Wentworth Falls Lake Sculpture Walk

Wentworth Fall Lake 

SCULPTURE TRAIL

Wentworth Falls Lake SCULPTURE TRAIL 

This eMag was compiled as a guide to the "Wentworth Falls Lake Sculpture Trail. 

The following pages are © Blue Mountains City Council. 

MORE information. 

The trail starts here. 

Website • Facebook • VISITOR eMag

contents 

acknowledgements 2 

foreword 3 

Role of Public Sculpture 4 

Vegetation Types of Wentworth Falls 8 

11 Nick Dörrer 

13 Ellan 

15 Anna Baird 

17 Mary Anderson 

19 Michael Byrt 

21 Vicki Skeen 

23 Robyn Austin 

25 Peter Baird 

27 Doris Rainsford 

29 Hugo Rojas 

31 Alexis Apfelbaum 

33 Marco Grilli 

35 Maija Collishaw 

37 Gabriella Hegyes 

39 Sonja van As 

41 Petrina Louise Fuda 

Works in Progress 42 

Biographies 50 

Education Kit 56 

1

acknowledgments 

I gratefully acknowledge the following people and organisations 

who have made contributions to this project: 

Artists: Nick Dörrer, Ellan, Anna Baird, Mary Anderson, 

Michael Byrt, Vicki Skeen, Robyn Austin, Peter Baird, Doris 

Rainsford, Hugo Rojas, Alexis Apfelbaum, Marco Grilli, Maija 

Collishaw, Sonja van As and Petrina Louise Fuda. 

Technical assistants: Kevin Atkins, Ken Anderson, Max 

Skeen, Malcolm Mc Causland and Harley Ives. 

The original group of students who could not continue 

the project, due to its delay: Julie Moremon, Jennifer Mc 

Elligott, Denise Portanger, Rita Lynch, Natalie Topaz, Mick 

Morrow, Raoul Olivares, Susan Ashley and Dawn Wilson. 

Margaret Baker for information on native plants. 

Elin Howe for the essay on public sculpture. 

Esther Scholem for proof reading. 

The local community and visitors for their support. 

All those who have contributed towards the education kit. 

Blue Mountains City Council 

Blue Mountains Inaugural ‘City of the Arts’ 

New South Wales Government - Ministry for the Arts 

Blue Mountains Organic Community Gardens 

Nepean Community College 

BMCC Staff 

John Ellison - Cultural Officer 

Lin Mountstephen - Cultural Development Co-ordinator 

Jasmine Lance - Cultural Development Officer 

Rick Goehner -Open Space & Recreation Planning Officer 

Rachael Veldman -Open Space & Recreation Technical Officer 

Supapon Raffan Lantay Lefkovich - Community Gardens Co-ordinator 

Phillip Furken - Yellow Rock Quarry 

Ian Hayes & Associates - Consulting civil and structural engineers 

Rod Hunter, Stephen Hunter & Padraig Hungerford - Milestone 

Masons 

Phillip Tilt - Bobcat & Tipper Hire 

Peter Morris & staff - Mountain Cranes and Rigging services 

Louisa Murray - Information Officer, Royal Botanical Gardens 

Warren Ross - Blue Mountains Community Arts Council 

Gabriella Hegyes 

Project Organiser 

2

foreword 

The Wentworth Falls Lake Sculpture project began with the idea 

to create the first of several sculpture parks throughout the Blue 

Mountains, with permanent and changing artworks on public 

land. Sculpture parks or indeed any other art in public spaces are 

signposts of artistic communities, local involvement and pride. 

Public art in general enhances the natural or man made environment, 

takes art out of the Gallery and into the open, for everyone 

to enjoy and interact with. The Blue Mountains was nominated 

for World Heritage Listing, for its natural beauty, and at the same 

time became the ‘City of the Arts’, due to its large and varied arts 

community. As a response to both, it was an obvious choice to 

use sandstone as a medium, and carving as a technique, to draw 

attention to the importance of native plants and the role they play 

within our environment, our culture and our heritage. 


3

Role of Public Sculpture 

This project’s co-ordinator, Gabriella Hegyes, has conceived a rich cultural 

menu for visitors to this site. Located around the perimeter of a popular 

picnic spot beside Wentworth Falls Lake, the large sandstone carvings are 

visible from the road, and their plump inviting forms beckon the passer-by. 

Once lured on to the site by these voluptuous shapes, one quickly realises 

that the aesthetic experience is enriched by other information. The sculptures 

represent the seed pods of native plants in the area and each sculpture 

has been located near its referent for easy identification. This is public 

art which aims to stimulate the visitor’s interest in both the 

indigenous botanical phenomena and the artists’ interpretions. 

The story of this project’s eventual realisation at Wentworth Falls Lake 

sheds some light on the shape it has taken. It has had a long gestation 

period. Originally it was conceived, in 1995, as a student project for a 

sculptural component to enrich a proposed community permaculture garden 

at Clairvaux. The students were drawn from Hegyes’ class at Nepean 

Community College. The Clairvaux site eventually proved untenable, and 

over the next few years Hegyes tenaciously negotiated various new sites 

and agendas for the sandstone carvings until they finally materialised on 

their present site. During this time many of the original students have become 

practising professional artists. Hegyes also invited established professional 

artists on board as the project’s shape changed. This chequered 

history has served to enrich and broaden the scope of Hegyes’ original 

agenda. 

4

Conceived as a community project, it has attracted a community at every 

stage of its development. After numerous false starts, the unfinished 

sandstone blocks were eventually relocated in a group at the Wentworth 

Falls site, where access to a power source was made available, enabling 

the artists to use power tools for the initial shaping. The work, although 

cordoned off from the public, was still highly visible, and attracted a 

stream of regular locals as well as daytrippers, curious about progress. 

Because the artists were volunteering their labour, they tended to work on 

the carvings during the weekends and, when interviewed, many of them 

joked that sometimes they felt like performance artists for the picnickers. 

Nevertheless on-site production has served to establish a rapport with local 

residents, and overtly demonstrate the labour involved in a way that work 

produced in a studio, and then delivered to the site, cannot. This 

interaction is invaluable for both artist and audience as both parties 

develop an appreciation of one another’s concerns. When sculpture arrives 

fully formed at a public site, it is easy for viewers to forget that it 

represents someone’s labour. Likewise if artists merely visit a site with a 

view to locating their work, they will not have the opportunity to form an 

appreciation of the way that particular piece of public space is valued by 

the people who frequent it. The necessity of working on site created the 

opportunity for artist and audience to communicate on a range of interelated 

site-specific topics from aesthetic practice to environmental issues, as 

well as just enjoying everyday social conversation. 

5

Selecting a range of native plants growing in abundance on the Wentworth 

Falls site, Hegyes asked each artist to create a carving of the selected 

plant’s seedpod. The medium - local sandstone blocks hewn from Yellow 

Rock Quarry, Winmalee - is brittle and necessitated the artists working 

with simple forms. They have isolated the dominant characteristics of each 

seedpod and distilled these forms to create their aesthetic interpretations. 

Each carving is labelled with botanical information and accompanied by an 

engraving which depicts other aspects of the plant. 

The combined effect on the viewer of this presentation is to intensify the 

process of looking. Despite the sandstone medium, one is first struck by the 

sensual, fleshy quality of the seedpod carvings - an effect enhanced by their 

outsized scale and exaggerated forms as much as it is informed by their 

subject matter. They literally beckon the viewer to take a closer 

look. This initial invitation brings you up to the botanical information and 

immediately you find yourself casting about the immediate area for the 

relevant native plant. The excitement of identification intensifies if you 

find one of the tiny seedpods, and this quickly returns your attention to 

the carving, only this time you look with a more informed gaze. This 

circular pattern of looking serves to facilitate understanding both of the 

native flora and of its aesthetic translation. 

The day that I visited the work-site I was very aware of the stream of 

curious visitors and the good-natured banter which ensued as they chatted 

with the artists. By this time the carvings were nearing completion, and 

artists were working with hand tools. There are few sights more fascinating 

than watching skilled people do their stuff, and this experience in turn 

becomes the stuff of the witnesses’ stories. Many of those fortunate enough 

to have seen these carvings evolve are locals and regular visitors to the site. 

Their testimony will undoubtedly often punctuate the experience for future 

visitors. 

6

Contemporary debates around public art stress the need to move away 

from the old public-monument model of art practice, and develop a participatory 

model which engages its audience. Artists are now seeking a 

model which develops a relationship between art production and audience 

participation. Hegyes’ community-conscious approach appears to have 

achieved these goals for a wide audience. The scale of the seedpod carvings 

seems to have great appeal for small children, who I noticed were 

quick to investigate the unattended work-in-progress. For both primary 

and high schools the project will undoubtedly have field-trip appeal across 

a range of subjects, and the adult visitor should also find the project 

tempting. For the artists involved - all local people - it has been an invaluable 

professional experience. This must especially apply to those who 

started as students with little or no experience in stone carving. It must be 

rewarding indeed to see their inviting finished carvings set out around the 

foreshores of the lake. 

From every stage in its long gestation this is a project which has involved 

a range of communities, from those whose concerns revolve around the 

environment to those wanting to explore aesthetic issues. This community 

focus has contributed to its eventual participatory nature. It is public art 

which during its evolution has, and continues to, work as a social catalyst. 

Elin Howe 

November 1999 

7

Vegetation Types of Wentworth Falls 

On Sunday 23 rd May 1813, Gregory Blaxland, a member of the first party of 

white explorers to visit Wentworth Falls, recorded in his journal that the group 

encamped on the side of a swamp, with a beautiful stream of water running 

through it. Two years later, on Tuesday 16 May 1815, Governor Macquarie’s 

touring party camped here on their return journey from Bathurst. Macquarie 

observed that here was a very extensive pretty valley, with a lum of very fine 

fresh good water, with tolerable good feed for cattle … I have this day named 

the place Jamison’s Valley…. 

‘Jamison’s Valley’, which today is largely occupied by Wentworth Falls Lake 

would have been known to Aboriginal people for many thousands of years before, 

as a place of fresh water and an environment rich in resources – edible 

plants and animals, timber, fibre, medicinal items and stone. A further abundance 

of useful products was also to be found in the wider Jamison Creek 

catchment which still contains representative stands of many Blue Mountains 

vegetation communities today 

Most widespread are the open-forests with canopies dominated by species 

of Eucalypt and understories of diverse life forms layered from tall shrubs to 

small herbs. They are found on the better-drained and relatively sheltered 

valley sides, and follow Jamison Creek for much of its course before it leaps 

over Wentworth Falls. Towards the ridges, where growing conditions become 

tougher, the treed canopy thins to woodland and the lessening shade promotes 

a colourful profusion of hard-leaved shrubs. Where exposure to wind, 

sunlight and even fire is greatest, heath dominates. Plants here are toughened 

and bonsaied in pockets of thin, dry, impoverished soil that develop between 

expanses of sandstone that often record the presence of the original inhabitants 

of the region. 

8 

Interspersed with these communities where drainage is poor, are the swamps 

most frequently recorded by early travellers. On valley slopes these patches 

of vegetation, that from afar looks grass-like or even mown, mark the zones of 

seepage where groundwater surfaces along bands of claystone. Such ‘hanging’ 

swamps contain a tangled profusion of rushes, sedges and shrubs which

tolerate ‘wet feet’. Close to the streams deep deposits of poorly drained 

peaty sands also favour swamp dwellers. Depending particularly on the time 

since the last fire, the swamps will be either dominated by sedges or by 

shrubs. 

In the most sheltered places, usually below the cliffs that display their own 

specialised collection of plants, forests grow tall and lush. Below Wentworth 

Falls where soils are deeper, richer and moisture retentive, majestic Eucalypts 

and Turpentines of the tall open-forests tower over soft-leaved shrubs and 

tree ferns. In the most sheltered places these are replaced by closed-forest, 

here represented by the Warm Temperate Rainforest community. Stands of 

the distinctively lichen-blotched Coachwoods and the fragrant Sassafras filter 

sunlight through to the fern carpeted silence of the forest floor. 

Reflecting the range of environmental conditions that sustain the different 

vegetation communities, are the seed pods of the plants, as diverse and 

fascinating as the flowers themselves. From the rainforests come the spore 

bearing ferns, descendants of plants from a time before flowering plants and 

seeds. In these and other sheltered forests where growing conditions are 

generous, many fruit, particularly of the understorey plants are fleshy or thinwalled 

like those of the Geebungs. Such fruit are quickly eaten and spread 

by birds. The long woody capsules of the Waratah, and the leguminous pod 

of the Cedar Wattle will readily open and spill seed to the ground in these 

more favourable locations. 

As environmental conditions harshen so the seed pods become tough, 

woody and gnarled. They are often held on the plant until opened by a hardbeaked 

bird, a passing fire or drought. Eucalypts, Bottlebrush and Tea-trees 

protect numerous seeds in thin walled woody capsules for years until shed 

by opening valves. The projecting velvet-coated seed sacs of Banksias and 

the thickened woody follicles of Hakeas are kept tightly closed, protecting 

their winged seeds indefinitely until a new cycle of life is ready to begin again 

in a community of plants in the Blue Mountains. 

9

Juncus usitatus 

Common Rush 

The moist loamy-sands which fringe Wentworth Falls Lake provide ideal conditions for the growth 

of dense tufts of this perennial rush. Its upright, mid-green stems are a slender .5–2 mm wide, 

and extend some 60-100cm from underground rhizomes. Inconspicuous leaves tip long open 

stem-clasping sheaths which colour downwards from yellow-brown to red-brown and glossy near 

the base. From late spring to summer, small but numerous straw-brown, wind-pollinated flowers 

line fragile spreading branchlets that extend for up to 6cm from the sheaths. Tiny seeds develop 

in 1.5mm long, golden-brown, blunt elliptical capsules. Becoming sticky when wet, the seeds are 

spread by passing animals. This rush was probably one of the ‘grasses’ valued as fodder by early 

European travelers to this site. 

Family: Juncaceae 

10

1 Nick Dörrer 

H: 190cm x W: 140cm x D: 90cm 

11

Eucalyptus subsp. radiata 

Narrow-leaved Peppermint 

Look into the canopy of the woodland around the Lake and you will see the fine foliage of the 

Narrow-leaved Peppermint silhouetted against the broader leaves of other eucalypts which share 

the better-drained slopes. Glossy-green alternate adult leaves are long, thin and narrow, only 1.5 

cm wide. An intense peppermint fragrance is released from oil dots when freshly fallen leaves are 

crushed underfoot, adding to the enjoyment of walking by this graceful short-fibred tree. From late 

spring to early summer, groups of up to 20 radiating white flowers cluster towards the ends of the 

pendulous branches. The globular to pear-shaped, stalked woody fruit are 4-6mm wide and long. 

Each has a thick rim and 3 or 4 enclosed valves which open to release fine reddish-brown seed. 

Family: Myrtaceae 

12

2 Ellan 

H: 76cm x W: 153cm x D:110cm 

13

Leptospermum grandifolium 

Woolly Tea-tree 

In late spring, white splashes of Woolly Tea-tree flowers colour the swamp margins and stream 

banks around Wentworth Falls Lake. Clasping the spreading branches of this tall shrub, the 15mm 

wide solitary flowers unfold from woolly buds. Five petals, underlain by densely hairy sepals, spread 

from the rim of stamens and a bright green ovary that matures to a 10mm wide, domed and flaky 

seed capsule. Many slender thread-like seeds are released from the five chambers of the mature 

woody capsule as its surface lifts and spreads. New stems and foliage are silky hairy. The sharppointed, 

alternate leaves are large, up to 3cm long and 7mm wide. They are grey-green in colour 

with 3 to 5 parallel veins and a downy underside. 


14

3 Anna Baird 

H: 63cm x W: 112cm x D:112cm 

15

Gleichenia dicarpa 

Pouched Coral Fern 

Springing in green tangles from 2m long, branched stalks that are finely hairy, the fronds of this 

terrestrial fern are a common sight wherever there is damp ground. Spreading a further 1–2m, 

the many-forked leathery fronds terminate in 3-5cm long leaflets or pinnules which extend at right 

angles from a central axis that is covered in brown hairs. The upper surface of the pinnule is green 

to yellowish-green and glossy, and the underside is covered with pale hairs. Each pinnule is divided 

into many 1-5mm long segments. The end segments of fertile fronds are then turned under to form 

pouches. Each pouch contains two sporangia from which are released the reproductive spore. This 

fern is a colonizer of damp ground, creeping towards disturbed areas on scaly rhizomes. 

Family: Gleicheniaceae 

16

4 Mary Anderson 

H: 55cm x W: 108cm x D: 92cm 

17

Callistemon citrinus 

Crimson Bottlebrush 

The crimson red ‘bottlebrushes’ of Callistemon citrinus create floral spectaculars along stream banks 

and swamp edges from spring to summer. Each 12 cm long ‘bottlebrush’ displayed on the ends of 

stiff upright branches, is a spike of hundreds of flowers, each with 5 tiny petals and long brilliant red 

stamens. The nectar-rich flowers are sought by pollinating honeyeaters. Clusters of woody cupshaped 

4-7mm wide capsules persist on the branches, protecting the numerous seeds for years. 

Sunlight shining through the waxy, 3-7cm long lance-shaped leaves, reveals an abundance of oil 

dots which release the citrus fragrance for which this Callistemon is named. Pink, softly-hairy new 

growth continues to attract the eye to this 2-3m high shrub well after flowering. 


18

5 Michael Byrt 

H: 75cm x W: 160cm x D: 160cm 

19

Grevillea subsp. acanthifolia 

Swamp Grevillea 

Found only in the higher parts of the Blue Mountains, Grevillea acanthifolia grows in prickly thickets 

in the damp peaty soils of hanging swamps. The flowers are arranged in a 5-10cm long upright 

‘toothbrush’ towards the ends of long branches. Silvery-pink, softly hairy buds open to long upright 

styles which may be pink or red. Although the flowering season is from spring to summer, 

individual blooms may be seen at any time of the year. After pollination by honeyeating birds, two 

seeds develop in a boat-shaped, thin-walled follicle which retains the remnants of the style as a tail. 

The deeply divided leaves with ultimate wedge-shaped lobes, have sharp points and down-turned 

edges. They are arranged alternately on tough branches which may be low spreading or dramatically 

upright to 2m. 

Family: Proteaceae 

20

6 Vicky Skeen 

H: 95cm x W: 45cm x D: 150cm 

21

Patersonia sericea 

Silky Purple-flag 

Bright violet to mauve flowers supported on long stalks which rise from a grassy tuft of leaves 

are a distinctive feature of this perennial herb. Each flower, which has three large, and three small 

spreading petals, is surrounded by 30mm long, brown bracts. Individual flowers are given only one 

sunny day of glorious colour, though colonies of plants bloom in succession from late winter to 

spring. Rare white flowers are a special find. The flower stem is 30-50cm long and silky towards the 

top. The many 2-3mm long waxy brown ridged seeds are enclosed in a 15-30mm long cylindrical 

capsule. Each slender green leaf is 30-60cm long, flat to cylindrical and upright or spreading. 

Lower margins are lined with dense hairs. This Patersonia is frequently encountered in open-forests, 

woodland and swamp edges. 

Family: Iridaceae 

22

7 Robyn Austin 

H: 120cm x W: 95cm x D: 105cm 

23

Xanthorrhoea resinosa 

Grass Tree 

The most obvious feature of Grass Trees is the flowering spike which is supported on a stalk or 

scape. In this species the scape is usually longer than the spike extending the overall height of 

the plant to 2.5m. It rises from slender quadrangular blue-green leaves that arch gracefully over an 

underground or short trunk. The spike is velvet brown in appearance from densely packed hairy 

dark brown bracts. Shiny brown, hard-capsuled, prominent fruit develop from many creamy-white 

flowers. The nectar is an invaluable energy source for insects, birds and small mammals, especially 

after fire. Aboriginal people soaked the flowers in water to make a sweet drink. They also used the 

scape and spike as a spear, glueing onto it stone tips and barbs with the yellow resin powdered 

from the leaf bases. 

Family: Xanthorrhoeaceae 

24

8 Peter Baird 

H: 155cm x W: 165cm x D: 110cm 

25

Allocasuarina littoralis 

Black She-oak 

Cockatoos love Casuarinas. Hard woody seed cones are crunched loudly apart and debris rained 

on unsuspecting passers-by as the birds feast on a harvest of seeds in the open-forests. In the 

Black She-oak, a 5-15m tall, corky-barked tree, the stalked cone is a 12-10mm long ‘barrel’ with a 

blunt end. Angular protruding valves on the cones open to release dark winged seeds. Cones are 

found on those trees with female flowers. These grow in red tufts within the foliage. Each tiny flower 

has two thread-like red stigmas. These trap pollen that is wind-blown from the rusty male flowers 

which cluster at the end of branchlets, sometimes on a different tree, often on the same. Interestingly 

the branchlets, or cladodes, are photosynthetic as the leaves are reduced to regularly spaced 

rings of 6–8 tiny teeth. 

Family: Casuarinaceae 

26

9 Doris Rainsford 

H: 75cm x W: 125cm x D: 160cm 

27

Hakea teretifolia subsp. teretifolia 

Dagger Hakea 

Prickly thickets of this Hakea guard the wet heaths and swamp from all but the most intrepid visitor. 

Needle sharp, cylindrical leaves up to 5cm long, characterise this rigid shrub which may be low 

and spreading in windy locations or up to 3m tall when sheltered. From spring to summer a wonderful 

abundance of softly hairy white flowers cluster on short stalks in the leaf axils. Segments of 

the 4-6mm long floral tube roll back to one side. The white style, at first curved into the floral tube, 

is released to reveal the pollen presenter. Moths, which are attracted to white flowers, are evening 

pollinators. The 3cm long dagger-like, beaked fruit is a tough woody follicle which splits in half to 

release two black winged seeds. Aboriginal people collected the nectar-rich flowers of Hakeas to 

make sweet drinks. 


28

10 Hugo Rojas 

H: 55cm x W: 102cm x D: 210cm 

29

Acacia elata 

Cedar Wattle 

One of the loveliest Acacias, it achieves graceful heights of 18m in sheltered valleys particularly on 

the edges of rainforest. The cedar-like leaves are 30-40cm long and a light yellow when young. Described 

as bi-pinnate, they are twice divided into 3-5 pairs of pinnae, then 10-20 pairs of pinnules. 

The upper surface of each 5cm long pinnule is glossy green and paler beneath. Individual flowers 

have 4 or 5 tiny petals and numerous pale yellow stamens. They gather into globular heads of up 

to 50 flowers. Then up to 60 heads join in axillary clusters to put on a spectacular summer display. 

The straight seed pod is up to 15cm long and 14mm wide, and dark grey to brown in colour. As 

with other leguminous plants, the pod splits on both sides to reveal a row of plump seeds, each 

joined to the pod by a stalk or funicle. 

Family: Mimosaceae 

30

11 Alexis Apfelbaum 

H:46cm x W: 120cm x D: 56cm 

31

Lambertia formosa 

Mountain Devil 

With the distinctive devil’s head seed pod of a short beak and two long horns, this is one of the 

best known shrubs in the Blue Mountains. Hidden amongst whorls of sharp tipped, linear leaves, 

the gnarled woody fruit colours with age from green to grey and eventually splits to reveal a winged 

seed in each of the two valves. The fruit develops from erect clusters of 7 orange to bright red 

flowers that are surrounded by red-green bracts. Each flower consists of a 4cm long floral tube with 

a rolled back fringe, and a protruding style. Abundant in nectar they were favoured by Aboriginal 

people as a source of sugary carbohydrate. Today they are sought by honeyeating birds and native 

insects who are often denied this sweet pleasure by European bees which drill into the flower base 

and drain away the liquid. 


32

12 Marco Grilli 

H: 78cm x W: 120cm x D:170cm 

33

Banksia serrata 

Old-man Banksia 

Old-man Banksia is a revered archivist of the bush, recording and storing the passage of time and 

events in its knobbly grey bark that fissures with age. With a gnarled ancient appearance it has a 

distinguished place in the small tree layer of open-forests and woodlands. Its sturdy leaves are up 

to 16cm long and evenly serrated. Green and waxy above, the underside is a velvety grey-green. In 

summer thousands of flowers assemble in stocky creamy-grey spikes, and produce copious nectar 

that attracts insects, birds and possums. Only some of the flowers develop into the large brown 

velvety smooth seed pods which project like heavy eyelids from the shaggy grey hair of the long 

withered styles. It may take years, or even a fire, before each pod opens to reveal two black winged 

seeds. 


34

13 Maija Collishaw 

H: 55cm x W: 75cm x D: 133cm 

35

Telopea speciosissima 

Waratah 

With a fiery red head of densely packed flowers and large petal-like bracts, supported proudly on 

a few upright 2-3m long branches, the Waratah of Aboriginal dreaming stories, is the real attention 

seeker in eucalypt forests. Most stunning is the wonderful symmetry of the thick red styles which 

kneel side by side facing the apex of a flower head that may be up to 15cm wide. The name, ‘Telopea’, 

which means ‘seen from afar’ is most apt. After flowering 10-20 winged seeds are pouched 

in long woody follicles which mature from green to grey, and hang below the new red-tinged foliage 

like drying bananas. The leaves too are distinctive, varying according to growing conditions. Always 

long, often to 16cm, some are tough with uneven toothed margins and obvious veins, while others 

are more softly waxy. 


36

14 Gabriella Hegyes 

H: 102cm x W: 52cm x D: 158cm 

37

Isopogon anemonifolius 

Broad-leaf Drumsticks 

Like golden orbs of spring sunshine, the densely packed terminal flower heads of the Isopogon 

radiate a yellow glow into the shrub layer of eucalypt forests and woodlands. Each yellow flower is 

only 10-12mm long and is surrounded by furry bracts. After pollination the bracts become larger 

and woody and cluster tightly around the globular fruiting head which becomes the ‘drumstick’. After 

many years the bracts dry out and fall, releasing the seeds. The seed is a nut, 2-3mm long, and 

covered with long fine hairs from which the name ‘Isopogon’ meaning ‘equal bearded’, is derived. 

When not in flower this 1-2m tall upright shrub, is noticed for its foliage. Changing from rusty-red to 

mid-green, the leaves are so deeply dissected into multiple flat narrow segments that the leaf blade 

virtually disappears. 


38

15 Sonja van As 

H: 55cm x W: 100cm x D: 85cm 

39

Persoonia pinifolia 

Pine-leaved Geebung 

Fine pine-like foliage distinguishes this Geebung from the other tall shrubs in open-forests of lower 

altitudes. Densely packed on graceful drooping branches, each bright green leaf is 3-6cm long, and 

cylindrical with a fine point and a faint groove on the upper surface. It is most commonly noticed in 

autumn however, when the ends of the branches colour to bright yellow with 5-15cm long spikes 

of flowers that nestle amongst the smaller terminal leaves. Each flower is a floral tube of 10-15mm 

long, the ends of which roll back in 4 segments to reveal a projecting stigma. The branches then 

become loaded with a fine crop of succulent red-green fruit that mature to bunches of bronze-purple 

‘grapes’. High in vitamin C and potassium, they were a valued winter food resource for Aboriginal 

people. 


40

16 Petrina Louise Fuda 

H: 62cm x W: 150cm x D: 100cm 

41

Works in Progress 

42

43

44

45

46

47

48

49

Biographies 

Nick Dorrer 

Ellan 

Born: Greece 1961 

I have dabbled in many forms of art expression, from designing clothes 

to sculpting in clay and wax. I also have a longstanding interest in native 

plants, including native medicinal herbs as well as native landscape 

gardening. However this is my first experience with sandstone. Combining 

the knowledge of native plants with sculpting has inspired me to study the 

seed form more intensely for purpose other than propagation. 

I found sandstone sculpting both challenging as well as interesting: 

Challenging because this medium is unforgiving if a mistake is made and 

interesting how the stone evolves into the shape it suggests to me. 

Anna Baird 

Education: 

1999-95 Master of Fine Arts, College of Fine Art, NSW 

1985 BA Visual Arts, City Art Institute - Institute 

1982 Associate Diploma VIS Arts Nepean CAE 

Solo Exhibition: 

1999 Contingent Form, Public Space & The Personal Kudos 

Gallery, Paddington, NSW 

1995 Structure & Form, Casula Power House, Casula, NSW 

Group Exhibitions: 

1999 “Off The Cuff”, Sweet Foray Gallery, Katoomba, NSW 

“Blue” YZ Space UWS Nepean, NSW 

1998 “Staff Exhibition”, YZ Space UWS Nepean, NSW 

“Emotional States”, Sweet Foray Gallery, Katoomba, 

NSW 

“Hand Luggage”, A Travelling Exhibition to Luxemburg 

“Altered Characteristics”, MFA Show, Cofa, NSW 

“Calibration,” MFA Show, Selvyn St, Paddington, NSW 

“20/20” Group Show, Sweet Foray Gallery, Katoomba, 

NSW 

“Collaboration with An Absent Friend”, Cofa, 

Paddington, NSW 

“Collaboration with An Absent Friend 2” dec 

Artspace, Katoomba, NSW 

“Lusting Impressions”, Sweet Foray Gallery, 

Katoomba, NSW 

1997 “Unreasonable Encounters”, Sweet Foray Gallery, 

Katoomba, NSW 

“Erotica” Sweet Foray Gallery, Katoomba, NSW 

1996 “A Touchy Subject” Sweet Foray Gallery, Katoomba, NSW 

“Block Buster” Sweet Foray Gallery, Katoomba, NSW 

1995 “Dimensionally Challenged”, Financially Accessible, 

Sweet Foray Gallery, Katoomba, NSW 

Staff Show at YZ Space UWS Nepean, NSW 

50 

Born: Sydney 1978 

Visual Art Studies 

1997 Lead light, Nepean Community College, Katoomba, NSW 

1997-94 Advanced Sculpture, Nepean Community College, 

Katoomba, NSW 

Advanced Photography, Black & White, Nepean 

Community College, Katoomba, NSW 

1995-94 Experimental Photography, Nepean Community 

College, Katoomba, NSW 

1994-93 Photography- Black &White, Nepean Community 

College, Katoomba, NSW 

Sculpture, Nepean Community College, Katoomba, NSW 

Selected Group Exhibitions: 

1995 “Kaleidoscope of Images” Photographic Exhibition, 

Penrith Regional Gallery & The Lewers Bequest, 

NSW 


1997 “Art in the Mountains” Wentworth Falls School of 

Arts, Wentworth Falls, NSW 

“Art Street 97” Winter Magic Festival, Katoomba, NSW 

1996 “Boxed In” Photographic & Sculpture Exhibition, 

NCC, Katoomba, NSW 

“Conspiracy” Mixed Media Polymorph Body Art, 

Enmore, Sydney, NSW 

“After Image” Photographic & Sculpture Exhibition, 


“Arts In The Mountains ‘96” Wentworth Falls School 

Of Arts, Wentworth Falls, NSW 

“Camp Creative” Katoomba, NSW

1995 “Desire” Photographic Exhibition Café 40 Gallery, 

Katoomba, NSW 

“Mountain Reflections” Photographic Exhibition, 

Kedumba Gallery, Wentworth Falls, NSW 

“Transformations” Photographic & Sculpture 

Exhibition NCC, Katoomba, NSW 

“Paper Labyrinths” Photographic Exhibition, Café 40 

Gallery, Katoomba, NSW 

1994 “Destiny” Photographic & Sculpture Exhibition, NCC, 

Katoomba, NSW 

“Youth Art” Katoomba Youth Centre, Katoomba, NSW 

“Light Forms” Wentworth Falls School the Arts, 

Wentworth Falls, NSW 

“Impressions” Photographic Exhibition, Café 40 


“Eat” Wentworth Falls School the Arts, 


“Year of The Family” Photographic Exhibition, Café 40 


1993 “Focused” Photographic & Sculpture Exhibition, NCC, 

Katoomba, NSW 

Awards: 

1997 “Art Street” First Place, 3D Art works, Winter Magic 

Festival, Katoomba, NSW 

1996 “Rod Kerr Memorial Award” Katoomba High School, 

Katoomba, NSW 

“3 Unit Visual Arts” Katoomba High School 

Katoomba, NSW 

Commissions: 

1997 ‘Scattered” Sculpture Private Collection 

1995 “Close Up” Photographic Private Collection 

Private Collections represented throughout Australia 

Mary Anderson 

Education: 

1996 Sculpture Workshops, Nepean Community College, 

Katoomba, NSW 

1994 Painting Workshops, Nepean Community College, 

Katoomba, NSW 

1965 Scholarship for Fine Arts East Sydney Technical College 


1998 Blue Mountains Arts Council, Wentworth Falls School 

Arts, Wentworth Falls, NSW 

Michael Byrt 

Born: Sydney 1961 

Education: 

1988 Higher Certificate, National Art School, Darlinghurst, NSW 

1987 Art Certificate National Art School, Darlinghurst, NSW 

1986 Art Certificate Meadowbank TAFE, NSW 

1983 Diploma KVB, Graphic Design, Sydney 


1989 Dension Sculpture Studio, Rozelle, NSW 

Exhibitions: 

1996 “Degree of Excellence”, UWS, NSW 

1997 Go West Café, Katoomba, NSW 

1993 Four Sculptors, TAP Gallery, Darlinghurst, NSW 

1991 Old Brewery, Goulburn, NSW 

1989 Multiple Visions, Art Incorporate, Sydney 

1988 Exhibition in “A Minor”, NAS, Darlinghurst, Sydney 

Wynne Exhibition, Art Gallery of NSW, Sculpture 

1985 Sydney Morning Herald 

Royal Easter Show 

Drummoyne Art Award 

Lane Cove Art Award 

NSW Police Art Exhibition 

Awards: 

1996 Blue Mountains Art Exhibition 

Environmental Award, “Storm Water Mural Project”, 

Paddington, NSW 

South Sydney Council, Keep Australia Beautiful 

Minute Paper, Storm Water Pollution Policy, South 

Sydney Council 

1994 South Sydney Council, Keep Australia Beautiful 

1993 Environmental Award for Excellence, Meadowbank 

TAFE, NSW 

1985 NSW Police Art Exhibition, Highly Commended 

Winner, National Art Award, Cover Design, “The 

Farmers Annual” 1986 

Commissions 

1997 Christmas Card Art Work, For the Hon Pam Allan MP, 

Minister for the Environment 

Community Mural, Police Youth Club, Redfern, NSW 

Seven Kids Theatre Designs, Marian St Theatre, 

Killara, NSW 

Murals with South Sydney City Council 

51

Vicki Skeen 

Born Australia 1954 

Education: 

1999 Candidate for Diploma in Fine Arts, Western Sydney 

Institute of TAFE, Werrington, NSW 

1995 Sculpture, Nepean Commuity College, Katoomba, NSW 

1973 Certificate Fine Arts, National Arts School, Kogarah, NSW 

Solo Exhibition 

1994 Wentworth Falls School of Arts, Wentworth Falls, NSW 


1996 “Nutters” Art Arena, Wollongong, NSW 

1995 “Transformation” NCC, Katoomba, NSW 

1994 “Destiny”, NCC, Katoomba, NSW 

Art Related Activities 

1996-99 Winter Magic Festival committee member 

1998 Blue Mountains Community Arts Council, Vice-President 

Radio 2 Blu presenter 

1993 Society of Mountains Artists, secretary 

1992 Blue Mountains Community Arts Council, secretary 

Blue Mountains Artists for Life, founding member and 

treasurer 

1976 Mark & Geoffrey Designers, Paddington, Sydney, Artist 

Robyn Austin 


1999 “Erotica” Sweet Foray Gallery, Katoomba, NSW 

“Emotional States” Sweet Foray Gallery, Katoomba,NSW 

“20/20 Vision” Sweet Foray Gallery, Katoomba, NSW 

“From Small Things” Penrith Regional Gallery & The 

Lewers Bequest, NSW 

“Journeys”, Sweet Foray Gallery, Katoomba, NSW 

1997 “Below The Surface”, Sweet Foray Gallery, Katoomba, NSW 

“Body and Beyond” Sweet Foray Gallery, Katoomba,NSW 

1995 “Labyrinth” NCC, Katoomba, NSW 

1994 “Light Forms” Wentworth Falls School of Arts, 


Represented in private collections in the USA and Australia. 

Peter Baird 

Born Scotland 1953 

The emergence of the sculpture was an 

intense physical process. The size and composition of the stone, its hard 

and soft qualities, involved various chisel-ing, scutching and grinding 

techniques. The proportions of the stone allowed various forms of the seed 

pod to be created, which can be viewed from different angles. 

The stone image, which represents the material form of the plant, encourages 

me to be more conscious of the unique flora we have in our bush, 

particularly around Wentworth Falls Lake. 

Doris Rainsford 

Born: Australia 1971 

Education: 

1998 Candidate for Fine Arts Certificate, Western Sydney 


1997-1994 Sculpture Workshops, Nepean Community College, 

Katoomba, NSW 

1999-1994 Photography Workshops, Nepean Community College, 

Katoomba, NSW 

1997 Stained Glass Workshops, Nepean Community College, 

Katoomba, NSW 

Solo Exhibition 

1999 “flowers, wings and other small things” Sweet Foray 


52 

Education: 

1997 Graduate Diploma of Education, University of Western 

Sydney Nepean, NSW 

1996 Bachelor of Arts (Honours) Fine Arts, University of 

Western Sydney Nepean, NSW 

1995 Bachelor of Arts (Fine Arts), University of Western 

Sydney Nepean, NSW


1999 “Sited 99” Charles Darwin Walk, Wentworth Falls, NSW 

“Fuse” The Red Exhibition, Penrith Regional Gallery 

& The Lewers Bequest, NSW 

Solo Exhibitions: 

1998 “Uranium Ship” dec Art Space, Katoomba, NSW 

1996 “Flight into the Unknown” Sweet Foray Gallery, Katoomba, NSW 


1998 “Earth Woman Environment”, Blue Mountains Women’s 

Health Centre, Katoomba, NSW 

1997 “Hatched Healthway”, Perth Institute Contemporary Arts, WA 

“World In a Match Box 1997”, City Art public space, 

Melbourne, VIctoria 

“Twentieth Annual Walker Ceramic Award” Victoria 

Arts Centre, Melbourne, Victoria 

1996 “Another Dose”, Arts Space, Woolloomooloo, NSW 

“Mary Alice Evatt Art Award” Casula Power House, 

Casula, NSW 

Forum Feminism & Art “Dissonants” UWS & UNSW, Cofa 

“Giftings 96”, Side on Studio Gallery, Stanmore, NSW 

1995 “Multiformity”, Royal Arcade, Sydney Hilton, Sydney 

“Origins”, Nepean Arthouse, Penrith, NSW 

Art Related Activities 

1998-99 Art Teacher, St Clair High School, St Clair, NSW 

1999 Community Art teacher 

Hugo Rojas 

Born: Santiago, Chile 1971 

Education: 

1996 Graduate Diploma in Education (Secondary), University of 

Western Sydney, NSW 

1995 Bachelor of Arts (Visual Arts) University of Western of 

Sydney, NSW 


1995 Pulse Boxcar Gallery, UWS Nepean, NSW 


1998 “Sustenance” Charles Darwin Walk, Wentworth Falls, NSW 

“Sustenance” Sweet Foray Gallery, Katoomba, NSW 

1996 Mary Alice Evatt Award Exhibition, Casula Power House, NSW 

1995 Images of Men, Kinesis Gallery, Leichhardt,Sydney, NSW 

Loom, Obscure Gallery, Building I UWS Nepean, NSW 

Strange Bedfellows Exchange, H Block Gallery, 

Queensland University Of Technology 

Awards: 

1995 Recipient, William Fletcher Trust Grant 

1995 High Commendation, Chancellor’s Cup Day Art Competition 

Experience: 

1999 Art Teacher, Nepean H.S, Emu Plains, NSW 

1998-97 Art Teacher, Evans H.S, Emu Plains, NSW 

1996-95 Gallery Hand, Casula Powerhouse, NSW 

1995 Exhibition Assistance, Australian Perspecta 

Alexis Apfelbaum 

Born USA 1965, arrived Australia 1966 

Education: 

1998 Certificate In Fine Arts, Werrington TAFE, NSW 

1997-96 Sculpture, Nepean College, Katoomba, NSW 

1997 Ceramics, TAFE, Penrith, NSW 

Certificate in Welding, TAFE, Mount Druit, NSW 

1994-92 Master of Arts-Art Therapy, University of Western, 

Sydney, Kingswood, NSW 

1992-91 Summer Intensive, Julian Ashton’s School of the Arts, 

Sydney, NSW 

1992-89 Macquarie School of Arts, Bathurst, NSW 


1999 “Sited 99” Charles Darwin Walk, Wentworth Falls, NSW 

1996 Gasworks Outdoor Sculpture Exhibition, Albert Park, Vic 

1994 “We Can Imagine’, Penrith Regional Gallery & The Lewers 

Bequest, NSW 


1998 “Ko-optic”, Trapezium Gallery. Werrington TAFE, NSW 

1997 “Below The Surface”, Sweet Foray Gallery, Katoomba, NSW 

“Art in the Mountains”, Wentworth Falls School of Arts, 


1996 “Boxed In” Photographic & Sculpture Exhibition, 


“After Image” NCC, Katoomba, NSW 

“Art Street 96” Winter Magic Festival, Katoomba, NSW 

Work in Public Space 

1998-97 Floral Fest, Everglades 

1997 “Hair Basket” Installation, MT Blue Hair, Katoomba, NSW 

53

Marco Grilli 


54 

1995 Diploma of Education, Hobart, Tamania 

1993 BA of Visual Arts, University Western Sydney, Nepean, NSW 


1999 “siTed ’99” Charles Darwin Walk, Wentworth Falls, NSW 


1998-96 “Emotional States” Sweet Foray Gallery, Katoomba, NSW 

1998-96 “Erotica” Sweet Foray Gallery, Katoomba, NSW 

1998-97 Beneldi House, Sydney, NSW 

1992 “Papa” Paddington, NSW 

Represented in private collections in Italy and Australia 

Maija Collishaw 

Born in Rigia-Lativia 1935 - arrived in Australia in 1949 

Education: 

1989 Associate Diploma Fine Arts, TAFE, Penrith , NSW 

1987-85 Art Certificate, TAFE, Penrith, NSW 


1996 “Reflection” dec Artspace, Katoomba, NSW 


1999 “Sited ‘99” Charles Darwin Walk, Wentworth Falls,NSW 

1998 SMA Spring Exhibition, Hydro Majestic, Medlow Bath, 

NSW 

1997 Cultural Festival, Bankstown Town Hall, NSW 

1996 “Boxed In” NCC, Katoomba NSW 

SMA Spring Exhibition, Wentworth Falls School Of 

Arts, NSW 

1995 “Labyrinth” NCC, Katoomba, NSW 

Awards: 

1995 SMA Spring Exhibition, Wentworth Falls School of 

Arts, NSW 

Commissions: 

Represented in private collections in Czech Republic, Lativia & Australia 

Born Hungary 1954, arrived in Australia in 1977 

Education: 

1999 Post Graduate Diploma Visual Arts Monash University 

Gippsland, Vic 

1994 Bachelor of Arts (Visual Arts) University of Western 

Sydney, NSW 

1989 Higher Art Certificate National Art School Sydney, NSW 

1988 Art Certificate West Wollongong TAFE, NSW 


1996 “Gift of Racism” dec Artspace, Katoomba, NSW 

1993 “ Images from the Kimberley” School of Arts, Wentworth 

Falls, NSW 


1999 “Bloom’n Art” Orange Regional Gallery, NSW 

“Fuse” Penrith Regional Gallery & The Lewers Bequest, 

NSW 

“siTed ‘99, Charles Darwin Walk, Wentworth Falls, NSW 

1998 “Gasworks Outdoor Sculpture Exhibition” Melbourne, Vic 

“Sculpture Acquisition Show” Lake Macquarie City Art 

Gallery, NSW 

“Sustenance” Charles Darwin Walk, Wentworth Falls, NSW 

1997 “Locate/Relocate’ Art in Public Spaces, Albury Regional 

Art Centre, NSW 

1996 “Sculpture Acquisition Show” Lake Maquarie City Art 

Gallery, NSW 

1995 “LeurArt Practice” Site Specific Installations, Leura Mall, NSW 

“Bias Binding” Cowwarr Art Space, Cowwarr, Vic 

“Mary Alice Ewatt Art Award” Casula Powerhouse, NSW 

“Bias Binding” Access Gallery, NGV,Vic 

“(Dis) playing David Jones, Parramatta, NSW 

1994 “Gasworks Outdoor Sculpture Show” Melbourne, Victoria 

“Shifting” University of Technology, Brisbane, QLD 

1989 “Capita” Fine Arts Grant, Cellblock Gallery, Sydney, NSW 

1988 “Illawarra Bicentennial Exhibition” Wollongong City Art 

Gallery, NSW 


1998 “ Insieme” Trapezium Gallery, Werrington, NSW 

1996 “ From The Mountains to the Sea” Sweet Foray Gallery, 

Katoomba NSW 

1994 “Gasworks” Platform Contemporary Public Art, 

Melbourne, Victoria 

“ International Sculpture Competition” Sanda, Japan

“Sculpture of the Month” Blue Mountains City Council, 

Katoomba, NSW 

“Postcodes” NSW Arts Council Ultimo, Sydney, NSW 

“By Women” Long Gallery Wollongong, NSW 

Awards: 

1993 Sculpture prize, Blue Mountains Community Arts 

Council, Renaissance Centre, Katoomba, NSW 

1988 Drawing Prize, Fifth Cordeaux Heights Art Purchase 

Prize Exhibition Wollongong, NSW 

Commissions: 

1988 “Sails 1788-1988” Windang Bicentenial Project, 

Wollongong, NSW 

Art Related Projects: 

1999 Project Co-ordinator “siTed ’99” site specific 

installations, Charles Darwin Walk, Wentworth Falls, NSW 

1998 Joint Project Co-0rdinator “Sustenance” site specific 

installations, Charles Darwin Walk, Wentworth Falls, NSW 

1997 Founding member, FreshAir Website, Blue Mountains 

Contemporary Artists Association. 

1998-95 Creator and curator of dec Artspace, Katoomba, NSW 

Represented in public and private collections in Australia, Austria, Italy, 

Hungary and USA 

Sonja van As 

Born: Holland 1962 

Education: 

1999 Candidate for Diploma in Fine Arts, Western Sydney 


1998 Certificate IV Fine Arts, Western Sydney Institute of 

TAFE, Werrigton, NSW 

1997 Certificate in Occupational Studies Arts & Media Voca 

tional, Werrington, NSW 


1999 “Fresh Cuts” The Trapezium Gallery, Werrington 

TAFE, Werrington, NSW 

“Altered States” Sweet Foray Gallery, Katoomba, NSW 

“Erotica” Sweet Foray Gallery, Katoomba, NSW 

“Emotional States” Sweet Foray Gallery, Katoomba, NSW 

1998 “Ko-Optic” The Trapezium Gallery, Werrington 

TAFE, Werrington, NSW 

1997 “Student Exhibition” Penrith TAFE, Penrith, NSW 

Petrina Louise Fuda 

Education: 

1997 Certificate in Welding, Mount Druit TAFE, Mount Druit, 

NSW 

1997-96 Sculpture, Nepean College, Katoomba, NSW 

1995 Certificate in Sculpture, Willoughby College of The 

Arts, Willoughby, Sydney, NSW 

1993-91 Associate Diploma in Graphic Design, The K.V.B 

College of Visual Communication, North Sydney, NSW 

1990-88 2H Graphics - Training in: Air brush, Illustration, 

Advertising , Adelaide, South Australia 

1986-84 Bond Private College Of The Arts, Darlinghurst, Sydney, 

NSW 

1983 Castle Hill College/Painting, CastleHill, NSW 

Solo exhibition: 

1996 “Breaking Free” dec Artspace, Katoomba, NSW 


1999 “siTed ‘99” Charles Darwin Walk, Wentworth Falls, NSW 

1997 “Carnival” Fringe Festival, Span Galleries, Flinders 

Lane, Melbourne, Vic 


1997 Camden Art Show, Camden, NSW 

OZ Gallery, Katoomba, NSW 

Tina Wencher Awards, Menzuros, Melbourne, Vic 

1996 “Surfacing” PCL Exhibitionist, Strawberry Hills, 

Sydney, NSW 

“House Warming” Sculpture & Painting Exhibition, 

Private Gallery, Darlinghurst, Sydney, NSW 

“Art in the Mountains 96” Wentworth Falls School of 

Arts Gallery, Wentworth Falls, NSW 

“Boxed In” The College Gallery, Katoomba, NSW 

“I Can Do That” Exhibition for Environment Day, 

Katoomba, NSW 

“After Image” NCC, Katoomba, NSW 

Commissions: 

1997 Sculpture, 10ft Chair, Wood , Salon Shop Front, 

Hiedelburge, Melbourne, Vic 

1996 “Heshen & Brass Torso” Private Collection, 

Darlinghurst,Sydney, NSW 

1996 “Motor Bike” Copper Sculpture, Private Collection, 

Sydney, NSW 

Represented in Private Collections throughout Australia 

55

Education Kit 

The aim of this project is to increase the appreciation of native plants and public 

sculpture. 

Each sculpture is situated near the appropriate native plant for easy identification. 

Next to each carving, level with the ground there is a plaque, depicting 

botanical drawings of the leaf, flower, seed pod, and the seed. This information 

is accompanied by the plant’s scientific and common names. These plaques 

were made not only to provide information, but also to make rubbings from, for 

further study. 

The Education Kit contains information on: 

• History of stone carving & indigenous rock engravings. 

• Historical and contemporary use of native plants in art, craft, design and 

literature. 

• Art and the natural environment. 

• Geology, sandstone formations. 

• Botanical information. 

• Native plant propagation and garden use. 

• Bush food and bush medicine. 

• Reading list for further study. 

The Education Kit aims to assist primary and secondary students and teachers 

in enjoying and understanding the relationship between art and nature as shown 

in this project. There are several activities designed for age groups ranging from 

kindergarten to tertiary level. 

The Education Kit can be purchased from: 

Blue Mountains City Council PO Box 189., Katoomba 2780 NSW 

56

Wentworth Falls Lake Sculpture Walk

Create successful ePaper yourself

Delete template?

Save as template?