finalists - Fleurieu Art Prize

CATALOGUE
4 NOVEMBER - 5 DECEMBER 2011
The World’s Richest Landscape Painting Prize
PAGE 1

If you’re planning a brilliant holiday
there’s one place you must visit
southaustralia.com
PAGE 2

CONTENTS
INTRODUCTION ........................................................................................................................ 5
JUDGES .................................................................................................................................... 7
FROM WHERE I STAND PROF. TED SNELL, AM CITWA ..................................................................... 10
THE FLEURIEU LANDSCAPE ART PRIZE (MAIN PRIZE) .................................................... 13
THE FLEURIEU ART OF FOOD AND WINE PRIZE ................................................................ 21
THE FLEURIEU VISTAS PRIZE ............................................................................................ 25
THE FLEURIEU WATER PRIZE .............................................................................................. 28
THE FLEURIEU YOUTH SCHOLARSHIP .................................................................................. 32
LANDSCAPE ART & ENVIRONMENT FIELD RESEARCH PROJECT .......................................... 34
THANKS .................................................................................................................................. 38
SUPPORTERS .......................................................................................................................... 38
GOVERNANCE .......................................................................................................................... 39
SPONSORS .............................................................................................................................. 39
PAGE 3

PAGE 4
Home to some of Australia’s
richest landscapes, the
City of Onkaparinga is
proud to support the world’s
richest landscape art prize.
www.onkaparingacity.com

INTRODUCTION
Since its inception in 1998,
the Fleurieu Art Prize has
attracted artists of national
and international calibre,
visitors to our magnificent
region and support from the
local community. This November
marks the seventh festival
and we look forward to once
again welcoming visitors with
exhibitions of landscape art,
valuable art prizes, stunning
scenery, quality wines and
great local food.
The centrepiece of the event
is the Fleurieu Art Prize,
which celebrates work in the
landscape painting genre.
This, along with four other
significant prizes - the Art
Elizabeth Raupach, OAM
of Food and Wine, the Vistas
prize, the Water Prize and the
Youth Scholarship – will make
the region a wonderful focus to
view the art, buy significant
works and debate the selection
and winning entries.
The region has been the
source of inspiration to
some of Australia’s most
important landscape artists.
Now with increasing focus on
the preservation of natural
resources, landscape art has a
vital role to play in bringing
the message of sustainability
to a broad audience. Visual art
often resonates with people in
a way that goes beyond words!
On behalf of the Board, I would
like to extend thanks to the
many people and organisations
who make the Fleurieu Art
prize possible; the artists
who enter, the expert panel
of judges, the venues and our
wonderful group of volunteers
and community stakeholders.
In particular the Board would
like to thank the James and
Diana Ramsay Foundation, the
Government of South Australia
through Events SA and Arts SA,
the City of Onkaparinga and the
Alexandrina Council and our
major sponsors; Hardys Winery,
Flinders University of South
Australia, Wirra Wirra Winery,
Chapel Hill Winery, d’Arenberg
Winery, Trility Group, Willunga
Basin Water Company and AbaF,
Fox Creek Wines, BDO, Crowne
Plaza and Newstyle Print.
Our tireless General Manager
Karen Paris has ably smoothed
the way and prepared the path
for a wonderful festival.
See you in November!
Elizabeth Raupach OAM
Chair, Fleurieu Art Prize
PAGE 5

immerse yourself in a year of
arts and cultural experiences
program launch 27 november 2011
premiere event 14 january 2012
information and tickets available from 27 november 2011
visit www.artsalexandrina.org.au or call 1300 466 592
PAGE 6

JUDGES
Nick Mitzevich holds a degree
in Fine Art and Graduate
Diplomas in both Education and
Fine Art from the University of
Newcastle, New South Wales.
Nick commenced in his position
of Director, Art Gallery of
South Australia, on 26 July
2010. He intends to build
on the outstanding legacy of
the Gallery’s past directors
by bringing the energy, ideas
and inspiration necessary
to lead the Art Gallery of
South Australia into its next
exciting phase.
Previously Nick was Director of
The University of Queensland
Art Museum, Brisbane, a
position he held from 2007 to
2010. His strategic direction
resulted in major innovative
change for the art museum
Nick Mitzevich
enhancing the museum’s national
profile, providing significant
increases in visitor numbers
and growth of the art
collection; particularly in the
area of Aboriginal art and the
development of philanthropic
support.
Nick was recognised for his
outstanding achievements
by receiving the Museum and
Gallery Services Outstanding
Achievement Award, Queensland
in 2009.
Nick was also Director of
the Newcastle Region Art
Gallery, a position he held
for six years. In this role
his initiatives included a
transformation of the gallery
in the areas of community
engagement, support groups,
programming, sponsorship
and collection development,
particularly in the area of
contemporary Australian art.
Other achievements include a
broad refurbishment of the
gallery and master planning
for a major redevelopment plan
for the Newcastle Region Art
Gallery.
He has curated notable
international and national
exhibitions, including AES+F
The Revolution starts now!
(2010), Margaret Olley: Life’s
journey (2009), Strange Cargo:
contemporary art as a state
of encounter (2006) and Auto
Fetish: the mechanics of desire
(2004).
With over fifteen years
experience managing and
directing public galleries,
Nick has gained extensive
knowledge and understanding
of contemporary art gallery
practices and its current
trends.
Nick has previously worked as
a university lecturer in art
history and museum studies, a
commercial art dealer, a school
art teacher and a multicultural
arts officer.
PAGE 7

JUDGES
PAGE 8
Janet Laurence is one of
Australia’s most important
contemporary artists today.
Sydney based, she works in
mixed media and installation.
Her work has been included
in major survey exhibitions,
nationally and internationally
and is regularly exhibited in
Sydney, Melbourne and Japan.
Her work echoes architecture
while retaining organic
qualities and a sense of
instability and transience.
Her work occupies the liminal
zones or meeting places of
art, science, imagination and
memory.
Profoundly aware of the
interconnection of all life
forms, Janet often produces
work in response to specific
sites or environments using a
Janet Laurence
diverse range of materials.
Alchemical transformation,
history and perception are
underlying themes.
Janet exhibits widely and
has an impressive record of
representation in important
group exhibitions, including
the Ninth Biennale of Sydney
(1992) and Australian Perspecta
(1985, 1991, 1997). Following
her solo exhibition in 1991 at
Seibu Gallery, Tokyo, and since
she was awarded an Australia
Council studio residency in
Tokyo in 1998, Janet has
exhibited regularly in solo
and group exhibitions in Tokyo
and Nagoya. She was invited to
create a permanent installation
for the 2006 Echigo-Tsumari Art
Triennial in japan.
Her more recent solo
exhibitions in Australia
include ‘Birdsong’, Object
Gallery, Sydney; ‘Janet
Laurence’, Jan Manton
Gallery, Brisbane (both 2006);
and ‘Greenhouse’, Sherman
Galleries, Sydney (2005). A
survey exhibition of her work
was held in 2005 at the aANU
Drill Hall Gallery, Canberra.
Well known for her public
commissions and architectural
collaborations, Janet has
completed significant national
and international projects,
such as the ‘Tomb of the
Unknown Soldier’, Australian
War Memorial, Canberra (1993).

Ted Snell AM CitWA was born in
1949, in Geraldton, Western
Australia. After completing
an undergraduate degree,
he travelled to England to
undertake postgraduate study
in Birmingham. He returned to
Australia and began teaching
part-time at WAIT (now Curtin
University of Technology),
where he was Professor of
Contemporary Art and Dean of
Art, John Curtin Gallery.
In 2009 he was appointed
as Director of the Cultural
Precinct at the University of
Western Australia.
Over the past two decades he
has contributed to the national
arts agenda through his role as
Chair of the Australian Council
of University Art and Design
Schools, Chair of Artbank,
Chair of the Asialink Visual
Ted Snell, AM CitWA
Arts Advisory Committee and as
a Board member of the National
Association for the Visual
Arts. He is currently Chair of
the Visual Arts Board of the
Australia Council.
He has been a commentator on
the arts for ABC radio and
television and is currently
the Perth art reviewer for
The Australian and a regular
contributor to local and
national journals. He has
published several books and has
curated numerous exhibitions,
many of which document the
visual culture of Western
Australia. Ted is also a
visual artist and his work is
represented in many public and
private collections, including
the National Gallery of
Australia, the Art Gallery of
Western Australia and Artbank.
Chapel Hill
PROUD SPONSORS
of the FLEURIEU ART PRIZE
– Food & Wine
Perched high on the ridge of the Onkaparinga Gorge,
Chapel Hill gives you an unforgettable panorama
of McLaren Vale. You can taste our internationally
acclaimed wines at our historic 1865 cellar door,
wander through the art gallery and view the 2011
Food & Wine Prize finalists. Join us for an insight into
the unbridled passion of the Chapel Hill team for all
things McLaren Vale.
Chapel Hill Gallery & Cellar Door
Open 11am – 5pm – 7 days a week
1 Chapel Hill Rd, McLaren Vale 5171 SA
www.chapelhillwine.com.au
PAGE 9

FROM WHERE
I STAND
PROFESSOR TED SNELL, AM CITWA
DIRECTOR CULTURAL PRECINCT
UNIVERSITY OF WESTERN AUSTRALIA
PAGE 10
Why is the genre of landscape
painting so resilient and so
popular in Australia? One
answer lies in the definition
of landscape itself as ‘an
expanse of scenery that can be
seen in a single view’. That
view - from where the artist
stands – encapsulates a process
of belonging; it’s about a
personal engagement with place
and about identification with
the land and hence it is
essentially a form of selfportraiture.
A landscape
painting describes the physical
environment, but from the
perspective of a person who
brings with them their own
history, their own cultural
knowledge and their own point
of view.
For Indigenous Australians
sense of place is a condition
of their existence and their
understanding of country is
fused to every part of their
being. The notion of ‘country’
is a concept that embraces
both macro and micro notions
of belonging and ownership.
It is as Hetti Perkins and
Victoria Lynn have suggested
‘simultaneously concept and
place’ and often, as in many of
the works in this exhibition,
while they are clearly
landscapes the fundamental
orienting feature of most
western landscape painting is
missing, there is no horizon.
These artists are in the
landscape, they stand in and
live in their country; theirs
is not about the long view but
the long history of belonging.
Those who experience a place
for the first time must
establish a connection to
what may seem like an alien
environment where nothing is
familiar, accommodating or
welcoming. This requires
an enormous creative leap,
which George Seddon describes
as taking ‘imaginative
possession’, a process that
enables individuals to become
rooted in a place and make
it their own. It’s also the
reason that so many landscape
paintings from the Western
tradition since the sixteenth
century are uninhabited. The
only palpable human presence
is the artist, through whose
eyes we see the view before
us. “An environment becomes
a landscape only when it is
so regarded by people, and
especially when they begin
to shape it in accord with
their taste and needs” Seddon
explains, and this activity
of bringing inherited and
adopted cultural assumptions
and expectations into contact
with the actual conditions
of life in a new place
generates a responsiveness and
interactivity that encourages
on-going discourse. It finally
becomes ‘my place’.
Interestingly this most
often occurs when the direct
connection with the land as
the location of work and
sustenance is fractured, when
those who have left the land to
reside in the city look back
to the landscape to reignite
a spiritual or emotional
connection with their natural
environment.
Clearly depicting place plays
a vital role in forming our
attachment to the land, and
while this is a fundamental
element of life for Aboriginal
Australians it is also
important for those displaced
from their natural homelands
and relocated here or for
those who were born here but
originally came from elsewhere.
The narratives that unravel
from this framing of the
landscape, as evidenced in the
works submitted for this year’s
Fleurieu Prize, generates a
range of perspectives and many
new insights about this place
and its people. The single
view is shared and we are all
richer for that.

Enjoy wine responsibly
......................................
CELLAR DOOR
Major sponsor of the Fleurieu Art Prize 2011
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Experience the rare
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heritage-listed Hardys
Tintara winery, and
surround yourself with
the beautiful gardens
and classic McLaren Vale
wines we have to offer.
Open 7 days for tastings, please also call us
for the opportunity to book in for a masterclass
of some of our premium wines.
202 Main Road, McLaren Vale, South Australia
Open 10am - 4.30pm 7 days
Telephone (08) 8329 4124
cellardoor@tintara.com.au
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Enjoy a glass of our iconic Eileen
Hardy Shiraz with a premium
cheese plate for $20 pp.
Only available at Hardys Tintara
Cellar Door until December 5th 2011.
One voucher per person.
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PAGE 11

Future
thinking
FLINDERS UNIVERSITY IS HARNESSING ITS RESEARCH AND TEACHING
EXPERTISE TO CONTRIBUTE TO THE NATION’S SUSTAINABLE DEVELOPMENT.
At a time when industries are looking at more
efficient forms of energy and are wanting to
adopt more sustainable business practices,
Flinders is exploring innovative solutions.
Where societies around the world are facing
increasing environmental threats posed by climate
change, loss of biodiversity, water pollution, and
depletion of natural resources, Flinders is at the
forefront of change.
Flinders University’s ongoing commitment to
tackling environmental and sustainability issues is
highlighted through our School of the Environment,
our research and our specialised degrees.
PAGE 12
School of the Environment
By housing together Flinders diverse environmental
expertise under one roof, our School of the
Environment incorporates our world-class skills and
experience and provide multidisciplinary approaches
to global problems. The establishment of the School
also increases our capacity to train experts and
provide vital environmental research.
Research
Flinders continues to lead the way through
our highly regarded research centres, including
Flinders Institute of Housing, Urban and Regional
Environments; Flinders Research Centre for
Coastal and Catchment Environments; and
Airborne Research Australia. Flinders is also
the lead organisation of the National Centre
for Groundwater Research and Training.
Education
Flinders has created specialised degrees to ensure
students gain the skills and knowledge needed to
make a difference in the environment today and
meet the challenges of tomorrow.
Areas of environmental study available
at Flinders include:
� Aquaculture
� Biodiversity and Conservation
� Biotechnology
� Ecotourism
� Environmental Health
� Environmental Management
� Environmental Science
� Environmental Technologies Engineering
� Geographical Information Systems
� Groundwater Hydrology
� Marine Biology
� Water Resources Management
www.flinders.edu.au/environment
CRICOS Provider Number: 00114A

FINALISTS
THE FLEURIEU LANDSCAPE ART PRIZE (MAIN PRIZE)
Sponsored by Willunga Basin Water Company & Trility Group
Hardys Tintara Winery / Main Road McLaren Vale
A $50,000 prize (non acquisitive) for landscape painting depicting any landscape. This
prize celebrates the enduring importance and contemporary significance of landscape
painting while exploring the changing nature of painting as a medium. The selected
finalist works will be exhibited at Hardys Winery, McLaren Vale.
PREVIOUS WINNERS
1998 robert hannaford
2000 elisabeth cummings
2002 joe furlonger
2004 ian grant
2006 ken whisson
2008 tim burns
THE FLEURIEU LANDSCAPE ART HARDYS PEOPLES CHOICE AWARD
Sponsored by Hardys Winery
The winner of this award as voted by the exhibition audience will be announced at the
conclusion of the exhibition and will be published on the Fleurieu Art Prize website,
www.artprize.com.au.
PAGE 13

2011 FLEURIEU LANDSCAPE ART PRIZE / FINALISTS
Giles Alexander / NSW / $12,000
Landscape Painting 1
oil and resin on canvas
1500 x 930 Peter Walker Fine Art & Grantpirrie, Sydney
Tanya Chaitow / NSW / $3,500
The Battle for the Day Before 1
acrylic on board
1800 X 1200 Stella Downer Fine Art, Sydney NSW
PAGE 14
Melissa Boughey / WA / $3,600
Wetlands by Canoe
oil on canvas
1200 x 1500
Sadie Chandler / VIC / $7,000
Guilin, China
oil on canvas
1500 X 2000
Lynne Boyd / VIC / $6,000
Glide, Trentham
oil on linen
760 X 920 Charles Noorum Gallery
Jun Chen / QLD / $20,000
Fertile Field
oil on canvas
1370 x 1800 Ray Hughes Gallery
Mostyn Bramley-Moore / QLD / $11,000
Noisy Dusk Bolivia Hill
oil on polyester
1780 x 1480
Robert Dickerson / NSW / $110,000
South Coast Echoes
acrylic on canvas
1830 X 1220

Jennifer Goodman / VIC / $12,200
Tarkine
oil on linen
2000 x 1200 John Buckley Gallery
Todd Hunter / NSW / $8,800
Before ... The Flood
oil on canvas in timber frame
565 X 1220 BMG Art, GrantPirrie Gallery,
Scott Livesey Galleries
Robert Hannaford / SA / $28,000
Aldinga Hills
oil on board
1350 x 550
Tim Johnson / NSW / $15,235
Eternal Return
acrylic on linen
1460 X 1980 Dominik Mersch Gallery
Nicholas Harding / NSW / $36,000
Lagoon 2011
oil on belgian linen
1220 X 1680 Hill Smith Gallery
Heja Jung / VIC / $7,895
Reality Myth - Midnight Black Dam
oil on canvas
1220 X 1530
Julie Harris / NSW / $16,635
Pagodas at Newnes
acrylic/oil on canvas
1800 X 1640
Gladdy Kemarre / WA / $15,235
Bush Plum in Anmatyerre Country
acrylic on linen
1110 X 1500 Mossenson Galleries
PAGE 15

2011 FLEURIEU LANDSCAPE ART PRIZE / FINALISTS
Eveline Kotai / WA / $7,500
Breathing Pattern #4 (Triptych)
oil on plywood
840 X 1840 (framed)
Guy Maestri / NSW / $18,000
No Man’s Land
oil on linen
1830 X 1520 Tim Olsen Gallery
PAGE 16
Aldo Lacobelli / SA / $17,400
D.P.
oil on canvas, bale of clothing
1200 X 2000; bale 260 X 650
Joy McDonald / NSW / $2,500
Sandbank
acrylic on canvas
900 X 1800
Joanne Logue / NSW / $25,000
Apple Tree - Essington
acrylic on linen
1220 X 1830 King Street Gallery
Noel McKenna / NSW / $40,000
Upper Hunter Valley Vista
acrylic on canvas
1500 X 1800 Greenaway Art Gallery, Adelaide
Loongkoonan / WA / $36,564
Nyikina Country
acrylic on linen
1270 X 1930 Mossenson Galleries
Merete Megarrity / QLD / $1,040
Bush Memories 1
ink and watercolour
760 X 560

Pauline Moran / WA / $5,332
Roeland Mission in the 1940s
acrylic on canvas
620 X 1450 Mossenson Galleries
Kathryn Ryan / QLD / $14,000
Farm Hedges in Winter
oil on linen
1370 X 1830
Angus Nivison / NSW / $30,000
Reading the Sky
acrylic, charcoal, pigments & gesso on canvas
2000 X 1800 Utopia Art Sydney
Jeanette Siebols / NSW / $10,500
Fossil II
oil on canvas
1830 X 1520 Liverpool St Gallery, East Sydney
Ian Parry / TAS / $9,500
D’entrecasteaux Spring
oil on linen
1070 X 870 James Makin Gallery
Nicole Slatter / WA / $3000
Model of a Desert Island
oil on canvas
1200 x 1540 Perth Galleries
Josie Kunoth Petyarre / WA / $30,470
Sugar bags in Anmatyerre Country
acrylic on linen
2000 x 2000 Mossenson Galleries
Christophe Stibio / VIC / $18,000
Sunset with Belinda #17 on Lakes Mungo & Arumpo
shredded documents,acrylic and rice paper on canvas
1500 x 1500
PAGE 17

2011 FLEURIEU LANDSCAPE ART PRIZE / FINALISTS
Ramon Surinyac / Spain / $11,800
Cobalt Blue Light
oil on wood
1850 X 1220
Ann Thomson / NSW / $25,000
Soliloquy
mixed media on canvas
1270 X 1100 Tim Olsen Gallery
PAGE 18
Camilla Tadich / SA / $2,800
3:52am Coober Pedy
oil on linen
840 X 610
Annette Vincent / SA / $24,376
No Mining in Arkaroola’s Amazing Biodiversity
pen & ink, black and white pencil (detail)
1600 X 2000
AJ Taylor / QLD / $3,500
Brisbane River (Powerhouse, Afternoon)
oil on board
470 X 470 Martin Browne Contemporary, Jan Murphy Gallery
Craig Waddell / NSW / $14,500
Hungry Hollow
oil on linen
1830 X 1530
Jim Thalassoudis / SA / $24,000
Going Home
oil on linen
1220 X 1670
John Walker / NSW / $40,000
Old Plum Tree
archical oil on polyester
1785 x 1850 Utopia Art Sydney

Greg Wood / VIC / $9,300
Johanna 2011
oil on linen
1520 X 1520
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PAGE 19

Online
registrations
open February
PAGE 20
www.salafestival.com
AUGUST 3 - 26 2012
TheFox
Creek
Wines
Experience
Come and meet our friendly staff and
discover why our wines are sought after
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5pm seven days a week.
MALPAS ROAD, McLAREN VALE. TELEPHONE: (08) 8557 0000
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FINALISTS
THE FLEURIEU ART OF FOOD AND WINE PRIZE
Sponsored by Chapel Hill Winery
Chapel Hill Winery / Chapel Hill Road McLaren Vale
A $10,000 prize (non acquisitive) for paintings of a food and /or wine theme. This
prize celebrates the iconic food and wine industries of the region. The selected
finalist works will be exhibited at Chapel Hill Winery, McLaren Vale.
PREVIOUS WINNERS
1998 warren brook
2000 david dalwitz
2002 juris cerins
2004 judith white (the mclaren vale prize)
2004 kate bergin (the art of food prize)
2006 paul ryan
2008 jun chen
PAGE 21

2011 ART OF FOOD AND WINE PRIZE / FINALISTS
Peter Bok / SA / $2,970
Bundled Vine Cuttings 2011
oil on canvas
440 X 590
Phillip Drummond / NSW / $8,500
Untitled
oil on canvas
1670 X 1010
PAGE 22
Antonia Chaffey / VIC / $9,695
Canola
Pigment + acrylic medium on linen
1370 X 1370
Richard Dunlop / VIC / $12,500
Market
oil on belgian linen
1220 X 1220 Hill Smith Gallery
Ji Chen / VIC / $6,300
Man and Fish
oil on canvas
1000 x 800
Jacques Fabian / SA / $450
A Vine Love Affair
acrylic on canvas
914 X 610
Loretta Devjak / NSW/ $5,500
Blue Eggs
oil on canvas
910 X 1210
Alison Flew / SA / $1,900
Dined at d’Arry’s
oil on canvas
770 X 770

Nicholas Harding / NSW / $5,000
Still Life (Calamari & Mussels) 2011
oil on belgian linen
310 x 410 Hill Smith Gallery
Loongkoonan / WA / $7,620
Bushtucker in Nyikina Country
acrylic on paper
1060 X 870 Mossenson Galleries
Grace Huang / VIC / $3,800
Global Citrus
oil on linen
800 X 1155 Kew Gallery Melbourne
Matilda Michell / NSW / $1,000
Red, Yellow, Blue
oil on board
380 X 1050
Gladdy Kemarre / WA / $13,712
Anwekety (Bush Plum)
acrylic on linen
1210 X 1210 Mossenson Galleries
Alison Mitchell / SA / $2,200
Plums in Blue Bowl
oil on canvas
420 X 420
Zai Kuang / VIC / $4,500
Basic Food
oil on canvas
800 X 1000 Mossenson Galleries & Eva Breuer Art Dealer
Kathleen Munn / SA / $2,500
Cabernet Sauvignon
oil on canvas
1200 X 880
PAGE 23

2011 ART OF FOOD AND WINE PRIZE / FINALISTS
Josie Kunoth Petyarre / WA / $20,400
Sugar Bag Story
acrylic on linen
1830 X 1210 Mossenson Galleries
Guy Troughton / NSW / $6,500
Free Spirit
Watercolour
530 x 720
PAGE 24
Tom Samek / TAS / $9,000
The Chopping Board
oil on canvas
520 x 1670
Samuel Wade / NSW / $6,930
Sushi Bar
oil on board
610 X 920

FINALISTS
THE FLEURIEU VISTAS PRIZE
Sponsored by d’Arenberg Winery
d’Arenberg Winery / Osborn Road McLaren Vale
A $10,000 prize (acquisitive) for landscape painting of the Fleurieu Peninsula Region.
This prize celebrates the time honoured tradition beginning before the time of European
settlement of artists depicting this breathtaking region in their work. This is an
acquisitive prize. The selected finalist works will be exhibited at d’Arenberg Winery,
McLaren Vale.
PREVIOUS WINNERS
1998 david dallwitz
2000 geoff wilson
2002 elizabeth doidge
2004 ian primett
2006 noel mckenna
2008 tracy smith
PAGE 25

2011 VISTAS PRIZE / FINALISTS
Angeliki Androutsopoulos /VIC/ $2,285
Around Alice
oil on board
800 x 800
Stewart Macfarlane / SA / $15,000
The Winding Road
oil on canvas
1380 X 1830
PAGE 26
Amy Baker / SA / $1,730
I Love Her Far Horizons: Constructed Panorama
oil on board
250 X 800
Joy McDonald / NSW / $686
Terrain
acrylic on canvas
560 X 560
Joyce Blanche / QLD / $1,140
Sentinels
oil on plywood
1000 X 1000
Kristian Mumford / SA / $644
Nowhere Else Road
oil on linen
600 X 390
Jun Chen / QLD / $7,000
McLaren Vale
oil on canvas
750 X 850 Ray Hughes Gallery
Brian O’Malley / SA / $2,036
Fleurieugaze
acrylic on canvas
840 X 840 Kensington Gallery

Fiona Pattinson / QLD / $6,500
Looking Through a Southern Vales Window
wax tempura, vinyl window mixed
700 X 600
Chris White / SA / $1,485
Billboard: Southern Veil
acrylic on wood and aluminium
395 X 800
Andrew Stattmann / SA / $2,200
Yoho Road, Delamere
pastel and charcoal
800 x 800
Laura Wills / SA / $1,500
Rapid Bay Road
acrylic and pastel on paper
640 X 790 Hill Smith Gallery
Lise Temple / SA / $1,782
Wormwood on Vines
oil on canvas
710 X 760
Providing
sustainable water
solutions
Tel - 8363 7633
email - info@wbwc.com.au
PAGE 27

FINALISTS
PAGE 28
THE FLEURIEU WATER PRIZE
Sponsored by Flinders University
Signal Point Gallery / Goolwa Wharf Goolwa
The Fleurieu Water Prize of $10,000 (non acquisitive) is for paintings of a water
theme. Water surrounds the region and sustains its industries. As the resource of
water is under threat worldwide, this prize is a timely reflection of our world’s
most important asset. The selected finalist works will be exhibited at Signal Point
Gallery, Goolwa.
PREVIOUS WINNERS
2006 ken orchard
2008 shonah trescott

Christopher Amyes / NSW / $2,771
Bidjigal Gully
oil on linen
1070 X 1220
Ji Chen / VIC / $8,800
Water
oil on canvas
1120 x 1200
Melissa Boughey / WA / $3,600
Wetlands by Tributary
oil on canvas
1200 X 1500
Jo Darbyshire / WA / $12,887
Waterscape for SIEV 221
oil on canvas
1800 X 1800 Catherine Asquith Gallery, Melbourne
Lynne Boyd / VIC / $8,500
Lilac Time, Port Phillip Bay
oil on linen
1220 X 1370 Charles Noorum Gallery
Celia Gullett / NSW / $14,850
Waterhole
oil on linen
1780 X 1600 Tim Olsen Gallery
Sadie Chandler / VIC / $6,000
Water
oil on canvas
1500 X 1500
Julie Harris / NSW / $8,910
Bridal Falls
Acrylic/oil on canvas
1600 X 650
PAGE 29

2011 WATER PRIZE / FINALISTS
Catherine Higham / WA / $4,300
Canola and Lupins
oil / boards
1450 X 1900
Jennie Stewart / VIC / $4,455
Where the River Meets the Sea
oil on canvas
960 X 1060
PAGE 30
Phyllis Ningarmara / WA / $9,065
Woorrewoorem - Wet Season
ochre on canvas
1000 X 1400 Mossenson Galleries
Christophe Stibio / VIC / $10,000
Scarcity Lakes Mungo & Arumpo
shredded documents, acrylic and rice paper on canvas
880 X 1550
Joy McDonald / NSW / $2,632
Flood
acrylic on canvas
990 x 1230
Wendy Stokes / NSW / $7,500
Shift in Time
acrylic, oil stick on canvas
1830 X 1830 Catherine Asquith Gallery, Melbourne;
BMGart, Adelaide
Grant Muir / NZ / $5,940
The Big Splash
beeswax, oil, inkjet on board
800 X 1200
Catherine Stringer / TAS / $2,673
Kelp Garden, New Year Island
acrylic on canvas
910 X 1220

Steve Tyerman / QLD / $6,094
Pacific Drowning
oil on canvas
1520 X 1220 Anthea Polson Art Gallery
David Walsh / NSW / $2,970
Brothers on the Bridge
oil on canvas
910 X 1220
Peter Wallfried / SA / $2,376
A Very Big Puddle
acrylic on canvas
1010 X 1530
Catherine Woo / TAS / $11,500
Salt Lake
mixed media
1800 X 1330
PAGE 31

FINALISTS
PAGE 32
THE FLEURIEU YOUTH SCHOLARSHIP
Sponsored by Wirra Wirra Winery
Wirra Wirra Winery / McMurtrie Road McLaren Vale
A $10,000 scholarship (non acquisitive) is awarded to a young artist residing in
Australia in 2011 aged between 16 and 27 years and goes towards the cost of a program
of professional development in any medium with a landscape theme. This scholarship aims
to nurture young talent by providing an opportunity for an individual to significantly
advance their arts practice. The selected finalist works will be exhibited at Wirra
Wirra Winery, McLaren Vale.
PREVIOUS WINNERS
1998 di fenwick
2000 ian greig
2002 samone turnbull
2004 fleur elise noble
2006 morgan alexander
2008 kristel britcher

Ebony Addinsall / VIC / $2,440
The Space Between Us (detail)
kiln formed glass
520 X 1100 X 60
Lara Merrington / SA / $600
Deep Creek (Diptych)
giclee photographic print on german etching paper
500 X 1400
Alice Blanch / SA / $725
Box Brownie Panorama #1
photographic print
450 X 750
Cara-Ann Simpson / VIC / $1,652
Victoria Park: re-construction
ink infused metal
225 X 1140
Katia Carletti / SA / $411
Everyday I Felt Less
oil on oil sketch, mixed media
280 X 220
Carly Snoswell / SA / $1,200
Untitled 2010
kraft paper
variable size
Abbra Kotlarczyk / VIC / $4,400
Heterotopia’s Project No. 1
oil on linen
1820 X 1220 Lindberg Gallery
PAGE 33

PAGE 34
LANDSCAPE ART & ENVIRONMENT FIELD RESEARCH PROJECT
Sponsored by Fox Creek Wines
Fox Creek Wines / Malpas Road Willunga
The Fleurieu Landscape Art & Environment Project provides intellectual substance to the
Fleurieu Art Prize, promoting stimulating discussion amongst artists, environmentalists
and community members about the nature of contemporary landscape art and how it can
inform the current debate about the environment.
The field research project was convened in March 2011 with artists, researchers,
environmentalists and local community members coming together to research and discuss
environmental concerns and activities within the Fleurieu Region.
Artists: Margaret Worth, Elizabeth Hetzel, Cathy Frawley, Yvonne East, Michele Lane,
Helen Sherriff, Gaynor Hartvigsen, Ray Meandering. Curated by Hope Deane.

Yvonne East
Much of my previous work has explored the human
figure as a representation of psychological states.
From the body to the landscape, I am fascinated
how our daily environment can mould and shape
our psychological state as an individual and as a
society. How we relate to and treat the land could
be thought of as an extension of our awareness;
that we are a part of something much bigger than
ourselves. These ideas that spring from universal
themes and often in a religious context, are
expressed as a protagonists journey to greater self
realisation. This work explores the psyche of land
and the individual body, mind and soul represented
by a subject caught in the stasis of what may be
religious epiphany.
I met Billy, a well-known local of Willunga, who
works in isolation at the old Willunga Slate Mine.
The Slate Mine evokes a sense of the sacred, prehistoric
and omnipotent that informs an intense
relationship between this man and the environment
that has shaped and defined his psyche.
Gaynor Hartvigsen
My artwork for this project has developed through
research concerning human relationships with the
local environment.
Particularly in the Willunga Basin area, many
have expressed concern about the challenges of
accommodating an ever-growing population while
preserving a rural way of life and thus the
sustainability of the region.
My work also addresses exploration of human
attitudes towards the land from varying
perspectives, including indigenous, cultural,
historical and economic.
The impact of human activities on native plants and
animals is also considered.
The interactive quality of some of the work invites
us to question that which is precious to us, and to
contemplate the concept of ‘home’.
Yvonne East / SA
The Rapture of Billy (preparatory sketch) 2011
graphite on paper
190 X 280
Gaynor Hartvigsen / SA
Place of the Serpent
910 X 1020
Cathy Frawley
Water is a surface in flux, one that takes its
shape from objects or surfaces adjacent to
it or interacting with it. Water also has a
transformative potential to continuously change
shape as needed. I believe this is an appropriate
metaphor for addressing the concerns of the
Willunga Basin. Water connects over time and space,
philosophically, culturally and spiritually,
traversing both our Indigenous and Anglo-Australian
Heritage and links to a personal interest of mine;
to tap into its spiritual power to heal through
a repeated walk to a waterfall and rock pool. My
interest in water through this project also focuses
on Russell’s talk in the Pizza Bar around his
philosophical interests located through digging
out his well and of making the surface smooth to
traverse through ecologically sound practice.
Billy’s insight and love for the quarry and slate
was also significant for me. The aqueous features
of slate formed through a process of metamorphosis
hundreds of thousands of years ago held a timeless
geological and spiritual quality I was drawn to.
This is one of seven painted fragments of water.
Elizabeth Hetzel
My investigations concentrated on Bangor slate
quarry.
Slate was the reason that Europeans settled in the
Willunga area, which has its own rich heritage.
But I am intrigued by the ancient geological
history embedded in the slate, formed by intense
compression of silt during the time before time,
when water covered the land.
Standing facing the cross section of the slate
wall, revealed through mining activities, I take
in the lines, colours, patterns and silence and I
am reminded that the present moment is a mere speck
of time.
The mining has left an open cavity, an ever
changing, unstable chamber. Sounds resonate in
this space, with a clarity and richness that
amplifies each unique quality. The sound of the
slate itself seems to contain the sound of the
water, its memory. This is a listening space. From
the perspective of time, each voice can be heard.
Thank you to William (Billy) Lock at Bangor Slate
quarry for his assistance with this project.
Cathy Frawley / SA
Drawing from the Well
oil on canvas
1000 X 500
Elizabeth Hetzel / SA
Sounds from the Quarry
sound installation; slate; digital photography on
postcards
PAGE 35

2011 LANDSCAPE ART & ENVIRONMENT FIELD RESEARCH PROJECT
Michele Lane
Does society value our emotional connection with
the physical environment? The idea of ‘home’ brings
humans solace and security and is strongly linked
with two or three landscapes that are internalised
in early life. Indigenous peoples’ relationship to
their country highlights this ancient knowledge.
My series of collographs,’The Scrub’, explores the
exposure of young people to the natural landscape
and arose from visiting Douglas Scrub - a patch of
bush on the northern edge of McLaren Vale owned by
the Girl Guides since the 1970’s. I also consider
the Douglas Scrub site with the wine and tourism
industries on their doorstep and the suburbs edging
closer.
How does a small not-for-profit organisation hold
fast in the face of such appetite for land? Do we
appreciate the importance that places like Douglas
Scrub play in connecting young people with the
natural environment? Are we beginning to understand
the ancient notion of ‘home’?
Helen Sherriff
My research was of the material kind, into ground,
slate mine, charity shops and market to find the
ephemera of the district. The mine yielded slate
and ochre rocks, the ground lost keys, rusty bottle
caps, gold, plastic and glass. Ceramics and wool
came from the charity shops and a tree seedling
from the market.
Well excavations behind the pizza place revealing
the previous century’s refuse, and slate footpaths
and mosaic with embedded china inspired this inside
out hole to hold a life of change and renewal,
represented by the tree: Heal Me.
The knitted landscape, Feel Me, celebrates the
texture of the landscape and the rich variety of
land use and produce. Materiality, participation,
relationship, enjoyment and rest are some of the
concerns. In the moonlit night felt experience
becomes more significant than sight. The moon
symbolises a beneficent source.
PAGE 36
Michele Lane / SA
Campfire at Night
carborundum grit & collage printed intaglio, letterpress
560 X 380
Helen Sherriff / SA
Heal Me Planter
tree seedling, potting soil, plastic pipe, ceramics,
slate, rocks, found metal, plastic and glass
500 X 160
Ray Meandering
Willunga Basin ‘environmental art’ will carry the
Art Connoisseurship label of the future and its
measure of ‘worth’ will be defined by its local
wellbeing as artists today we can start to create
an ‘environmental Legacy’ for mankind with an
anonymous expectation of little to no profit only
‘hope’ that future generations will have a healthy
creative model to guide all artisans in maintaining
a sustainable global future.
Margaret Worth
1) Out of Star Dust: Stones + Epicurus
Smooth Fleurieu stones are geological time
capsules that offer a wondrous perspective – from
cosmic beginnings to the present place. The Greek
philosopher Epicurus had four requirements for
health and happiness:1) Shelter with comfort, 2)
Good food and drink, 3) Good friends to share it
with, 4) And a distant horizon for contemplation.
The quality of life here seems to epitomize
Epicurus. The camp-fire and billabong are a
bush tradition for expanding and expounding on
perspectives of life. Together, the camp-fire/
billabong, the thoughts of Epicurus and ancient
stones provide for good conversations.
medium - fleurieu stones, river red gum, steel and
fire or water
2) Heard it Through the Grapevine
A flock of yellow-tailed black cockatoos in flight
draw music across the sky. The water holes worn
into rock create a manuscript of sound. The seaballs
scattered on the shore write tunes in the
sand. The grapes hanging on the vines hum their
potency. The Willunga story is singing.
medium - bangor slate, old fence wire and sea balls
Ray Meandering / SA
Sometimes Life Ferments
photographic print
760 X 1100
Margaret Worth / SA
Top - Out of Star Dust: Stones + Epicurus /
1.2m x variable length;
Above - Heard it Through the Grapevine / 4m diameter
graphite on 100% rag paper

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PAGE 37

CREDITS
PAGE 38
Thanks to SUPPORTERS
Aaron Woods
Ady Pearse
Alan Edmontson Stott
Alex Johnston
Alison Russell
Amelia Fletcher
Ann Leask
Ann Neagle
Anna Hughes
Anna Young
Anne Kennan
Annie Bradbury
Anthea Bosworth
Anthea Hoffmann
Barb Forbes
Benita Hull
Bev Rowe
Bibby Scales
Billy Lock
Bob Davis
Brenda Sharp
Carol Banman
Carol Collin
Carol Coventry
Carolyn Berryman
Carolyn Gaston
Chaye Oliver
Chris Iley
Chris Walton
Christine Pentelow
Col Setschnoy
Coralie Brook
Dana Kinter
Daniel Connell
d’Arry Osborn
Dave Wright
David Dridan
David Felgate
David Jackson
David Swain
Deb Nichol
Deb Oliver
Dee Karauskas
Di Dutton
Diana Harvey
Diana Taylor
Dini Stock
Diny Warmer
Don Copeland
Doreen Brodie
Elizabeth Abbott
Elizabeth Grayling
Erin Davidson
Fiona Garton
Gayelen Edmontson Stott
Geoff Wilson
Graham Pankhurst
Heather Badger
Heather Masters
Helen Seamark
Helen Wilkinson
Hope Deane
Jacqui Younger
Jan Pfeiffer
Jane Booth
Jane Doole
Jane Hayward
Jane Hylton
Jane Masters
Jane Newland
Jean Crowther
Jean Merchant
Jeff Tate
Jen Gilligan
Jen Wright
Jenny Greening
Jill Buttery
Jill Gilmour
Jill Masters
Jill Wilson
Jo Thompson
Joan Lunn
John Warmer
Jonathan Pincus
Joy Bainbridge
Jude Crabtree
Judi Cameron
Judith Stephens
Judy Brady
Judy Felgate
Julian Tremaine
Julie Lucy
Julie Taylor
Karen Heatherbell
Kate Setchell
Kathy Pensa
Kit Neave
Kristin McLarty
Kylie Upitis
Laura Wills
Leah Grace
Lesley Francis
Libby Wall
Linda Lovell
Lindschau
Lisa McNicol
Liz Blieschke
Liz Hugo
Louise Blakley
Lucy Moriset
Lyall Pfeiffer
Lyn Punchon
Lyn Whish
Lynne Shervington
Madelaine O’donell
Mandi Whitten
Mardi Robson
Martin Oliver
Margaret Hobby
Margaret Leask
Margaret Mifsud
Margie Pearce
Mark Denton
Mark Lloyd
Mary Johnston
Mary-Anne Sherrah
Matthew Dowling
Meg Houston
Michael Bryant
Michael Phillips
Michael Wilson
Michelle Nooteboom
Moon Chiu
Naomi Borthwick
Neil Houston
Neville Rowe
Nicky Downer
Nicole Pascal
Nigel Tocher
Norann Carlin
Pam Dyson-Harvey
Peg Miller King
Penelope Davis
Peter Sinclair
Peter Wright
Phoebe LeMessurier
Poh Ling Yeow
Polly Cohn
Priscilla Pincus
Quenby Sinclair
Rebecca Blythman
Richard Heathcote
Richard Monaghan
Rita Hall
Roe Gartleman
Rose Sherwin
Rosemary Sage
Russell Jeavans
Ruth Kay
Ruth Wallace
Sally Burgan
Sarah Dawson
Sarah Dridan
Sarah Howard
Sharon Pankhurst
Sharon Romeo
Sherrill Berry
Silvio Apponyi
Simone Gillian
Sue Oliver
Sue Punshon
Sue Trezona
Sue Trott
Susan Hunt
Susan Judd
Susannah Hunt
Susie Angus
Susie Parkinson
Suzy Rex
Tiffany Isterling
Tina Cleland
Tony Grima
Tony Hargrave
Tony Morriset
Tony Parkinson
Tracy Reed
Trevor Newman
Valerie Crawford
Wardie Adamson
Wendy Phillips
Yvonne East
Platinum Donor The James & Diana Ramsay
Foundation
Major Sponsors Hardys Winery
Flinders University of
South Australia
Prize Sponsors Chapel Hill Winery
Wirra Wirra Winery
d’Arenberg Winery
Sponsors Trility Group
Willunga Basin Water
Company
Project
Sponsor Fox Creek Wines
Palette Club
partners Alongshore Pty Ltd
Coriole Winery
Industry
Partner BDO
Accommodation
Partner Crowne Plaza
Supplier Newstyle Print
Ballast Stone Estate
Supporter AbAF
Government
Partners SA Tourism (Events SA)
City of Onkaparinga
Alexandrina Council
Arts SA
Donors David & Pam McKee
RH Allert AO
Charles Irwin
Vasarelli Cellar Door Café
David Bright
Trott Family Trust

GOVERNANCE
The Fleurieu Biennale Inc. Board undertakes the
staging of Festival and associated Events and promotes
and encourages the arts, wine, food and tourism
industries of the Fleurieu Peninsula.
The Board has the following members:
Chair Elizabeth Raupach OAM
Board members Marc Allgrove
Allen Bolaffi
Peter Dawson
Norm Doole
Pip Forrester
Paul Hamra
Charles Irwin
Ros Miller
Helen Nankivell
Elizabeth Tasker
Peter Walker
SPONSORS
General Manager Karen Paris
Volunteer Coordinator Jen Wright
The Fleurieu Art Foundation Trust manages the funds
donated for the projects of the Fleurieu Art Prize.
It has the following members:
Chair Phillip Styles
Trustees Pip Forrester
Jeff Lucy
Helen Nankivell
Manik Meah
David Dridan OM
Jeff Tate
The Fleurieu Art Prize thanks its platinum donor
The James & Diana Ramsay Foundation for its
generous support
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PAGE 39

Fleurieu Art Prize 2011
PO Box 79, McLaren Vale
South Australia 5171
artprize@artprize.com.au
www.artprize.com.au
PAGE 40