are abstracted
to resonate on many levels with organic
forms, cellular structures and postmodern
architectural compositions that proliferate
in our natural and built environments.
Large scaled installations of synergetic
forms combine with lighting effects to
bring the phenomena of shadow into
play. I enjoy the challenge of engaging
the viewer into an inter-dimensional
language. Illuminating the four
dimensional qualities of glass by
projecting its three dimensional shadow
upon a two dimensional surface.
Mary go round – Synergetic Series (detail)
Glass, MDF, stainless steel hooks, 2007
90 x 180 x 23cm variable
In 2006 Ruth was the inaugural recipient of the Toyota
Community Spirit Artist Travel Award. The award has
allowed Ruth to pursue her proposed project which included
travel to mount a solo exhibition of her work at Chapell
Gallery, New York. She also taught a hot glass workshop in
Montreal, Canada and journeyed through Europe and Asia,
visiting international exhibitions including Documenta and
pursuing international opportunities and representation. As
a result of her travels, she has been invited to be the feature
artist in the national touring exhibition GINZ - Glass
Invitational New Zealand in 2008, and will also present a
major solo exhibition of her works at Milford Galleries in
Auckland. She has also been invited to show at the Hong
Kong Contemporary Art Fair in May 2008. Originally trained
at the Canberra School of Art, Ruth has recently completed
her Master of Fine Arts degree, majoring in glass and
sculpture at Monash University, Melbourne, Victoria.
11

D on Barrett
the Garden Path
In this piece I have
tried to depict a feeling of
the early Australian
goldfields, where poppet
heads would be seen
around Melbourne and
regional Victoria.
This piece recognises all
the people who have earnt
their living by working
under the ground.
Poppet Head
Cypress pine, 2007
460 x 190 x 310cm
Don was born in Melbourne in 1946. He left school when he was sixteen
and served an apprenticeship in carpentry. He was very interested in
building and architecture and worked on a variety of building projects
where he gained valuable experience. After completing his apprenticeship
he applied for several art courses at different institutions around
Melbourne but was unsuccessful, mainly because he had not
completed Year 12. At an interview with John Brack, Don was told that
you didn’t need a qualification to do art, and taking that on board he
has studied and pursued his practice privately over many years,
travelling and visiting many galleries in Europe including the Tate
Modern and The Pompidou Centre. Don works mainly with timber. He
has exhibited widely in numerous sculpture exhibitions in recent years
and in 2006 won the Montalto Sculpture Prize.
12

the Garden Path
S hawn Begley
This sculpture explores
the nature of initial
contact between people
and the basis of relationships.
The matchbox symbolises
a spark of emotion, of
debate between people; the
fuel that relationships are
created upon.
Ignite
Compressed cement, 2007
40 x 100 x 180cm
Shawn completed his Bachelor of Arts in 1988 and has exhibited in
various exhibitions since the late 1980’s. He was a finalist in the Lake
Macquarie Sculpture Prize in 1996 and also the Montalto Sculpture
Award (2003 and 2004) and the Yering Station Sculpture Award in
2004. His work is held in private and public collections including
Macquarie Bank and St Vincents Hospital.
13

Judith Ben-Meir
the Garden Path
Deformed imagining
grow like trees. Who is
stable Who dances to
impress She leads him
yet cannot move:
truncated sewn into the
ground. Dance my
donkey, dance for me.
Come my donkey can you
see Love is blind.
Love is Blind
Bronze, 2007
66 x 36 x 23cm
In 1987 Judith obtained a Bachelor of Art Degree in Fine Art from RMIT
University in Melbourne. An integral part of her work as a sculptor has
always reflected her earlier career as a dancer. The element of the
figure, initially portrayed realistically and in humorous situations, led to
her first solo exhibition at Distelfink Gallery in 1991, and later that year
to receiving the Eltham Art Award. In her 1995 solo exhibition she had
already moved on to the more permanent medium of bronze, still using
the figure as her inspiration but allowing herself the freedom of
abstraction. Judith has exhibited in many invitational and group shows
in Australia, England, Canada, and Hong Kong continuing to work in her
favourite medium bronze. In 2001 Judith took a Post Graduate
Diploma in Art in Public Space, which led to her involvement in the
Installation of Stones & Tiles for The Cultural Park in Sile, Turkey. Her
commissions include amongst others Two Lion Heads for Domain
Corporate in Melbourne as well as an installation of forty figures for The
Cyberport Health Club in Hong Kong. Her most recent solo exhibition
was held at Span Galleries in June 2007.
14

the Garden Path
Jodi Blokkeerus
A s the night sky
lights up and anything
seems possible ; Noah slips
out of bed, grabbing his
sketchbook he goes outside
to unravel the mysteries of
the universe.
“ There’s no end to the
things youmight know,
depending how far beyond
zebra you go”
Theodor Seuss Geisel
1904-1991
Swimming with Clouds (detail)
Mixed media, 2007
74 x 135 x 100cm
Jodi completed a Bachelor of Arts from Victoria University in 2006.
Her practice started working mostly within a 2D space; developing
characters and stories using a variety of mediums including polymer
clay, fur, felt, wire, fabric, pencil and ink. She began developing her
drawings into a sculptural form in mid 2006 and is now exploring and
experimenting with the possibilities of 3D. Her art comes from
perceptions of her environment and imaginings of what could be.
15

C hris Bold
REPRESENTED BY 4 CATS GALLERY
the Garden Path
Detail 3 Pairs
Mild Steel, Clay & Wax, 2006
65 x 28 x 10cm
Chris has had a passion for art for as long as he can remember. When
he was very young he was taken for his birthday to the newly opened
National Gallery of Victoria in St Kilda Road, and given ownership of it
by his family…he’s still waiting for the title deed! He has lived in
Melbourne for most of his life, but once left on a one-way ticket only to
return three years later to discover what a wonderful city Melbourne
truly is. Having visited many of the worlds centres of culture, he
believes that Melbourne is one of the most productive and imaginative
centres in the world. ‘Being able to make art and to experience the works
of others is a constant source of joy and inspiration’ he says.
This work is part of an
ongoing project investigating
and responding to a
small body of work
executed by John Brack in
the early to mid 1970s.
John Brack drew deeply
from the European
tradition, and then
adapted it to his own
sensibilities. The GOLDEN
MEAN is traditionally the
measure of perfection; one
can distort, elongate,
simplify and allude to this
time honoured theory and
still represent the beauty of
the human form. A
delicate use of line,
balance and proportion, all
formal qualities that I
have called upon with this
work, are issues that
interest me, however
considering the context
and time, the materials
are important. Clay is a
contradiction to the
delicate and lithe nature
of youth, (feet of clay),
wax provides a soft
translucent protective skin,
steel a strong pliable
framework to build upon.
16

the Garden Path
Russell Brazier
This piece represents a
triumvirate of military,
temporal and executive
forces often forged from an
alliance of deceit,
corruption and lies, but
presented as a liberation
movement blessed by God
to cleanse the land of
darkness and evil. These
forces lead a march
approaching Pandora’s
Box.
The Liberticide Force (funerary object)
Copper, brass, iron & stone, 2007
31.5 x 11.5 x 56cm
Russell was born in Melbourne in 1952 and began drawing from an
early age. He made his first sculpture at fourteen years of age and was
significantly influenced by the work of Henry Moore. He was apprenticed
at the Melbourne College of Printing and Graphic Arts and was
one of the last apprentices to be trained in the six hundred year old
craft of hand-setting lead type from type cases. Between 1975-77 he
lived overseas before returning to Australia where he worked in the
newspaper industry for twenty-six years, much of it on night shift. In
the late 1970’s he became involved with street poetry as well as
pursuing freelance illustration and cartooning. He has been making
sculpture consistently since 1988 working in a variety of materials
including ceramics, copper, galvanized iron, steel and bronze. He has
also recently returned to formal study and last year completed a
Diploma of Visual Arts from CAE majoring in Sculpture. He works from
a share studio complex in Collingwood and is currently exploring the
relationship between print making and sculpture.
17

M ark Cowie
the Garden Path
Rising
Mild steel, 2006
64 x 65 x 28cm
Mark has exhibited in a variety of sculpture exhibitions throughout
Victoria including the Moreland Sculpture Show and the Toorak Festival
of Sculpture. With the passing of decades, his intention is that many
of his individual pieces will naturally progress towards the state from
whence they originated. In this sense, the pieces are 'living' entities,
changing almost daily, even if just microscopically, until their final
destination is reached. He sees this as a parallel to the human
condition underlining the extraordinary cycle of nature. Previously his
work has been shown in several galleries including a solo exhibition at
Manyung Gallery in 2006. He has also been a supporter of and won
prizes at various community arts events and his works and numerous
commissions can be found in a number of private collections.
Working with steel, I
have found that this
outwardly rigid material
can be manipulated,
re-defined and
transformed into abstract
pieces that essentially
represent the organic
intuitive structures and
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.
It is how the creative
energy manifests itself
that remains the most
fascinating and stimulating
aspect of this
conversion process. Through
this process the individual
human spirit is united with
that of the unconscious,
generating emotion and
ultimately producing a
work of creative substance.
‘ Rising’ exemplifies this
creative journey and
reveals the desire to
achieve greater awareness
of and connection to
oneself.
18

the Garden Path
M at de Moiser
I use manufactured
articles and consumer
items as the basis for new
works. To me, it seems
logical for the creative act
to be expressed through
the re-configuration of
consumer goods.
Damaged Goods
Ikea furniture parts, 2007
120 x 60 x 20cm
Mat is an emerging sculptor and public artist recognized for his use of
mainstream consumer items as the basis for his works. Career
highlights include selection as a Finalist in the 2005 Melbourne Prize
for Urban Sculpture where he was recognised for his work Parasite with
the Civic Choice Award and his large stainless steel installation piece
titled Three Thirds which was commissioned in 2003. In 2007, Mat was
selected as a finalist for Art Melbourne ’07 Off The Wall, Tattersall’s
Contemporary Art Prize and the Victorian Sculptors Association
Outdoor Sculpture Prize.
19

Robert Delves
the Garden Path
‘Blind Faith’ is a
nightmare scene. It is a
depiction of dark times.
Man in his inimitable
ignorance is plunged ....
like Dante‘s hell - into the
bleak abyss of his own
design. Demonic like
creatures - a manifestation
of his tormented end,
ravage flesh and bone in a
symbiotic act of retribution.
Blind Faith
Mixed media, 2007
Dimensions variable
Robert was born in Melbourne in 1964 and took his B.A. in Fine Art
from RMIT in 1985 before going on to complete a Graduate Diploma in
Sculpture at Victorian College of the Arts in 1990. He has exhibited
widely since then in a host of group exhibitions including Yering Station
Sculpture Exhibition and Contempora 2, Docklands Festival of
Sculpture in 2005 and as a finalist in the Montalto Sculpture Prize in
2006. He has also produced seven solo exhibitions of his works most
recently at Anita Traverso Gallery in 2006.
20

the Garden Path
S ean Diamond
Can we reclaim what
is left to decay in the
Earth or in her
atmosphere My interest
is in taking waste energy
and materials from the
environment discarded by
humans and reforming
them to be utilised and
appreciated once again
but in a different form. I
use found railway and
farm equipment, making
sculptural elements that
honour the history of those
elements as human tools
from a previous age and
their integral role enabling
humans to persuade the
earth. These are disused
machines, laid to waste by
time, technology and the
movement of humans…
like dinosaur bones!
Zero Emission Art – A
native tree has been
planted
Raptosaur
Mild steel & found objects, 2007
180 x 340 x 170cm
Having worked in a variety of international corporate roles for two of
Australia’s biggest companies, and having lived and travelled
extensively throughout Asia, Sean has more recently turned his
experience and energy into exploring the relationships humans have
with tools used to manipulate the earth and the inevitable waste it
creates. His creative practice has evolved from light paintings with
photography into more sculptural concerns over the past few years. In
2006 he received the People’s Choice Award at the St Kilda Community
Artist Gardens open day sculpture competition with the three metre
Mediasaur, a Papier Mache dinosaur made from the now extinct Punch
Magazine (1986/7).
21

Rowan S Douglas
the Garden Path
I love a sunburnt country (detail)
Polyester resin, 2007
33 x 275 x 400cm
Rowan completed his Bachelor of Arts in Sculpture at Victorian College
of the Arts in 2001 and since graduating has explored many varied
forms of art. His experiments with wood and chainsaw carving led him
to become a tree surgeon to learn more about the material he was
working with, to better understand its application within his art
practice. In recent years, due to injury, he has had to look at ‘softer’
ways of producing art. In order to fund his practise, he has been
working full time for many years always trying to keep a balance
between his artistic and working self. In late 2005, he created the artist
run gallery, Reaktion Space in Abbotsford Melbourne. The experience
gained from this enterprise has proved an ongoing source of inspiration
and motivation.
Originally coming
from a small dairy farm,
my recent work draws on
the land and the way
that I perceive it, either
from my mind’s eye
(memory), photos or aerial
views. Recent events and
information publicised
widely in the media such
as global warming and
climate change and the
ever present drought have
forced me to take action in
my own way ... if the land
dies then so do the people
and animals that inhabit
it.
This piece focuses on the
relationship between the
earth and humankind.
Each section of this work
represents a different cross
section of the environment,
particularly with regard to
salinity and the effects of
land clearing, both here in
Australia and globally.
22

the Garden Path
A ndy Dudok
T his piece uses the
man made industrial
process of welding to
represent a Bonsai tree.
The tree is in itself a
natural form that has
been manipulated over
centuries by the intervention
of humanity to create
a miniature version
cultivated for its harmonious
ornamental nature.
Unfortunately not all of
humanities manipulations
of nature are so gentle or
considerate of the delicate
balance necessary to
maintain harmony with
the natural world that
sustains us.
Bonsai
Fabricated steel, 2007
46 x 44 x 32cm
Andy is an employee of Toyota from the factory floor at Altona and has
worked in Body Shop as a welder since 1997. He first became
interested in sculpture as a high school student and won second prize
for a wood carving at the 1975 Royal Melbourne Show. He has been
creating works like this since 2003, drawing heavily on his obviously
excellent technical trade skills. His art practice is self-taught and
inspired by his love of working with steel.
23

Ursula Dutkiewicz
the Garden Path
T his work was inspired
by a recent visit to the
magnificent city of Prague.
At present the statue in
the Old Town square is
being restored and is
currently under wraps
evoking in me a sense of
mystery, uncovered history
and the ‘Ghosts of the
Past’.
Ghosts of the Past (detail)
Stoneware clay, under glaze, tiles, grout & wood, 2007
39 x 90 x 35cm
Ursula’s approach to her practice is multi-dimensional. A professional
artist since completing her Bachelor of Fine Art in Ceramics at the
Victorian College of the Arts in 1993, she has completed commissioned
works for various organizations such as the City of Port Phillip,
Women’s Circus and Kensington Management Company. She has also
implemented many Community Arts Projects such as the tile project at
Footscray Community Art Centre and designed workshops for people of
all ages and abilities. She has also completed artist residencies at the
Brighton University (UK) School of Health Professions and at a number
of schools in Australia. In 2007 she was invited to participate in a
conference and exhibition at the University of East London, (UK).
24

the Garden Path
L esley Ens
I am an emerging ceramic
artist who creates both functional
and sculptural forms. I was born
in Canada and migrated to
Australia with my family when I
was eight years old. My mother
is Native American – Metis and
Cree First Nation people. My
father’s family are Canadian-
Dutch Mennonite farmers. This
ancestral lineage has given me a
strong personal, spiritual and
cultural connection with land and
nature and this is often reflected
in my work.
My inspiration is often drawn from
the beauty and wonder of the
natural world. I am particularly
inspired by my love of animals.
My animal and bird installations
have been designed to help people
reflect on the fragile relationship
between humans, animals and
the environment. In creating
these forms, I wanted people to
appreciate the beauty and
majesty of these animals and, in
doing so, to consider the law of
cause and effect - how every
action we take has an immediate
reaction not only on the environment
but also on animal life. The
bear and bison are of direct
significance to me because of my
ancestral linage. The waterbird is
also significant to me as I rescue
ducks during the duck-shooting
season in Victoria and Tasmania.
Fragility (detail)
Porcelain clay, 2007
Dimensions variable, each individual form approx 16 x 10 x 34cm
Lesley was born in Canada in 1970, migrating to Australia with
her family in 1978. She completed her Diploma of Arts in
Ceramics in 2002 but has continued studies to refine her wheel
forming and glazing skills and is now studying Applied Studio
Practice in Ceramics with a focus on sculpture and hand
building. She has exhibited her works in various exhibitions
since 2000 and currently combines her own studies and practice
with part time teaching in ceramics.
25

S usan Fell-Mclean
the Garden Path
Finds
Silk, felted wool, wire, stitch & shibori in wooden museum boxes, 2006
30 x 40 x 15cm (each wooden box)
Susan’s work varies from small sculptural forms and flat wall pieces
to large installations occupying interior spaces. She has recently
shown a solo exhibition of her works at Yarra Sculpture Gallery. She
works with textiles, manipulating age old processes in contemporary
interpretations. Silks, cottons, felted wools and other fibres are
stretched, wrapped, stressed, stitched and dyed. They are combined
with wood, copper wire, wax and other materials to explore concepts
of palimpsests and sense of place. Susan has been involved in
several contemporary International conferences: (as presenter) The
World Batik Conference Boston, Massachusetts, USA and KLIB Kuala
Lumpur International Batik, both in 2005. The same year, she
exhibited in The World Shibori Symposium in Melbourne. In 2003 at
the Museum of Industrial Archaeology and Textiles, Belgium at the
Ghent Centre for Artistic Confrontation, she exhibited and conducted
workshops, for which she was awarded an Arts Victoria Grant for
Professional Development. That same year she completed an Artist
Residency at Cumnor House School in Sussex UK, felt making with
children and teachers.
These works are a
response to my research
journey in Herculaneum
looking for the palimpsests
of Italy. In 2006 I
completed a Master of
Visual Arts Degree, and
was very fortunate to be
awarded a studio position
in Palazzo Vaj, the
Monash University Study
Centre in Prato in Tuscany.
My deconstructed and
constructed textile pieces
help us to journey back to
ancient Roman times,
and to imagine the ‘finds’
of excavations. The
colourants for these shibori
pieces (local Tuscan vino
rosso, noce, cipolla and
porcini), were used as a
metaphor for the way in
which the mud from the
volcanic devastation
preserved the daily life of
an ancient civilisation, the
archaeological excavations
of Herculaneum revealing
its secrets.
26

the Garden Path
M onica Finch
T his piece was fired in
an electric kiln, then
placed in a metal bin and
covered with sawdust and
seaweed. This is lit from
the top and then sealed to
slowly burn for up to a
week. The clay absorbs
the carbon and salts to
create this smoked,
organic surface. The
carvings on this piece are
representative of those
found on Neolithic pottery
discovered in ancient
Europe. These symbols
come from a time in
history when the Goddess
was worshiped and these
particular markings are
associated with owls. Owls
are thought to be the
messengers death and
wisdom.
The Gateway
Clay & steel, 2006
167 x 55 x 55cm
Over the past eighteen years Monica’s focus has been on raising her
family but in 2000 she decided she needed to find expression for her
creative urges and returned to study completing a Diploma in Art
Therapy and also a Diploma in Visual Arts - Ceramics. She has
established her own studio at her home in South Gippsland where she
has been working and exhibiting for the past five years. Her works have
been shown regionally including the San Remo Sculptural Exhibition,
Women of Sculpture at Leongatha and Federation Gallery, Frankston with
five other women artists from rural Victoria. This successful exhibition
was inspired by “emotions, generations and the modern woman of
today”. She has also exhibited in Melbourne at The Walker Street
Gallery in Dandenong and Linden Gallery in St Kilda.
27

T anja George
the Garden Path
My
fascination lies
with discarded
industrial and
mechanical
objects.
Nesting
Metal, plaster & wood, 2007
Dimensions variable
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 studied film, completing her Bachelor of Film and
Television at Victorian College of the Arts in 1995. After graduating she
made a semi-documentary called Death and Passion, which was filmed,
on location in Pamplona and Zaragoza in Spain. In 2004 she travelled
9000 kilometres directing a travel documentary about Australia for
German television. Apart from her work in the film industry, Tanja has
assisted established artists in fabricating sculptures. She is also
creating her own work, mainly in the mediums of sculpture and photography.
Earlier this year, Tanja had a solo sculpture exhibition at
Lancaster Press Gallery and also exhibited in the Toyota Community
Spirit Gallery.
They have
become the basis
for my recent
sculptural work.
Just as the
objects have
reached the end
of their life span,
I transform them
into something new. To me
they are treasures that
have an aesthetic life
beyond their function.
These mechanicalindustrial
bird-creatures
warn us - with dark,
mocking humour - that
the threat of destruction of
our planet and the
extinction of its flora and
fauna is looming on the
not so distant bleak
horizon. These man-made
birds might be the only
avian survivors; a new
species is evolving!
28

the Garden Path
L ouise Harper
My sculpture practice
focuses on the body and
more recently on bodily
extremities.
This piece speaks of history
and memory both personal
and societal. The carpet is
worn and stained, and
bears witness to lives lived
on and around it. The
bare feet suggest the
intimacy and vulnerability
of these lives. These
images are metaphors for
physical and spiritual
journeys and evoke ancient
and contemporary themes
about the paths we tread
and the footprint we leave
behind.
Wear & Tear
Plaster & wool, 2005
200 x 150cm
Louise has developed her sculpture practice over many years and has
exhibited widely including six solo exhibitions, most recently earlier this
year at the Yarra Sculpture Gallery. She is currently working on an
international exchange project to create a ‘postable’ sculpture
exhibition to tour between Melbourne, London and New York.
29

C hristopher
Headley
the Garden Path
Fall (detail)
Trees in pots, self supporting fence, ceramic flowers & synthetic grass, 2007
Dimensions variable
Christopher’s distinguished career in ceramics began in
Adelaide and he received recognition as early as 1984,
when he was published in the December issue of Ceramics
Monthly (USA). Since then he has been published and
exhibited widely and in the mid 1990’s took up a role at
Monash University-Gippsland. In 1999 he completed his
PhD at Monash University-Gippsland and currently works at
their Caulfield campus as Coordinator of Fine Arts. He
recently held Tempest, a major exhibition of his works at
Latrobe Regional Gallery and also curated the Works on
Water exhibition at Herring Island Gallery in Melbourne.
30
‘ Fall’ is a work that attempts to
seek out the sublime. The sublime, so
does it really exist in our apres-post,
techno-centric society, with its
detachment from nature and
consequently our loss of fear of the
natural In the aftermath of the
destruction of the World Trade Centre
towers we find ourselves today living in
a new state of fear; fear that can only be
described as phobia. It is often difficult
to separate phobia from aesthetic
experience. After you climb a cathedral
tower and peer out through a slit in the
walls of the spire, your legs go wobbly.
Is this because we are afraid of heights,
afraid of God, afraid of nothingness and
therefore overcome by a feeling of awe;
or is it simply that we are suffering from
fatigue If we take in what we see, a
beautiful view of nature; are we then
arriving at the feeling of sublimity
What if that feeling is forced upon us
Then, ‘ Fall’ records the instant after the
event. The work comprises three actual
trees, a scattering of ceramic flowers
and a white picket fence. The trees
could be set out as permanent plantings
but here are sited temporarily in large
pots. The constructed flowers are
moulded from everyday kitchen utensils.
The picket fence is installed as if it were
a typical suburban Melbourne front
fence. These three elements evoke
feelings of comfort and domestic
security. Yet, the scattered flowers ‘fix’
in time the moment of fear/shock
immediately after the event.

the Garden Path
L iz Henderson
C hildhood memory
and the social construction
of femininity are the
themes which reverberate
throughout my work. ‘ The
Scent of the Wolf ’ was
inspired by my passion for
fairy tales. Red Riding
Hood (or Little Red Cap) is
one of the most well know
and loved of all fairy tales.
From the gilded rooms of
Charles Perrault’s 17th
century French court to the
animated cells of the Walt
Disney studios, Red has
been through many
transformations. In
Gustov Dore’s 1861 print of
Red Riding Hood, the
Wolf and Red are
depicted in bed together,
cheekily the expression on
her face suggests a not so
innocent Red. Angela
Carter’s ‘ In the Company
of Wolves ’ a revisionist
and ribald retelling of the
fairy tale goes even further,
what Dore implies, Carter
makes explicit, Red and
the Wolf are one under
the covers –
‘ The Scent of the Wolf ’.
The Scent of the Wolf
Velvet, acrylic fur & embroidery, 2006
140cm x variable
The primary focus of Liz’s studio practice is object based installation,
however 'autonomous' sculptural works also play a part as in the work
presented here. The central themes of childhood memory and the
social construction of femininity traverse both forms of work. The
media is governed by the concept i.e.; she does not work in only one
medium but many, an extremely common practice amongst installation
artists. Recently she has shifted the emphasis from the previously
mentioned themes to the alluring subject of olfaction. She has used
fragrance as a material support and as metaphor. Currently enrolled as
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 is very much a work in
progress.
31

W illiam Holt
the Garden Path
Royal Flush (detail)
Recycled picture frames, 2007
90 x 60 x 60cm
Found and recycled
materials transformed into
new forms are a constant
inspiration in my art
practise. ‘ Royal F lush’ is
made from various parts of
frames combined to create
this humorous sculpture.
Many readings can be
seen into the work, under
its light-hearted appearance
are more serious
issues about our consumerism,
sustainability and
the things we flush away.
My work is never really
about the precious object,
more a comment and
communication of our
materialism and the
transient.
William has a Masters of Fine Art from Monash University and is
currently the curator and painting teacher at Osare Gallery. His art
practise crosses many mediums and materials and he is passionate
about the authentic art object and the role art has to deepen the
understanding of our existence in the current transient society.
32

the Garden Path
Rudi Jass
As an artist I take
my instruction and
inspiration from forms in
nature - from the detail
contained in a seed pod to
the fragility of a massive
riverbed. The observer
might use my work as a
point of contemplation of
our connectedness to the
natural world and the
extraordinary minutiae it
contains.
Landscape
Corten steel & stainless steel, 2006
120 x 90 x 50cm
Rudi was born in 1953 in Germany, but lived in Canada and Papua New
Guinea before migrating to Australia in 1983. He worked as an automotive
technician for Porsche until 1990, when he made the decision to
pursue his passion for making sculpture. He has worked full time as a
sculptor ever since, completing numerous commissions across
Australia and internationally including New Zealand, Japan and USA.
His preferred medium is stainless and corten steel. He has received
several awards for his sculptures and has shown works throughout
Victoria including the Montalto and Yering Station sculpture exhibitions.
33

G aby Jung
the Garden Path
My work in the health-field shows me
daily how out of touch with the natural
cycles of life most people are. My sculpture
provides an opportunity to contemplate
themes of balance; death and rebirth;
growth and decline.
The five identical sculptures represent the
equal status of each phase of the
lifecycle/season; without one the other
cannot be. By arranging them in the form
of the pentagram/circle their interconnectedness
is made tangible.
Fire
Early Summer
Surge
Adolscence
The Guardians of Life (detail)
M1compound mounted on mild
steel, 2006
160 x 320 x 320cm
(5 pieces, 160 x 45 x 40cm each)
Wood
Spring
Growth
Childhood
Earth
Late Summer
Consolidation
Mature Adult
Gaby was born in Berlin, Germany, migrating in
1979 to Australia and 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 Collectors
Exhibition (2005, 2006), Toorak Sculpture Festival
(2004, 2005), She, Spirit of Life (2003) and Yering
Station Sculpture Exhibition (2006). Her works are
in private collections in Germany and Australia.
34
Water
Winter
Quickening
Death & Rebirth
Metal
Autumn
Decline
Old Age

the Garden Path
A sh Keating
REPRESENTED BY DIANNE TANZER GALLERY
This installation is
based on different types of
waste collected from a
waste audit conducted at
Toyota’s Factory at Altona
in February 2007. These
various materials including
plastic film, moulds and
strapping as well as
cardboard, metals, etc., all
bring an awareness to
these types of resources,
but also to the instigation
of waste auditing as an
important part of a
responsible approach to
managing industrial
processes in our world of
diminishing resources.
These materials are shown
together here along with
information, photographs
and recommendations
from the audit report.
Waste Audit Samples
Mixed media, 2007
Dimensions variable
Ash was born in Melbourne in 1980. He keenly integrates his interest
in environmental concerns with his art strategies, which often vary from
process-based projects to public art and performance or installations.
A Bachelor of Fine Art (Painting) from Monash University, he completed
with 1st class Honours year at the Victorian College of the Arts in 2006.
His most recent work involved creating a process based mural dealing
with the countries current water crisis. The concept of a full dam of
water depleting until there is none left, was painted with eco safe paints
on the Mockridge Fountain at the corner of Swanston and Collins
Streets, Melbourne, which had been de-activated due to water
restrictions. In 2006 he travelled to Santiago, Chile as part of The
South Project, where he created a diverse media project Pascua Lama,
as part of Trans Versa at the Museo de Arte Contemporaneo. His
exhibition program has been extremely busy over the last few years with
shows in Melbourne, Sydney and Hobart. His most recent solo
exhibition opened at Dianne Tanzer Gallery in September.
35

S tone Lee
the Garden Path
Trivialness #2 (detail)
Newspaper, found objects & acrylic media, 2006
19 x 35 x 39cm each unit. Dimensions variable
Stone Lee was born in Taiwan. His first art studies were in Chinese
calligraphy and painting. He took his Masters of Fine Art from the City
University of New York and later received a PhD at University of
Tasmania. He works with ordinary things, transforming them through
meticulous application of newspaper into objects that transcend their
beginnings. In an era that owes much to uncertainty, the ephemeral
paper artworks reveal both eastern and western ways of being. He has
exhibited widely including four solo exhibitions in Australia since 2003
and also has been published in various magazines and articles
including Australian Art Collector.
My practice
examines the perception
and meanings of ordinary
objects as a way to
understand our existence.
My argument has focused
on the meaningless of life
and existence as that
experience itself can easily
appear out of the
encounters of everyday life.
The works I create are a
response to meaninglessness;
a response that aims
to exhibit meaning in the
only terms in which it is
possible: the meaning of
the ordinary, the
everyday, the mundane –
the meaning that resides
in the common objects
that we find around us
and with which we interact.
36

the Garden Path
A ngela Macdougall
REPRESENTED BY BRENDA MAY GALLERY
T hese large grape
seeds show the
sensuality, perfection
and simplicity of
nature compared to
the complexities of
human existence.
They also bring to
attention what usually
goes unnoticed and
discarded without a
moments thought.
Vitus Vinifera
Cold cast resin & paint, 2007
132 x 143 x 140cm
Angela completed her Bachelor of Arts in Sculpture at RMIT in 1989
and returned after a stint travelling and working in Japan to complete
her Honours in 1995. She has exhibited widely in numerous solo and
group exhibitions since 1992 and this year received the People’s Choice
Award at the Montalto Sculpture exhibition. She has completed major
public and numerous private commissions and her works are held in
corporate and private collections in Australia and Japan including
Artbank and the Hyatt Regency Hotel, Sydney.
37

F leur McArthur
the Garden Path
Colour and its effects
have always been a
continuing theme in my
works, as have the
explorations of unusual
optical effects.
This work explores the
nature of the heart, literally
and metaphorically.
Sometimes contained,
sometimes transparent,
but always lit with an
inner glow
Inner Glow (detail)
Acrylic, laser cut miniatures & lighting, 2007
100 x 12 x 12cm
Graduating with a Bachelor of Fine Arts from the Victorian College of
the Arts in 1998, Fleur has had numerous exhibitions and been Artist
in Residence at a number of Community Arts Centres. She has received
various grants and commissions including public art projects for the
City of Maroondah. Her professional work and practice continues
through explorations of diverse ideas and choices of medium.
38

the Garden Path
D arren McGinn
T he artwork
‘Suburban
Identity’ is a
response to our
suburban nation.
The floor of the
house is comprised
of a photographic
image of generic
suburbia; a small
mirror placed
behind wire mesh
nestles alongside
this image. When
seen from above a
reflection of the
viewer is
transmitted back. The
viewer unwittingly becomes
a participant, hence
‘suburban identity’. In the
words of Howard Arkley, “It’s
where ninety five percent of
Australians actually live”.
Suburban Identity
Mixed media, 2007
60 x 155 x 90cm
Darren completed a Graduate Diploma in Fine Art in 1988 at RMIT,
going on to complete his Master of Arts in 1991. He has worked for
many years as a lecturer and teacher of ceramics and sculpture at
various institutions including the University of Melbourne and Victorian
College of the Arts. He is the recipient of a Commonwealth grant for
research studies and has received numerous awards in national
exhibitions for contemporary ceramics. In 2004 he was awarded an
acquisitive prize at the Gold Coast International Ceramic Art Award in
Queensland. He is currently a PhD Candidate at Monash University.
Suburban Identity (interior view)
39

Marianne Midelburg
the Garden Path
T he inspiration for this
piece came from closely
studying underwater
photography of coral. The
work took about three
months to complete. I use
mainly recycled materials
and I can crochet quite
fast.
Coral Reef
Wool & mixed media, 2003
40 x 150 x 60cm
Born in 1953 in Geelong, Marianne is the daughter of Austrian migrant
parents. Her mother was a tailoress; other maternal relatives were
artists and scientists. Her father was a civil engineer and hobby
photographer. University educated in the 1970s, she was a dedicated
and innovative teacher of German in secondary schools in Melbourne
and Bendigo. In 1996 she resigned from this career path and began
working as an independent artist. From the mid 1980s she completed
courses in fine art photography, arts administration and printmaking
and from 1998 to 2004 sat on the management committee of the
Bendigo Arts Alliance. Here she further developed her skills as an arts
administrator and workshop facilitator, also working as Artist in
Residence on several large-scale community arts projects. She has
exhibited in Central Victoria and Melbourne and is currently involved in
European and American projects. She is acknowledged by the City of
Greater Bendigo as a valuable volunteer for the enhancement of arts
and culture in the region and has been a professional life-drawing
model for over twenty years. Marianne is passionate about her work
and dedicated to sharing her skills and talents for the benefit of the
wider community. Her artworks, community projects and exhibitions
can be viewed at http://mc2.vicnet.net.au/home/midelburg/web
I have created other
crocheted sculptural pieces:
various cacti, a banquet, a
mossy log covered in fungi
and most recently, an
afternoon tea setting.
Since creating this piece,
I've become involved in the
Institute For Figuring in
Los Angeles as a
contributor to their
massive hyperbolic
crocheted coral reef and
anemone garden.
Nature is a main theme of
my textile artworks. I also
enjoy playing and working
with bold colours and a
variety of textures.
40

the Garden Path
L eanne Mooney
T his is a fragile and
ancient land. The impact
of European farming and
land management
practises, in the last two
hundred years, has been
devastating, causing,
salinity, soil erosion, loss of
species and habitat.
Trees can be replanted,
however you cannot
replace an entire eco
system.
This sculptural work
emerges out of my feelings
of sadness and loss in
relation to this ongoing
and most pressing issue.
Memories of Loss (detail)
Eucalyptus branches & paper, 2006
Dimensions variable
Leanne has been exhibiting since 1985 and is currently completing her
Masters in Fine Arts at Monash University. She was an Artist in
Residence and worked as a sculptor in ephemeral exhibitions for the
Nillumbik Shire Council and the Shire of Yarra Ranges. Her work is
included in the collections of Geelong Regional Gallery, Box Hill
Council, Nillumbik Shire, Parks Victoria and various private collections.
The thread common to the recent sculptures is her use of natural
materials. Her reverence for the world of nature is explored through
installations using multiple units. Her intent is that the repetition of the
many reveals the intrinsic beauty of each, displaying distinguishing
qualities and differences, large or small. When seen in an ordered
relationship a harmonic rhythm is created.
41

C arlo Pagoda
the Garden Path
Balance (detail)
Bronze & steel, 2006
180 x 40cm
Carlo was born in Italy in 1956. His family migrated to Australia when
he was three and he grew up in Adelaide where he studied design,
graduating to work as a graphic designer. In 1987 he went to London
and worked as a graphic designer for Sir Terence Conran. Two years
later he moved again, this time to the USA where he worked as a
creative director in San Francisco for twelve years. His self taught art
practice includes painting, sculpture, ceramics and mixed media, and
it was during his time in Northern California that he began exhibiting at
various shows and galleries including the Bohemian Club in San
Francisco. In 2001 he returned to Australia and now lives and works in
Melbourne as a graphic designer, but has also actively continued to
pursue his art practice through various exhibitions including The Toorak
Village Festival of Sculpture and shows at Yarra Sculpture Gallery,
Linden Gallery and Anita Traverso Gallery in Richmond.
Maintaining a
balance in our global
ecosystem and climate
patterns is up to us.
Mother Earth can only do
so much, suspended
between the pull of the
sun and moon, the rest is
our responsibility and that
of future generations. We
will either learn to work
with the continual process
of renewal that the
seasons bring us, or be
caught plundering the
limited resources we’ve
been given and be cast
adrift on an eternal
wintery sea. That fine
balance, we hold in our
hands.
42

the Garden Path
F lossie Peitsch
T his installation uses
the house as a metaphor
for families, where words
create the environment
and carry the views and
spirituality of the
individuals. Lives are
created through the
presentation of words by
speaker to listener and by
the consideration of these
words by the listener – two
separate processes. Even
concepts of ‘the immortal’,
though not yet experienced
first hand are often
expressed through words.
Photograph: Flossie Peitsch
Wordhouse
Wood, 2005
56 x 66 x 40cm
Flossie is an internationally known and collected installation artist who
has travelled and exhibited around the world. Canadian by birth, she
now lives and works in Melbourne and this year completed her PhD at
Victoria University, holding an Australian Postgraduate Award comprising
a three-year fulltime scholarship. Her PhD thesis entitled, THE
IMMORTAL NOW: Visualizing the place Where Spirituality and Today’s
Families Meet, consisted of a visual art exhibition and exegesis, which
was staged in five different galleries concurrently in November 2006.
Her visual art practice includes tapestry, installation, watercolours,
mixed media, acrylic painting, sculpture, community/public art
projects, artist residencies and workshops. A sought after speaker
trained in theology and education, her art themes incorporate spirituality
and families, and the dialogue and changing strictures between
Community Art and Fine Art. She has worked extensively with her local
community on a host of Community Art projects.
43

L oretta Quinn
the Garden Path
Memory of Dreams
Hand cut aluminium, 2002
262 x 74 x 74cm
Loretta was born in Hobart where she began her art studies at the University
of Tasmania. She has been living and working in Melbourne since 1981 and
this year commenced a PHD at Monash University. She recently held a
retrospective exhibition of her works entitled A Decade of Sculpture at
Stonnington Stables Museum of Art at Deakin University in Toorak. Loretta
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.
I have been
fascinated with
gardens since my
early childhood in
Tasmania. Looking
back now I realise
they appeared to me
to be sacred places
where the balance
between the natural
and built environments
were at their
most harmonious.
Shrines and the 19th
century landscaping
became mysterious
and almost magical
when combined with
the beautifully cared
for trees and
plantings. These were
the settings for
childhood dreams
that now have turned
to memories. This
work represents the
garden as a place for
reverence and
contemplation.
44

the Garden Path
A nne Ronjat
T hese sculptures may evoke
the lineage of human
generations who lived before
us, the tribal or nomadic
populations, or the part inside
each of us that is holding the
ancient being. I see this
being as the one who forms a
creative alliance with the
principles of nature, embraces
the ethereal forces and the
earthly elements rather than
trying to force or manipulate
them. It is the part in us
that feels one with its visible
or invisible surroundings, the
being who stands at the
origin of civilizations and the
one that sustains them. In
the subtext of this work are
concerns about modern man
and our endeavours to
separate ourselves from nature
in order to control it. With
the loss of reverence to our
surroundings, we are risking
the disappearance of the
ancient sustainable being
and courting the extinction of
our own civilization as we
attempt to spread power over
our environment further and
further ...
Lineage – Ancient Beings I,II,III (detail)
Glazed ceramic, 2007
Dimensions variable
Anne was born in Paris, France and has pursued a passion for the
creative arts all her life. In 1990 she completed a Diploma of
Ceramics and began an intensive apprenticeship with renowned
French ceramicists Vanier, Montaudoin and Duru which she
completed in 1994. Shortly after she migrated to Australia and
established her own range of fine functional ceramics. She was
recently commissioned to create a limited edition designer range
of ceramics exclusively for Country Road. Her sculptural practice
began in 2000 and soon after she was invited to participate in the
Becton Sculpture Biennial and created a life-size trio of figurative
works, a project that she has re-interpreted with the installation
presented here. Anne has held studio space at Gasworks Arts Park
in Albert Park for several years and has held highly successful solo
exhibitions and participated in numerous group shows throughout
Melbourne and regional Victoria.
45

F iona Ruttelle
the Garden Path
Fiona left school at sixteen to
become a professional dancer,
appearing in television commercials
and film clips, most
notable The Locomotion with
Kylie Minogue. She has worked
in many capacities in the
entertainment industry, as a
choreographer with international
touring musicians and was a
founding member of the band
The Freaked Out Flower Children
before going on to be nominated
for an AFI award as best lead
actress for the Richard
Lowenstein film, Say a little
Prayer. In 1993 she began glass
workshops with Pam Stadus and
as her interest in visual arts and
sculpture continued to develop
over time, she has gone on to
tertiary studies at Monash
University. She is currently
working to complete her Masters
in Fine Art. In 2004 she won
First Prize at the Melbourne
International Flower and Garden
Show Sculpture Exhibition and
has this year been exhibited at
the Montalto Sculpture Prize as
well as the Toorak Village
Sculpture Festival invitational
curated by Julie Collins.
I think it is the
responsibility of an artist to
contemplate and reflect on
the underlying beliefs in
our society, particularly
covert or unchallenged
beliefs. Hopefully, by
doing this, thought will be
provoked and questions
asked. I think art can do
this without being
sanctimonious; reflecting is
not judging.
I strive for my work to be
understood and like the
simplicity of working with
text - it is straight forward,
a visual sound bite.
46
I Destroy All I Do Not Understand
Cypress pine & steel, 2007
230 x 25 x 10cm

the Garden Path
Julie Shiels
T hese objects are made
from hundreds of
flattened champagne
wires (muselet) that have
been fused together to
make a collection of bags.
The individual forms
become a hieroglyph that
represents an event or
celebration that has
passed. The bags are
transparent but hold the
form of the invisible
content, frozen in a
moment like each of the
individual wires. But the
bags are also full of
ambivalences and
tensions about privilege
and affluence. This is
reflected in the objects
themselves: the plastic bag
as waste, the shopping bag
as a symbol for consumption
and the dilly
bag/billum as a reminder
of our colonial past.
‘Half empty/half full’
explores the idea that an
object has an afterlife by
preserving and interpreting
detritus that has been
found on the street.
Half empty/half full
Recycled champagne wire & silver solder, 2006
150 x 150 x 50cm
Julie has been working across visual arts, public art, story telling and
web based media, for more than twenty years. Her art draws attention
to profound moments in the small gestures and stories of everyday life.
One of Julie’s most recent projects has involved stencilling truisms,
quotes and stories onto furniture that has been discarded on the streets
near her home in the Melbourne suburb of St Kilda. The combination
of text, object and place is critical in this process and the effect may be
witty, whimsical, poetic or confronting. In her most recent solo
exhibition, afterlife (45 Downstairs, Melbourne, September 06) she
salvaged fabric from mattresses dumped around St Kilda and
transformed it into an installation of luxurious pyjamas. The work is
part of a larger project exploring how discarded objects left in the street
can capture the narratives of the cultural terrain. This investigation is
ongoing and exhibited on line at www.citytraces.net and
Ilovestkilda.com. Julie has exhibited both nationally and internationally
and has just completed a Fellowship awarded by the Australia Council
for the Arts.
47

Roh Singh
REPRESENTED BY DIANNE TANZER GALLERY
the Garden Path
thylacine
Acrylic, aluminium & steel, 2007
145 x 55 x 160cm
Born 1976 to an Australian mother and West Indian father, Roh was
raised and schooled in the outer eastern suburbs of Melbourne. After
returning from a trip to Trinidad with his family in 1996, he decided to
study art, enrolling a two year Diploma of Visual Arts at Swinburne
Outer Eastern Tafe. In 1998 he went on to complete undergraduate
studies at Monash University Caulfield majoring in sculpture, and was
then accepted into Honours in 2002, winning the Fundere Sculpture
Prize awarded by judge Robert Lindsay. He continued to show for the
next few years in artist run and commercial galleries until Dianne
Tanzer Gallery approached him for national representation in 2005.
More recently he received an emerging artist ‘new work’ grant from the
Australia Council to complete a project that was then selected into the
2007 Helen Lempriere Sculpture Award, taking out the Peoples Choice
Award. Works from his most recent exhibition have been acquired by
Artbank and the Besen Collection.
Computer aided
design has become
entrenched as part of our
visual culture. This notion
of the virtual raises issues
of an 'other' existence, an
existence that is at once
real and contradictorily,
false. My initial forms
are designed in a virtual
realm and arguably do
not exist in the real world.
This technology wields a
heavy hand in propagating
a loss of ‘realness’. I seek
to emulate aspects of this
virtual realm and to chart
the implications of a space
undefined by the actual.
Whilst looking into this
point of transferral from
existence to non-existence
I cannot deny a sense of
loss is present, nostalgia
occurs, and portions of
memory are invoked. This
ghost-like realm of
absence is the landscape
where I look to further the
investigations of my
practice.
48

the Garden Path
V ipoo Srivilasa
REPRESENTED BY UBER GALLERY
T his work is from my series
‘My Self: My Others’ which explores
the path of my personal journey by
revealing how I have been changed
by my Australian immigration
experience. This series developed
from Thai literature and traditional
costumes together with the
flamboyant costumes worn in the
parade at the Sydney Gay and
Lesbian Mardi Gras. I also find
the shapes, colours and textures of
Australian flora and fauna, its
wonderful coastlines and unique
rocks and shells extremely
captivating and have incorporated
that imagery into my work. The
juxtaposition of these two distinct
cultural elements was inspired by
my belief that opposing cultures do
not have to come together in fear
and loathing, but can complement
each other through the power of
art and imagination. Throughout
most of my creations, the mermaid
has appeared in many guises,
intimately connected to the
childhood stories told to me by my
Grandmother from the Ramakien
(Ramayana). Suvan Madcha, a
mermaid caught between opposing
forces of good and evil, captures
my imagination… she actually
represents my alter ego, or me in a
dream world. I use this as a form
to present myself; also caught
between the two worlds of West
and East.
Go Fish
Southern Ice porcelain paperclay, 2006
51 x 26 x 19cm
Part-time work as a designer of fashion accessories led Vipoo to
create works in paperclay. This experience played a role in his
decision to major in ceramics while studying for his Degree in Fine
Arts at Rang-Sit University in Bangkok in the mid 90s. The Thaiborn
Melbourne based ceramicist combines elements of both
cultures and his own experience into his work. He believes that
the environments of Thailand and Australia are both very similar
and at the same time, very different - providing him with a wealth
of ideas to express. His decorative creations range from interpretations
of landscape, architecture, and cultural celebrations to
social questions on a global scale. The ocean’s landscape is one
of his favourite subjects. The bright and jagged forms of coral are
captured in all their colour and glory through his interpretation.
Thailand’s bright theatrical culture and the majestic architectural
beauty of many of its historical sites are also evident in his
creations. Similarly the artist has embraced the flamboyancy and
life of one of Sydney’s best-known celebrations.
49

Jennyfer Stratman
REPRESENTED BY UBER GALLERY
the Garden Path
Nexus (detail)
Bronze & steel, 2006
157 x 74 x 21cm
‘Nexus’ is my
continued exploration of
interconnecting body parts
with natural forms. Ideas
of isolation, migration and
growth are examined in
the work. Two bronze
arms extend from a
common root base. Poised
delicately in the palm of
one hand stands a solitary
figure; in the other, a group
of figures. Is this physical
separation a metaphor for
isolation Or are these
figures subtly and
unconsciously connected
via the common root base.
Jennyfer grew up in Phoenix, Arizona. In 1997 she graduated from
Arizona State University with a Visual Arts degree. Jennyfer's work has
been shown in a number of 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 US and Australian
galleries.
50

the Garden Path
J ill Symes
My sculptural work
relates to landscape, the
sea, and the sky, with
reference to the human
connection. My practice
consists of works mainly in
clay, using techniques of
slab, coil, pinch and layer
to produce forms and
surfaces which allude to
our primitive and organic
origins. The beauty of
simplicity in form and
truth to materials are
essential concerns to me.
‘‘Images of the Sea (Sail,
Hull & Fish)’ responds to
my daily visits to the sea
observing colours, textures
and shapes that appear in
this environment.
Images of the Sea (Sail, Hull and Fish)
Ceramic, 2006
Sail 45 x 37 x 23cm, Hull 26 x 54 x 20cm, Fish 17 x 70 x 16cm
Jill completed a Graduate Diploma of Fine Arts (Ceramics) at Monash
University 1992 and has exhibited nationally and internationally since
1983 in a vast number of exhibitions and awards including the Gold
Coast International Ceramic Awards, National Ceramic Award,
Canberra, and National Craft Award, MAGNT, Darwin. Her international
credits include New Zealand, New Delhi, London and Hong Kong. She
has produced fourteen solo exhibitions of her works and has completed
numerous commissions and artist residencies and worked for many
years as a tutor and lecturer in ceramics.
51

A shley Turner
the Garden Path
Moonscape
Brown Verdite stone, 2005
33.5 x 31 x 10cm
Ashley is an emerging sculptor who specialises in works of exotic stone
and wood. Based in his Glen Iris studio, he has slowly accumulated a
unique resource of ancient and valuable natural materials, such as
Huon Pine and Green Verdite. He combines these traditional materials
to push their limits as contemporary sculpture. The texture and
individual characteristics of the primary raw material are carefully
analysed, often influencing the final result. Ashley focuses upon overall
balance and a sense of proportion in his work, with a fine finish in the
detailed aspects of each piece. To date, Ashley has worked to develop
two careers simultaneously. With advanced degrees in law and
biochemistry, he comes to the art world with a very unique perspective
and desire to build quality artwork.
‘Moonscape’ is
created from a singular
piece of raw Verdite stone,
utilising its natural vivid
colour and immense
density to represent the
lunar form. ‘Moonscape’
is crafted to combine both
smooth and roughened
textures – a topographical
view of the intricacies and
tranquility of the moon.
Verdite, also known as
‘African Jade’ is a very
rare, semiprecious stone
extracted by hand from a
single known mine in
Zimbabwe. With a
hardness of 9/10 and
having a scintillating array
of densely packed colours,
raw verdite is virtually
unobtainable and is
therefore one of the most
valuable and sort-after
materials in the world.
52

the Garden Path
Jos Van Hulsen
‘Fruits of Progress’ is
part of an exploration into
man’s quest to manipulate
and control the natural
world. We lower
mountains, straighten
rivers, control the temperature
where we can. We
modify it, sculpt it, trim
and neaten it to make our
lives more comfortable.
But are we comforted
Does all the ease, the
technology, entertainment
and endless consumption
make us more content Is
the rugged, messy and
random beauty of the
untouched world less
beautiful than the
manicured garden Do we
want to be gods Or
perhaps we think that if
we can control nature we
can somehow remove
ourselves from it and from
our own life cycle, thus
avoiding the confrontation
of our own inevitable
death.
Fruits of Progress
Steel, ceramic, stone, glass & oil, 2007
292 x 70 x 175cm
Jos was born in the Netherlands in 1963, migrating to Melbourne in
1978. He completed a Bachelor of Fine Arts in sculpture at RMIT in
1986. In 2004 his work was shown in Sculpture by the Sea at Bondi
Beach, Sydney and this year he was the recipient of the Encouragement
Award at the Helen Lempriere National Sculpture Award.
53

Robert Waghorn
the Garden Path
Power Grid
Painted wood & ceramics, 2007
72 x 46 x 20cm
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.
T his is part of a series
of works that explore
current topics of discussion
from everyday life, current
affairs and the news.
Interest rate rises,
environmental concerns
and energy shortages have
resulted in loss of the
Australian dream. Once
part of our culture to own
our own homes, this has
become increasingly
difficult for the average
wage earner to a point
where it is swiftly
becoming a thing of the
past. This work explores
notions of personal,
physical and metaphysical
power, empowerment and
disempowerment. Power to
the people, right on.
54

the Garden Path
Cyrus,
Wai Kuen Tang
Imagine going into a
house which is out of this
world. Nobody is there.
You open the doors and
there are things that may
belong to somebody else
yet they speak to you.
Can they really speak Or
is it actually the projection
of your own fantasy
This installation intends to
create a mysterious and
uncanny journey into
childhood memories and
our fantasy which is
sparkling but fleeting.
Finding Wonderland
Old building materials & glass, 2007
2 cubic metres
Cyrus, Wai Kuen Tang migrated to Australia in 2003 and graduated
from the Victorian College of the Arts in 2004. Since then she has been
working to develop her career, completing an artist residency in
Tokoname in Japan in 2005 and exhibiting in solo and group exhibitions
most recently Stephen McLaughlan Gallery and Westspace Gallery. As
an Asian immigrant, she intends to create a dialogue between east and
the west culture, reflecting her struggle to start her new life and the
interchange between the past and the present. She is currently
studying for her Masters at Monash University, and recently completed
a commissioned project for the Frankston City Council.
55

M ichael Walsh
the Garden Path
Divergence II
Stainless steel, 2007
20 x 60 x 20cm
Originally from Horsham in western regional Victoria, Michael has lived
and worked in Melbourne for over ten years. He recently returned to
sculpture after a three-year break during which he undertook
postgraduate studies at RMIT University. His works have been featured
in outdoor sculpture exhibitions including the Moreland Sculpture Show
in 2004 and 2007. In recent times he has focused on making smaller
scale, indoor works - this reflects both his own sculptural explorations
and the logistics of creating new work while living in the inner city.
Michael is an active member of the Contemporary Sculptors Association
serving on the Committee of Management between 1997-2000
and is currently developing a new website for the organization.
‘Divergence II’ is a
metaphor, in three
dimensions, of the
dynamic pathways
followed by life, ideas and
culture over time. There
are peaks and troughs but
always constant, rhythmic,
movement. Sometimes
divergence occurs, a new
pathway is formed, and
things take off in a new
direction. Life has always
been like this.
56

the Garden Path
D avid Waters
Upper Right Back Leg
Polystyrene & concrete, 2007
450 x 90 x 100cm
‘Yaps the dog lived
in one of Melbourne’s
newest suburbs. One day
Yaps was digging in his
back yard when he
found … ‘
David is based in central Victoria but most of his sculptural work has
been done in Melbourne. He studied at RMIT and VCA from 1982 to
1987 and has since worked in a wide range of mediums, from
performance and installation work, to formal carving in stone and
wood. Over the last few years he has turned his attentions to working
with foam rubber and cast concrete, exhibiting in various group and
solo shows. In 2005 he was the winner of the Montalto Sculpture Prize
and also received a Highly Commended at the Yering Station Sculpture
Prize in 2004. His most recent solo exhibition Tarpaulin was shown at
Brightspace in St Kilda in August this year.
57

D awn Whitehand
the Garden Path
Equilibrium
Stoneware clay with volcanic glaze, 2007
44 x 33 x 20cm
T hrough using visually
tactile surfaces and
suggesting movement
through manipulation of
form, I attempt to
stimulate the viewers
senses. The use of organic
contours and tactile
surfaces that reflect
landscape elements offers
a natural experience,
heightening this sensory
encounter, thus providing
an escape from the
superficialities of modern
life and providing a
moment of contemplation,
reinvoking a sense of
ourselves and our place
upon the earth.
Dawn completed Honours with High Distinctions for her Bachelor of
Visual Arts in ceramics in 2004 and is currently undertaking her PhD
at the University of Ballarat in regional Victoria. The title of her PhD
project is Sacred Space in Contemporary Society and specifically asks:
Can the artist, through ceramic installation, act as a conduit linking
humanity’s secular and spiritual existence Dawn is interested in
exploring the organic references within the medium of clay, organic
textured surfaces and undulating forms combining to conjure reactions
within the viewer that trigger lost and forgotten responses toward
community and the land. A recent winner of the Pat Emery Award for
Emerging Artists, Dawn has artwork recently acquired in the Ballarat
Fine Art Gallery collection and has recently been published in The
Journal of Australian Ceramics.
58

the Garden Path
L ih-Qun Wong
‘When there was time to dream’
is a piece that explores creation in its
most simplistic yet complex form.
The battle for each human being
begins here, yet the most miraculous
battle is so easily forgotten. Is it here
that vivid dreaming and imagination
begins And how quickly do we lose
our memory of a softer and more
compassionate time
This work was inspired from teaching
creative writing to students from the
ages of 8 through to 17. What has
become startlingly apparent is that
while some children are able to vividly
imagine and visualise images in
narrative as well as conceptually,
others are completely unable to form
these pictures. So where has the
ability to visualise gone Or was the
capacity never formed in the first
place, the imagination replaced by
synthesised, ‘ready made,’ screen
images. My work explores the
degeneration of creative and imaging
functions in our children (and adults)
today that are a symptom of how
technological advancement and
wealth are not a sign of human
progression, but a regression. That the
inability to imagine, leads to a
splintering of the view of self, and
others, as it can only be gleaned, or
imitated, through produced images –
entertainment or the media.
When there was time to dream
Silk, resin & electronics, 2007
20 x 50 x 60cm
Lih-Qun has a background in costume and wearable art,
bringing together skills and a love of textile work, art
finishing, prop making and thematic or conceptual
designing. Treating fabrics in new and interesting ways,
whilst still calling on technical construction skills is a
particular interest, as is finding new ways to share her
view of the world. This year sees Lih-Qun breaking out of
from purely using textiles, in order to create ‘wearable’ art
that is sculptural and able to be appreciated detached
from the human form. These works seek to explore how we
link with the internal and external influences in our lives,
and the ever increasing need to be aware of how
entrenched or dangerous this can become.
59