Cryptozoology Catalogue

Transcription

Toyota Community Spirit Gallery
2008 Sculpture Exhibition
cryptozoology
in Search of the Missing Link
September 3 to November 21, 2008
Toyota Australia, 155 Bertie St, Port Melbourne, Victoria
Inquiries Ken Wong 0419 570 846
Gallery Hours Mon- Fri 1-6pm or by appointment
Toyota Community
Spirit Gallery
The Toyota Community Spirit Gallery is an initiative of Toyota Community
Spirit, Toyota Australia’s corporate citizenship program.
Toyota Community Spirit develops partnerships that share Toyota’s skills,
networks, expertise and other resources with the community.
The Toyota Community Spirit
Gallery aims to provide space
for artists, especially emerging
artists to show their work
The space is provided free of
charge to exhibiting artists, no
commission is charged on
sales and Toyota provides
an exhibition launch and
develops a catalogue for
each exhibition.
The gallery has now
shown works by over
360 artists. This project is
mounted in consultation with
the Contemporary Sculptors
Association, Hobsons Bay City
Council and the City of Port
Phillip.
cryptozoology
in Search of the Missing Link
Tony Adams
Greg Ades
Sam Anderson
Peter Andrianakis
Leanne Baker
Shannon Baker
Kylie Beard
Shawn Begley
Mary-Anne Bleakley
Jodi Blokkeerus
Drasko Boljevic
Russell Brazier
Kerry Cannon
Katrina Carter
Heather Clugston
Laurie Collins
Rod Cooper
Mark Cowie
Dalia
Curator Thanks to Exhibiting Artists
William Eicholtz
Savaad Felich
Monica Finch
Tanja George
Andrew Green
Mandy Gunn
Chelsea Gustafsson
Matthew Harding
Lis Johnson
Julee Latimer
Louise Lavarack
Angela Macdougall
David Marshall
Fleur McArthur
Darren McGinn
Anna Minardo
Annee Miron
Sandra O’Dea
Cristina Palacios
Luciana Perin
Lani Pinnington
Geoffrey Ricardo
Jason Roche
Luke Rogers
Peter Rosman
Natalie Ryan
Annemarie Schweitzer
Fatih Semiz
Vipoo Srivilasa
Marika Strohschnieder
Cyrus Wai-Kuen Tang
Corey Thomas
Liz Walker
Carmel Wallace
Anthea Williams
Belinda Wilson
Pam Wragg
Ken Wong
Tania Blackwell, Hobsons Bay City Council
Julie Collins, Contemporary Sculptors Association
Sharyn Dawson & Louisa Scott, City of Port Phillip
Katarina Persic, Toyota Australia
Catalogue Editing & Prepress Watch Arts (watcharts.com.au)
Graphic Design Sandra Kiriacos
IMAGES: (FRONT COVER: A Golden Fleece (detail) by William Eicholtz, polymer cement, plastic & fabric, 2008
Inside page; : Puff Coral by Vipoo Srivilasa, ceramic & mixed media, 2008.
Back Cover: In Our Hands (back view) by Vipoo Srivilasa, ceramic, 2008
The opinions and points of view expressed by participants through the artworks and artists statements in this exhibition and catalogue are those of the
individual person or persons and are not intended to reflect the position of Toyota Australia.
ken wong
Curator
This exhibition is the fourth annual indoor outdoor sculpture exhibition and the
eighteenth in a continuous program of exhibitions for the Toyota Community Spirit
Gallery since it commenced operations in July 2004.
Cryptozoology, in search of the missing link features the works of 56 artists exploring
the diversity and excellence of sculpture practice in our community including for the
first time, the works of two interstate guest artists.
The practice of art is on many levels, always a search to express something that is
missing, intangible, something that through the act of making the artist seeks to say for
themselves and others that goes beyond words.
The pursuit of this search often involves an enormous amount of research and disciplined
study, to examine and understand the visual language that has been created throughout
the millennia of human existence and expression. In fact it is the practice of art, through
cave paintings and artefacts that gives us our earliest insights into our ancient ancestors
and the development of the human animal.
However, regardless whether the artist is a trained professional or not, the making of art
is always a naïve act of faith. By definition the act of creation, requires us to take that
blind leap, to try to discover or express something that in the moment before creation
does not exist.
The modern world we as human beings have created is filled with many wonders, and
for those of us lucky enough to live in an affluent society, an abundance of worldly
goods to service our every desire. For all that though, there seems to be something
missing.
We can only hope that those among us who profess to be artists, continue to find the
courage to take that naïve leap of faith that is required in search of the missing link
between us all.
Welcome to Cryptozoology.
Ken Wong is the Director of Watch Arts, a Melbourne based contemporary arts consultancy. He
has worked in the fine arts industry for over ten years in both commercial and community arts,
curating and managing a host of projects including gallery and outdoor sculpture exhibitions.
Artists and works
Page
Tony Adams
Emerald City
Mixed medium, 160 x 120 x 40cm, 2008
$3500 ........................ 12
Greg Ades
House
Oil on wood, 51 x 47 x 65cm, 2007
$9900 ........................ 13
Sam Anderson
Big Business
Recycled Metal, 175 x 170 x 380cm, 2008
$6800 ........................ 14
Peter Andrianakis
I am
Bronze (Edition of 3), 160 x 50 x 44cm, 2008
$30,000 ..................... 15
Leanne Baker, Heather Clugston & Annemarie Schweitzer
Cell 4
Plastic shopping bags, 250 x 600cm circumference approx, 2007 $3000 ........................ 16
Shannon Baker
Alternative Fueling
Toyota Corona & mosaic tiles, 2007
$6990 ........................ 17
Kylie Beard
The Curiosity of Shadows
Wire & Recycled materials, 50 x 100 x 5cm, 2008
POA ........................ 18
Shawn Begley
First Class Whore
Wood, 7 x 13 x 8cm, 2008
$600
Every morning I wake I die a little bit more, I put on my shirt and feel like a whore
Wood, 10 x 15 x 22cm, 2008
$1000 ........................ 19
Mary-Anne Bleakley
HEAR no evil, SEE no evil, SPEAK no evil
Mixed media, 12 x 32 x 14cm, 2006
cryptozoology $420 ........................ 20
Jodi Blokkeerus
Artists and works
Imaginary circus clouds of the future Mixed media, 36 x 30 x 45cm, 2008
Page
$760 ........................ 21
Drasko Boljevic
Dr Livingstone
$400
Last Stand
$400
Fun in the Butchers Shop
Mixed media, 9 x 10 x 10cm (each), 2008
$400 (pair)................ 22
Russell Brazier
Sans Title
Steel, paper, wood & iron, 124 x 106 x 54cm, 2007
$2500 ........................ 23
Kerry Cannon
Toys
Bronze & paint, 50 x 45 x 63cm, 2005
$6600
Pinata
Bronze, paint & steel, 130 x 120 x 50cm, 2005
$43,000 ..................... 24
Katrina Carter
Best Before
Marble, 150 x 50 x 120cm, 2008
$7000 ........................ 25
Laurie Collins
Identity
Recycled steel, 200 x 100 x 100cm, 2007
$1000 ........................ 26
Rod Cooper
Sound sculpture with feather
Droner Mixed media, 33 x 26 x 26cm, 2008
Krank Mixed media, 21 x 21x 21cm, 2008
Legs (self portrait) Mixed media, 101 x 43 x 30cm, 2008
Surround Sound
Mixed media, 101 x 100 x 100cm, 2008
$800
$1200
$1000
$2000
$1100 ........................ 27
Mark Cowie
In Search of Kindred Spirits
Welded recycled mild steel, 158 x 45 x 55cm, 2007
$3000 ........................ 28
cryptozoology
Artists and works
Page
Dalia
Word Power and the Human Condition No. 15
Wood, pape & string, 190 x 140 x 240cm, 2007
$3500 ........................ 29
William Eicholtz
A Golden Fleece
Polymer cement, plastic & fabric, 350 x 120 x 130cm, 2008
$26,000 ..................... 30
Savaad Felich
The Circle Home No.2
Recycled timber & found objects, 100 x 52cm, 2008
Monica Finch
Free Fall
The Mother
Sister Totem
$1100 ........................ 31
Clay & steel, 37 x 15 x 15cm, 2007
$450
Clay & serpentine rock, 20 x 6 x 6cm, 2007 $350
Clay & steel, 190 x 20 x 20cm, 2007
$800 ........................ 32
Tanja George
One World
Metal, 150 x 130 x 50cm approx, 2008 $750 ........................ 33
Andrew Green
Fishing Holiday Love
Wood, 20 x 25 x 17cm & 25 x 20 x 17cm, 2005
$1750 ........................ 34
Mandy Gunn
Flowering Desert
Corrugated iron, 150 x 150 x 12cm, 2003
Scroll
Yellow Pages woven on cotton, 1000cm x 60cm x 400cm, 2004
$2000
$10,000 .................... 35
Chelsea Gustafsson
Trophy Head
$500 ........................ 36
Matthew Harding
Nano Stainless Steel, 210cm diameter, 2007
$30,000 ..................... 37
Lis Johnson
Hide/Trap 2
cryptozoology $7500 ........................ 38
Julee Latimer
Artists and works
Dress Up
Mixed media, 15 x 27x 11cm, 2008
$800
Page
....................... 39
Louise Lavarack
Veil
POA ........................ 40
Angela Macdougall
Watch Your Back
Metal & timber, 188 x 290 x 46cm, 2008
$2200 ........................ 41
David Marshall
Petecormic Growth
NFS ........................ 42
Fleur McArthur
Travels in Colour
Paper, foamcore & cardboard, 50 x 46 x 35cm, 2008
$475 ........................ 43
Darren McGinn
The Black Sheep
Ceramic, 11 x 45 x 48cm, 2008
$2200 ........................ 44
Anna Minardo
Penelope
Stone Mosaic, 50 x 50cm, 2008
$17,000 .................... 45
Annee Miron
Where was that?
Timber, glass, silk & lights, 60 - 80 x 46 x 156cm, 2008
$1760 ....................... 46
Sandra O’Dea
Torso
$250 ......................... 47
Cristina Palacios
13.7 Pnaspermia series 2007 Concrete, Dimensions variable, 2007
El Nido
NFS
NFS .......................... 48
cryptozoology
Artists and works
Page
Luciana Perin
Landforms I
Mixed media, 60 x 70 x 8cm , 2007
$1300 ........................ 49
Lani Pinnington
Untitled (flyer)
$1200
Dribbler
$800 ........................ 50
Geoffrey Ricardo
Longer truths, longer lies Painted & patinated copper, 102 x 102 x 190cm, 2007
$16,000
tall tales
Painted & patinated copper, 188 x 57 x 110cm, 2007
$13,000 ..................... 51
Jason Roche
Insatiable
Limestone, construction adhesive & PVA, 27 x 28 x 26cm, 2008 $700 ........................ 52
Luke Rogers
Untitled II
Steel with copper patina, 58 x 47 x 15cm, 2007
$3500 ........................ 53
Peter Rosman
Be alert not alarmed
Plastic & concrete, 6 pieces of 25cm diameter
(various heights), 2008
$1250 each piece ...... 54
Natalie Ryan
Untitled
Mixed media, 150 x 370 x 370cm, 2007
$10,000 .................... 55
Fatih Semiz
Crux Australis
Painted Steel, 138 x 115 x 36cm, 2008
$12000
Frost
Aluminium, 57 x 55 x 20cm, 2005
$5000 ........................ 56
cryptozoology Vipoo Srivilasa
Artists and works
Page
In Our Hands
Ceramic, 60 x 56 x 20cm, 2008
NFS
Puff Coral
Ceramic& mixed media, 20 x 19 x 13cm, 2008
$1200 ........................ 57
Marika Strohschnieder
Pink Toh
Mixed media, 50 x 40 x 75cm (flower dimensions variable), 2008 POA ........................ 58
Corey Thomas
Stage Coach
Found objects, steel & wood, 75 x 120 x 50cm, 2008
$1750 ........................ 59
Cyrus Wai-Kuen Tang
What else is there?
Fibre glass, resin & timber, 150 x 100 x 50cm, 2008
$800 ........................ 60
Liz Walker
Shop till you drop
Recycled metals, pop rivets 3 pieces; 85 x 65 x 25cm,84 x 58 x 28cm,
85 x 43 x 17cm, 2008
$1600 for entire work ........................ 61
Carmel Wallace
Red Sea: totemic anemones
Beach found cray pot throats, cable ties, 237-134cm varied heights,
30cm diameter, 2007
$3750 ........................ 62
Anthea Williams
Used By Molasses Dreaming
44 gallon drums & scrap steel, 150 x 138 x 150cm, 2007
$5200
..................... 63
Belinda Wilson
DMZ love nest Korean silk, silk and felt, 30x19x8cm each (30 works in total), 1999 $189 each .............. 64
Pam Wragg
Urban Spaces
Brushed aluminium enamelled, 90 x 117 x 8cm, 2008
$20,000 .................... 65
cryptozoology
Locations
Sculptures are located
in the following areas
Outdoor
Area
Bistro
Pond
Auditorium
Gallery
Reception
Atrium
cryptozoology Bertie Street
Entrance
Locations
outdoor works
Kerry Cannon
Pinata
Shannon Baker
Alternative Fueling
Sam Anderson
Big Business
Fatih Semiz
Crux Australis
David Marshall
Petecormic Growth
Peter Rosman
Angela Macdougall
Watch Your Back
Cristina Palacios
13.7 Pnaspermia series
2007
Laurie Collins
Identity
Katrina Carter
Best Before
Bistro
Matthew Harding
Nano
Pond
Anthea Williams
Used By Molasses Dreaming
cryptozoology
tony adams
Emera ld City (deta ill)
isplacingtakinggleaningcleaningreugatheringfetchingcollectingremovingd
uncoveringdiscoveringlookingfind up)
ng(
cki
)pi
ver
g(o
din
ben
ling
cyc
singre
gliftingtyingbalancingorganisingsift
ingtouchingcarryingdragginglumpin
hcombingscoringdisrupting
ingsortingpocketingscavengingbeac
Tony studied sculpture at the National Art School in Sydney and completed a Masters of Visual Art
at the Victorian College of the Arts. Over the past fourteen years, his sculptural practice has utilised
materials and objects from his immediate environment including; industrial waste, plant matter
and rural waste and more recently urban waste. These materials have been refigured into objects,
installations and ephemeral site-specific works. Tony is currently working on a Masters by Research
at Monash University called Anatomy of Waste. This project involves exploring the notion of artist
as archaeologist, or more precisely a ‘flotsamotolgist’. In collecting and working with the refuse and
junk of modern society, this work is inherently involved in political and social commentary. Last
year he won the Montalto Sculpture Prize with an ecological work entitled Vanish [collaboration
with Caitlin Street]. His works are held in various private and public collections.
12
cryptozoology greg ades
The house has been a
recurring image in my
work since the late
eighties. Based on the
ubiquitous child’s drawing
featuring a pitched
roof, two absurdly high
windows and a door, it’s
not so much a comment
on suburbia but more an
attempt to redesign it.
Over recent years I have
been making architectural
models of the house with
a view to building it as a
functional living space.
Essentially I am aiming to
take the two dimensional
image contained in my
paintings and turn it
into a three dimensional
reality.
House
Oil on wood, 51 x 47 x 65 cm, 2007
Greg has been a practicing artist residing in St. Kilda since the early 1980’s. He was a finalist in the
1992 Moet et Chandon prize and short-listed for the P.S.1 studio in New York in 1999. His work
has been reviewed and written about in several art journals and was featured in an ABC television
documentary in 2001.
cryptozoology
13
sam anderson
Big Busine ss
Recycled metal, 175 x 170 x 380cm, 2008
The sculptures I make evolve from the materials available - old farm machinery is ideal
with so many angles and shapes -and is very suggestive of new forms and directions for
my work to take. The ‘Big Business’ sculpture is made from old tobacco burners, hayfork
parts, water tank Iron, and saw blades (which are ideal for the shark’s teeth!). The title
refers to the ‘decisive attitude’ that business necessarily requires - rather than the more
negative connotations associated with ‘sharks’. Regardless - in business, don’t jump in
the deep end without looking! A shark is a finely tuned machine - just like big business.
Sam was born in Devonport and grew up on the North Coast of Tasmania before moving to a farm
near Wangaratta. After working as a wool classer, station hand and many other jobs throughout
Australia, he finally decided to follow his creative ambitions. In 2003 he started a diploma in
silver-smithing and jewellery design, which he successfully completed in 2004. From small things,
big things grew. Jewellery design evolved into significantly larger works which has now become a
full-time sculpture practice. He exhibits regularly at Muse Gallery in Milawa and recently won the
Gardener’s Choice Award at the 2008 Wangaratta Current Sculpture Biennial – his first sculpture
competition.
14
cryptozoology peter andrianakis
“I am”.
This is the hand which you
are born with and the hand
which you hope to leave
with. When you are born
it is empty and when you
leave it will also be empty.
Peter was born in Greece in 1947 and
migrated to Australia in 1955. He was
awarded a scholarship and obtained a
Diploma of Youth Work, going on to work
with the Brotherhood of St Lawrence. His
lifelong fascination with art led him to
studies at RMIT. He eventually became
a Master Builder to finance his artwork,
setting up his studio alongside his build
ing business at 274 Fitzroy Street,
Fitzroy. Peter then established The
Fitzroy Gallery at this site. This
enabled him to pursue his art full time
whilst providing a venue for other
artists to show their work. The Fitzroy
Gallery has also been a venue for plays,
choral concerts and other musical events.
Presently Peter is working as a full time
artist, painting and sculpting, both on
commission and in order to exhibit his
work.
I am
Bronze (Edition of 3), 160 x 50 x 44cm, 2008
cryptozoology
15
leanne baker,
heather clugston &
annemarie schweitzer
It could be said
that the most
invasive and
insidious icon
of rampant
consumerism is
the seemingly
innocuous plastic
shopping bag.
Its progressive
insinuation into
almost every area
of retailing has
resulted in major
environmental
problems. As
Cell 4
approx., 2007
nce
residual garbage
mfere
circu
in
600cm
x
250
Plast ic shopp ing bags,
its inability to
breakdown under
normal waste
disposal methods and timescales has meant this particular combination of carbon and hydrogen
is proving to be a nightmare. Our collaborative practice is an ongoing re-configuration and
re-construction: by reusing this material we aim to emphasise the idea that a single use
product is both impractical and wasteful and constitutes an environmental hazard in disposal
and or destruction. The random accumulation of the plastic bag cells is reminiscent of heaped
indestructible landfill and remnants of previous forms of habitation.
Leanne, Heather and Annemarie attended Victorian College of the Arts together in 2003 and over
the past four years have developed a collaborative installation practice that involves the use of
plastic shopping bags filled with waste plastic. These same bags have provided the basic materials
for each of their installations, with only some minor additions for repair; the damaged bags then
become part of the fill.
16
cryptozoology shannon baker
Alternat ive Fueling (detail)
Toyota Corona & mosaic tiles, 2007
Alternative Fueling: The layout represents the
alternative fuelling sources
most likely to be embraced in future years.
Hydro alternative fuelling - represented by the
lake
Ethanol alternative fuelling – represented by theand the waterfall
cornfields
Wind Power – represented by the Wind Mills in the
Solar Power – represented by the sun image field
Bio Diesel – represented by canola flowers
This mosaic car was created by student Shannon Baker as part of her Year 12 Major in Design
& Technology at De La Salle College in Cronulla, NSW. The work has been included in this
exhibition by special arrangement. It is an example of how the practice of art offers the individual
an opportunity for personal expression that goes beyond ones age or level of experience, and
provides a particular perspective to the broader community. Using a Toyota Corona, the theme
of her design is literally a vehicle to explore the possibilities of alternative energy including solar,
hydro and wind power. The black side of the car represents the effect on the biosphere if alternative
fuelling is not adopted in abundance and utilised by the community.
cryptozoology
17
kylie beard
The Curiosity of Shadows
Wire & recycled materials, 50 x 100 x 5cm, 2008
They stand strong,
Those who have endured the distance.
Though they may be gnarled and bent
They nurture the delicate that rest in their shadows.
The true measure of their success
The day that they themselves will look up
To the silhouettes of their young
And take solace in their towering shadows.
18
cryptozoology From a young age Kylie has always
been interested in hands on art practice,
enjoying creative projects, photography and
painting. Training at university in Product
Development (similar to industrial design)
she was lucky enough to have access to a
design studio including modeling materials
and was able to experiment with different
mediums for various projects. She began
painting during her university years and
spent two years learning silver-smithing
(2003/2004) which she enjoyed because
of its hands-on nature. In 2005, Kylie
took a short course in outdoor sculpture to
develop her sculpture and metal-crafting
skills. She relocated to Melbourne in 2006
and has continued to paint and exhibited her
first piece in the Toyota Community Spirit
Gallery exhibition Rising Tide in December
2007. Light and the patterns it makes
influence most of her works.
shawn begley
F irst Class Whore
Wood, 7 x 13 x 8cm, 2008
This sculpture is one of several sculptures based around mortality, our dreams
ending sooner than desired. ‘First Class
Whore’ represents the trappings of
success in a fiscal sense, where
everything you desire is available. Your
every tangible consumable can be
afforded. Is there something missing?
What happened to that dream?
The one thing that couldn’t be bought
with a cheque.
Shawn completed his Bachelor of Arts in
1988 and has exhibited in various exhibitions
since the late 1980’s. He was a finalist in the
Lake Macquarie Sculpture Prize in 1996 and
also the Montalto Sculpture Award (2003
and 2004) and the Yering Station Sculpture
Award in 2004. He has travelled extensively,
including a period of study in marble carving
in Carrara Italy. His work is held in private
and public collections including Macquarie
Bank and St Vincents Hospital.
Every morn ing I wake I die a little
bit more, I put on my shirt and
feel like a whore
Wood, 10 x 15 x 22cm, 2008
The sculpture represents a bed
bedspread a shirt with the collar ; the
sitting atop. Every morning I wa and tie
ke I realise
it is one less on this earth. I, like
others have a dream, a dream tha many
have potential, however, may nev t may
to fruition. When I put on my shi er come
a weight of treachery, for I am rt, I feel
not
that dream and time is running outliving
.
cryptozoology
19
mary-anne bleakley
HEAR no evil, SEE no evil, SPEAK no evil
Resin & embedded paper, fabric, decorative trim, 12 x 32 x 14cm, 2006
Traditionally, 3 monkeys represent this concept. Wikipedia says “one of the most
visual phrases in existence”. I modelled a pet-like shape to illustrate this visual phrase.
The ‘no evil’ ideas are embraced by the paper I’ve embedded in my cast forms. HEAR: music notation SEE: painted colour SPEAK: language, words
Mary-Anne grew up in New Zealand but came to Australia in the 80’s and studied painting in NSW
and sculpture in Victoria. Her Melbourne based practice includes drawing, painting, design and
sculpture. In 1982 she took first place in the New Zealand stamp design awards and in 1991 won
the contemporary art section of the Royal Overseas League Annual Painting Competition. She
continues to exhibit regularly as her varied skills give her a big palette to play with. “There’s always
something to do”, she says.
20
cryptozoology jodi blokkeerus
Imaginary circus clouds of the future (detail)
Mr. Emanat searches, collecting data in his little
notebook. How strange these little faces are; thoughts
captured and memories encased, but how to extract them
without destroying them?
Jodi is an artist based in Melbourne. After completing her Bachelor of Arts at Victoria University in
2006, she started her business, Liquid Moon in late 2007. Jodi uses a variety of mediums including
polymer clay, fur, felt, wire, fabric, pencil and ink. She loves bringing her creatures to life, whether
through illustration or sculpture. In her work, she explores imagination beneath the layers of
reality, using her many creatures to communicate ideas and tell stories.
cryptozoology
21
drasko boljevic
My work is apocalyptic
in nature. Blinded by
the smog of tomorrow’s
progress we seem to
forget what still stands.
As humans separate
ourselves from nature,
we become engineers and
observers of a land once
understood.
Dr Livingst one (detail)
Drasko lives in East St. Kilda but was born in the former Yugoslavia in 1969. He completed his
degree in sculpture at the Academy of Fine Arts, Zagreb, Croatia and became a participant of the
“Modern Times” anti-war arts movement and was selected for the ‘Ten Most Talented European
Sculptors’ exhibition in the city of Labin in 1992. He migrated to Australia in 1993 and graduated
a Bachelor of Fine Arts majoring in sculpture at the Victorian College of the Arts in 1997. The same
year he opened in partnership, Azibi Gallery in St Kilda, an art space for non-established artists
which operated until 2001. He has continued to explore various mediums and exhibit at a variety of
venues including a recent solo exhibition of painting and sculptures at BRIGHTSPACE in St. Kilda
entitled The Time Machine. The works exhibited here are from this most recent body of work,
exploring small-scale kinetic sculpture.
22
cryptozoology russell brazier
This piece has evolved over
three years, including
reconstruction and various
surface treatments. The
piece is now resolved – only
the surface oxidisation will
continue unabated. The
piece not only explores
gesture, but also employs
disparate sculpture
mediums (welded steel and
paper towel) to form an
ambiguous tactile surface
(oxidising iron pigment
on paper). The plinth
is raised above the floor
surface to suggest the
illusion of weightlessness,
in contrast to the bent,
heavy visual mass of rusted
iron resting upon it.
Sans Title
Steel, paper, wood & iron, 124 x 106 x 54cm, 2007
Russell was born in Melbourne in 1952 and began drawing from an early age. He made his first
sculpture at fourteen years of age and was significantly influenced by the work of Henry Moore.
He was apprenticed at the Melbourne College of Printing and Graphic Arts and was one of the
last apprentices to be trained in the six hundred year old craft of hand-setting lead type from type
cases. Between 1975-77 he lived overseas before returning to Australia where he worked in the
newspaper industry for twenty-six years, much of it on night shift. In the late 1970’s he became
involved with street poetry as well as pursuing freelance illustration and cartooning. He has been
making sculpture consistently since 1988 working in a variety of materials including ceramics,
copper, galvanized iron, steel and bronze. He has also recently returned to formal study and last
year completed a Diploma of Visual Arts from CAE majoring in Sculpture.
cryptozoology
23
kerry
cannon
Represented by Ceramic Break Sculpture Park
My work is figurative
and narrative which
means I am interested
in telling stories; these
are stories that I read
and interpret or ones
that I make up myself.
A piñata is an
effigy of an animal
that children destroy
to get the candy
inside. The analogy
for the war in Iraq
seemed irresistible.
Pinata
Bronze, paint & steel, 130 x 120 x 50cm, 2005
Kerry was born in 1958 in the USA where he took a degree in science and worked as a volunteer in
Jamaica for two years before going on to complete his Masters in Finance at University of Colorado
in Denver in 1987. He became a small business owner but moved to Australia in 1995 where he
began working as a full time artist. In 2003 he opened the Ceramic Break Sculpture Park, located on
a bushland property at Warialda in northern NSW. It has three galleries, a gift shop and a ‘Ceramic
Break’ where people are encouraged to break ceramics to create an artwork in the bush. Kerry
describes himself as ‘hopelessly optimistic with a sincere desire to do something genteel’.
24
cryptozoology katrina carter
My art focuses on the re-use
and manipulation of commonly
discarded, often mundane
objects, addressing issues of
waste, recycling, consumerism
and the environment. Today
we have a society that
expects and is expected to
consume and discard at an
incomprehensible rate. The
bread tag is a subliminal part
of this consumer culture
and contributes to the
immediacy of our life today.
It is a culture where we are
constantly bombarded with
information and distractions
and expect instant
gratification. The bread tag
Best Before
frequently displays the words
Marble, 150 x 50 x 120cm, 2008
“Best Before” which brings
to mind the environment,
our society and the world in
general. By elevating this small
seemingly insignificant everyday object into a large indestructible monument I hope the viewers
will be drawn into considering and reflecting on the issues that have engaged me.
Katrina grew up in country New South Wales and has always collected discarded objects, things
that people generally regard as of no importance or past their use by date. After leaving school she
studied in Sydney at Shillitos’ School for Colour and Design obtaining a Diploma and then spent
time working in the design industry. Later she moved to Melboume to pursue her art career, where
she began exhibiting her work and studying, firstly at CAE and then at Latrobe College of Art and
Design. Artists such as Robet Rauschenberg, Claes Oldenburg, Joseph Comell, Arman, Marcel
Duchamp, Kun Schwitters, Rosalie Gascoigne, Christian Boltanski, Peter Aitkins and Fiona Hall
with their unexpected contrasts, deliberately untidy contours, collections, juxtapositions, repetitions
and nonconformity excite and inspire her. Her interest in installation and sculpture is increasingly
becoming the focus of her practice.
cryptozoology
25
laurie collins
Identity
Recycled steel, 200 x 100 x 100cm, 2007
There are so many forms in the
industrial world that are not
appreciated in any aesthetic manner
and it is only when they are junked
that they can be captured to be part
of a sculpture or furniture piece. I
really like recycling material that
has already done one life in another
form and many of my pieces are left
unpainted so that they can rust
naturally and so that people can
enjoy seeing the component parts
in close to their original form and
colours. I try to show humour in
many of my pieces as it is a part of
my personality and seems to strike a
chord with my audience. This piece
is really about how we create an
identity for ourselves from a variety
of bits and pieces. The identity
hides our true selves but sometimes
the identity is only two dimensional
and people can see through it. A
trip to China in 2007 is part of
this reflection as the statement felt
true for China as for most of us.
Laurie graduated with a Bachelor of Education in Arts and Craft in 1978 after studies at Preston
Institute of Technology, RMIT and Melbourne State College. Since then he has taught technology
at Mortlake and Drouin Secondary College. He has always made sculpture and furniture, but in
recent years has been producing significantly more work. His practice mainly utilises scrap steel
and sometimes wood and his process is about allowing the shapes and forms to suggest possible
ways to use it.
26
cryptozoology rod cooper
My compositions come from the
objects I build. Although I draw
inspiration from the instruments
of other musical cultures, my
formal training as a sculptor
enables me to transform old
concepts into new metallic or
technological hybrids. The
instrument becomes the
composition. They create an
environment, which renders threedimensional space through the
physical properties of sculpture
and the acoustic spatial qualities
of sound. Sound often forms an
important part of the memories
from our past. We ignore the noise
around us in order to reach our
aims with technology.
Legs (self portrait)
Rod is an instrument builder, performer, and sound/visual artist. His interest in instrument building
started while completing his sculpture degree in 1988. The noisy environment of metal workshops
and the sounds of construction developed his awareness for the potential of metal sculptures to
become musical objects. Between 1989-1998 he ran a metal work business, creating furniture,
sculpture and musical instruments. The skills learned while working as a craftsman have enabled
him to gradually develop more complex instruments over the past decade. He now combines his
visual work with his music as either installations or freestanding objects.
cryptozoology
27
mark cowie
In Search of Kindred Spirits
Welded recycled mild steel, 158 x 45 x 55cm, 2007
Mark has exhibited in a variety of sculpture exhibitions
throughout Victoria including the Moreland Sculpture
Show (2004, 2007, 2008), the Toorak Festival of
Sculpture (2005, 2006, 2008) and the Tesselaar Sculpture
Prize (2008). His most recent solo exhibition was held
this year at The Convent Gallery in Daylesford, and he
was also the winner of the 2008 Mt Buller Art Prize for
Sculpture. His works and numerous commissions can
be found in a number of private and public collections.
28
cryptozoology I work with mild and recycled
steel, and have found that
this outwardly rigid material
can be manipulated, re-defined
and transformed into abstract
pieces that essentially
represent the organic intuitive
structures of nature and the
elemental patterns of the
human psyche. As is the
case with paradoxes, steel
can indeed be treated in such
a fashion so as to coerce a
softer, more emotional
representation. It is how the
creative energy manifests
itself that remains the most
fascinating and stimulating
aspect of this conversion
process. Through this process
the individual human spirit is
united with that of the
unconscious, which generates
emotional connections, and,
ultimately, produces work of
creative substance. This piece
recognises the desire of
individuals to find others with
whom they have an affinity;
allied in nature, character,
qualities and spirit.
dalia
Word Power and the Hu man Condition No. 15
Wood, paper & string, 190 x 140 x 240cm, 2007
My ongoing concern is the
continuity of the Human
Condition and its fragile
Wo rd Power and the Hu
man Con ditio n No. 15
(det ail)
emotional variations. My
respect for the natural world,
in particular the Australian
landscape, gives me visual direction.
Poets utilize varying styles and structures to maximally convey poetic thought and
increase word power. This work explores the traditional rhythmic, rhyming, stanza
poetry, which inevitably develops momentum, inertia and predictability in format. Our
innate familiarity with the rhythm of life and our heartbeat, helps our intellect find
affinity with the non confrontational, traditional verse format.
Dalia migrated to Australia with her Lithuanian parents and was raised and educated in Melbourne.
She has always worked in the visual arts in the fields of sculpture, painting and performance
art. Her particular interest is the human condition and the cultural dichotomies experienced by
migrants. She has staged exhibitions, performances and events both in Australia and overseas,
where her work is held in public and private collections.
cryptozoology
29
william eicholtz
A Golden F leece (detail)
Polymer cement, plastic & fabric, 350 x 120 x 130cm, 2008
As if raising a sacrifice, this
faux bronze youth holds his
charge high above the heads
of the attendant crowd.
Impossibly balanced on a soft
plinth / mattress, is he in a
dilemma of his own making, or
a perverse and erotic boudoir
romp? Made from unorthodox
art materials, traditional
appearance is combined with
iconic Australian imagery
of the ram and stockman in
a playful and knowing game
of historic art and cultural
reference. This sculpture
appears to balance a large
bronze figure atop a soft
base, and supported by mere
garlands of flowers and fruit.
Lifted 3.5 metres high, the
light-up ram, the archetypal
“Golden Fleece”- another
iconic Australian long gone
from our roadside petrol
stations, smiles benignly. He
understands the inevitability
of his fate.
Awarded the 2005 Helen Lempriere Award for his sculpture The Comrades Reward, William has
long been exploring themes of classical european imagery in his contemporary sculpture. With a
sense of theatricality and humour, and a unique melding of materials, he appropriates influences
that place his figurative work firmly in the current art arena. William was fortunate to be selected
to participate in an ABC TV documentary “Artists at Work” in 2008. This documentary featured
his sculptural process, from initial ideas to successful completion, of a commission for TarraWarra
Museum of Art, in Healesville, Victoria.
30
cryptozoology savaad felich
In my arts practice and career
I have met many artists, those
who are college graduates and
those who have entered via
another door. The latter from
discovering an innate artistic
talent, sometimes later in
life, and perhaps undertaken
community run art classes and
summer schools, to trades
people who have re-directed
their various skills to create
art. These are all valid routes.
It may look different but
the creative impetus is the
same. My recent practice
uses an array of found
objects and I am fascinated
by arrows, which in some form
or another, I incorporate
into my work. In archery
the integrated steps prior
to releasing the arrow are
paramount, as is the vision of
seeing the arrow home.
The Circle Home No.2
Recycled timber & found objects, 100 x 52cm, 2008
It was inadvertently through horticulture while working for the Royal Botanic Gardens, Melbourne,
in the late 70’s early 80’s that Savaad initially discovered an inherent gift for woodcarving. His
arts practice has slowly moved away from direct carving to assemblage and construction using an
array of found objects and materials, including furniture parts and wine barrel staves and ends.
Concurrent with his arts practice Savaad is also involved in arts administration and has been a
coordinator for the Yering Station Sculpture Exhibition & Awards for the last eight years. He
is also a committee member for the Yarra Valley Arts Council and has been involved with the
organization of a number of art exhibitions, art residences, judging and arts speaking forums.
cryptozoology
31
monica finch
Free Fall
, 2007
Clay & stee l, 37 x 15 x 15cm
Sister Totem
Clay & steel, 190 x 20 x 20cm, 2007
In my work as an art therapist I am continually inspired by the people I meet. They
reveal the tenacity of the human spirit and the gentle communion that can be
experienced in sharing. As an artist I am interested in representing these expressions of
the soul and spirit. My current practice engages with the archetypal representations of
the feminine that can be found in antiquity, but seeks to explore contemporary aspects
of motherhood and sisterhood drawn from my own personal and family relationships.
In 2000 Monica returned to study as an adult to develop a career and for personal fulfilment. She
knew clay was “it” for her from the first time she used it in a sculptural class. She graduated with
honours in both a Diploma of Visual Arts: Ceramics and Diploma in Art Therapy in 2005. Since
then she has established her art studio and art therapy practise in rural Victoria.
32
cryptozoology tanja george
In the fabrication of my
sculpture, I use a vast
variety of materials. My
fascination lies with
everyday objects, discarded
industrial-mechanical
components and wood.
Just as the objects that
I use in my work seem to
have reached the end of
their life span, I transform
them into something new.
To me they are treasures
that have an aesthetic life
beyond their function. My
work seeks to acknowledge
their beauty and value,
drawing parallels with the
disparities of human race.
We come in all shapes,
forms and colours, but we
all belong to one world,
the same world. If only we
treated each other with
respect, this could be the
best world.
One World
Metal, 150 x 130 x 50cm approx, 2008
Tanja was born in Vienna, Austria but grew up in Germany where she worked as a journalist for
Esquire magazine. In 1989 she moved to Australia where she studied film, completing her Bachelor
of Film and Television at Victorian College of the Arts in 1995. In recent years, her creative
instinct has found a new form of expression through a steadily developing sculpture practice. She
has exhibited in various exhibitions throughout Victoria and was this year selected to exhibit for
the Williamstown Festival Contemporary Art Prize.
cryptozoology
33
andrew green
F ishing Holid ay Love
17cm, 2005
Wood, 20 x 25 x 17cm & 25 x 20 x
r circle partly
When I lived in a hotel I was privy to theminne
g bashed by
because a mate and I saved a patron fro bein
ds told their
ban
two angry brothers. I learnt that three hus
ead
inst flying to
wives they were going on a fishing holiday,off.
Bangkok to get their rocks
Andrew has been devoted to the image for over ten years and has worked as a staff and freelance
photographer for various publications including The Age newspaper. His interest in visual arts
has also expanded recently, exhibiting his photographic works in various group exhibitions and
pursuing still life and drawing classes at Footscray Community Arts Centre. In the past two years
he has been short-listed for the Williamstown Festival Contemporary Art Prize and this year was
the recipient of the Local Artist Award. He is currently contemplating a return to formal studies in
visual art and sculpture.
34
cryptozoology mandy gunn
Scroll (detail)
Y ellow Pages woven on cotton, 1000cm x 60cm x 400cm,
2004
Often materials are hand cut and
reconstituted through textile
related techniques into assemblages,
installations and sculpture. This piece
was hand woven from cut pages of the
Melbourne Yellow pages, to resemble an
ancient scroll.
Mandy trained at Monash University and
the Victorian College of the Arts where she
completed her Masters of Fine Arts in 2000.
She has exhibited widely all round Australia,
completed residencies and undertaken
projects funded by the Australia Council and
Regional Art bodies as well as working at
Aurukun Community with the women there.
She is well known for her work with recycled
materials and has a number of pieces in
public and private collections. She has taught
at RMIT since 1995 and currently lives and
works in South Gippsland.
F lowe ring Des ert
Corrug ated iron, 150 x
150 x 12cm, 2003
I work with found materia
reassembled, a comment ls cut and
on
society. The materials fo our wasteful
r this piece were
collected around Broken
H
like area. The shapes are ill, a desert
flowerlike and
reflect the way plants ov
ertake old
inhabited sites.
cryptozoology
35
chelsea gustafsson
Trophy Head
x 13cm, 2007
Resin, foa m, paint, timberr & varnish, 24 x 21
Chelsea was born in Melbourne in 1975 and grew up in East
Gippsland. In 1994 she studied painting at RMIT TAFE, followed
by a couple of years travel overseas. She has been involved
with prop making in film and television, and between 2001 and
2007 Chelsea worked for a small sculpture and design firm in
Melbourne. In 2007 she was a finalist in the Metro 5 Art Prize
and the ANL Maritime Art Prize in Port Melbourne. Chelsea lives
on the coast in Barwon Heads and has since resumed her studies,
this time in the field of Graphic Design, at the Gordon Institute of
TAFE in Geelong.
36
cryptozoology Much of my work
is two dimensional,
but I also find the
need to execute some
of my works three
dimensionally. I have
been exploring the
theme of modern man
and playing around
with the concept of
the threat of oldschool masculinity,
whereby the need
for power and the
mentality of having
to conquer all will
ultimately leave us,
ironically, vulnerable
to being expunged
through our own
exploits of the planet.
I often attempt to
inject an edge of
quirkiness or novelty
into my work in order
to avoid the complete
cynicism and darkness
lurking beneath the
surface.
matthew
harding
Represented by Australian Art Resources
We shape objects and
they shape us. We
engage ourselves in the
materialisation of ideas and
within our explorations we
make humble and meaningful
discoveries about our lives.
My current work looks at
how the growth patterns
and structures of living
organisms are influencing
the architecture of nano
science and the implication
this technology has on our
perception of who we are.
From my earliest memories
of sketching and observing
the details of ‘little’ things
in life such as seedpods,
plants and insects, I was led
down the enchanted garden
Nano
path of art and science
Stainless Steel, 210cm dia meter, 2007
as a way of appreciating
and making meaning of
existence. I felt a strong
parallel between a scientist working away in a lab and
my childhood in the shed, both playing with the building
blocks that shape and give meaning to life.
Matthew is an artist and designer engaged in a diverse and innovative contemporary practice
spanning sculpture, public art and design over the past two decades. His training in the visual
arts, construction industries and various craft traditions enables him to push the boundaries of
materials and process. His work encompasses cutting edge technologies through to traditional
methods in wood, stone and bronze. Whether carving delicate fine art pieces, prototyping designs
for production or working on large-scale public sculpture; Matthew’s desire is to make objects that
feed the spirit.
cryptozoology
37
lis johnson
The deer is a recurring
idea and form in my
work. An immature
female animal, the deer
is a vehicle to represent
fragility, innocence, the
vulnerability of nature,
something which
is fleeting - poised
to disappear. I
have placed it in
varying landscapes
and contexts, as a
defiant yet fragile
witness. ‘Hide/
Trap 2’ is the polar
opposite of another
Hide/ Trap 2
work, the pure white
foliag e, acrylic lacqu er, acrylic &
Alpha-gyps u m, fibreg lass, steel, dried
, 2008
110cm
x
70
x
86
c),
plasti
,
metaphysical
‘Hide/
metal
n
oil paint, dross (molte
Trap’ 2006, which
is about the folly of
over-protectiveness,
as well as referring to the white cube of art, as
a safe but sterile and limiting container of artistic expression. With ‘Hide/Trap 2’
dark materials form a black rectangular solid. The ground is a concentration of machineproduced substances and life-depleted matter. The deer is unable to move within a brittle
scorched hedge, poised to flee, but immobilized by the legacy of a carbon-fuelled culture.
Lis has been a full-time professional sculptor since 1992. She has formal training in art history,
theory, research and practice, has taught sculpture at tertiary level and exhibited in numerous
group, solo and selected exhibitions. She has been awarded several public art commissions and
also completed numerous private commissions. Primarily a modeller and carver, Lis is a figurative
sculptor who works with a wide range of contemporary and traditional media. Her broad range of
practice has included work for architects and designers, museums and zoos, and the display, theatre
and film industries. She works from her studio at Fundere Fine Arts Foundry and Studios in West
Footscray, and is currently creating a bronze figurative commission, Love and Action, celebrating
female spirituality for Star of the Sea College, in Gardenvale.
38
cryptozoology julee latimer
Dress Up
Sculpting compoun d, & concrete substrate, glass & beads, 15
x 27 x 11cm, 2008
This piece is a tribute to the love of dress up and sparkle
many little girls share, regardless of background or cultuthat
Reaching womanhood does not always diminish this. Therre.
a child within us all. This sculpture was inspired by a friene is
admission that as a child she decided she would be a princ d’s
she grew up, just as a little boy dreams of being a firemess when
an.
Julee started working with mosaic approximately ten years ago but it has always taken a back seat
to her painting due to frequent overseas moves. Now she has settled in Australia on a permanent
basis, she is finally in a position to pursue her passion for mosaic. Only recently she has started to
make her own sculptures and intends to work more intensively in this area into the future.
cryptozoology
39
louise lavarack
Photograph John Gollings
Veil
line,
Wooden clothes pegs, cold water dyes, acrylic varnish, nylon fishing
stainless steel rod & fixings, 330 x 120 x 3cm, 2007
A peg is the point of
restraint that prevents
freshly washed clothes
from flying off in the
wind or falling into the
mud. Veil subverts this
function and elevates
pegs from the repetitive
labour of behind-thescenes domestic duty
to sumptuous public
display. Furthermore, the
form of Veil, as a twofaced curtain, embodies
the interface between
private and public realms.
Suspended at window or
door, a curtain filters
vision into or out of
a room and marks a
threshold that is both
physical and psychological.
Louise specialises in artworks for public spaces. Her installations focus on ephemeral aspects of
environment and human usage, and on a physical and metaphorical geometry of site. She often uses
repeated elements integrated with existing features of the site in order to delineate the site itself
and to choreograph the viewer. Since graduating from Fine Art at RMIT in 2000 Louise has been
regularly short-listed and commissioned for major public art projects initiated by developers and
various levels of government. In 2001 she was a finalist in the Helen Lempriere National Sculpture
Award and in 2005 a finalist in The Melbourne Prize for Urban Sculpture. Concurrent with these
activities Louise carries out private commissions and acts as a consultant artist to landscape
architects and urban planners.
40
cryptozoology angela
macdougall
Represented by Brenda May Gallery, Sydney
Watch Your Back
Metal & timber, 188 x 290 x 46cm, 2008
This piece represents a female figure walking along a narrow path. She is
moving forward but conscious of history and acknowledging her past. I sense
a feeling that the figure is confident, a well-defined movement forward. She
is considering her development, her arrival at this point. However there is
no pause. The gesture of review or looking back is also one free of restraint.
Here is an individual who has strength; she has the embodiment of ambition
and the desire to take advantage of her lot. She is made of reclaimed metal.
Angela completed her Bachelor of Arts in Sculpture at RMIT in 1989 and returned after a stint
travelling and working in Japan to complete her Honours in 1995. She has exhibited widely in
numerous solo and group exhibitions since 1992 and last year received the People’s Choice Award
at the Montalto Sculpture exhibition. She has completed major public and numerous private
commissions and her works are held in corporate and private collections in Australia and Japan
including Artbank and the Hyatt Regency Hotel, Sydney.
cryptozoology
41
david marshall
With the imminent
collapse of the matrix
in which we exist, the
long chain of molecules
extracted from the
earth will reinfiltrate the
natural world, emerging as
polymer regrowth.
Petecormic Growth
2008
wate r, dye, 100 x 250 x 60cm,
es &
Burnt redbox trunk , Pete bottl
David has worked as a landscape contractor for the past twenty-seven years, specialising in the
design and construction of Japanese gardens/interiors. Now semi-retired, he has been developing
his ideas and concepts in recent times and is pursuing opportunities in the field of contemporary
sculpture. This year he was Highly Commended in the current Outdoor Sculpture exhibition at
Wangaratta.
42
cryptozoology fleur mcarthur
This work explores
colour, and the
concept of being an
armchair traveler.
The suitcase
is evocative of
travelling, and yet
is constructed from
card and paper, not
functional for real
travel. Moreover, it
explores the travels
within the realm of
the imagination and
the winged flights
of the mind.
Travels in Colour
Paper, foa mco re & card
boa rd, 50 x 46 x 35c m,
2008
Fleur graduated with a Bachelor of Fine Art from the Victorian College of the Arts, University of
Melbourne in 1998, and has participated in numerous exhibitions such as the Arthorses exhibitions,
The Toorak Festival of Sculpture and was selected as a finalist for the Audi Art Prize in 2007. Her
professional work and practice continues to evolve through explorations of diverse media and
ideas.
cryptozoology
43
darren mcginn
The Black Sheep
Cera mic, 11 x 45 x 48cm, 2008
My artwork focuses on the landscape and theatre of everyday life, the stage and
setting is where most of us actually live; and that place is the urban environment. ‘The
Black Sheep’ represents the hundreds of thousands of Australians who live in caravan
parks. For some it’s a temporary measure while they go through a financial rough patch
but increasingly it’s a long term option for people who can’t afford to rent or buy a
house or unit. The St Vincent De Paul Society says there has been at least a doubling in
the number of people turning to caravan parks since 2001. In a report called Residents
At Risk, the charity estimates at least 50,000 people across the country are one
step away from homelessness and using caravan parks as crisis accommodation.
Darren completed a Graduate Diploma in Fine Art in 1988 at RMIT, going on to complete his
Master of Arts in 1991. He has worked for many years as a lecturer and teacher of ceramics and
sculpture at various institutions including the University of Melbourne and Victorian College of
the Arts. He was the recipient of the Commonwealth Post Graduate Research Award (1990-91)
for research studies and has received numerous awards in national exhibitions for contemporary
ceramics. He is currently a PhD Candidate at Monash University and in 2007 was the recipient of
the Toyota Community Spirit Artist Travel Award. He recently opened a solo exhibition at Geelong
Gallery as part of a successful application to the Shell Arts – Geelong Regional Artists Program and
this year received the 3D Award at the Williamstown Festival Contemporary Art Prize.
44
cryptozoology anna minardo
My art is always evolving
in constant search of
true essence. I feel the
need to capture the soul
of that which I decide
to express, whether
through drawing,
painting, sculpture or
mosaic. To me, the
media is only a tool I
use to project my inner
desire of expression.
The techniques which
we have inherited from
the masters, have
always been of great
interest to me through
out my life. It is
always a challenge to
be able to assimilate
knowledge and
acquire skill. In my
Mosaic the challenge
is to learn to absorb and experience
spontaneity, integrating the past and present
of ancient flow (andamento).
Penelope
Stone mosa ic, 50 x 50cm, 2008
Anna learned to paint as a child in Rome, both her parents being recognized artists. She studied
at the Academy of Fine Arts and Faculty of Architecture Rome and began her professional carrier
in North America where she worked as interior designer with major architect firms in Montreal,
Boston and New York. Since 1975, Anna has devoted her life to art dividing her time between
Italy and Australia. Her paintings, mosaic works and sculptures have been exhibited and are held
in private and public collections in Italy, Germany, Russia, North America, Japan and Australia.
Earlier this year she was a finalist in the 2008 Archibald Prize.
cryptozoology
45
annee miron
Where was that? (deta il)
x 46 x 156cm, 2008
Timber, glass, silk & lights, 60 - 80
marks we make on the land and that it
I am continually drawn to themes aroundoftheart is as a momentary experience, not as
in turn makes on us. For me the nature of fragile silk embroideries clustered over
an eternal bronze. This piece is made up hts of the light boxes mimic the contours
customised light boxes. The variable heig roideries capture moments of the sites
of the land on which they stand. The embdense tea tree prior to Anglo European
history such as when it was cloaked in -like, sensual fragments of the past.
occupation. The silk images become film
Annee completed a Bachelor of Fine Arts at RMIT University in 1997 and works as an artist,
curator and project manager nationally and internationally. In 1999-2000, as a curator and artist, she
presented the (re)construction touring exhibition and forum series investigating concepts of memory
at the Yarra Sculpture Space, Melbourne, and at regional galleries in Mildura, Maryborough and
Benalla. In partnership with Magdalena Moreno, Annee presented Mi Museo (My Museum), at
Galeria de la Universidad Católica de Chile, Santiago, 2003. Her projects have received grants
from the Chilean Government, Dame Elizabeth Murdoch, Arts Victoria and the Myer Foundation.
More recently she has shown in group exhibitions including Trocadero Studio Artists, 2007 and
Lexicon, 2006.
46
cryptozoology sandra o’dea
I use visual signs of femininity,
such as the motif of dress to
distinguish actual gender roles.
As a female, I am constantly
questioning my role as a woman in
today’s society, for and from the
male glare; let’s take for example,
the issue of cover girls and how
they affect woman’s perception
of self and men’s perception of
women. For women, the response
is often deep feelings of envy for
what is missing, longing, shame
and desire which are linked to
woman’s anxiety over the male
gaze. For men the response is
that women become idealized and
unreal, a commodity that can be
purchased used and thrown away
or discarded.
Torso
Sandra was born Melbourne in 1956 and currently lives at Mornington. She has been interested
in style, colour, texture and design for as long as she can remember. With a background including
dance, fitness instruction and theatre design, her interest in visual art became the focus of her life
when she returned to study in the mid nineties, completing a Bachelor of Fine Arts at Victorian
College of the Arts and most recently, her Masters of Fine Arts at Monash University. She has
exhibited widely in both group and solo exhibitions and her works have been collected and
published in Australia and the United Kingdom.
cryptozoology
47
cristina palacios
2007
13.7 Pna spermia serie s
able, 2007
Con cret e, dim ensions vari
‘13.7’ billion years ago the Big Bang occurred.
I believe all life starts as a dot in the universe;
a single cell containing atoms that transforms
into matter, energy and sometimes humanity.
Cristina was born in Buenos Aires, Argentina and moved to Australia in 1987. She studied for a
Diploma of Visual Arts at the CAE, before going on to complete her Bachelor of Fine Arts with
Distinction at RMIT University in 2007. She has participated in over 20 group exhibitions and in
2005 was invited to hold her first solo exhibition, by the Argentine Government, at the Palace of the
Legislature in Buenos Aires, Argentina. In the same year she was short listed for the St. Vincent’s
Hospital Residency, and in 2006 she was short listed for the Mary and Lou Senini Art Award at
McClelland Gallery. In 2006 and again in 2007 Cristina was invited to exhibit with the International
Bokuga Association in Tokyo, Japan winning an award for excellence in 2007. She has realized
several commissions, and her work is held in private collections in Australia, America, Argentina,
Italy, France and Japan. She is currently enrolled in a Master of Fine Arts at RMIT.
48
cryptozoology luciana perin
Landforms I
Domestic material: pasta coloured with seppia (cuttlefish) ink, 60 x 70 x 8cm, 2007
The performative ritual of ‘making pasta’, a simple and mundane practice gives
insight not only into a cultural habit, but into a personal landscape shaped by time,
tradition and memory. Maintaining the translocated ‘usanza’ or custom alive is a
way of preserving ones identity. This work references cultural practices and their
meaning when dislocated or relocated from the place of origin. It attests to the
loss in the transmission of traditional knowledge –in this instance ... by mother to
daughter in an industrial world where technology replaces human connection and
transmission with instant, artificial downloads of knowledge (from the internet).
Luciana began her career in art as a teacher but in recent years has developed a firm and active focus
on her own practice, participating in numerous exhibitions in Australia and overseas including four
solo shows. She is interested in exploring notions of physical and psychological consequences that
arise from cultural upheaval; assimilation, dislocation and dispossession.
cryptozoology
49
lani pinnington
Dribbler
Untitled (flyer)
The installations I present are a combination of high fantasy and banal everyday
objects that revolve around a fusion of ‘organic machine’. The creature/monster type
beings are (at the moment of their creation) precariously on the verge of extinction
as they manifest the naïve objectivity of the hand made. They are warped, hybrid
reincarnations of second hand toys and dead animals whose found remains are used as
sculpture material. My work does not aim to suggest other worlds but instead tries to
highlight the underlying, faulty or sinister fabric of human nature and an unseen social,
and environmental decay.
Lani is an emerging artist originally from Mildura in rural Victoria who now lives and works in
Melbourne. Her art education has extended across the fields of photography, printmaking, and
sculpture, informing her current practice of mixed media, sculpture installation. She is currently
studying the Masters of Visual Art course at the Victorian College of the Arts and is one of eight
short-listed artists for the 2008 Toyota Community Spirit Artist Travel Award.
50
cryptozoology geoffrey
ricardo
Represented by Australian Galleries
Long er truth s, longe r lies
x 102 x 190c m, 2007
Paint ed & patin ated copper, 102
tall tales
Painted & patinated copper, 188 x 570 x 110cm, 2007
Geoff studied printmaking at the Chisolm Institute of Technology and graduated from Monash
University, obtaining the Graduate Diploma in Fine Art Printmaking. His practice has developed
steadily over the past 20 years and he now has regular solo exhibitions in Melbourne, Sydney,
Adelaide, Brisbane and Perth and has participated in numerous group exhibitions in Australia
and internationally. His paintings, prints and sculptures are represented at the Australian National
Gallery in Canberra, the Art Gallery of New South Wales, the Queen Victoria Museum and Art
Gallery in Tasmania, the Holmes A’Court Collection in Western Australia, and other regional
galleries and institutions. His work is also in many private collections throughout Australia.
cryptozoology
51
jason roche
Insatia ble
26cm, 2008
Limesto ne, construction adhesive & PVA, 27 x 28 x
What interests me deeply is the everyday overlooked object; the art of
human industry. To take a designed consumer item and recontextualise it
into an art object, an object to be thought about without its function.
What I hope is that an object will be seen for what it is; and then,
perhaps, re-seen as something different.
Jason grew up in Frankston and currently lives in Red Hill. He has explored many fields of artistic
endeavour including music and acting and it was at acting school while making masks that he
discovered his interest in sculptural form. His practice is primarily in stone carving but also includes
fabrication in metal, timber, bronze and clay. He has travelled widely overseas, most recently to
China as part of his Masters of Fine Art studies at RMIT University, where he completed a large
stone public sculpture called Bear/Dog for the Shaanxi College of Costume Art in Xianyang.
52
cryptozoology luke rogers
Rather than crave
perfection, my works
are more a reaction to
transmittable moments.
A focus on expressive
power within assembled
elements, aesthetic
tension and exploitation
of disposition balances
assertive assemblages.
Untitled II
Steel with copper patina, 58 x 47 x 15cm, 2007
Luke is a designer/artist who creates a diverse range of furniture, sculpture and concepts for a
wide variety of clientele. Inspired by experiences in Melbourne and New York City where he was
fortunate to work with leading blacksmiths and metal sculptors, Luke developed Luke Rogers
Studio in 2003. Over the past few years he has created, developed and produced concepts for
landscape architects, product designers, retail stores, restaurants, bars and galleries. His works
have been shown in various exhibitions including the Yering Station Sculpture Award in 2004. In
2005 he was commissioned by Mushroom Records to create a music industry award sculpture and
in February this year commissioned his first major urban artwork for Grande View Apartments in
Queens Road St Kilda.
cryptozoology
53
peter rosman
Plastic & concrete, 6 pieces of 25cm dia meter (various heights), 2008
This work is the second of a series of installations
using colourful children’s artefacts and recycled
“green” pipes which are adapted to an existing
public structure. These colourful elements
contrast with the backdrop of a bleak anonymous
grey outbuilding located in an open area, and show
a variety of activities associated with children
as they play, investigate, and interact with their
outdoor environment. The installation examines
our new state of visual awareness as constantly
promoted in all forms of mass media.
Peter is a Melbourne sculptor who retired in 2006 after 30+ years teaching children. Raising a
family and working full-time meant that his artwork consisted mainly of ideas and sketches for
many years, which are documented at his website, Terminal Art Works [http://www.anywhere.com.
au]. Since retirement he has returned to full time art practice. His early work has been recognised
here in state and national collections, with artist residences in WA and QLD and overseas in several
recent Sculpture symposiums in Portugal, Czech Republic and Switzerland. Peter has just returned
from Europe where he attended and produced a work for 4th International Sculpture Symposium in
Davos, Switzerland.
54
cryptozoology natalie ryan
The artist acknowledges the support of Linden’s Artist Studio Program.
Untitled
Taxidermy foa m animal casts, prosthetic eyes, synthetic fibres, wooden board.,
150 x 370 x 370cm, 2007
The cadaverous presence
establishes a relation between
here and nowhere ... He no longer
has any relations with this world,
in which he still appears, except
those of an image, an obscure
possibility, a shadow which is
constantly present behind the
living form and which now, far
from separating itself from that
form, completely transforms itself
into a shadow.
– Maurice Blanchot
Untitled (detail)
Natalie is a Melbourne based artist working primarily with sculpture and installation. She completed
her Bachelor of Fine arts at the Victorian College of the Arts in 2002 and is currently completing
her Masters of Fine Art at Monash University, with the assistance of an Australian Postgraduate
Award. She has exhibited nationally and internationally and has recently commenced a three-year
studio residency at Linden Centre for Contemporary Arts.
cryptozoology
55
fatih semiz
Crux Australis
Painted Steel, 138 x 115 x 36cm, 2008
Fatih graduated from Mimar Sinan University, Istanbul, with a
Fine Arts Degree in Sculpture in 1992. He has exhibited widely in
Europe and in 2004 was granted a two year artist in residence at
Overnewton Anglican Community School in Keilor, Victoria. He
now continues to work and exhibit in both Europe and Australia.
56
cryptozoology My first interest was
in ancient, primitive
stone forms and
the accompanying
techniques, and
many of my early
works were created
in marble and stone.
Although I continue
to work with stone,
my more recent works
can be considered
as ‘constructive’
pieces. I have always
been interested in
architecture and
geometry, and
exploring modular
repetitive shapes. My
latest works are based
on this, creating new
designs in various
shapes and sizes and
then combining these
shapes to create
complex forms based
on simple principles.
I find this aspect of
creativity intriguing.
The combination of
basic foundations and
creativity can lead to
many different pieces.
vipoo srivilasa
Represented by Uber Gallery
In Our Ha nds
m, 2008
Cera mic, 60 x 56 x 20c
Puff Coral
Cera mic & mixed media, 20 x 19 x 13cm, 2008
My works explore the inherent
commonalities between the cultures of
my native Thailand and my new home of
Australia. My work is theatrical, flamboyant, humorous and always enriched with an inherent
search for beauty. My latest series of works has evolved from my concern for the coral reefs
and eco-systems of Australia and Thailand and the damage that is being done to them as a
result of society’s greed and over consumption. I hope the viewer can find humour in the works
despite the seriousness of the subject matter, and that this will increase public awareness and
highlight the importance of these issues.
Vipoo was born in Thailand where he studied for his Degree in Fine Arts at Rang-Sit University in
Bangkok before migrating to Australia in 1997. Using blue and white ceramic, he creates complex
narratives through highly decorated images applied to the surfaces of ceramic forms. His work
requires an intimacy in which the key elements of the drama are often found in unusual places
within the forms themselves. His decorative creations range from interpretations of landscape,
architecture, and cultural celebrations to social questions on a global scale. Vipoo is one of eight
finalists in the 2008 Toyota Community Spirit Artist Travel Award.
cryptozoology
57
marika strohschnieder
In early 2008, I
commenced a series
of dog portraits in
oil. Upon completing
a study of a French
Bulldog, I was struck
by the role dogs play
in contemporary
society. In fact
since the beginning
of history, humans
have created
images of dogs,
which illustrate
Pink Toh
rs
flowe
cial
artifi
&
wax
c,
fabri
the important
Galva nized wire mesh,
s varia ble, 2008
Scul pture 50 x 40 x 75cm, F lower
role dogs have
played in daily life
and imagination.
Depictions of dogs in art are a testament to how closely
humans live with dogs and through their unrivalled proximity to humans have come to
represent a remarkably wide spectrum of values and emotions. Contemporary society
and human intervention have led to the 21st century dog being a far cry from his
ancestors. I am particularly interested in examining this curious evolution and the role
of the dog in society.
Marika lives in Williamstown, but was born in Germany where her creative career started as a stone
sculptor. She was apprenticed to stonemason Uwe Bernhard, from 1986 – 1989, where she learnt to
appreciate the discipline required of a craftsperson and artist. She then undertook formal study in
the field of art conservation and has worked as a conservator in five countries and in a diverse range
of organisations – including at the Metropolitan Museum, New York and currently at the National
Gallery of Victoria. Parallel with her work as a conservator, she has continued her artistic practice
principally as a jeweller and sculptor although she also paints and draws.
58
cryptozoology corey
thomas
Represented by Australian Art Resources
Stage Coach
Found objects, steel & wood, 75 x 120 x 50cm, 2008
I often work with found objects, embedding history within the actual materials. This
whimsical work has been created with a strong sense of forward motion using the
hobbyhorse as a muse. The old cowboy boot, tractor seat and hobbyhorse are from
a bygone era and each represent a different mode of transport. Its stature makes it
appealing for a child to ride, and the actual pieces themselves make the work quite toy
like – evoking memories of our own childhood.
Corey trained as a dancer, moved into performance, then migrated to sculpture with a focus on
creating narratives with form. His work often explores historical and cultural themes. It involves
working with a broad spectrum of mediums that evoke a range of emotions from humour to pathos.
He has worked in many areas of Australia – from the South Australian desert to St Kilda beach.
Each landscape stimulates new content for the work in terms of the stories of the people, culture,
space and the actual materials themselves.
cryptozoology
59
cyrus wai-kuen tang
What else is there? (detail)
F ibre glass, resin and timber, 150 x 100 x 50cm, 2007
This installation explores the
fabrication of the experiences
of micro and macro spaces,
with the objective of
contrasting reality and
fantasy. The application of
different architectural scales
will be the main focus of the
work. My art practice is a
journey to investigate the
ways in which certain physical
materials and constructions
can evoke the psychological
space and fantasy of
childhood. I experience my
Asian world as a memory;
larger than life and engulfing,
even threatening me as a huge,
drfiting fragment from my
past. My view of Australia is
like a distant city seen from a
descending passenger jet, and
also as an unreal model world.
Cyrus migrated to Australia in 2003 and graduated from the Victorian College of the Arts in 2004.
Since then she has been working to develop her career, completing an artist residency in Tokoname
in Japan in 2005 and exhibiting in solo and group exhibitions. As an Asian immigrant, she seeks
to create a dialogue between east and the west culture, reflecting her struggle to start her new life
and the interchange between the past and the present. She is currently studying for her Masters at
Monash University, and is one of the short-listed artists for the 2008 Toyota Community Spirit Artist
Travel Award.
60
cryptozoology liz walker
Shop till you drop
Recycled metals, pop rivets, 3 pieces
variou s sizes, 2008
We have a huge appetite to consume
and possess and shopping has become a
contemporary obsession that is perhaps
exploitative of our inherent ancient instincts as a hunter-gatherers. In an
abundant society, the pressure is always there to upgrade and replace unnecessarily,
even though this is having a devastating impact on the environment and possibly our
lives. Instead of directing our retail dollar toward needless purchases for short-term
gratification- we should invest in greener, more environmentally sound lifestyles.
We should learn to communicate with each other more, enjoy the pleasure of making
things, repair items that have broken and value what we have and want less. These
shopping bags are bottomless, oversized and cumbersome and represent the ultimate
burden of needless consumerism.
Liz was born in Melbourne but has lived in rural NSW and Victoria for nearly twenty years where
she worked in a variety of occupations including practicing and teaching pottery. She returned to
Melbourne in 2003 to undertake the Diploma of Visual Arts at RMIT, going on to complete her
Bachelor of Fine Arts, majoring in drawing in 2006. That same year she was the winner of the Area
Contemporary Art Space Exhibition and this year was short listed for the Williamstown Festival
Tattersall’s Contemporary Art Prize. Liz lives in Brunswick and is currently completing her Master
of Fine Arts at RMIT.
cryptozoology
61
carmel
wallace
Represented by Gallery 101, Melbourne
Red Sea: totemic anemone s
30cm dia meter, 2007
Beach found cray pot throats, cable ties, 237-134c m varied heights,
My Red Sea suite
of work addresses
issues including those
of global warming
and marine pollution.
The materials used
to construct these
sculptural pieces have
been collected on my
many walks along the
beaches of southwest Victoria. The
red plastic fragments
have washed up
after breaking loose
from cray-pots.
Patinas and coralline
encrustations are
evidence of their sea
journeys. The colour
red signals not only
danger, violence, and
sacrifice, but also
vitality, passion and
transformation.
After completing an Arts degree and Diploma of Education at La Trobe University, Carmel went on
to earn an Honours degree at Deakin University, and subsequently completed her PhD in 1998. Her
work is primarily concerned with place and particularly the coastal sites around her home, exploring
the human need to experience a connection with the landscape, striving for an all-embracing
understanding of the places where we live. Her work has been exhibited in New York and London,
and selected for numerous national exhibitions including The Wynne Prize at the Art Gallery of
NSW. Awards include the 2008 Regional Arts Victoria Contemporary Cultural Development RAVE
Award. She has had a number of solo exhibitions and her work has been acquired for collections
including the National Gallery of Australia, National Library of Australia, and the State Library of
Victoria.
62
cryptozoology anthea williams
This piece is part
of a series of
sculptures using
44 gallon drums.
The title ‘molasses’
refers to the
contents which are
used as a supplement
for feeding stock,
(mostly cattle).
Waste products
from the rural /
industrial area of
Latrobe Valley
in Gippsland
are prominent in
my practice and
have been used
to comment on
consumerism, leading
us to question the
concepts of decay
and beauty.
Used By Molass es Drea ming
44 gallon dru ms & scrap steel, 150 x 138 x 150cm, 2007
Anthea completed a Post Graduate Diploma in fine art at Monash University Gippsland in 1986,
returning there to complete her Masters in 1999. She has travelled widely including Israel and
Rome in 1984 and New York, Cuba, Mexico and San Francisco in 2005. She has also exhibited
internationally in the USA at the Soho Chelsea International Art Competition and been the recipient
of grants and awards including the Janet Holmes a Court Artist Grant in 2007. She was recently
featured in the Contempora 2 sculpture festival at Docklands and her works are held in public and
private collections throughout Australia.
cryptozoology
63
belinda wilson
DMZ love nest
1999
Korean silk, silk and felt, 30 x 19 x 8 cm each (30 works in total),
These soft sculptures were inspired by a two year stay in Korea and created using
traditional Korean fabric. The fabric is used in clothing and adornments and is known as
the Hanbok. The Hanbok forms a highly effective expression of Korea identity as the
materials and designs provide a glimpse into the Korean lifestyle. The colours indicate
the values and world view of the Korean people. The soft sculptures represent an East
meets West attitude. They reflect upon my interpretation of woman in Korean society
and how I was sometimes viewed as a Western woman in Korea.
Belinda is a Victorian artist who has exhibited both nationally and internationally taking her
inspiration from wherever she happened to be living. She has travelled extensively throughout Asia,
Europe but in more recent times has returned to regional Victoria to re-engage with her spiritual
home. Her work is inspired by the surrounding environment, which she captures on canvas, paper
or in sculptural forms.
64
cryptozoology pamRepresented
wragg
by Kazari
Cities, buildings
and constructions
have always
provided a rich
source of material
for my work. For
an abstract artist
they offer endless
possibilities.
The variety of
shapes, textures
and the complex
relationships
discovered, are
what drives me to
try to make work
which expresses
the visual impact
these basic forms
have had on me.
Urban Spaces
Brushed alu miniu m ena melled., 90 x 117 x 8cm, 2008
Pam was born and educated in the bayside suburb of Brighton and living opposite the sea nurtured
her love of space. She remembers being drawn to the work of English sculptor Caro long before she
began to study art. She attended RMIT and was excited and inspired by the welded steel sculptures
of her lecturer Len Parr. During the 60’s while raising a family, she founded an experimental art
group for children and teenagers. Their direct approach to making art was in many ways similar to
primitive art, which had always interested her. In 1974 she returned to studies and began working
with found materials, especially fabricated steel off cuts. These somewhat simple geometric forms
became the basis of her developing visual vocabulary. In1977 she began post Graduate studies at
Victorian College of the Arts and continued her exploration of spatial relationships. She made many
trips to Asia during the 1980’s including Japan, Taiwan and Korea and was inspired to explore the
potential of small sculpture. Her recent practice has been prolific with six solo exhibitions in the
last three years and several group exhibitions including the Yering Station and Montalto Sculpture
Prize. Her works are represented in several regional art galleries throughout Victoria.
cryptozoology
65

Cryptozoology Catalogue

Transcription

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