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Download Catalogue (pdf 5.3MB) - Watch Arts

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Tony Adams<br />

the Garden Path<br />

Port Phillip Bay (detail) exhibited at the Yarra Sculpture Gallery, 2007<br />

Tony studied sculpture at the National Art School in Sydney and<br />

completed a Masters of Visual Art at the Victorian College of the <strong>Arts</strong>.<br />

Over the past fourteen years, his sculptural practice has utilised<br />

materials and objects from his immediate environment including;<br />

industrial waste, plant matter and rural waste and more recently urban<br />

waste. These materials have been refigured into objects, installations<br />

and ephemeral site specific works. Tony is currently working on a<br />

Masters by Research at Monash University called Anatomy of Waste. This<br />

project involves exploring the notion of artist as archaeologist, or more<br />

precisely a 'flotsamotolgist'. In collecting and working with the refuse<br />

and junk of modern society, this work is inherently involved in political<br />

and social commentary. Importantly, Tony's project is also concerned<br />

with reusing and revealing the aesthetic qualities of these materials.<br />

Tony recently won the Montalto Sculpture Prize with an ecological work<br />

entitled Vanish [collaboration with Caitlin Street]. Tony's works are held<br />

in various private and public collections.<br />

‘10-15 knots on the<br />

bay' explores the<br />

geographic form of Port<br />

Philip Bay utilising the<br />

flotsam and jetsam<br />

collected from its shoreline.<br />

Over a period of two years<br />

these materials were<br />

gleaned from one site -<br />

Middle Park Beach.<br />

During this time I have<br />

used and re-used these<br />

materials in a number of<br />

installations which have<br />

dealt with the interventions<br />

of cataloguing, displaying<br />

and storage, as well as<br />

engaging with the<br />

aesthetics, history and<br />

meaning of these<br />

neglected and discarded<br />

objects. This continued<br />

refiguring of the materials<br />

is essential to my concern<br />

with developing a<br />

sustainable art practice.<br />

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