Download Catalogue (pdf 5.3MB) - Watch Arts
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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