2009 Williamstown Festival Contemporary Art Prize - Watch Arts

2009 Williamstown FestivalContemporary Art Prize@ The Substation, 21 March - 5 April

2009 Williamstown FestivalContemporary Art PrizeThis award is recognised nationally for showcasing innovation and excellence in the visualarts and annually attracts hundreds of high quality entries from across Australia. Thisfree public exhibition features artists selected by our expert panel of judges.Non-Acquisitive Prizes$3000 Open Award$1000 2D Award$1000 3D Award sponsored by Williams Real Estate$500 Multi/Mixed/Digital Media Award$500 Local Artist Award$1000 Peoples Choice Award sponsored by Reid ConsultantsHighly Commended AwardsFundere Studios - $250 bronze castingNew North - $220 digital print to canvasWest Art Supplies- $100 art suppliesJudging PanelRick Amor, leading Australian artistDianna Gold, Director Gallery 101David Hurlston, Curator Australian Art Exhibitions, NGVCurator/Project Co-ordinator Ken Wong, Watch ArtsSponsored & supported byWilliamstown Summer Festival LtdHobsons Bay City CouncilThe Substation Arts CentreWilliams Real EstateReid ConsultantsFundere StudiosNew NorthWest Art SuppliesToyota Community SpiritProspect Wines WilliamstownThe Seagulls NestWatch ArtsArtist Liaison & Graphic DesignSandra Kiriacos, Watch Artswww.watcharts.com.auSpecial thanks toSteve BlakebroughTania Blackwell, Hobsons Bay City CouncilKate Steele, The Substation& the volunteers at The SubstationDownload catalogue @ www.watcharts.com.auAll images are details from works by; FRONT COVER: MAIN IMAGE Top Samantha Everton TOP ROW L-R Nadine Lineham, Soula Mantalvanos, Tim Craker, Ben Sheers, Lucy Martin Pawlikowski, Trinh VuMIDDLE ROW L-R Johnny Romeo, Amaya Iturri, Julie Shiels, Frank Mejaric, Wendy Haigh, John Madsen BOTTOM ROW L-R Wendy Beatty, The Contextual Villains, Patrick Delbosc, Caitlin Muscat, Merryn Trevethan, TrudiHarley. THIS PAGE Veronica Kent (detail) OPPOSITE PAGE: Johnny Romeo (detail)

Artists6Farhana AhadDena AshboltMichael AshbyRobin AstleyWendy BeattyKlara Bijana KlaricSusan HaseCathy HenenbergRay HewittBob HickmanAmanda HillsKate Hughes12Isabel O’BrienCarlo PagodaPenny ParkinsonJim PavlidisKirsten PerryBernadette Pilli18Vanessa BlazevskiPaul BorgSuzie BourneMichael BrennanFleur BrettThomas Buchanan713Kez HughesAmaya IturriJacqueline JacobiVeronica KentSara KeranenJohn Knap19Stephen PlebanJutta PryorDarryl RogersJohnny RomeoLaszlo RomerPeter RosmanKate CaishKerry CannonRobyn CerrettiJulie Collins & Derek JohnTim CrakerDagmar Cyrulla9108Pip DaveyPatrick DelboscLouise DonovanAnna EphraimSamantha EvertonMark FarrellyBen FashamDavid FrazerMonica GallivanErika GoftonJulie GoodwinAndrew GreenKelly-dee KnightZai KuangCarolyn Lewens & Neil StanyerNadine LinehamAlison Locke 14Cate MaddyJohn MadsenSoula MantalvanosDavid MarshallKim MartinLucy Martin PawlikowskiJill McFarlane1615Darren McGinnVicki McInnesAnton Mc MurrayViv MehesFrank MesaricLynn MillerFiona RuttelleJudith Sackville-O’DonnellGinny SargentBen Sheers20 Julie ShielsLouise Skacej21Nina SmartDeane SobeyKaren StandkeGloria SternJennyfer StratmanPeter TankeyCameron TauschkeThe Contextual Villainsthe naughty see monkeyMerryn J TrevethanPhi Van NguyenTrinh Vu22Timothy GreshamMandy GunnWendy HaighDionisia Salas HammerEva HampelTrudi Harley11Shay MinsterClaire MooneyOlga MorrisKate MurdochCaitlin MuscatMike Nicholls1723Liz WalkerAlan YoungMichelle ZuccoloVaidas Zvirblis

Judging PanelRick AmorLeading Australian ArtistRick Amor was born in Frankston, Victoria in1948. In 1965 he completed a Certificateof Art at the Caulfield Institute of Art andfrom 1966 to 1968 studied at the NationalGallery School, Melbourne. He has been therecipient of several Australia Council studioresidencies which have allowed him to workin London, New York and Barcelona. Rickhas held over 50 solo exhibitions since firstexhibiting at Joseph Brown Gallery in 1974and has shown annually at Niagara Galleriesfor the past 25 years. In 1999 he wasappointed the official war artist to East Timorby the Australian War Memorial, the firstsuch appointment since the Vietnam War. Amajor survey exhibition of his paintings wascurated by McClelland Gallery in 1990 andtoured various regional galleries in Victoriaand South Australia throughout 1990 and1991. In 1993 an exhibition mounted byBendigo Art Gallery celebrating his work as aprintmaker and graphic artist toured Victoriaand Tasmania. An important exhibition ofRick’s bronze sculpture was undertaken byBenalla Art Gallery in 2002, including manymaquettes never previously exhibited. In2001 The Miegunyah Press published GaryCatalano’s biography The Solitary Watcher:Rick Amor and his Art. A comprehensivesurvey show of of Rick’s paintings, Standingin the Shadows, was mounted by McClellandGallery and Sculpture Park in 2005. In2007 Rick won the prestigious McClellandAward for Sculpture, the largest cash prizefor sculpture in Australia. 2008 broughtthe launch of The Beagle Press monographRick Amor by Gavin Fry, and A Single Mind, asurvey show of Rick’s paintings and drawingsdating from 1966, at Heide Museum ofModern Art. Rick Amor lives and works inMelbourne. (Text courtesty Niagra Galleries)www. niagara-galleries.com.auCuratorKen WongDianna GoldDirector Gallery 101This is my third year with the Williamstown Festival ContemporaryArt Prize and it’s fifth anniversary at the Substation. Over that timeit has been both inspiring and rewarding to see the project growto become a nationally recognized competition and the premiershowcase for contemporary art in Melbournes western suburbs.Art is a uniquely human response to the fact of existence. The liveswe lead are a collection of experiences stitched together momentby moment, reflecting our past and projecting our future, but onlyever really existing in the now. The works, mediums and practiceare many and varied, as varied as our respective experiences oflife. They reflect the hopes, dreams, aspirations and observationsof both the extraordinary and the everyday. All of these are part ofwhat leads artists to inspiration; that moment of creation when theneed to express themselves finds a tangible idea, a lucid concept thatcan be enunciated and embodied in a work of art. The works in thisexhibition reflect our interface with the natural world and the quirksof modern living but also voice concerns about the broader social andpolitical inequities of the modern world.Dianna Gold is a fine arts consultant with abackground in teaching and arts education.She has been involved in the visual arts industryfor over twenty years. Whilst completing herdegree in education at Victoria University(Deakin University) from 1984 -1987, sheworked at the Museum of Modern Art at Heide(formally Heide Park and Art Gallery) assistingthe Director on special projects. From 1989– 1991, she owned and managed a privatecommercial gallery. During this time Diannawas invited to run several visual arts projectsfor 101 Collins Street. She was appointedDirector/Curator of Gallery 101 in 1991.In 1992 a formal exhibitions program in thegallery was introduced. In 1993, in additionto the regular exhibitions program, Diannaintroduced an Acquisition Art Award as part ofthe exhibition calendar. The award was knownas Artworkz - 101 Collins Street AcquisitiveAward. The exhibition was held annually andwas sponsored by 101 Collins Street Pty Ltd.The award encouraged young and emergingartists to participate in the juried exhibition andran for four years. Over 200 artists had theirwork exhibited at Gallery 101 in associationwith the award, which was given annually. Theaward focused on different media each yearincluding painting, sculpture and works onpaper. Dianna has been responsible for thepublic art collection at 101 Collins Street since1992. Dianna has been invited to participatein many judging art awards including the Cityof Port Phillip Rupert Bunny Foundation ArtAward 1994 and the Cairns Contemporary ArtAward 2003. Dianna has been invited to giveguest lectures in professional development atseveral institutions including Victoria Collegeof the Arts, Melbourne University, Box HillCollege of Technical and Further Education andDeakin University. (Text courtesty Gallery 101)www.101collins.com.auDavid HurlstonCurator Australian Art ExhibitionsNational Gallery of VictoriaDavid Hurlston is currently employedby the National Gallery of Victoria asCurator, Australian Art Exhibitions, aposition he has held since February2002. He has previously been employedby the NGV as Program Coordinatorfrom 1999 until 2002 and AccessGallery Curator from 1993 until1999. In 1985 David completed aBachelor of Art in Fine Art at RMITmajoring in ceramic sculpture and in1991 undertook post-graduate studyin art curatorship at the University ofMelbourne. He has curated a numberof exhibitions for the NGV including,most recently, Deborah Halpern: Angel(2006) and Geoffrey Bartlett (2007).He serves on the City of Maribyrnong’sArt Advisory Panel, is a member ofArts Project Australia’s ExhibitionsCommittee and a Board Member of theNETS Victoria Board of Management.David is a resident of Williamstown.www.ngv.vic.gov.auresponses, from the election of a black American President, to thehorrors of Black Saturday contrasted with the reminder just lastweek that the Australian Minister for the Environment and the Arts isalso a bone fide anti establishment rock star.We live in an increasingly incongruous world full of contradictions andanomalies, but within these anomalies there is also unlimited creativepotential where it seems, anything is possible. To me, art is at thecoalface of exploring creative potential, and it is the role of the artistto lead that creative endeavor.Despite millions of years of evolution, and the rise and fall ofcountless civilizations over thousands of years, we as modernhumans have managed (in around a hundred years), to push theplanets resources and sustainability towards a breaking point,beyond which there may be no redemption. In a world facing a myriadof problems, perhaps the multitude of creative perspectives in thisexhibition can serve as reminder that while we live in the now, thefuture is a place we all create together in each passing moment.I believe there is a role for art that is both contemplative andmeditative in terms of understanding ourselves and the wider world.Recent events in particular have thrown up a disparate set ofKen Wong is the Director of Watch Arts, a Melbourne basedcontemporary art consultancy. www.watcharts.com.auIMAGE: Robyn Astley (detail)

MESSAGE FROM THE MINISTER FOR THE ARTSLynne Kosky, MPMinister for the ArtsMember for AltonaI am very pleased to once again to lend my support to the WilliamstownFestival Contemporary Art Prize.Over the past several years, these awards have become the premier showcasefor contemporary art practice in the western suburbs, steadily expanding inreputation. The art prize is now recognised nationally, with entries receivedfrom across Australia.As the Member for Altona and the Victorian Minister for the Arts, it is verypleasing to see these awards continue to flourish and provide a nationalcontext for the strong contemporary practice of our local artists.Art is a great reflector of culture and environment. Both on a local and nationalscale, this exhibition highlights and reflects the diversity and strength of ourunique community.Congratulations to all participating artists, the Festival Committee andeveryone involved in bringing us the 2009 Williamstown Festival ContemporaryArt Prize.Lynne Kosky, MPMinister for the Arts

Farhana Ahad2009 Williamstown Festival Contemporary Art PrizeDena Ashbolt“Ocular Artifice VI” is about therelationship between contrastand uniformity within opticaland organic construction. Thestark contrast between the blackand the white, alongside thehard-edged abstractions help toemphasize its invisible contents.This work avoids the look ofcontrive; instead it’s engaged insystems of visual illusion wherethe experience of sight is centraland the visual sensation itselfis integral. Within the paintingOcular Artifice – VIa sensation of movement isPolymer on canvas 2008apparent from the utilization119 x 122 x 23cm$5000of optical illusions, and a thirddimension can be viewed throughthe use of an architecturally shaped canvas. The artwork conveys itsemotional content through the medium of perception, connecting directlywith the viewer’s physical and psychological responses.Wet Feet Under the Pier (video stilll)Video 2008, Dimensions variable$2500Michael AshbyThis is a painting abouthappiness in life. Itseeks to represent theindividual’s consciousand serendipitousacquiring and shedding ofhappiness during life.I’m sweeping out the footprints where I strayedOil on linen 2008, 102 x 96cm$5000There are threeconceptual sourcesfor this work. Firstly,the unearthing of“unknown” soldiersfrom WW1 whoseremains wereunearthed in Francein 2008. Secondly,the painting exploresthe visual aesthetic/design code/bank ofsymbols that belongto the military genreand used in theglorification of warRobin AstleyUnknown SoldiersAcrylic, ink and pencil on Fabriano paper 2009150 x 217cm, $3500through capitalism including Western film, fashion, computer gamesand children’s toys. This device exposes the capacity for the aesthetic toattract and mesmerise an audience. Thirdly, the tattooing of the figuresis a play on the resounding roll of the drums and beat of the ceremonial“Military Tattoo”. In the painting, the tattoos of military objects on thesoldiers’ figure symbolise the ferocity of war and the scars that remainindelibly imprinted on the psyche and human form.Wendy BeattyRepresented by Gilligan Grant GalleryALICE #3 is part of aseries of work titled‘ALICE’, inspired fromthe iconic tale of‘Alice in Wonderland’.Just as ‘Wonderland’challenged therule of languageand limitations, Ihave chosen topush boundariesof traditionalphotographic andviewing practices inrelation to identityand realism.ALICE #3Black & white photograph 2008, 112 x 151cm$1300The aim of my artis to achieve visualsynthesis of elementsaligned with thephysical laws of nature.I apply minimal humancomponent, interactingwith the canvas atspecified intervals. Iwait and watch. Justlike formation ofsedimentary rocks,crystallisation or anyother process in naturemy paintings aretrue evidence of theparticular moment andcircumstances.Klara Bijana KlaricThe BeginningOil on canvas 2008, 115 x 150cm$270006

Vanessa Blazevski2009 Williamstown Festival Contemporary Art PrizePaul BorgMy work exploresthe fragility ofour world andthe impact thatman has on theenvironment.Nature is wronglylooked at as acommodity to bebought and sold,to be exploited forprofit instead ofnurtured for ourFuturenaturalvery survival. WeArchival Inkjet Print on Crane Portfolio Rag 2008interrogate nature60 x 80cm, $450in a range of voicesand registers. The answers are elusive but all of nature talks to us, If onlywe could just figure out what it is trying to say.This painting is my visual reaction to themortgage crisis we are in. At this difficulteconomic time we struggle to survive,worrying, “Am I able to make payment sand keep the house?” At the same timedealing with the rising pressure of Modernliving, hence the thermometer format. Toexaggerate the tension and volatility, I’ve useda red visible ground and used matchsticks toconstruct the house frames and fence lines.I See RedOil & match sticks on MDF 2008180 x 67cmPOASuzie BourneMichael BrennanAlfresco DiningPhotograph 2009, 50 x 81cm$300One of a series of works paying tribute to the everyday items and equipmentused for twin babies by taking them out of context and placing them inincongruous settings.AdmissionOil on canvas 2008, 153 x 183cm$7000Fleur BrettA philosophical beliefin the impermanenceof everything informsa practice of makingsculptural work that looksat the transformativeprocess of things. Aperformative element isimplied within the workthrough the body’s actionin shaping and reformingmaterials to redefine theedges and boundaries ofspace and form. Currentlyexploring topography usingMapping the Non Site (detail)Electrical cable, roofing nails, MDF & particleboard 2008, dimensions variable$400 each $1600 for allthe simple device of a ‘Knitting Nancy’ (cork/French knitting), to weavelandscapes, both from real sites as well as the non-site of the white cubegallery. Here the plinth (a standard gallery device) is used as the knittingdevice and electrical cable the woven material.Thomas BuchananDetour 27 (video still)DVD loop edition 10, 2008, $100‘Detour 27’ hovers curiously between states. At first glance it seemsfirmly grounded in the traditions of representational drawing and painting.However, by colliding the mode with performance, video and animation,I manage to work both at the edges of drawing practice and within thetraditional idiom.07

Kate Caish2009 Williamstown Festival Contemporary Art PrizeKerry CannonRepresented by Ceramic Break Sculpture ParkFeather Grid 3Wood & feathers 2009, 59 x 153 x 7cm, $960Banger, sanger,sausage, snag, hotdog! Weenieish byany name. Smellsgood, but noseyneighbours aren’talways welcome.Ibis and cockatoos squawk and nest in tall mountain ash trees near myhouse. I collect their fallen feathers each week as I walk my dog beneath thetrees. I enjoy handling materials, mainly using found objects and recycledwood, texture is important to me and I like to maintain a roughnessor handmade quality to some of the materials. In this constructedrelief sculpture I’m interested in exploring the power of repetition andorganisation through the use of a grid structure and then disturbing thatwith freer organic layers (feathers).Smells Good NeighbourBronze, paint 2008, 22 x 37 x 50cm$7800Robyn CerrettiArrival Room continues anexploration of perceptionsof time in terms ofhuman temporality andtransformation.Julie Collins & Derek JohnArrival RoomInstallation- metal frame, plasticsheet, wires, video projection 2009180 x 180 x 180cm, POA(above image video still)Shared JourneySteel, wax & string 2009, 60 x 135 x 20cm$12,000Tim CrakerBlanket continues a fascinationwith the everyday objectreleased from quotidianfunctionality. One plastic cupremains just a plastic cup; sixhundred and twenty five plasticcups, however, en masse,can become something elseentirely…. The result of amechanical project of drilling,threading, tying and knotting,Blanket embodies the perfectgeometric grid and its reallifeinevitable - and far moreinteresting - distortion.“By keeping his touch light,Craker draws out of thebanality, even abjectness, ofhis materials an unexpectedquality – grace.” Dr CarolineJordan, lecturer in Art History,LaTrobe UniversityBlanketPlastic cups, nylon thread 2008150 x 150 x 7cm$2000Dagmar CyrullaRepresented by James Makin GalleryThe visitor IIOil on linen 2008, 104.5 x 157cm$695008

Pip DaveyRepresented by Green-Wood Gallery2009 Williamstown Festival Contemporary Art PrizePatrick DelboscPip Davey’simmersive hyperrealwork depictsa land of luxurioustropical vegetationand the sublimeexotic. This pieceis inspired by timespent at the historicHotel Tjampuhanand its’ lush tropicalenvirons. Set atHotel Tjampuhanthe confluence ofOil on linen 2008, 125 x 186cmtwo sacred rivers in$7500Ubud, Bali, the Hotelhas for decades been a haven for artists, writers and Balinese Royalty.Working within the natural world, Davey’s works transform the botanicalinto sensual studies of ambiguity, illusion and wonder.“Blue dog” is from a series ofimagined colourful canines. Itsuggests warmth and affection andexpresses confidence and pleasure.Blue DogWood, enamel paint 200857 x 55 x 40cm$1250Louise DonovanAnna EphraimLooking at the oldmachinery and treesat the farm. I wonderhow old is old?Old MachineryDry point 2008, 110 x 112cm$2000Museum study (SwiftParrot)Acrylic on board 2008, 120 x 90cm$1800Samantha EvertonRepresented by Dickerson GalleryWe findourselves in thesecret gardenof our childhooddreams. Werereality anddreams becomeone, anythingis possible. Theimage depictsa surrealscene whereimagination,fantasy andchild’s playinterconnect togradually replacethe reality ofour world. TheSecret GardenPhotography – Pigment ink on cotton rag2009, 90 x 108cm, $2870decrepit house exposes its secrets as the girl transforms into the animalof her story, rays of moonlight stream through jagged holes torn in thewall, and a living tree sprouts through the floor in the middle of the night.We are drawn in, entranced.Mark FarrellyRepresented by Jackman GalleryPromenadeDigital print, oil paint, shellac on wood 2008, 140 x 60cm$270009

Ben Fasham2009 Williamstown Festival Contemporary Art PrizeDavid FrazerRepresented by Dickerson GalleryUnexpected InterruptionAluminium, Painted2008270 x 110 x 170cm$11,500After the endOil on linen 2008, 84 x 148cm$6000Monica GallivanErika GoftonRepresented by Dickerson Gallery, Melbourne & Sydney;Schubert Contemporary Gallery, QueenslandTokenOil on Canvas 2008, 71 x 131cm$5000Swirl MagazinePaper 2009, 55 x 52cm$100By exploring and examining traditional notions of the feminine, I seek tocreate works depicting beauty, grace and harmony. I am captivated by thefemale form, and intrigued with the subtlety between the sensual and thesexual. My work celebrates the sensitivity and beauty of the female figureand traditional female art forms, experiences and iconography. I want tocherish and revere what is uniquely female.Julie GoodwinInside LandOil on canvas 2009, 120 x150cm$3800Andrew GreenPeople say Peteris working fromthe inside. But Ifhe was fair dinkumhe should haveresigned by now.Peter is dancingout of tune. Maybehis will and naturehave split – likea log. The toyrepresents inpart a certainunwillingnessPeter the Toxic (video still)to grow up andMultimedia 2008/9, Run time 4 mins 25 secsconfront the$10 eachvery real dangerof cosmological biocide, (the ultimate deconstruction) in a kind ofsuspension of belief or is that disbelief? It also refers to a wood-chipcarrier, the pond Tasmania, Tasmania the world.10

Timothy GreshamRepresented by Gallery 1012009 Williamstown Festival Contemporary Art Prize‘Burn Out Series’ was started in 2008,using shredded inner tubes hand wovenon a loom, as part of my ongoing practiceof using recycled materials to make anenvironmental comment. ‘Firesticks’ isa just completed work and in the pastfew weeks taken on a new relevance aswe look at the vast areas of burnt outtrees around Victoria and question ourmethods of controlling bush growth.Mandy GunnLiquid Module IVWoven tapestry 2008, 78 x 78cm$6500Fire sticks (Burnt Out series) (detail)Shredded inner tubes woven on cotton, wood 2009240 x 60 x 50cm$6000Wendy HaighLong SocksPhotograph 2007, 56 x 46cm$400Dionisia Salas HammerMy paintings areunderpinned by anexploration andreconstruction of land andlandscape. They act asa visual base to exploremy concerns aboutenvironmental degradation.Sourcing imagesthrough documentaryfilms and photographs Irecontextualise how thegeological formation ofearth would appear andCorexchange in terms of colour,Oil, acrylic and enamel on canvas 2007light and speed, how97 x 94cm, $700imploding and explodingearth would translate into abstract paintings. I am curious as to howearth would appear visually sped up or slowed down in terms of colour,tonal qualities, transparency, opacity, texture, control and application ofpaint. In a similar way to how film and photography might explore sound,silence and movement, I investigate the material qualities of painting, thesubstance of paint and its application.Eva HampelIn my painting, I am attemptingto bridge reality and the dream– to embody the response feltby many, but rarely articulated.In this attempt to elicit a verypersonal response from theviewer, I am painting not aplace, but a more subjectiveand unique experience.The intention is to expressemotional responses tolandscape that are beyondthe particular. It is my hopethat people looking at my workcan share those transcendentmoments of recognition, andfor every viewer there will be adifferent resonance, of someexperience lived, or somedream half remembered.Moonlight on the Cliff RoadOil on canvas 2008, 122 x 92cm$1600Trudi HarleyFallenOil on Linen 2008, 66 x 152cm, $5000My current body of work displays a series of portraits exploring the notionof ‘esperpento’. The term was invented by the Spanish playwright Valle-Inclan as a description of his literary style. This may involve a distortedview of reality, the implementation of unusual viewpoints and/or theexaggeration of form. This particular work reflects on the psychology ofones’ upbringing and the consequences of not meeting real or perceivedexpectations.11

Susan HaseCaring for a lovedone with dementiahas triggered myexploration into thepsychic landscape. I usethe written word likean unbroken memoryline and as a tool formy own healing. Thesemeditations containmy story and areunder the influenceof the Aboriginaltradition of verbal SongLines. Words are likefootsteps; they lingeron this planet after theyhave been planted.Ray Hewitt2009 Williamstown Festival Contemporary Art PrizeWild GeeseAcrylic on canvas 2008167.5 x 167.5cm$750Cathy HenenbergSurrounded by globalinformation andcommunication systems, Iam interested in the waysthey have transformed ourrelationships to time andspace. The technique I useto explore these ideas is thephotogram. It is a camera-lessimage made by laying objectson sensitized photographicpaper and exposing themto light. There is room forabstraction, for creatingSmoke Gets in Your Eyes,an evocation in preferencefrom the Series ‘Here-there-elsewhere’to a literal representation.Silver Gelatin Prints; Forex; Wood 2008Conceptually this photogram158 x 148cm, $2000alludes to a centralcontemporary concern; the ‘phenomenon of emptiness’. It becomespossible to simultaneously record an event or an object, to refer to its‘presence’ while at the same time illustrating its ‘absence’, alluding tothe problematics associated with mediated forms of contemporarycommunication.Bob HickmanIndustrial AltonaOil on canvas 2008, 90 x 120cm$3000For many years, industrial shapes and atmospherics have inspired manyof my paintings.Braddo rulzAcrylic on canvas 2007, 110 x 130cm$3000Amanda HillsIn an era ofconvergence ofplastics with theenvironment, these“carp” materialisefrom the notoriousplastic shoppingbag, both disposableand destructive.The filmy plasticembodies thefluidity of wateryenvirons and scalyflesh. Each bag anCarpopen-mouthed fishPlastic bags 2008, Installation variable$90 eachin confluent motionwith the shoal. Theinvention of plastic bags revolutionised live fish transportationintroducing species such as carp, koi, and goldfish to a globalmarket. Printed or branded bags are analogous to the practiceof breeding ornamental fish like koi and goldfish for novelty andfancy, selected for aesthetic value.Kate HughesPrestonGraphite on Paper 2009, 18 x 22cm$620Drawing landscapes in graphite allows me to document place while alsoexploring the playoff of fabricated textures and constructed forms againstthe shadow of the nature that surrounds them. Graphite drawing is suitedto the accurate and precise but the filter of memory creates a space forthe subjective in the smudge and smear of the pencil marks.12

Kez Hughes2009 Williamstown Festival Contemporary Art PrizeAmaya IturriIt came in the postOil on cotton 2008153 x 102.5cm$1350Convinced PacifistAcrylic on linen 2008, 140 x 180cm$2570Jacqueline JacobiVeronica KentTechnicolourMixed media 200892 x 92cm$1650The Young Spaniard (3 of 6)Print on Fibre Based Paper2009, 108 x 85cm$1600Sara KeranenJohn KnapRepresented by Jackman GalleryThe composition for ‘RedEarth’ was created to throwcaution to our global warmingattitude. The crowd dancingin ignorant bliss and the heatof the sun are all ominoussymbolic perceptions of whatis to come. The coloursand luminosity of the paintcreate atmosphere. Thelarge brushstrokes generatemovement and depth andthe lack of paint on canvasin the area of the sun isrepresentative of emptiness.Red EarthOil on canvas 2008, 92 x 61cm$800Three Faces of Gion Kobu (Triptych)Acrylic & Shellac on Imported Fabric 2008, 100 x 230cm, $6500The beauty of art is perception. What we are looking at? Are we witnessingpleasure? Pain? Anger? Bliss? Plotting? Scheming? They are strangelyfamiliar yet from an entirely different world. We want to help, yet areshocked at what we see. How far do we let ourselves in? This triptychinvestigates the Geisha, peeling back the layers of make up and exposingthe vulnerable and often jaded individual underneath; the beauty and painfelt by those who have chosen this path in life, regardless of the reason.While there is colour, there is darkness; pleasure and pain; acceptanceand fear.13

Kelly-dee KnightFor this competition I have created‘Bloodline (In Loving Memory ofBeth)’. This work is my attemptto reconcile the grief associatedwith the death of my grandmother.I have drawn on visual languagethat triggers memory and evokesan emotional response in theviewer. Such as her favorite orangeroses, I have used to create/planta proverbial rose garden with.These make reference to the onesplaced on her grave, and the potentassociation of roses with grieving.In my art practice I endeavor tocreate works that are beautifuland accessible while addressingchallengling concepts.2009 Williamstown Festival Contemporary Art PrizeRepresented byDickerson Gallery, Melbourne& Eva Breuer Art Dealer, SydneyZai KuangBloodline (In Loving Memory of Beth)Graphite, watercolour & pencil on Arches paper 2009160 x 100cm, $3500Bathroom 10Oil on canvas 2008, 170 x 80cm$8800Carolyn Lewens & Neil StanyerWhat does it mean to say somethingis alive? Life is a state of becoming; aphotosynthesis of chemistry, waterand light, a vibration of energy andexcitement. It is transformative.Life is an evolving phenomenon,a metamorphosis of single cellsmultiplying and evolving into complexity.These simple cellular forms distilthe very essence of lifeforms andproudly reference the method of theircreation via a photosynthesis of lighton chemically prepared surfaces.They mimic the very first lifeforms,cyanobacteria, seen through the eyes ofscience to speculate on the ancestorsof all life and suggest new convergencesAlison LockeI am interested in the idea of thefootprints we leave on the world afterwe have left it. I like the idea that theobjects we own will out-live us, and inyears after our death, the scratches,creases and marks we have madeon them will remain, even if only in arubbish heap. The way a pair of jeansstretches and moulds to a body will stillexist, even after the body has gone.The PortraitGhost PhotoDead AirAll Digital Prints on Photographic Paper, 2008$300 each14LifeformsDuratrans on lightboxes (4), 2008,32x32x20cm. Each Image $750LIghtbox POAof the natural with the artificial, the born with the made, the organism andthe artefact. These imagined spaces in-between technological and livingsystems allow for a potent and futuristic bio-cultural remix. Representationsof aliveness are contrived by a fascination with the potentiality of forms in thePetrie dish. Aliveness is folded into the creative process. Life here is an illusiveinfo-fluid zone. Forms come into being – new mutated digital identities thatquestion what it means to be alive.The “Navigator Series” beginsto explore life’s answers at amolecular level, observing the‘bigger picture’ with a reverencefor life interwoven or connected.I have been influenced by thescientific theories known as“String Theory”. It attemptsto describe the structure ofour universe. The paintingscan be seen as sculpturallandscapes or ‘Lifescapes’. Theyare abstractions, where spaceshifts and our perceptions canchange. The industrial tape isused in industry as a device fordemarcating space. It closes offdangerous spaces and protectsthe public from hazards. Myexploration of this material allowsme to constitute connections,like a universal web showingstructure within a maze.This painting is a translation of myreadings and explorations of nature, ofmapping its formations and abstractingwhat I feel to be the ‘essence’ of aparticular moment. The work aims tocreate a dialogue between silencesand spaces and the landscape ofshapes and shadows to create ametaphorical language through colourand formwhich although derivedfrom the natural world, hints at manydifferent meanings. In the distillationof shapes we see figurative elements,but at the same time recognise a moreuniversal, emotional world of memory,death, love, nurture and ecstasy.“Painting enables me to contemplatemy complex environment, includingNadine LinehamNavigator Series IIIOil on canvas 2008, 120 x 100cm$3500Cate MaddyRepresented by Harrison GalleryBeast with no choiceOil and Acrylic on canvas 2009,134 x 104cm, $2800natural and constructed, social, cultural and emotional in an expression oflimitation and the limitless. Symbolising our personal choices of what weinclude in our lives, our ability to exorcise the way we view life and our needfor drama and exaggeration.”

John MadsenMan with orange peel teethCopper plate etching with aquatint 200762.5 x 49cm$440David Marshall2009 Williamstown Festival Contemporary Art PrizeSoula MantalvanosI wascaptivated byLynn’s vibrant40’s and50’s vintageclothing. Theopportunity topaint Lynn inmodern dayMelbourneevokes thefeeling of pastand presentand tiesin with myfascinationLyno writing at Cavalleroof cafes asFluid acrylic & ink on canvas 2008, 92 x 122cmtraditional$1650Parisianmeeting places for artists and writers. It also draws on my fascinationof iconic, yet little known, local personalities and characters that makeMelbourne such a vibrant and eclectic city.Kim MartinZen ConundrumJarrah, Huon Pine, King “Billy” Pine & twisted stainless steel 200940 x 140 x 30cm, $3300To the reclusive Buddhist monk enlightenment is found through a stateof ‘Mu’ (emptiness/nothingness). To the destitute Ronin the key is toreact swiftly and instinctively to any unforeseen challenge. To the Akidomaster the way lies in a return to the basics, taught decades earlier. Tothe carefree wandering Haiku poet inspiration is drawn from the seasonalimagery encountered during their roving. To the Japanese landscapearchitect asymmetrical beauty is as much achieved by the design elementsthat are omitted as those that are included. To each of us the factors thatshape our futures can be found along the road already travelled, the upsand downs, twists, turns and contoured undulations.ReflectionAcrylic on canvas 2008, 91.5 x 122cm$5000Lucy Martin PawlikowskiIn my work“Playing withRed again” Ifocus upon theintersectionand relationshipbetween thelandscape andthe body. Mywork embodiesthe associationspresentin naturewith humanPlaying with Red againexpression andOil on canvas, mixed media 2008, 180 x 122cmexperience. I$3575create forms inspired by nature, which evoke a sense of these humanemotions. In my work I concentrate upon the textural and structuralqualities of the surface of native Australian flora and continue toexperiment with mixed media techniques on canvas. My interest is in theconcept how illusionist space operates within the reading and ambiguityof texture and form.My work moves beyondmerely framing theaesthetics and ideals offemininity and into storytelling and symbolistsub text. The narrativespresent extend aninvitation of escapism tothe viewer. Within eachpainting narrative threadslink to create bewilderingdaydreams charged withtouches of eroticism.Undercurrents of insecurityoperate suggestively. Theambiguous divide betweenthe private and public selfis explored by transferringintimate situations andJill McFarlaneRepresented by Libby Edwards GalleryAngels see us when we playOil on canvas 2007, 101.5 x 101.5cm$3300private metaphors into a public, almost theatrical arena. I want to createan intense material drama by including psychologically resonant imageryfrom everyday domesticity, nature and popular culture.15

Darren McGinn2009 Williamstown Festival Contemporary Art PrizeVicki McInnesBrooder HouseCeramic, synthetic turf & timber 2008, 21 x 44 x 33cm$2200Over the past two years I have undertaken a number of visual artperegrinations and traverses of Tasmanian and Victorian coastal sites todevelop works for sculptural conclusions, based on thematic parallels andintersections between these two region’s sense of community and identityas opposed to non-place. Theoretical areas such as the exploration ofsociological and environmental aspects of suburban life form the majorsubtext to my research.My study of quinces shows theintensity of the colours of thefruit and foliage, against thecool, plain ground of a whitetablecloth. Painting directly fromthe subject requires a level ofconcentration and effort that isrewarded by the immediacy andstrength of the image.QuincesOil on canvas 2008, 90 x 60cm$1200Anton McMurray“The Visitor” is part of abody of work exploring thefundamental structures ofgrowth. I find it curious, thatfrom patterns found in thehelix containing DNA, to thehome that a shellfish creates,are not only to be beautifulto the eye, but moreoveran inspiration when oneconsiders their soundnessof structure and suitabilityto task.The VisitorBlackwood 2008222 x 33 x 33cm$11,900Frank MesaricRepresented by Cowwarr Art SpaceViv MehesThe ‘Hung Out ToDry’ installationcomes from ‘Madein Australia’, anexhibition usingphoto narrativethat gently drawson the innerresilience anddignity of asylumseekers to make apowerful statementabout human rightsHung Out To Dryin Australia. Closeupportraits fromHills Hoist and pegs, 2008, 400 x 400 x 400cm20 digital photos printed onto 50cm x 50cm voile,‘The Staying Strong’$5000photo series areprinted onto delicately swaying voile fabric and hung from the iconic HillsHoist – at first intriguing, endearing and familiar, it carries a bitter sting. “Inever thought it possible to work with asylum seekers using photographythey were just too vulnerable, but the idea of offering anonymity made itpossible. In fact, the absence of direct gaze and the blurring of the facesmake the images more highly charged and disquieting.”Lynn MillerDianna and the SpikerOil on canvas 2008,150 x 120cm$10,000Spring - The Campaspe at KynetonEgg tempura on board 2008, 69 x 98cm$660016

Shay Minster‘Stage Fright’ exploresthe perseveranceexerted at the expenseof the present,when aspiring to theperceived higher,larger more completelife–perhaps similar tothe one that watchesfrom the large,established houseabove. Attemptingto literally carve outtheir own place in anaspirational future thetwo figures appear tobe immersed in, andminiaturised by theirown home.2009 Williamstown Festival Contemporary Art PrizeStage FrightType C photograph 2009, 125 x 95cm$700 unframed/ $1200 framedThis work began from a piece of textthat ponders the uncertainties andparadoxes of scientific principlesand abstract thought. From theseuncertain beginnings, I haveconstructed a work that adopts theformat of the page of a book. In thisover-size version, the text is subjectedto a series of lo-fi ‘informationprocessing’ systems, variouslycircled, numbered, annotated,categorised, painted-out and loopedtogether with thread, creatinga frenetic mass of dysfunctionalclassification, and generating a multicolouredvisual field. Drawing looseparallels between the content of thetext and the working process itself, Ipresent an abstraction that trips onit’s own systems, creating chaos inan earnest attempt to impose order.Claire MooneyTheory: The dreads and dangersof abstract thinking…Acrylic, permanent ink andembroidery thread on canvas 200890 x 62.5cm$1430Olga MorrisReplicationDigital Print (Archival Pigment Ink Print) 200892 x 86.5cm$680Kate Murdoch’s work reflectsthe continual transformation ofnature. The paintingsare placeswhere the eye can be challengedand simultaneously find restamong layers of organic shapes.The abstract nature of the workallows individual interpretation. Hercurrent work has developed intomontages based on photographstaken of tropical foliage. Althougha small study is the basis of eachwork the paintings tend to developin ways that are quite removedfrom the original concept. In thisway she allows each work to revealitself through her subconscious. Itis this unpredictability that gives hermomentum in her creative process.Kate MurdochRepresented by Blue Door GalleryAperioOil on canvas 2008, 119 x 76cm$1800Caitlin MuscatMike NichollsMy influences are a combination of tribal andspiritual. ‘’Shield of life’’ is a figure carrying ashield with a guardian spirit to protect onesself against the ills that effect society.UntitledPhotographic Print 2007, 68.5 x 84cm$780Shield of lifeRed gum 2008160 x 56 x 37cm$850017

Isabel O’Brien2009 Williamstown Festival Contemporary Art PrizeCarlo PagodaEvensong IIDigital Photograph 2008, 80 x 100cm$650Mask of MemoriesInk, Post it Notes, Acrylic & Wood 2009, 111.5 x 118.5cm$800Penny ParkinsonI am fascinated with the humancondition in our post industrialage. Changes in the sciencesand technology are happeningquickly, whilst the reality of ourenvironmental challenges isbecoming apparent. My art isa response to the imperfecthuman spirit in this time ofchange. I draw inspirationfrom everyday consumer andindustrial objects. For me,they represent some truth andreality of our fast, modern, postindustrial lives. I take ordinaryobjects like fly screen andstockings, and re-create theminto new forms. My work alwayscontrasts materials; soft andhard, friendly and nasty.TransformationMixed media 2008, 200 x 250 x 250cm$550Jim PavlidisRepresented by Chrysalis PublishingChampionsLithograph 2008, 70 x 90cm$870Kirsten PerryThe drawing was made usingdip pen and Indian ink workingdirectly from a specimen.This technique necessitatedworking at close proximityand allowed an intimateconnection to be formedwith the subject. The titlerefers not only to the arduousmethods of production butdescribes physical motion, anact of tenderness, a sensualexperience perceived throughthe skin.18strokeIndian ink on paper 2008, 145 x 90cm$2100Bernadette PilliThis painting isone of a seriesdrawn from theexperience of beingclose togetherin bed, with a dyingpartner. Betweenthe sheets, duringthe sleeping hours;awake, peeringinto the darkenedsky, listening tothe breath. Peeringthrough theDarkly Through the Windowwindow into theOil on canvas 2008, 122 x 122cmdarkness, Waiting$1800for the night tolift, always waiting for the transition, whatever that may be. The familiarsurrounding fabrics, along with the view through the bedroom window,become another world, as life draws to a close. A different stage in ourlives. A platform of existence which is unexpected and tragic. The linen asa metaphor for the landscape we traversed, together, yet alone.

Stephen Pleban2009 Williamstown Festival Contemporary Art PrizeJutta PryorThe ‘Virtual Tide’draws us in and out ofreality and the virtualrealm, our keyboardbecoming the steppingstone in that process.Autumnal AfternoonOil and wax on canvas 2008, 151 x 197cm$4000My recent works depict environmental, atmospheric and seasonal changein the landscape around Ballarat. The paintings convey the shifting moodscreated by weather, light and the elements. The surface of the paintingsare highly worked with wax and oil so that the images sit somewherebetween observation and abstraction.Darryl RogersVirtual TideDigital Print 2009, 62 x 52cm$990Johnny RomeoRepresented by Gilligan Grant GallerySerious Sadie by the LakeDigital print 2008, 62 x 45cm$480My work deals directlywith the way weconstruct our identitiesfrom the vast array ofimages that pop cultureimmerses us in. Mywork in general dealswith contemporarypop culture, culturalhomogenisation,the failures of blindconsumerism, mediasaturation, celebrityfetish and brand nameheroes.Grilled Rich ElbowOil & acrylic on canvas 2008, 167.5 x 167.5cm$6500Laszlo RomerPeter RosmanRed Painting II (detail)Oil, acrylic, enamel paint, paper, plywood 2009, 90 x 90cm$2500“D I C “ 2009: A Deathin Custody. An etchedsteel wine flagon unfoldsto reveal a solitary celland occupant underwatch. The flagonreshapes itself into apossum skin envelopingthe figure with thefading ceremonialimages of Barak. Thework is held on a “sign”tripod above a fragmentof slate with anengraved river outline.“D I C” 2009: A Death in Custody (detail)Etched steel/slate/mixed media 2009100 x 75 x 45cm$450019

Fiona Ruttelle2009 Williamstown Festival Contemporary Art PrizeJudith Sackville-O’DonnellAs an ecclesiasticalstained glass window isa representation of spiritthrough light and beyondwritten description. Thispiece aims to delight andinspire in the most simpleof ways.The aim of my linoprint is toarouse interest in a largelyignored piece of Australianhistory. Contrary to popular beliefthe place to see a hanging in theearly 19th C was not London butVan Diemen’s Land (Tasmania).Between the years 1824-1836two hundred and sixty convincts(two hundred and fifty nine male,one female) were hanged inHobart Town. This is out off aconvict population that rangedfrom approximately six thousandin 1824 to seventeen thousandin 1836.Red/Pink #5Glass, Aluminium 2008, 70 x 25 x 5cm$1800Hobart-Town 1824-1836, VDL: 260 Hanged ConvictsLinoprint 2008, 71 x 53cm$300Ginny SargentBen SheersRepresented by Flinders Lane Gallerypeople in high placesGraphite and ink on drafting film 2008, 59 x 139 cm$695‘People in high places’ is part of a series of works which explore conceptsand modes of spatial representation through the process of drawing. Mywork mines various aspects of history from sourced imagery, combinedwith analytically constructed spaces to create an assortment of scenariosthat indicate and hint at historical perspectives. Conversely, these‘would be’ historical representations are constructed to reflect on thecontemporary nature of living.MotelOil on canvas 2008, 117 x 204cm$2000The work “Motel” places an ageing rooftop sign against a fading sky tocreate a moment of visual poetry for the viewer.Julie ShielsLouise SkacejThis collection ofobjects probablyseems familiarbecause I made themby casting the emptyspaces in plasticpackages after thegoods have beenremoved. There isa chocolate bunny,a computer mouse,a light globe, sometoothbrushes, to namea few. I have coveredFrieze – fragment 1them with flock (felt)Plaster and felt 2008, 120 x 200cmand placed them$4500straight on the wall sothey suggest a decorative frieze. This work suggests an archaeology ofthe future, a way of looking back and forward at the same time.‘Brain Patterned Heart’ isan exploration of a dialoguebetween cerebral andemotional landscapes. Thepath of the brain, whichtracks across the pulmonaryterrain in one continuousline, is a coded tattoo ofinformation. Thus the heartattains a knowledge andmemory- it responds tothis flow of informationabout its corporeal state.It’s architecture pulsesback, shaping and directingthe path of the mind. Thiswork manifests a physicalcompulsion for the artist torepresent her response tothis tandem relationship.Brain Pattered HeartScratchboard 2009, 20.8 x 10.6cm$45020

Nina SmartRepresented by Metropolis GalleryKaren Standke2009 Williamstown Festival Contemporary Art PrizeThe changing face of nowWatercolour on paper 2008, 45 x 180cm$1200I am currently using the fluidity of watercolour to express a personalperception of self and others and the changing nature of how we relate. Ina time when technology brings many alternative means of communication,I am trying to bring awareness to the universal human condition thatis facial expression. By creating a progression of images, I explore thechanging perception of personalities as they shift over time, in attitudeor mood.Represented by Pivotal GalleriesThis piece explores and testscombinations of narrativethrough the use of differentconventions of painting. It doesthis by creating ambiguity withinthe reading of the narrative. Bylayering the reading of the workI have create a two dimensionalwork that integrates paintingand drawing, and deals with thebalance between the rationaland the irrational, the logicaland the illogical, the tangible andthe intangible. The work utilisespopular iconography and streamof consciousness, in conjunctionwith automatic drawing andpainting techniques, to explorehow each viewer identifies adifferent narrative. Throughcombinations of figurative,abstract and decorative imagery,a sense of complexity is createdwithin the narrative.Deane SobeyThe Simple Idea of ComplexityAcrylic, Indian ink on Linen 2008137 x 107cm$4990Gloria SternRepresented by Gallery 101Gewitterstimmung (Austria)Oil on canvas 2008, 140 x 200cm$6000This painting was created at my latest residency in Ehrwald, Tyrol. It wasexhibited there as part of the series “Berg-Geist / Mountain Spirit” in May2008. This view is of the “Wetterstein”, a part of the Zugspitz mountainrange, on the border of Austria and Germany. I grew up here, right at thefoot of this mountain.Jennyfer StratmanRepresented by Uber GalleryThe BarOil on canvas 2008, 92 x 122cm$4000PeterTankeyRepresented by Jackman GalleryA phantom limb is the sensationthat an amputated or missing limbis still attached to the body. Thewhite tree limb is a metaphoricalreference to our inherentrelationship with the natural world.This connection is a force ourbodies sense, but from which weoften disconnect.Phantom LimbMixed media 2007, 93 x 70 x 19cm$2800Still LifeOil on canvas 2008, 85 x 85cm$800021

Cameron Tauschke2009 Williamstown Festival Contemporary Art PrizeThe Contextual VillainsThe painting titled ‘Go’is a futuristic vision ofMelbourne. The futurecop, who dominates theart piece, decides whoenters Melbourne’sarterials. He is the firstpoint of contact – l amhoping that the word ‘Go’acts a positive signal.They alteredtheir egos,telling tall talesamid imaginaryworlds of othersdiscards.GoOil & enamel on canvas, 2007, 185 x 168cm$3500Like Spinning PlatesReclaimed hardwood, Transparency 2008, 50 x 55 x 14cm$1100the naughty see monkeyMerryn J TrevethanMedji and Fidele meets the madmanOil on paper 2008, 60 x 84 cm$2200Better to Burn OutAcrylic on canvas 2008168 x 123cm$4200Phi Van NguyenTattoo, you either hate them orlove them. Tattoo is hidden artworks that never get to revealto the public, we see it unlesssomeone show us. It’s not likecomics that you see on paperor paintings that you see oncanvas. It’s somewhere betweensculpture and fashion. All tattoomean something. The meaningmay be generalised as in theThe Hidden World Revealedcase of the Maori, to whom theVideo 2007 (video still) POAvery fact of being tattooed meantmanhood attained. Or it may be informational as in the tattooing ofcriminals, slaves, prisoners. The meaning may be purely symbolic. Tattoois my personal interests, something that I have always admired. Speciallythe Japanese tattoo, they use traditional tools and natural vegetablecolours. The iconography too is traditional, the cherry-blossom and wavemotifs on the shoulder and chest sections of full-body tattoo. I’m creatinga morphing video of the collection of Japanese tattoo, exploring andexplaining the meaning of their iconography.22Taking inspirationfrom natural formsand characteristicsof today technologies,I experiment with aprocess of fragmentationin which a dialecticalrelationship betweenorder and randomness,chance and necessityis the basis for me tocreate objects thatare not so much aboutcapturing ‘physical reality’but about presentingsubtle signs of changingtimes and meanings whilealso allowing for memoryand fantasy to cometogether.Trinh VuRepresented by Kristian Pithie GallerySacred SeasonPaper, Perspex & electric light 200985 x 85 x 85cm$5500

Liz WalkerJunk mail. I don’t want it, Idon’t need it, I don’t read it.The sign on my gate saysit’s most unwelcome butsomehow, taking absolutelyno notice at all, it finds it’sway into my letterbox, myhome and my life. This piecerepresents about six weeksworth of wasted resourcesandall for nothing.2009 Williamstown Festival Contemporary Art PrizeAlan YoungJunk Mail (detail)Recycled corrugated iron 200910 x 120 x 175cm ( approx)$2000 or $40 per pieceOne of a Kind 1Acrylic and oilstick on canvas 2008,40 x 30cm$350Michelle ZuccoloVaidas ZvirblisRepresented by Bird’s GalleryThe MeetingOil on canvas 2007, 61 x 84cm$1200This work combines my interests in composition, spatial manipulation,painting and drawing. I tend to work from observation. Several of theseskulls/bones have come from farm paddocks near my original hometown in rural Victoria. The cattle were drought victims. Working with thisexquisite bone collection, I have explored issues related to the fragility oflife, and changes being brought about by the going drought conditions.Tangible ShadowsOil, clay, iron oxides, net, canvas, drypetals 2007, 143 x 84cm$430023

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