UWS Sculpture Award and Exhibition 2012 - Art Gallery - University ...

UWS Sculpture Award and Exhibition 201215 May – 3 June 2012, Campbelltown Campus

ForewordSince 2004 the University has proudly hosted the UWS Sculpture Awardand Exhibition biennially on its Campbelltown Campus, which has become asignificant cultural event within Greater Western Sydney, growing in stature andreputation. The exhibition showcases outdoor sculpture by Australian artists,designed specifically for this environment. The competition in 2012 attracted adiverse range of entries by sculptors from around Australia, from which twentyseven finalists were chosen. The winning work will be acquired by the Universityand will reside permanently in the sculpture park located within the parklands,which stretches between the two main entrances of the campus.This landscape has become an important educational, cultural andrecreational space for both staff and students as well as the wider communityand residents of Campbelltown and will soon become the gateway to a majorresidential development. Through this exhibition a memorable public domainhas been created, where a vibrant community connects to a culture of discoveryand learning. This is particularly evident, through the primary and secondaryschool education programs which operate in conjunction with the exhibition.The University appreciates the support of both, Landcom as the sponsor ofthe People’s Choice Award and Quest Campbelltown Serviced Apartments,who has provided regional and interstate artists with complimentaryaccommodation whilst installing and de-installing their works on site. TheUniversity would also like to acknowledge the additional support receivedfrom Campbelltown Council and particularly Clr Anoulack Chanthivong, theMayor of Campbelltown, who is generously hosting a Mayoral reception for theparticipating artists at Campbelltown Arts Centre at the close of the exhibition,where the winner of the People’s Choice Award will be announced.Finally, the University acknowledges with gratitude the contributions madeby the curatorial panel and judges, members of the exhibition project team, allentrants to the competition and particularly would like to pay homage to thefinalists represented within this catalogue and exhibition.We warmly welcome all visitors to this exhibition to enjoy this wonderfulbiennial event, which celebrates the commitment, skill, passion and enthusiasmof these exhibiting artists.Professor Janice ReidVice-Chancellor, University of Western SydneyCoverJanik Bouchette, Resilience2010, winner of the 2010UWS Sculpture Award.Photograph by Kim Armstrong.Campbelltown2

EssayThe Fifth University of Western SydneySculpture Award 2012The finalists in the fifth UWS Sculpture Award and Exhibitionhave thoughtfully considered the context in which theirworks are placed, that being the grounds of a University.This is evident in both the composition and constructionof sculptures within the environment that encompassesthem, as well as the themes explored within these works.Establishing the relationship between a seemingly inanimateform and a particular landscape has been achieved invarious ways. Some artists have incorporated historicaland archaeological aspects of the site within the work itself,whilst others has drawn upon the majestic forms alreadyfound within nature, to emphasize its beauty and importanceto the continual survival of the human race. Many have alsorecreated or reused industrial forms repeated within ourbuilt environments suggesting an overdependence upontechnology and our ever growing isolation and separationfrom nature.Chris Leaver’s Antipodean Vision, one of the few figurativeworks, juxtaposes a giant rabbit with a portion of the famous18th Century Italian ceiling, by Giovanni Battista Tiepolo,Allegory of the planets and the continents painted in 1744. Theworks are deliberately inverted in scale, as this artist plays asurrealist game with the viewer, as does, Jimmy Rix’s In thebeginning... by creating a pencil sharpener which appears athousand times larger than the real object. Both are usingscale to highlight a particular viewpoint, in Leaver’s casethe work is referring to the idealised euro-centric sense oflandscape and nature, during the period of exploration andcolonisation of new worlds during the 18th century. Rix’swork is far more personal, highlighting the importance ofdrawing in all art forms, this archaic instrument, the pencilsharpener could be considered almost a relic, set within aUniversity campus, whose students would be more likely touse a computer then a pencil.Itzick Fisher’s ....and on the fifth day has been inspired by thebook of Genesis, the day of creation when God is reputedto have created the creatures of the sea and air and hasutilised the seagull, as a symbol which has origins in both.Birds appear to be flying free from the very metal plates thatthey have been cut from, doubling as a towering cliff top,that bird forms are perched upon. These biblical overtonesare also found in Ro Murray’s, Two by Two which wasinspired by the story of Noah’s Ark. Twenty pairs of floatingvessels suspended above the ground, resemble boats orpods suggesting a narrative of survival, new life and thecontinuance of it, particularly in an age of mass migration.Will Coles’ Memorial to the unknown armchair general hasrecreated a familiar object, found within the viewer’s owndomestic spaces, suggesting an apathetic electorate thatpassively watches war from afar, physically and presumablyemotionally untouched by it. The image of the chair manifeststoo in the work of Sally Kidall, In the Bag: are we sitting comfortably?,refers to over consumption and materialism and its impactupon the planet and its delicate ecology. The hermeticallysealed bags filled with turf, balancing precariously on a seatsuspended on the lake, implies four individual biospheres,balanced between human survival and comfort. This workis questioning if we really value the earth’s resources whichtoo often end up as waste.Humour and playfulness are evident in the OK Collective(Oliver Cloke and Kathy Heyward) work, Tent in which theyhave created a functional tent from reclaimed businessmen’sshirts. The work comments about men’s traditional roles inwork and society, alluding to men as providers of shelter,which seems in opposition to their freedom and recreationalpursuits. Louisa Dawson’s dynamic and ironic work, NewArrivals, plays upon the visual tension created betweena boulder and a diving board which appears to be bentbeneath the weight of it. This work is a comment uponchanges in our natural world via urbanisation and the3

creation of landscaped recreational spaces, where nature,would appear to be thrown away and replaced by themanufactured in our pursuits of leisure.Other works that reference and utilise found industrialartefacts include Matt Godden’s That and Ingrid Morley’sPocketful of Gold....buckets full of sorrow. Godden captures thefundamental structure of the valve which can be found bothwithin the modern industrial world and organically within thecirculatory system within our own bodies and marvels at thepower of this fundamental structure in life. Morley’s salvagedindustrial hopper bins, were found in an abandoned coppermine near Oberon, NSW. The artist’s very act of interventionto repair this industrial structure once embedded within ascarred landscape from mining “provokes questions aboutwhat we destroy in order to produce.” 1 Gary Deirmendjian’s,seed |sēd| is concerned with the origins of things that growwhether that is plants or skyscrapers. The work takes theform of a concrete cross exposing its metal skeleton. Thisstructure is reproduced in many fabricated buildings withinthe industrial world and at the same time it resembles aseed bursting forth from a pod. Deirmenjian’s work isconcerned with industrial growth out pacing or overtakingnature’s growth, which seems to be in direct competitionwith it and like Morley questions the consequences of this.Found remnants over time indicating memory of the past isobvious in the works too of Martin Rowney and Neil DouglasLaredo. Homestead by Rowney draws upon his archaeologicalbackground and reflects upon, the individual historicaland cultural signature of place based on the artefacts leftbehind. Rowney recreates imaginary ruins that could havebeen the foundations of a former home once located onthe Campbelltown campus when it was a pastoral property.Laredo’s Fence also suggests the former use of this oncepastoral landscape by creating an architectural form createdfrom railway sleepers that recalls the weathered timberfence posts found on rural properties, so familiar around thecontinent. The woodlands adjacent to this sculpture addsa further depth to this site specific structure reminding theviewer that those fence posts were once felled from anextensive bushland that has since been cleared.Pin Hsun Hsiang’s Totem of Language calls to mind theancient tower of Babel, however, this totem has orientalorigins within its design and each brick has been inscribedwith one of the 5000 languages that have been spokenthroughout time. Totems traditionally are a symbol ofcohesion within a community as is language. This sculptureacts like a marker within this landscape, implying thatlanguage is both the gateway and the building block of allsocieties, past and present.Greer Taylor’s Facet is concerned with space, particularlyrevealing the interior space, which is usually hidden withina solidly formed sculpture. The artist invites the viewer tosee through, where the inside becomes the outside, like aholograph there is a visual illusion in trying to create a solidmass that slips from interior to exterior and back again. Thework appears to be making visible to the naked eye themoving particles that make up in a solid form.The viewer is involved at a very visceral level of participationin the very creation of the installation Transit Orbit byVanessa Stanley and becomes part of it. The spiral mirrortiled path not only serves to reflect the environment butgives the viewer an opportunity to view themselves within it.Immersed in the woodlands, clouds, sky and viewer are allreflected by this work, shifting ones perception of light andspace within this site specific work as they walk within it.Geoff Overheu’s, Gates of Reason recalls plastic constructionbarriers and plays upon the viewers understandingand cultivated obedience to modern traffic rules. Thisbarrier/gateway marks an entry point at which the vieweris encouraged to stop and view the bronze bas reliefsculptures residing within the barrier construction itself.These bronze works depict past philosophers, Pope’s andeven pop icons, which the artist considers at times, serveas mental barriers within our thought processes if we blindlyfollow or are guided by them. The material used within thesculpture, bronze juxtaposed with plastic, represents twoends of history, the Bronze Age through to now, the manmade age of plastic.Martin Simms, Remote, is essentially a solar powered neonsign comprised of universally recognizable symbols, touch4

control icons found on electronic devices, making commentupon how these devices intervene with our choicesthroughout the normal course of the day. The work variesits presence within the landscape pending the interveningforces of nature, not unlike the choices made daily via theseelectronic devices. Marcus Tatton’s corten steel symbols inCorruption are reminiscent of binary code but act to representall forms of messages, digital, verbal or physical. His mainpurpose in this work is to suggest that in the transmissionof a message, there is always some form of corruptionbetween what was sent and what was actually received,hence some of the symbols merging together or falling over.Mark Booth and Simon Alexander Cook have both usedcommercial plastic piping in their structures manipulating itinto intricate forms. Booth’s U-ELB(STORM).300-88°F+F takesthe form of a never ending coiling snake like form thathas no ending or beginning. This artist is concerned withthe process of repetition and is non-referential. Cook’sBrahmarina_Menorama 24/7 in contrast is layered in symbolism,referring to religious symbols from various religious traditions,Jewish, Christian and Hindu. Its formation resembles thewings of an aircraft, replete with hydraulic jets. It floats uponthe surface of a lake, like carnage from an aircraft disaster,reclaimed now by nature as a nesting place for swans orother bird life that frequents this particular waterhole.Chris Hodges’ Echo is fabricated from stainless steeland is mounted onto one of the vast walls of the PhillipCox designed buildings on campus overlooking theexhibition site. The shimmering stainless steel curvedform creates ever changing shadows by day and in theevening, it is back lit with a subtle glow, accentuating thesensuous shape of the work. The Listrumpet by Sue Robertsinvestigates the properties of the conical form and its usethrough history to produce sound. The work incorporatesa sensing device, that announces random phrases whenthe work is approached, alerting the viewer that they arenot necessarily approaching an inanimate object but thatit may possess other qualities, echoing former uses in theproduction of sound.John Petrie’s Turning and turning the widening gyre... alsoexperiments with the conical form but directly referencesthe shell‘s spiral structures. The construction technique ofmaking basket tubes of gabion mesh and river stones, addstexture and light to the organic nature of the work, roundedstones echo the cyclical superstructure, like small planetswithin a larger galaxy.Spiral knot vine by Denese Oates also inspired by the growthpatterns of nature, recalls the linear aspect of rope or vines,created from corten steel, the feather like interlacing formstwist and turn delicately within it. The work also suggestsfractals, the endless repetition of certain forms foundwithin nature, emphasizing an endless, infinite universe ofrepetition.Within Abysinnia Jan King has combined slate and steel,creating harmonious and elegant curving lines. The useof these two materials with almost conflicting properties isboth the challenge and mastery of this work. One materialis expansive and mallable the other is hard, flat and brittleand breaks easily under pressure. The union of the two is inessence a metaphor for the duality found in all relationshipsbetween those of contrasting natures, whether it bebetween humans or those found in nature.Gary Christians abstracted figures aptly named, TheAtomic Family, portrays figures which appear to have holespermeating their bodies, scarred as if survivors of an atomicbomb or possibly a natural disaster. This work evokes botha sense of devastation to the natural world and implies thedire consequences for us if it continues.Many of these artists have voiced challenging issueswhich have both currency and relevance in contemporarysociety and this exhibition provides a very public domain inwhich anyone can engage with these discourses as theywalk within the very ground of the University, given a newmeaning to the its motto, “Bringing knowledge to life”.Monica McMahonArt Curator, University of Western Sydney(Endnotes)1 Catalogues notes from Ingrid Morley’s, artist statement 2012.5

List of worksMark BoothU-ELB(STORM).300-88°F+F2012U-PVC pipe, acrylic paint1.2m x 1.5m x 1.4m, 130kg$8,500Gary ChristianThe Atomic Family2012Stainless steel & galvanised steel2.2m x 5-6m x 3-4m, 100kg$27,500Will ColesMemorial to the unknown armchair general2011Resin, iron dust, fibre glass110cm x 80cm x 90cm, 12kg$15,000Simon Alexander CookBrahmarina_Menorama 24/72011PVC plastic, ceramic, solar lights,tubestock, olive oil, clay, coir90cm x 900cm x 900cm, 150kg$20,000Louisa DawsonNew Arrivals2012Diving board & stand with boulder173cm x 100cm x 400cm1.125 tons$13,400Gary Deirmendjianseed |sēd|2012Concrete & steel2.4m x 2.4m x 2.4m, 1 ton$25,000Represented by Artereal GalleryItzick Fisher...and on the fifth day2011Corten steel260cm x 120cm x 120cm, 150kg$15,000Matt GoddenThat2011Steel/Steel found object1.6m x 4m x 0.8m, 400kg$6,400Christopher HodgesEcho2012Stainless steel & light270cm x 30cm x 45cm, 20kg$25,000Represented by Utopia Art GalleryPin Hsun HsiangTotem of language2011Hebel3m x 60cm x 60cm, 600kg$6,000Sally KidallIn the Bag: are we sitting comfortably?Timber chairs, hessian, soil,grass seed, sand & plastic20111.6m x 60cm x 4-5m, 10kg each$3,500Jan KingAbyssinia2009Slate & Steel189cm x 104cm x 73cm, 150kg$27,000Represented by King StreetGallery on WilliamNeil Douglas LaredoFence2012Recycle railway sleepers2.4m x 4m x 4m, 6 ton$12,000Chris LeaverAntipodean Vision2012Fibreglass & poly metal, PVC coating1.5m x 1m x 1m, 20kg$12,5006

Ingrid MorleyPocket fulls of Gold.... buckets fulls of sorrow2011Steel4.5m x 11.4m x 2.6m, 2.5tons$45,000Ro MurrayTwo by Two2011/12Steel, found cast iron90cm x 15cm x 33cm,4kg each (40 pieces)$12,000Denese OatesSpiral knot vine2012Corten steel120cm x 240cm x 80cm, 60kg$25,000Represented by Stella Downer Fine ArtGeoff OverheuGates of Reason2011Bronze & plastic240cm x 120cm x 90cm, 100kg x 2$8,400Represented by Turner Galleries PerthJohn PetrieTurning and turning in the widening gyre…2012Quartz stone, galvanised& stainless steel120cm x 130cm x 240cm, 300kg$25,000Jimmy RixIn the Beginning2012Galvanised mild steel1.6m x 2.5m x 2.8m, 500kg$18,000Sue RobertsThe Listrumpet2012Stainless steel & paint150cm x 85cm x 590cm, 60kg$19,800Martin RowneyHomestead2012Cement, sand, dirt & artefacts150cm x 300cm x 450cm, 300kg$3,000Martin SimsRemote2012Neonlight on support, electricaltransformer, solar panel,battery, inverter, cabling75cm x 5m x 15cm, 35kg$25,000Sponsored by ALCO BatterySales (Aust) Pty Ltd & MMLInternational & ET SolarVanessa StanleyTransit Orbit2012300 mirrored andtoughened glass tiles40m x 60cm x 8mm, 900kg$20,000Marcus TattonCorruption2012Corten steel, bitumen & gravel180cm x 12m x 10m, 1200kg$35,000Greer TaylorFacet2012Powder coated aluminium, nylonmonofilament, stainless steelcable & attachments, brass240cm x 330cm x 700cm, 100kg$32,000The OK Collective – Oliver Cloke andKathy HaywardTent2011Reclaimed business shirts, cottonrope, dowel & tent pegs100cm x 250cm x 200cm, 3kg$1,8007

Mark BoothArtist StatementMy sculptures are concerned with the appropriation of readymadecomponents and their formation into compositionalconstructions through systematical processes of repetitionand pattern. They replicate the module in a non-referential,non-objective manner. Their appearance addresses issuesof transience and non-presence.My practice uses commercially produced plastic pipingthat teases out aspects of Minimalism, installation, and theimmaterial. The sculptures are camouflaged and bleachedwith fluorescent lighting. Colour and light obfuscate theobjects and assimilate them into their surroundings.Artist BiographyMark Booth has completed a BA (Hons) in Graphic Designat the University of the West of England, and a BFA inCeramics at the National Art School, Sydney, where hewas awarded a Distinction. He has had solo shows withDickerson Gallery in both Sydney and Melbourne, andmost recently with MOP Projects, Factory 49 (including agroup show in Ulft, The Netherlands), and Firstdraft Galleryin Sydney. He has been a prize winner in The Festival ofFisher’s Ghost Art Award in 2002 (Gallery Technicians’Encouragement Award), and a finalist in the Paddington ArtPrize (2008) and Willoughby Sculpture Prize (2011). Artbankacquired a number of his works in 2011. Mark lives andworks in Sydney.Selected Exhibitions(Solo)2011 11XU-PVC9.323745.006474,Firstdraft Gallery, Sydney2010 Plain Brown Wrappers, MOP Projects, SydneyConstructed of Chemicals, Factory 49, Sydney(Group)2012 Factory49 @ The Rocks - A Pop-UpProject, Sydney (part of Art Month)Sculpture 2012, Brenda May Gallery, Sydney2011 From The Studio, Jean Bellette Gallery, HillEnd, NSW (with support from the Hill End ArtsCouncil & Bathurst Regional Art Gallery)Factory49 Group Show, Galerie bij deBoeken, Ulft, The NetherlandsNon-Objective Group Show: StructuralSpaces Office Project, Factory49, Sydney9th Annual Sculpture Show, Global Gallery,Sydney Award Exhibitions (Finalist)2012 University of Western Sydney SculptureAward & Exhibition, NSW2011 Willoughby Sculpture Prize, The Incinerator, NSW2008 Paddington Art Prize, Mary Place Gallery, NSW2004 Cromwell’s Art Prize, Arthouse Hotel, NSW2002 Sculpture by the Sea, NSW6 th Thursday Plantation East CoastSculpture Show, NSWCollectionsArtbank, Sydney8

Mark BoothU-ELB(STORM).300-88°F+F20129

Gary ChristianArtist StatementThe patterns, rhythms and tones of the natural world havealways given force to the images I create but this sculpturespeaks of the relationship between Australians and nature.The Atomic Family is an evocation of the devastation causedby humans to the natural world and to ourselves. It is aboutthe continuing havoc rendered on the Australian land andits people by its people. It echoes many stories, localand global – Hiroshima, Maralinga, Chernobyl, and nowFukushima. The Atomic Family – one family and every family– stand as witnesses to, (and embody), desecrations pastand presentArtist BiographyGary Christian has been painting and sculpturing fortwenty years. He has had 17 solo shows – in Sydney,Melbourne, Brisbane, Canberra and Hobart – and hastaken part in numerous group shows. In 2009 he wonthe Santos Sculpture Award and installed a wall sculpture,commissioned by Multiplex, at 1 Shelley Street DarlingHarbour. Recent commissions include a sculpture for theCorrimal Cokeworks Hundred Year Centenary and a large 7floors high Sculptural facade designed in collaboration witharchitects, Fitzpatrick and Partners, 33 Bligh Street Sydney.10

Gary ChristianThe Atomic Family201211

Will ColesArtist StatementA memorial to all those gutless cowards that have neverfought a war yet have no problem sending others to fighttheir cause for them. In memoriam to all those chickenhawks that have defended their own ideals with the lives ofothers. But, most of all, for those that love a good war film, afull on action film & confuse it with real life. Those that have apurely superficial understanding of war, are aroused by thethought of it but will never leave to fight one and deep down,they know that.Artist BiographyBorn in Warwickshire England 1972 grew up in the Suffolkcountryside. Studied at Wimbledon and Glasgow Schoolsof Art. Immigrated to Sydney in 1996 and has madesculpture ever since.12

Will ColesMemorial to the unknown armchair general201113

Simon Alexander CookArtist StatementBrahmarina_menorama 24/7 is a branched vascular structure, aninvitation to dance with swans, to explore the attraction andrepulsion of oil and water.While furthering design of calligraphic inspired forms thishabitat friendly construct infers the two-way movement ofboth nutrient and pollutant with imagined choreography ofwater-birds arriving and leaving their ‘marina’.The ‘menorah’ candlestick symbol is in one sense ametaphoric multi-jet ‘exhaust’ for fossil-fuel with the superchargedconsumption of hydro-carbon burning 24/7 insteadof original holy olive oil. Yet in another sense the formalisttree structure is an acknowledgement of the source ofdivine order, truth and mercy fulfilled in Christ rising from the‘root of Jesse’.Simultaneous capture and distribution of natural harmonyand discordant pressures by the vascular ‘dance of life’tree can also reference a Sanskrit symbol of Brahman as 7swans, from the verb root brh, etymologically meaning “thatwhich grows”.The work in light pipe, reads as the inverse of scriptmarking a page, as a pure 3D tag, a ‘drawing’ or callingcard, a pipe-organ like instrument, a holy-relic and pleasurecraft.When installed on water the work is animated by wind,the sedges act to filter and invite bird nesting, and is torch-litby 7 solar-power headlights.(Common name: ‘Eu de Toilette Darque Swan withPlumbers Quack’)Artist BiographyExhibition2011 Aust Chair Survey, Gallery ofAust Design, Canberra.2010 finalist UWS Sculpture Award; Blacktown Arts;Fisher’s Ghost Open; St.George Prize;group - timber, Aust Woodwork, Nulkaba;Lush&Loud, Parramatta, Gaffa retail,2009 group, Casula Powerhouse, TAP Gallery,The Edge tradeshow, PYD market2004 Retail design Morpeth, Maitland Gallery2000 Olympic Landcare Gold-Tree Icons, Parramatta1994 Boomerang – SA Museum; NT Gallery Acquisition1992 Talentborse Handwerk, Muchen,Germany; Object (CCNSW) 1993Curation & Design1998-2001 HeritageRiverPhoenix - Fire-Event,QuarrySoiré, Glengariff Wisteria Fest,Westmead, ‘Corroboratus’ Palimpsest artists,Riverside Theatres; MAiZE childrens installation;OldGovtHouse lighting eatStreet, ParramattaPublication2010 ‘GREENPAGES’ Autumn; ‘The WestAustralian’ - Habitat, 22/01; ‘MONUMENT’#96 p95 ‘INDESIGN’ #40 p30 blogs, TheGraphic Museum, Design for Men2009/4 ‘INSIDE Interior Design Review’ magAward2010 UWS-Landcom Peoples Choicewinner ‘Falling_Fowl’2009 finalist IDEAAward SustainableProducttheMercySeat2009 REMOgeneralstore.com feature designerEducation2011 TAFE C3-Ceramics14

Simon Alexander CookBrahmarina_Menorama 24/7201115

Louisa DawsonArtist StatementNew Arrivals is a sculpture that uses a diving board and aboulder to create an absurd tension between the twoobjects and the landscape. The boulder is trapped in themoment just before it is flung into the man made pondby the diving board. In contrasting the functions of theseobjects the work aims to communicate new ideas betweenstructures, objects and environments.Louisa’s current area of research aims to contrast trendsof eviction, redevelopment and urban renewal, with peoplesassociation and affinity to the swimming pool. In earlierworks, Louisa has modified industrial and domestic objects,such as rubbish skips, suitcases, ladders and tables, tojuxtapose their form and function to create absurd andironic sculptures.Artist BiographyLouisa is a Sydney based artist working in public sculpture.She completed a Masters of Fine Arts Research at theCollege of Fine Arts, University of NSW, 2007. During hermasters, she was a guest student at the Academy of ArtDresden, Germany. Louisa was a finalist in the 2004, 2005and 2007 Helen Lempriere National Sculpture Award. Shewas also finalist in the Western Sydney Sculpture Prize in2008. She has exhibited in a number of group shows andsolo shows, including the Newcastle Regional Gallery,Parramatta Artist Studios, Ivan Dougherty Gallery andFirst Draft Gallery. In 2007 she was awarded the InternationalStudio and Curatorial Program in New York from the AustraliaCouncil for the Visual Arts. This year she will undertake aresidency in Liverpool, UK and also at the Künstlerhausesotte1 in Germany.16

Louisa DawsonNew Arrivals201217

Gary DeirmendjianArtist Statementseed |sēd|noun1 a flowering plant’s unit of reproduction, capable ofdeveloping into another such plant.Oxford Dictionaries – onlineHere ‘seed’ may likewise suggest itself as being thereproductive unit of some multilevel reinforced concreteconstruct.One may imagine it being sown and beginning to growwhere it now rests, into another quick glass-clad monolith, ashopping centre or a car park perhaps.“GROWTH!” is what the new priests and their herdsseem to chant.“At what cost?” the few dare ask.Sydney based artist: Master of Fine Arts, National ArtSchool, 2006: Bachelor of Engineering (Aero), Honours,University of NSW, 1991Demonstrates a strong commitment to art in sharedspace; extensive exhibition history; regular finalist in themajor national sculpture exhibitions including Sculpture bythe Sea, Helen Lempriere, McClelland Survey and UWSAward.Collections include City of Sydney, Sydney HarbourForeshore Authority, Macquarie University, University ofWestern Sydney, Parks Victoria, McClelland Gallery &Sculpture Park & Maritime Union of AustraliaAcknowledgementsThe work was generously enabled by Sydney Olympic ParkAuthority.Artist Biography“Deirmendjian’s Sculpture embodies a form of forensicurban archaeology: seeking out the objects and detritus ofeveryday living, aligning this with close observation of socialattitudes and political mores and the compelling strength ofthe life force. He interprets and overlays these objects andattitudes with an artist’s eye and consummate maker skills.”Barbara Dowse, Artereal Gallery, 2011.18

Gary Deirmendjianseed |sēd|201219

Itzick FisherArtist StatementAccording to the story of creation as told in the book ofGenesis in the Old Testament, on the fifth day God createdthe great creatures of the sea and every winged bird. In thiswork, Itzick is employing the seagull as a symbol for all birdsand the great creatures of the sea as it is a bird that livesby the sea and is dependent on the creatures of the sea forits survival. By using the plates of which these birds are cutout of and by forming them into some sort of a birth placeor a launching pad for these birds, Fisher is creating his own“fifth day” demonstrating that creation is eternal.Artist BiographyMy first encounter with raw steel took place on the kibbutzin Israel where I grew up. I was exploring one day, as Istumbled into the metal workshop. The man in charge whoknew me and my creative mind invited me in and said... goon, make something so right there and then I started makingmy first steel creation “Don Quixote and Sancho Panza” outof metal bits which I collected around the place. On this veryday, this great man began mentoring me, starting with a twoyear journey into filing steel shapes and learning as much asI could about this wonderful matter. It was during that timethat I fell in love with steel and form ... passionately, I was just12 years old...Selected group exhibitions2011 Gosford art prize 2011, Gosford regionalgallery ( sculpture,print)2011 In Situ 2011, Mosman, Sydney (sculpture)2011 Sculpture ten Incinerator art space,Sydney ( sculptures)2011 Sculpture in the vineyards, Wollombi Valley.2010 Sculpture in the vineyards, Wollombi Valley.2009 Sculpture in the vineyards, Wollombi Valley.2009 Willoughby Sculpture Prize, Sydney2008 Fundraising for China EarthquakeExhibition, Cross bay gallery, Sydney,2008 The Shadow of Landscape, Crossbay gallery, Sydney, (sculpture)2006 Annual 6X6X6 miniature sculptureshow, Defiance gallery, SydneySolo exhibitions2011 The is that is I..observing, Incineratorart space, Sydney2011 Mezze Sydney2007 Life’s a puzzle, Balmain watch house, Sydney2006 Faith &fate, Momo art gallery, Sydney2005 Hidden boundaries Willoughby councilfoyer exhibition space, SydneyCommissions and Public art2010 ‘the two sculpture commission forCornerstone, Surry Hills, Sydney2008 ‘it is’ sculpture commission forCornerstone, Collaroy, Sydney20

Itzick Fisher...and on the fifth day201121

Matt GoddenArtist StatementFrom the first sluice gate in an irrigation ditch, to the modernindustrial world, or the vessels of our circulatory system,the valve is a concept that for me, captures a fundamentalstructure within life.Its purpose is to restrict or block that which passesthrough it, yet in doing so, it enables whatever it is restricting.It is an adversity device, the challenge against whichsuccesses are measured, the setback against which weaim higher, limitation in all of its forms which inspires ourgreatest achievements.This valve is neat, a clean example of industrial-strengthcontrol and protection. It supports a corroded pipe, whichleft in the elements will corrode further, until it is replaced bynew sections which can begin the corrosion cycle anew.Looking through the pipe, the half-moon view created by thevalve’s partially closed gate, occludes and frames whatevervista the work is oriented towardsArtist BiographyMatt’s background is in design, teaching design, and writingand illustrating graphic novels. After experiencing the sort ofevent that causes a person to reassess their life, he enrolledin the National Art School, completing his sculpture majorin 2011.Solo Exhibitions2010 Nervous Spaces, Xavier Artspace, St Vincent’sHospitalGroup Exhibitions2011 Graduation Show, National Art SchoolWe Love Art, St Vincent’s Hospital fundraiser2010 Heavy Metal, Stairwell Gallery, National Art School2009 Supanova Popculture Expo, Sydney2007 Supanova Popculture Expo, BrisbaneSydney Writer’s Festival Zine FairSupanova Popculture Expo, Sydney2006 Supanova Popculture Expo, SydneyAwards & Residencies2011 Sydney Olympic Park Artist-in-Residence Sculptureprize, National Art School2009 FONAS Second Year Art History & Theory Prize,National Art School2002 Cultural Diversity & Harmony Digital Arts & MediaPrize, Sydney Institute TAFECollectionsSt Vincent’s HospitalSt Vincent’s Private Clinic22

Christopher HodgesArtist StatementThe simplicity of this sculpture’s serpentine shape is at onceorganic and abstract.In the day it creates shifting forms through shadows castby the passing sun. At night neon light glows from behindthe sculpture, illuminating its edges.Artist BiographyChristopher Hodges is an artist who has been exhibitingsince the late 1970’s both as a painter and sculptor. His earlywork had a strong figurative element. As he has matured asan artist, his work has become more minimal, abstract andevocative. Recently, he has begun to incorporate light intohis sculptural practise, which hints at the aura of the paintedform and has deepened his investigations of the relationshipbetween positive and negative space.Selected Solo Exhibitions2010 ‘Curve’, Utopia Art Sydney, NSW2008 ‘Christopher Hodges’, Coffs HarbourRegional Gallery, NSW2007 ‘Totems’, Utopia Art Sydney, NSW2006 ‘Zinc’, Utopia Art Sydney, NSWSelected Commissions2011 Longrain Sydney, sculptures forShortgrain and the Longrain Bar2010 St Vincent’s Hospital commission,‘flower for a friend’2009 Longrain, Sydney, 10 th Anniversarywall sculpture, ‘wave’Mosman Art Trust and Mosman MunicipalCouncil, ‘the white flower’ sculptureinstalled in Hunter Park, Balmoral2007/8 Rouse Hill Town Centre SculptureCommission, ‘Homage to a Tree’.2006 Longrain, Melbourne, sculpture andwall hanging, ‘Anemone’2005 Macquarie University Sculpture Park, ‘Mira Mira’Selected CollectionsCampbelltown City Art GalleryCoffs Harbour Regional GalleryGrafton Regional GalleryHolmes a’Court CollectionNational Gallery of AustraliaNational Gallery of VictoriaNew England Regional Art MuseumPerc Tucker Regional GalleryQueensland Art Gallery24

Christopher HodgesEcho201225

Pin Hsun HsiangArtist StatementThe Totem once symbolized the cohesion in the spirit oftribal unity. There are over 5000 languages spoken in theworld. What I have carved on the Totem was just a smallcollection from those languages. It is my wish that peoplefrom all over the world coming to Australia to live would liftthe spirit of culture diversity, when they unexpectedly spota language of their own in the Totem. I also wish the lettersand characters familiar to the same people would inspirethem to think that their achievements, their affections andtheir feeling of being home to return can be found on thispiece of land.Artist BiographyPin was born in Shanghai, China and has a background inadvertising design and traditional watercolour painting. Hemigrated to Sydney in 1988. Pin gained additional skills forantique restoration and turned his focus on to sculpture.Awards2004 “Leap” wood carving won RunningRock Masterworks prize, Sydney2005 “Back” wood carving won SculptorsSociety prize, Sydney2008 “Naughty Girl” scupture won SculptorsSociety prize, SydneyCollections1986 “polo” large oil painting held byprivate collector in Brazil1994 “Tired Lady” wood carving selectedby Mr. Max Willis, on permanentdisplay at NSW Parliment HouseExhibitions1990-1999 Oriental Artists Associationexhibitions, yearly2003-2011 The Sculptors Society exhibitions, yearly1999 “Sydney 99” culture exchangegroup show at Shanghai2000 International Art Expo at Seoul2005 Sculpture Expo at Bejing2006 “Harmony” group show at Shanghai2008 “Harmony” group show at Canberra2010 International exhibition at Moscowand Yekaterinburg2010 “Coming and Going “ groupshowof China Link, Sydney26

Pin Hsun HsiangTotem of language201127

Sally KidallArtist StatementThrough site-specific environmental installation andphotography I seek to challenge the predictability ofexpectation and `cultural homogeneity’. My art practiceis inspired by the complexities, equilibrium and fragilityof the natural environment and by the ways in which ourman made system works within, or in opposition to, thesenatural systems. The focus of my practice is the concept oftransition, including notions of unpredictability, vulnerability,deterioration and ephemerality. My work is informed byissues relating to human ecology, consumption andmaterialism.“The more we have the less we own.”Meister EckhartArtist BiographyInternational environmental artist Sally Kidall was born inthe UK, she has been practicing for over 25 years and atpresent works in Australia. She exhibits throughout theUK and Australia. Her background is in sculpture and inrecent years has been focusing her practice on creatingsite-specific environmental installation. On completing herMA in 2006 at Portsmouth University, UK she returned toAustralia.In June 2012 Sally will be representing Australia at theInternational Festival of Contemporary Sculpture: KyivSculpture Project, Ukraine.Recent Solo Exhibitions2011 Antworks: Translations, BrunswickArts, Brunswick, Victoria2010 Antworks: Translations, SheahanGalleries, Clifton, NSW2007 Cradle to Cradle, Brighton MediaCentre, Brighton Festival, UKSelected Recent Group Exhibitions2011 Yering Station Sculpture Awards, Victoria2011 On the Move (Sculpture by the Sea)Orange Regional Gallery, NSW2008 & 2010 Sculpture by the Sea, Bondi, NSW2010 Weereewa Festival Lake George,Bungendore, NSW2009 5 Lands Ephemeral Art Walk, Avoca Beach, NSW2007 Art Vaults, Bargate MonumentGallery, Southampton, UK2007 The Experiment, Stroud House Gallery, Stroud, UK2006 Landmarks III, Lowood Gallery, Cumbria UK28

Sally KidallIn the Bag: are we sitting comfortably?201129

Jan KingArtist StatementAbyssinia is a combination of two materials, slate and steel.My intention is to create an integration and dialectic betweenthese two very diverse materials. It is this correlation ofmaterials and of thoughts – the duality and relationship andthe contrasting qualities of slate and steel that I like. For me,it is also the resistance of materials that creates a challenge.Steel is an industrial product from iron. It is strong andeasily shaped, durable, malleable and has a tensile strengththat enables me to work with structures that can be bothlight and strong – drawings in space.Slate is a naturally occurring rock that cleaves into flatplanes. It is rigid, hard but brittle and when it fractures it breaksinto all sorts of irregular shapes and edges. When workingwith the slate these elements are generally unalterablethereby creating situations which are unpredictable and forwhich I have to find new solutions.Artist BiographyBorn in Western Queensland where she grew up Kingnow lives and works in Sydney. She initially studied art inPerugia, Italy and has a great love of both Italian and GermanRenaissance sculpture and of Gothic architecture. Shereturned to Sydney to continue studies at the National ArtSchool, graduating in 1975, continuing with post graduatestudies at the New York Studio School, New York in 1979and later receiving a Bachelor of Visual Art at UNSW, COFA.She has been a practicing sculptor for more than thirtyfiveyears, with many solo and group exhibitions. Her work,though abstract, is influenced frequently by landscape andnatural forms in the environment and the structures andforces which shift and mould our surroundings.30

Jan KingAbyssinia200931

Neil Douglas LaredoArtist StatementThe sculpture is site specific, harmonising with its space andgiving a feeling of familiarity but at the same time confrontingas an obstruction in our path.The recycled railway sleepers I have chosen in this piecehave a direct reference to the ‘rural fence’. The continuouskilometres of fence posts bordering our landscape, bothrestricting and yet giving ownership and allowing identity.What I hope is that the familiarity of the timbers in theirupright position will give a sense of harmonious belongingto the landscape and that the size and positioning willrestrict the normal path reminding us of how we perceiveownership of the land. A point well recognised whennoticing the plaques acknowledging the previous ownersof the land and wondering how they would recognise thislandscape as their own.While these things are important to the way I think, I alsosee that my sculpture could be a good place to watch theshadows change as they pass through the sculpture duringthe day or just sit and have a sandwichArtist BiographyBorn in Melbourne, I left home at the age of 17 at theinvitation of the Royal Australian Air Force. After many yearsof Living and travelling Australia and the world, I settledin Glenbrook NSW where I began my studies in the Arts.Although I have been painting for most of my life it was notuntil one day when I was working in my studio, that I realisedI was not so interested in the landscape that I was painting,but more interested in the story of what was behind thetree at the end of the road. I believe that was my day ofartistic enlightenment, the day that I began to understandart and what drives me. Ultimately that led to my studiesat the University of Western Sydney, Kingswood where Icompleted my B.A. {VisualArts)While for the most part I have been painting and recentlyhad success in the Gallipoli Art Prize, I find that for me thespatial aspects of sculpture allow for a better interpretationand interaction of my ideas. Artists like Richard Serra andAndy Goldsworthy, with their ability to awaken our basicsenses, brings sculpture into the present. The orchestralchallenge of interplay between object and the viewer isexciting.32

Neil Douglas LaredoFence201233

Chris LeaverArtist StatementThrough one form or other and clothed in historical and artworld references, my work tends to look towards the elusivenature of the truth.These two things, the rabbit and the 18th century Italianceiling* appear to be incongruous to that idea. Taken at facevalue they appear to be merely ornamental, like the gardensand the world for which they were originally intended, poptrinkets in an already over controlled landscape. However,here they are upside down. Looking up instead of down,introduced not native; oversized and in stark contrast withtheir surrounds; simultaneously, for and against.With its transposition from one medium to another, thework reaches out and demands attention; it invites you tonavigate the rift from the past to the present and on to thefuture.*Giovanni Battista Tiepolo: Allegory of the planets and thecontinents (1744)Artist BiographyI have been making art for 20 years. I am currentlyundertaking my Masters in Studio art at SCA.I have been included in the 2010 UWS sculpture prize,2009 sculpture by the sea, 2008 Woollahra small sculptureprize, with various group shows and solo shows prior to this.2006 Solo painting show Blank spaceWork in Sculpture by the Sea2008 Finalist Woollahra Small Sculpture PrizeGroup show ACCP Melbourne2009 Sculpture by the sea2010 UWS Sculpture Award and Exhibition34

Chris LeaverAntipodean Vision201235

Ingrid MorleyArtist Statement“POCKETFULS OF GOLD…………………….BUCKETFULS OF SORROW”“In a time beyond seeing, guided by what is notsaid, I found these textured time wrapped bins. Theywere lying down, whispering their secrets into the quietscarred ground.…………………………………………………. Now asshining guests they see the sunset, the crust of theirsilence broken as a fresh breeze flames the shadowsof these forgotten things” – Ingrid MorleyI came across these industrial hopper bins where theyhad lain for 56 years, in an abandoned copper mine nearOberon, NSW. Their visual power and mysterious presencein this awe inspiring landscape characterised, to me, theambiguous relationship between the productive anddestructive processes associated with mining and industry.Once recovered the hoppers were in terrible shape, theleft side particularly had disintergrated and structurally failed.I nearly abandoned them. The restoration involved finding,fetching, selecting, cutting, welding and modelling materialsto strengthen and match the existing form of weatheredsteel.My intervention of the “handle” suggests the moremenacing aspect of the mining process, a big knife – abig corporation. My intention is to provoke questions aboutwhat we destroy in order to produce.The artist gratefully acknowledges the support of Brian Sinclair of OELEarthmoving, Oberon.Artist BiographyTom Bass Sculpture School – Sydney (1990 – 1992).ParisResidency (2003). Teacher/Lecturer of Sculpture, SydneyUniversity (CCE) 2000 - 2010. Managing Director IngridMorley Sculpture School (1996 – 2010).Recent Major Awards2006 Australia/China Council Artists Grant/Residency Beijing, ChinaAustralia/China Council ArtistsTravelling Grant, China2011 LoveLace International Exhibition (Sculpturalinterpretation of lace) - Powerhouse Museum– Sydney – Highly Commended. WilloughbySculpture Prize (2011) – Residents awardSolo Exhibitions1998 Artarmon Gallery – Sydney, Australia2003 La Petite Briche – Loire Valley, France2006 Pickled Art Gallery – Beijing, China2008 Defiance Gallery – Sydney, AustraliaMajor Selected Group Shows2011 Powerhouse Museum – Sydney, Australia2008 Prometheus Visual Arts Award, QueenslandBrenda May Gallery, Sydney, Australia. Sculptureby the Sea, Sydney Australia (’98,’99,’00,’04,’07,’08)2009, 2011 Willoughby SculpturePrize, Sydney, Australia1998- Defiance Gallery Sydney, AustraliaCollectionsBathurst Regional Art Gallery, Australia. OppenheimerCollection, South Africa. La Petite Briche – Loire Valley,France. The Lady Ethel Nock Collection, Hong Kong, China.36

Ingrid Morley“Pocket fulls of Gold.... buckets fulls of sorrow”201137

Ro MurrayArtist StatementTwo by Two refers to Noah’s Ark. These boats are from oldcast iron compression vessels for trains. They representthe idea of survival: a sanctuary not only from floods andtsunamis, but protection from a toxic environment.Artist BiographySydney based all her life, Ro graduated in 2010 BFA Hons(Sculpture major) from the National Art School Darlinghurst.Her art practice combines awareness from her backgroundas an architect for 30 years with printmaking,drawing, sculpture assemblages and installations throughtransforming common materials and found objects. Thiswork relates to the environment, both natural and cultural,and its changing circumstances with climate change.Selected exhibitionsSolo2012 Nurture Incinerator Art SpaceWilloughby (end of June)2009 Dirt by Sea Mils Gallery Surry HillsGroup2011 Exvoto INDEX Space St PetersCrude INDEX SpaceSmall Works in a Large Universe INDEX SpaceAbstract/Object At the Vanishing Point Newtown2010 Post Grad Show National Art School DarlinghurstHard Rubbish Brunswick Streetgallery Fitzroy MelbourneLiverpool City Art Prize Casula Power HouseMarginal Democracy ATVPRockin’ the Boat ATVPAustralian Ethical Art Prize Tap Gallery East SydneyPrizes2011 Won Sculptures in the Gaol (Trial Bay)Won Women on Boards Art PrizeTap Gallery DarlinghurstWon the Art Reference GroupPrize at Blacktown Art PrizeHighly Commended in the Muswellbrook Art Prize2010 Won Peoples Choice Live RedArt Awards Marrickville2009 NAS Sydney Olympic Park ResidencyWon Liverpool Bicentenary Art Award,acquisitive Casula PowerhouseWon Wollombi Emerging Artist AwardAward Exhibition (finalist)2012 Sculpture on the GreensMaterial World ANCA Canberra2011 Sculptures in the VineyardsMarrickville Contemporary Art PrizeChrissie Cotter GalleryInSitu Festival of MosmanWilloughby Sculpture PrizeHidden: Rookwood CemeteryAdelaide Perry Drawing Prize2010 Sculpture at Sawmillers Reserve2009 The Churchie National EmergingArtist Exhibition Brisbane38

Ro MurrayTwo by Two2011/1239

Denese OatesArtist StatementThis work is part of a series of sculptures interpreting thegrowth patterns of nature. The linear aspect recalls rope orvines, and becomes a whimsical drawing in space.The use of corten steel with its rusty surface serves toblend the work with the landscape, almost as though it hassprung spontaneously from the earth.Fractals provide endless inspiration for shapes and hold aparticular fascination for me. I find the task interpreting theseideas in metal a challenge and a joy.Artist BiographyStudy: City Art Institute 1974-1977 Dip Art (Ed)Denese Oates has been a practicing artist based inSydney for thirty years. She has held twenty six soloexhibitions and participated in numerous group shows inAustralia, Japan and New Zealand. Her work is representedin the collections of Parliament House, Artbank, regionalgalleries throughout Australia as well as many privatecollections. Denese’s preferred medium is metal, copperand corten steel being her favourites.40

Denese OatesSpiral knot vine201241

Geoff OverheuArtist StatementThe function of a barrier is to guide, direct, prevent ordivide the flow of humanity, be it people, cars, bikes, etc.No decision is required by us once we are confronted bya barrier. We simply follow the silent instruction that it giveswithout any recourse to thinking. We assume it is simplydoing its job for our own wellbeing.By placing bronze bas relief sculpture inside the openingsof the barrier, the viewer is compelled to stop, and by thevery action of stopping they subvert the function of thebarrier. The barrier has changed from its utilitarian functionto something of a dilemma.Artist BiographyGroup shows include ‘Boundless’ at the State Gallery ofWestern Australian in 2002. In 2004 he was entered forHatched at PICA, he was a finalist in the Lempriere SculpturePrize in 2006 and was also in Sculpture by the Sea. Hewas a finalist in the ABN-AMRO Emerging Artist Award inboth 2006 and 2007. Other group shows include ‘MineOwn Executioner’ in 2008, Joondalup Invitational 2009 andBlake Prize Director’s Cut 2010 and 2011 and SunshineCoast Travelling Scholarship 2011.He has had solo exhibitions in Perth, Sydney, Melbourneand Basel, Switzerland.He completed a BA Honours in Fine Art at the VictorianCollege of the Arts in 2004 and has lectured at CurtinUniversity and Midland Polytechnic in Perth.42

Geoff OverheuGates of Reason201143

John PetrieArtist StatementYeats’s opening line of The Second Coming conveys thedynamic power of the spiral.Using the construction method of the gabion has enabledme to build a spiral form; a form we see replicated throughoutthe physical world ... from the Triton shell (which I used as amodel) to the galaxy of Andromeda.Artist BiographyJohn Petrie is a Sydney based sculptor with work in bothpublic and private collections in Australia and abroad.He has won several awards and was the inaugural Artistin Residence at The Australian Botanic Gardens, MountAnnan in 2011.Grants/Prizes2011 Judge’s Acknowledgement. WilloughbyCouncil Sculpture Prize2010 Artist in Residence. The AustralianBotanic Garden, Mount Annan2006 Sculpture Key West Artists Grant2003 The Neil and Dianne Balnaves Artists Subsidy2001 The Directors Prize, Sculpture By the Sea1997 Waverly Council Prize, Sculpture by the Sea1996 Thursday Plantation Acquisitive PrizeAcknowledgementThe artist would like to acknowledge the support of TheAustralian Botanic Garden Mount Annan.Selected Group Exhibitions2012 Sculpture 2012, Brenda May Gallery, Sydney2011 Willoughby Council Sculpture Prize2011 Artist in Residence. The AustralianBotanic Garden, Mount Annan1997–2011 Sculpture by the Sea, Bondi/Cottesloe2010 The Fourth University of WesternSydney Acquisitive Award andExhibition2009 The Pasha Bulker Memorial Sculpture,Newcastle City Council2007 Thursday Plantation Ballina, NSW2006 Stella Downer Fine Art, SydneySculpture Key West Florida, USA1998 Wynne Prize, Art Gallery of NSW44

John Petrie“Turning and turning in the widening gyre…”201245

Jimmy RixArtist StatementI would like to highlight the importance drawing has on allart forms. There has been a lot of debate over recent timesabout drawing not being taught enough at art schools witha greater focus on conceptual ideology. For me, I wouldestimate drawing consists of 50 percent of my sculpturepractice and 50 percent spent on fabricating the work.“In the Beginning” relates to the first steps taken eachmorning which is to sharpen my pencil to begin drawing.This sometimes can take a while as locating a pencilsharpener can pose a problem. I thought I was getting quiteforgetful, not remembering where I had left it the day before.Until my three year old son showed a friend his pencil caseand his collection of pencil sharpeners. I realized it wasn’tmy memory at all!Artist BiographyJimmy Rix was born in 1971 and grew up on his family’s cropand cattle farm on Queensland’s fertile Darling Downs. Hewas raised to be a farmer so he learnt to weld at an early ageand at school he studied manual arts and woodwork. Whenhe was 16 the future in farming was grim so he moved toBrisbane to become a chef. His interest in art began duringthese years and was taught drawing and painting at MetroArts by David Paulson.He spent four years in Africa and Europe working as achef and exhibiting his work. He has worked in two Sydneybronze foundries. He was awarded the Clitheroe Foundationand Sculpture by the Sea Mentorship in 2009.Jimmy has recently installed a public commissioned workat Kellyville Ridge and is currently working on a sculpturefor a development in Doonside, both for Landcom andBlacktown Council.Selected ExhibitionsSolo Exhibitions2007 ‘Amulet’, Brenda May Gallery, 2Danks St, Sydney. NSW2007 ‘Horse Tales’, Depot Gallery, 2Danks St, Sydney. NSW2006 ‘Bronze and Beyond’, Depot Gallery,2 Danks St, Sydney. NSWGroup Exhibitions2012 ‘Sculpture 2012’, Brenda May Gallery,2 Danks St, Sydney. NSW2011 ‘Sculpture Inside’ Orange RegionalGallery, Orange, NSW‘Making Do’, Shoalhaven RegionalGallery, Nowra, NSW‘Art and Humour Me’, Brenda MayGallery, 2 Danks St, Sydney. NSW2010 ‘University of Western Sydney Awardand Exhibition’ Campbelltown, NSW‘Sawmiller’s Sculpture Prize’,McMahon’s Point, Sydney, NSW‘Sculpture by the Sea’ Bondi, Sydney, NSW.‘Green’, Brenda May Gallery, 2Danks St, Sydney, NSW2009 ‘Sculpture by the Sea’, Bondi,NSW and Cottesloe, WA2008 ‘Sculpture by the Sea’, Bondi, Sydney, NSW46

Jimmy RixIn the Beginning201247

Sue RobertsArtist StatementThis work continues my theme of entrapment. Theinspiration for this sculpture arose from consideration of thedual action of a cone, as a receiver or a projector of sound.Both actions involve the same conical device to create theopposite result. The work reflects the old hearing trumpetswhich were used to trap and concentrate sounds into theear canal, together with memories of coaches with theirmegaphones, shouting instructions to their players.Artist BiographySue Roberts was born in the UK, studied at CambridgeCollege of Art and was awarded the CCA Travel Scholarship.After moving to Australia she studied art at Hornsby TAFE,continued on to The National Art School completing aBFA majoring in Sculpture in 2008. She has exhibited inSculpture by the Sea 2010, Sculpture in the Vineyards 2010and 2011, the Kooindah Sculpture Award 2010, Rookwoodcemetery 2010, and various group shows. Recent awardsinclude Peoples’ Choice, Sculpture in the Vineyards andKooindah Acquisitive Sculpture Prize.48

Sue RobertsThe Listrumpet201249

Martin RowneyArtist Statement“Homestead” is about the nature of the history of individualplaces. It reflects the individual historical and culturalsignature of a place based on the artefacts that are leftbehind in the archaeological record. It also reflects uponthe constructed nature of history. The history of a place isa construction of information from fragmentary sources—documents, photographs, archives, memories andarchaeological remains.Many rural areas like Campbelltown were once pastoralproperties with homesteads and other domestic and farmbuildings. This work is a ruin from an imagined pastoralhomestead and its archaeological record.The artist gratefully acknowledges the support of the ANU SculptureWorkshop.Artist BiographyMartin is currently a third year sculpture student at theAustralian National University, Canberra. His sculptural workto date has included explorations of assemblage, mixedmedia and bronze casting.His work is informed by an interest in cultural signatures—how every place has a unique signature based on its history.Often cultural signatures are expressed through art andarchitecture or left behind in a place’s archaeological record.With a background in consulting archaeology he is alsointerested in presenting the concept of the archaeologicalrecord to the public through sculpture.Exhibitions2012 Sculpture on the Edge, Bermagui2011 Willoughby Sculpture Prize2011 Lakelight Sculpture Festival, Jindabyne50

Martin RowneyHomestead201251

Martin SimsArtist StatementThis sculpture of coloured shapes in neon light, is composedto mimic the universally recognised touch-control iconsseen on electronic, analogue and digital devices. Thework alludes to everyday life as often being a sequenceof moments comprehensively mediated by such devices,where decisions and responses can seem to resemble achocolate box selection; reality filtered in a saccharin versionof events. Neon illumination is reflected in the surroundingtrees’ foliage and nearby water, inviting comparisons withthe artificial character of a landscaped ‘natural environment’.The work will assume a changeable identity at differenttimes of the day and under variable weather conditions.Artist BiographySims’s sculpture and installations have been shown in historicsites, civic locations, religious spaces and contemporarygalleries with regular exhibition projects spanning 25 years.He attended Chelsea School of Art and the Royal Collegeof Art in London, where he first exhibited before moving toSydney. The recipient of multiple awards and internationalresidencies, Sims is Senior Lecturer in Sculpture at theCollege of Fine Arts, UNSW. He was an Australia Council forthe Arts Artist in Residence at The British School At Romein 2010, and during November-December 2011 presentedwork in two international exhibitions in Manila.The artist would like to acknowledge the sponsorship of ALCO BatterySales (Aust) Pty Ltd and MML International & ET Solar52

Martin SimsRemote201253

Vanessa StanleyArtist StatementThe participant viewer is taken on a journey from a free,unbound state to the bound state of a circular path thatorbits an invisible centre. This work is comprised of mirroredtiles that wind through the landscape and underneath thetree canopy. The trees, the sky and the viewer’s reflectionbecome fractured and abstracted.The viewer, manipulated into a specific relation with light,space and time, is invited to approach, question, play, andbecome part of the process of making this work. A narrativeis created via the elongation of their moment in time. Realitytransitions through the abstraction and interaction with themirrors, which open the viewer›s mind to the phenomena oftheir immediate surroundings.During a gravitational encounter between a star and ablack hole, the unbound orbit of the star changes due toenergy lost from friction with celestial debris orbiting theblack hole. The star may enter a bound orbit about theinvisible centre.This work is influenced by my research into astronomyand the perception of light, space and time. The use ofastronomical tools (mirrors) creates an observatory thatcatches images of the landscape, the reactions of peopleand the materiality of multiple transitionary spaces.Artist BiographyMy interdisciplinary practice focuses on the interfacesbetween art and science, in particular Astronomy. I exploremy fascination with astronomy’s intangible and unreachable‘spaces’ to intrigue and engage the viewer and to ultimatelytouch and transform their perception. Framing, observation,ways of seeing and the perception of light, space and timeare tools used to connect the viewer with nature and theuniverse.Vanessa Stanley, an emerging Brisbane artist, acquiredFirst Class Honours in Fine Art with awards for academicexcellence from Queensland College of Art, GriffithUniversity, Brisbane, in 2009. Stanley has exhibited largescaleworks in Brisbane Festival’s Under the Radar Program2011 and Swell Sculpture Festivals 2011 and 2010,Currumbin Beach. In 2011 she also became a Co-Directorof PAARTS, a newly formed ARI, exhibited in ‘Skylab II - fromwhere you stand’, Melbourne and had a first solo exhibition,‹Touching Infinity›, Scenic Rim Regional Gallery, Beaudesert.During 2010 an Arts Queensland Career Development Grantenabled her to exhibit and lecture at The Seventh Inspirationof Astronomical Phenomena Conference, Bath, England. In2008 she had a residency and exhibition in Tokyo, Japanwith Tokyo National University of Fine Arts and Music.54

Vanessa StanleyTransit Orbit201255

Marcus TattonArtist StatementOur messages are sent outward into the ether. Digitally,verbally, physically; on a multitude of levels we extend ourintentions out to our environs ... Receptors process ourmessages. They have travelled via code, to be decipheredinto a corresponding language at the receiving end ...Where these messages transport, where they aresuspended, this arena is ungoverned. Laid bare to mutation,to experimentation or to manipulation by our human minds,our messages arrive after the fact. The transmission ofintentions, on so many levels, through so many millennia,must always remain ripe for Corruption.Artist BiographyBorn Taumarunui, New Zealand. 1963.Education1987-1989 Bachelor of Fine Art (FurnitureDesign), University of Tasmania1985-1986 Diploma of Fine Art (incomplete), OtagoPolytechnic, Dunedin, New ZealandSolo Shows2010 ‘Squall’ Cataract Gorge, Launceston, Tasmania2006 ‘The Wreakage Principle’, Cast Gallery, Tasmania2004 ‘Dissatisfied Electrons’, Neika Studio, TasmaniaAwards2011 Helen Lempriere Scholarshipheadland SCULPTURE ON THE GULF,Selector’s Merit Award, Waiheke Island, NZSculpture by the Sea, Aarhus, DenmarkSite Specific Artist assistance2010 Regional Arts Grant to produce ‘Squall’ and‘Homesplace’ at Regional Arts NationalConference, Launceston, Tas.Artscape Bienniel Sculpture awards,Byron Bay – Curator’s Prize.Sculpture by the Sea, Bondi, AndreaStretton Memorial Award 2010.2009 Sculpture by the Sea, Aarhus, Denmarkaccommodation and travel assistance2008 Sculpture by the Sea Australian WinnerUnrepresented Artist AwardMontalto Sculpture Award WinnerUniversity of Western Sydney LandcomAcquisitive Sculpture Award Winner2006 Sydney Water EnvironmentalSculpture Award WinnerHelen Lempriere National Sculpture Award– Judges Encouragement Award.Selected Collections:Royal Tasmanian Botanic Gardens‘Monument to the Blue Gum’Landcom ‘The Ponds’ collection, Blacktown, NSWTasmanian Museum & Art Gallery,Hobart, TasmaniaRonald C Wornick Collection, San FranciscoWood Turning Centre Collection, PhiladelphiaTasmanian Wood Design Collection, Launceston56

Marcus TattonCorruption201257

Greer TaylorArtist StatementThe theory of holographic principle suggests that theinformation in a space relates to the information on thesurface of a space.A faceted object invites the act of looking only to revealsthat you cannot – you can only see through, inside becomesoutside and what seems concrete becomes ambiguous.Artist StatementGreer Taylor has worked in many fields of the visual arts:fashion, textile art, makeup, theatre, graphic design; all ofwhich have provided grounding and resource for her currentfine art practice. While her pre-1994 textile practice focusedon art garments, since completing an Advanced Diplomaof Fine Art in 2005, her practice has focused on sculpture,installation and painting.Greer spends much time in the bush – “it is the place thatprovides sustenance for my soul”.Recent Solo exhibitions2011 ‘string theory’, solo exhibition, [MARS] Gallery, VIC2010 ‘GRID’ Project Contemporary ArtSpace, NSW2009 ‘SLICE’, Project Contemporary Artspace, NSWSelected Group exhibitions2012 Sculpture at Scenic World, Katoomba, NSW2011 Montalto Sculpture Prize,Mornington Peninsula, VICSwell Sculpture Festival, Currumbin, QLDLorne Sculpture, Lorne, VICSculpture by the Sea, Bondi, NSW2010 ‘Local:Current’, group survey,Wollongong City Gallery, NSWMontalto Sculpture Prize,Mornington Peninsula, VICYering Station Sculpture Exhibitionand Awards, Yarra Valley, VIC2009 Calleen Art Award, CowraRegional Art Gallery, NSW2008 57th Blake Prize, NSWCalleen Art Award, CowraRegional Art Gallery, NSW2004 John Leslie Art Prize, Gippsland Art Gallery, VICAwards2012 Sculpture at Scenic World AcquisitivePrize, Katoomba, NSWCommissions2010 Site specific installation for ‘PictureThis!’,Wollongong City Gallery, NSWRepresented in collectionsOrange Regional Gallery, NSW*Darwin Museum of Arts and Sciences, NT*Hamton Homes, VIC* the works in these collections are ‘art garments’ madeduring my pre-1994 textile practice.58

Greer TaylorFacet201259

The OK Collective – Oliver Cloke and Kathy HeywardArtist StatementFrom a distance the shining beacon of bright white fabricthat is ‘Tent’ situates the viewer in a complex conundrum,why would a tent be considered an artistic accomplishment?And if it were not art, what use would a tent have if it hasholes in? On closer inspection it becomes obvious that thetent is made from mens’ shirts, which could be considered asymbol of power and the conforming individual that createsa homogenous society.And what use would a viewing portal have from a tent, if itwere not to stare in wonder at the delicious outdoors, at thewonders of our environment in an expanded understanding.The tent is a modality of freedom, and expansion of ourtypical day.Selected Exhibitions2011 “Uniquely Yours: 155a Gertrude St,Fitzroy”, SEVENTH Gallery, Fitzroy, Vic2011 “aRtECYCLE 2011”, Incinerator ArtsComplex, Moonee Ponds, Vic2010 “Incidental (Co)Incidents”, MonashUniversity, Caulfield, Vic2009 “ARRAY”, Bus Projects, Melbourne, Vic2009 “Black Hole Project”, VictorianCollege of Art, Melbourne, VicArtists BiographyThe OK Collective, founded in 2009, is the collaborativepractice of Oliver Coke and Kathy Heyward. Meeting whilstundertaking their studies at the Victorian College of the Arts,these two artists developed an interest in the intersectionbetween their practices; Oliver’s love for social spacesand Kathy’s passion for hapticity and architecture. Theyproposed an ongoing project that aims to produce siterelativeworks that are an amalgamation of their skills andinterests.The OK Collective produce sculptural works, drawings andpublications that often respond to sites and contemporarysociety. Humour and playfulness are the focus of mostworks, reflecting and mimicking the processes that we allpartake of – whether consciously or otherwise. They wishfor interaction with their artworks to instigate questioning,hoping to divert the preconditions for viewing artworks andinduce further inquiry.60

The OK Collective – Oliver Cloke andKathy HaywardTent201161

AcknowledgementsThe University would like to thank the following:The initial selection committee for curatorial directionMr Michael DagostinoMs Monica McMahonMs Jennifer TurpinThe Judges, who played a vital and voluntary roleMr Michael DagostinoMs Jennifer TurpinProfessor Janice ReidThe exhibition project teamMr Jon Ron CayabyabMr Chris EdwardsMs Rosemary HopkinsMr James McMahonMs Monica McMahonDr Denis WhitfieldRobyn Ryan for researching and creating the educationresource kit for Secondary Schools.Jessica Cooper and Monica McMahon for researchingand creating the education resource kit for Primary Schools.Monica McMahon for writing the catalogue essay.The Office of Marketing and Communications, especially,Terry Barridge, Baden Chant, John H. Gonzaga, DanielleRoderick, Sally Tsoutas, Celia Zhao.The Office of Capital Works and Facilities, especially, JohnBonnano, Alex Grochowski, Andrew Hawke, Les Cubitt,Warren Jameison and Robert Lockie.Dordel Maintenance, especially John Overs and GarethBrittenThe University of Western Sydney Art Promotion andCollection and Advisory Committee.Our Principal SponsorsLandcom, especially Mr Sean O’Toole.Quest, Campbelltown Serviced Apartments, especiallyFiona Drinkwater.Our Supporting SponsorCampbelltown City Council, especially Councillor AnoulackChanthivong (Mayor of Campbelltown City Council) andRichard Vreeswyk from Sign Shop Campbelltown CityCouncil.And special thanks to all participating artists in this exhibitionsand their associated galleries and sponsors.PublisherUniversity of Western SydneyUWS Art Collection, Locked Bag 1797Penrith NSW 2751Ph: (02) 4620 3450Fax: (02) 4620 3559Visit: http://virtualtours.uws.edu.au/homeCatalogue Editor: Monica McMahonCatalogue Design: Baden ChantPhotography: All works reproduced courtesy of the artistand their representative galleriesISBN: 978-1–74108-243-2Title: Sculpture CatalogueAuthor: University of Western Sydney.62

Janik Bouchette, Resilience, 2010Winner of the 2010 UWS Sculpture Award. Photograph by Kim Armstrong.Simon Alexander Cook, Falling_Fowl#1, 2010Winner of the 2010 UWS People’s Choice Award. Photograph by Sally Stoutas.63

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