Darling Park

MAURICE SCHLESINGER ‘Transformation’ [Steel powder coated 40 X 55 x 20 ]

Schlesinger has transformed steel parts by grouping them interestingly to create an engaging abstract sculpture. Cylinders and curves intermingle each with the other. There is a feeling of strength and harmony, which unite, and we are lead to investigate and explore the work’s general character. It has a competent synchronization of features. The atmosphere created within his work is unique. It has aspects and the feeling of a grand piano in as much as Transformation appears like it could be making rich melodious sound. Using welding techniques Schlesinger sings to his own tune. Crimson red powder coated enamel on the steel body grabs the eye, which pleasingly halt our senses.

MEIKE DAVIS ‘Churchill’s Favourite’ [Clay, Oxides, Underglaze 38 x 29 x 18]

Something that is perhaps not known so well about Winston Churchill is his love for animals. He was committed to not only the Union Jack and all it represented in wartime but he was also likened to a bulldog because of his “bulldog spirit” Churchill had bouts of depression which he called “the black dog” which is now a term in common usage to describe this condition. Davis presents us with a humorous image of a bulldog wearing a string of pearls with the Union Jack sanctimoniously pulled around his doggy shoulders. He needs that warmth to soften the chill of a damp climate. The rendering of the bulldog with its soulful eyes and droopy mouth is fun and colourful and is bound to put a smile on your face.

GUNNEL WATKINS ‘State of Becoming’ [Mixed media 100 x 25 x 25]

There is something utterly sensual about thick fabric that curves and folds with the movement created especially by the hand of a director who is just teasingly hinting at what might be beneath. Wrapping fabric in a sculptural and controlled manner is not necessarily easy. To be able to capture and fashion the movement of soft material and make into solid form, establishes an interesting and complete change in how it is percieved. State of Becoming indicates that beneath the surface of Watkins work there is something mysterious. What that might be is unidentifiable but there is the feeling of elegance and movement in its erect form. It reminds us of Christo’s wrapped works where we are left to ponder the inside of wrapped objects. After all it was John Kalder who is an authority on fabric that coordinated the wrapping of Little Bay back in 1969. It is to a degree a chance procedure but it takes a cleverness of control to make the work aesthetically pleasing which is in the end what the process is about.

JOHN BROOKE ‘Flying with Icarus’ [Recycled Steel/Timber 65 x 82 x 22]

I love the title Flying with Icarus as it conjures up the perfect match for Brooke’s work. Golden warmth of the sun and swirling movement from the wind with light areas of turbulence, carry us along. This magic flight takes us on an exhilarating voyage but is just a tad dangerously close to the sun. In Greek mythology Icarus and his father attempt to escape from Crete by means of wings that his father, Daedalus, constructed from wax and feathers. Icarus was told not to fly too low as his wings would clog from the sea spray nor too high to the sun as his wings would melt. Moments of freedom and joy are captured in flowing ribbons of welded steel expressing joyous freedom just before the journey reaches its climax.

JUNE BENNETT ‘Wings’ [Granite 24 x 45 x 22]

There is a precision in the perfect profile of Bennett’s work. Coarse dark-grained structure and glassy in texture the stone Bennett has selected is of holocrystalline granite. Many things have to be considered in the carving of stone. After finding stone that suggests sculptural form the sculptor follows the natural grain within the material. In a sense the stone dictates to the sculptor and this is a major influence on the outcome. Bennett has skillfully followed her instincts in the creation of her piece. As is indicated in the title Wings its shape perfectly communicates the notion of flight. The work is simple and there is a balancing act of two forms one on the other. This is an abstract work that is modern as tomorrow but interestingly, abstract rock carving dates to prehistoric times. This makes the work, in a sense, timeless..

ARGO HO ‘Sandcastle’ [Bronze 25 x 26 x 14]

Why some works get an award and others are overlooked is often perplexing. The truth is with such a diverse range of mediums, subject matter and elements it is hard to be a judge. Argo Ho is one amongst a large number of prized members within our society who maintain a consistently high standard in their sculptural expression. Sandcastles is a bronze abstract that is unassuming and robust. It does not cry out but is strong and silent. The work is a compilation of cubes, rectangles and curves imaginatively fused and stacked making a fascinating geometric composition. Sandcastles gently engage us just like in a mysterious labyrinth and will take us to corners unknown and secret. Ho has chosen a title that is both playful and introspective in nature, harking back to childhood, but using the voice of an adult.

PAMELA DREWITT SMITH ‘Reclining Woman’ [Ceramic with bronze patina 18 x 42 x 25]

The reclining nude has been the perennial subject matter for many artists. Students eagerly study the female form in art class. Its interpretation is as varied, wide-ranging and diverse as any can be. Smith’s interpretation is both sensual and fun. Its base gives the impression of being roughly chiseled with a sensual figure surmounting it. Reclining Woman is stylized. Her arms reach backwards, clasped and framing her small head. Her chest is thrust forward and her breasts defy gravity in a provocative manner. The figure’s proportions are exaggerated to give emphasis to the pelvic area and legs. Limbs are rounded and smooth which bend with little emphasis on joints. The faux bronze patination gives a convincing finish to the work. There is simplicity in this evocative female form that works to conjure up physical indulgence and incites an unrestrained sexuality.

LARISSA SMAGARINSKY ‘Golden Arches’ [Bronze 37 x 12 x 14]

Alluring and compelling, Golden Arches demands we pay attention. Its impressive presence is thought provoking and forceful. Arched forms are repeated throughout the composition. A refinement of patination with the contrast of highly polished raw bronze and rich mottled green/blue roughly textured recessed areas, gives a flavour of grandeur. Smagarinsky controls the process of oxidization by stippling with a brush. Its forms are solid and communicate an atmosphere that is impressive with a feeling of majesty. Golden Arches made me reflect on a grandson’s comment about when he grows up he is going to buy his mother a house with a golden door. How wonderful is that?

VIVIENNE LOWE ‘Anthology’ [Paper/Fabric/Steel]

In the shape of a volute, music sheets are fanned in a rapid vibration with demi-semi tones to separate their phonological visual language. This is a clever and energetic work that is both inciting and stimulating. Anthology is monochromatic which gives emphasis to the sharpness of their simulated musical vibration. Lowe further characterizes the rapid pulsing of a compendium of sounds taken from musical composition.

GARNER ‘Dunbar Lost’ [Mixed media]

The Dunbar was amongst a number of ships that started trading as a result of the Gold Rush. The Dunbar sailing ship, on its approach to Sydney harbour, with its sails fully rigged was wrecked against the rocks. This event took place in driving rain near The Entrance in 1857. The gale was so forceful that The Dunbar completely broke up. Tragically 121 lives were drowned and all cargo was lost. There was only one survivor. Garner successfully conveys the full force of this tragic event with the use of a mix of scrap metal sourced from numerous interesting steel objects. Dark and rusting, the welded metal parts draw a graphic description that encapsulates this dramatic event. No one would be left in doubt as to how horrendous things would have been for all involved.

LOLA KAPLAN ‘Circus Strongman’ [Fabric/Acrylic]

Once again Kaplan entertains us with her highly comical and engaging soft sculpture. How can you not be enthralled with a circus strongman man doing a headstand with two cockatoos and a cat clinging on to his legs for dear life? Using a palette of white and mostly primary colour Kaplan portrays lightness and joy to emphasize the mood of the moment that entertains us. The bulging body of the strongman is emphasized with his blue striped, tight fitting long johns. His face peers out from underneath his bulbous body with humorous concentration. For the light hearted this is a work that is offers sheer escapism. We all need this from time to time!

SALLIE PORTNOY ‘Venus’ [Cast glass/Stainless Steel]

Venus is the most referred to of all the deities in Greco/Roman mythology. She was the goddess of beauty and the embodiment of love and sexuality. It is said that she sprang from the froth of the sea near the island of Cyprus. Portnoy often bases her imagery on mythology using abstraction in thought processes as a strategy whereby simplification takes place and objects become ambiguous and undefined. She is attracted to the sensuality of the human form and translated into glass is able to use light that gives depth to her sculpture. She explores positive and negative shapes creating stylized simplicity. The height of her Venus is amazing considering it is in solid glass and would be huge to cast and very heavy to keep erect. It is supported at its base with a strong stainless steel triangular structure. Portnoy’s Venus has elegance, is golden and warm and as you move around its form the subtly of light and depth of colour changes in a fascinating and mesmeric way.

MARK AYLWARD ‘Archaeology Of Life’ [Coolabah/Spring Steel]

Coolabah is famously the tree that “The Jolly Swagman” sat under and its name is interestingly a loanword name taken from the indigenous Australian Yuwaaliyaay language (gulabaa). Coolabah is a wide spreading eucalyptus tree which is often more wide than tall. The bark is box-like, dark grey, thick and furrowed on the trunk and lower branches and full of gnarled character. Alyward has taken a trunk of coolabah slicing it through in multiple sections, which are highly polished on the surfaces that have been cut. The rich colour of the polished wood dramatically contrasts with the greyness of the trunk. Each section has then been threaded back together on a thick piece of spring steel. The resultant effect is of giant vertebrae with a lymphatic node hanging from its tip. It also reminds us of remnants of life taken from an archaeological dig. Archaeology of Life is a powerful work that is most commanding in presence.

JENNY GREEN ‘The Dance’ [Painted Steel]

Green says of her sculptures, “I aim to capture a moment, a movement, a place. Many of my sculptures are ‘drawings in space’ evoking both mood and action.” Green has taken sheet metal which she has basically cut out to create two dimensional images which represent in unassuming terms the lightness and carefree nonchalance of dancers which focus on the legs. In The Dance, the silhouetted flat representation of jaunty curvaceous limbs are painted in crimson red and black. The dancers are each supported at their base on the toes of a pirouetting foot. Each dancer has a shadow, which is cut and welded at right angles to the figures which function, supporting the dancers, by keeping them vertical. The Dance is pared down saying the utmost through simple visual language with the dynamics of the space in between the dancers adding to the cheerful rhetoric.

TOM MOURAD ‘The Dream’ [Lebanese Cedar Wood]

If you have ever embarked on a project with the challenges that Mourad sets himself, I take my hat off to you. In the first place we know The Cedars of Lebanon are famous but where do you find Lebanese Cedar wood in New South Wales, and of such a huge size? It is native to the mountainous regions of the Mediterranean and is the national emblem of Lebanon but even there their exploitation has caused few trees to remain. Whatever… the melodious and skillful manner in which Mourad has approached his carving project is a marvel. We are transported like in a dream in which images of bodies move in and out of one another, and where we feel caught in a labyrinth of passageways where limbs never endingly flow one into the other. The work is powerful and compelling. The golden honey colour of the wood is beautiful and tactile. Mourad with conscious action has effectively completed this remarkable sculpture.

PHILIPPA GRAHAM ‘Engaged”‘ [Bronze]

It is interesting to know where our influences come from. We as artists are all part of that path where keystone events occur that change the way we interpret our environment. Cubism started as an idea that was based on Paul Cezanne’s original view which included the reduction of form to geometric solids giving simultaneous multiple views to the subject. In sculpture shifting viewpoints tend to reveal the structure of volume. Graham’s cubist bronze figures have been reduced to simplified flatted forms. Some of the surfaces are highly polished and others are oxidized to give depth to their arrangement and are enjoyable to view from different angles. Engaged involves us with the rhetoric of two lovers who appear to be deeply encapsulated within their cocooned world. Their intimacy is tender as legs lovingly straddle across the others. The work is disciplined and precise with integrity and poise.

MARYANN NICHOLLS ‘Individuals’ [Mixed media]

Reclaiming objects to create into sculpture, although not a new thing, has become a highly popular. Marcel Duchamp is considered to have originated the idea with his series of ready-mades. It is now a well-thought-out and highly relevant way of using objects that are measured to have had a non-art function. The relocation of ready-made objects changes our perception of them and constitutes a modification of the object, reenergizing them in their new role. It also changes our perception of their value, their lifecycle, and their importance. Titles that the artist gives to the work add reinforcement to what they are about and are also important to manipulating the way we view the artwork. Individuals is a compilation of objects contained in three similar but differing clear Perspex tubes. Nichols concept has a philosophical aspect that demands our participation. Each section of the work has much in common as their contents all relate as photographic paraphernalia but are in fact quite different one from the other. Their contents are intriguing as are their internal environments with sharp colours, words, shapes and movement like internal organs in test tubes make them palpable. We are led to ponder their state and quality, as they are all, as we are, Individuals.

WENDY BLACK ‘Rufus’ [Bird wire/Skateboard]

Bird wire is a finer version of chicken wire, which is the more commonly known of the two but they both are considered a most versatile medium in the making of sculptural realism. The wires flexibility has been utilized in schools, and similarly it used by professional artists. With a pair of thick protective leather gloves, wire cutters and a good dose of imagination the malleability of bird wire know no bounds. Bending, moulding and overlapping wire to give a more dense appearance work wonders in creating all sort of images. Black is the creator of the adorable white and red-patched Rufus dog. Rufus immediately fixes us with his charming demeanour. I’m in love with Rufus because he is such fun, is cute and can ride a skateboard. I’ve always wanted to ride a skateboard, haven’t you?

JUNE BENNETT ‘Sails’ [Powder coated mild steel/Wood]

MIG welding, or Gas Metal Arc Welding, giving it its more technical name, is a process in where solid wire electrode is fed through a welding gun and into the weld pool, joining two base materials together. Bennett has clearly mastered the skill and utilized it to maximum sculptural effect. Interesting shapes have been welded together stacked and curved to create an imaginary sailing craft; she has the finely tuned eye of an artist whose intuition guides her. The Sails are far more interesting and exciting than any regular yacht’s sails. After welding shapes together the sculpture has been coated in dry powder electrostatically. The coating is cured under heat to allow it to flow and form a skin. The resultant finish is tougher than conventional paint. In this instance the finish appears to be similar to metallic automobile red. The wooden base complements Sails, further enhancing the nautical feel. Bennett has a good eye for shape and form and her work has a pleasing dynamic.

HELEN LEETE ‘Clio The Mythical Steed’ [Masterworks/Bronze patina]

Clio was a muse from Greek mythology. Like all the muses she is the daughter of Zeus and Mnemosyne and was one of nine Muses who were the goddesses of music, song and dance. The majority of divine steeds were offspring of four wind gods who were said to draw the chariot of Zeus in the shape of steeds. On first appearance I thought Leete’s relief was made in bronze. Actually is made from Masterworks with a bronze patina. Masterworks is a water based resinous material supplied as two liquid components that must be thoroughly mixed together. It can be made to replicate many materials, is hard wearing and long lasting. Leete depicts Clio and The Mythological Steed in fond embrace. There is unison and harmony within this relief sculpture. The steed’s head tosses towards Clio, making a strong connection with her gaze. The steed’s mane and the locks of Clio flow together underlining the strong feeling of unison. The work is both powerful and tender.

SUE ALEXOPOULOS ‘Meditation’ [Bronze]

During meditation the mind settles down to a state of pure consciousness. It is considered there is a range of benefits. A slender elongated female body dressed in a loose fitting gown, perfect for meditating in, clings to her womanly physique in a sensual manner. Her back is erect with eyes closed as she sits in a meditative pose… she is an expert! Alexopoulos uses a touch of humour as if the subject is in fact experiencing a degree of levitation with her hair suspended against the physical force of gravity and horizontal to the form. Meditation is executed in bronze and there is lovely use of green patina distinguishing the hair and gown from the bare face, upper chest and arms. This is an appealing work that is beautifully executed.

KAY ALLIBAND

KAY ALLIBAND’S body of work is varied, conceptual, and stunning. Her piece “Tsunami Japan” won the major Franco Belgiorno-Nettis Transfield Holdings prize in this exhibition. Another work, “Mission Impossible” references the conflict between Indigenous Australians and European Christians who have tried to impose their supposedly “superior civilised” culture on the former group within a generation, a “mission impossible”. The work  has a central cylindrical ‘blanket’ with brown Aboriginal legs and feet sticking out the bottom, and white European arms and hands sticking out the top, reaching for an elusive and iconic dove of peace. The blanket is made of tiny ceramic mosaic tiles and is full of religious symbolism – Noah’s Ark, Jesus’ birth in a manger, Adam and Eve and the apple and snakes, and a sea of plenty with fish amongst symbols of the dreamtime. This is a political-religious statement prompting many questions in the attentive viewer.

PHILIPPE MOREAU

PHILIPPE MOREAU’S “Le Recomfort” is another ceramic piece demanding attention. A person in front of a static TV is fed directly via an umbilical electric cord into his belly button.  Is the person asleep/ bored/ drugged out of his mind? In any event, it is a poignant comment on excess. Another piece, “Overfed”, won the Sydney Sculpture School’s workshop prize.

TORBEN JENSEN

TORBEN JENSEN’S “Mother and Child”, carved in Camphor-laurel, is a marvelously executed work, with raw energy and an arresting directness, as both mother and toddler gaze out at the viewer. This is not the usual conventional and sentimental cradling of a babe in arms, but it is nevertheless still nurturing, with the child cheekily climbing up the mother’s back.

BERNICE LOWE

BERNICE LOWE’S “Ema”, in bronze, IS on the other hand  a conventional figurative work, and we found it to be well satisfying  with its pleasing voluptuous curves, its tactile patina, the way that hands and  feet (which are notoriously difficult to sculpt well) and face are worked, and the scale of the piece.

FEYONA VAN STOM

FEYONA VAN STOM’S “Springtime” is an abstracted figurative work in raku clay, which has a pleasing surface on its distorted form. This is a departure for Feyona from her usual legs-astride figures, and it is exciting to see the change; it won the Australian Bronze award.

BABETTE FORSTER GOMME

BABETTE FORSTER GOMME’S “Queen Bodacea” is also on the figurative front, but this time made of found objects, mainly from the kitchen. It is a light-hearted work, with an amusing use of materials and is quite a comment on feminism.

ARGO HO

ARGO HO’S“Stretch” is a masculine angular abstracted figurative work in bronze with a lovely balance to it. A strong work, it shows truth to material. Argo won the Pricewaterhouse Coopers prize with another work, “Twist”.

BLAZE KRSTANOSKI-BLAZESKI

BLAZE KRSTANOSKI-BLAZESKI’S “Intersecting Envelop” won the Crawfords Casting prize. It is a masterly  work in stainless steel, faultlessly executed with a highly polished reflective surface. It is pleasing from every angle.

PIERS JONES

PIERS JONES’ “Waiting for the Rain”, an arid scene of leafless trees on a parched base with pieces of dry slate and flint completing the mood, is made of Yellow-box wood. It really is a ‘thirsty’ piece looking as though it could do with a  long drink of water. The natural form of the timber has been worked to its advantage, and it is well-proportioned with a good sense of movement. Another piece, The “Woman in the  Moon”, was awarded The Sculptors Society’s abstract prize.

MICHA NUSSINOV

MICHA NUSSINOV’S works, in mixed media, always attract attention. His “Traffic Controller” with its red and green painted hands, and an exhausted looking figure is a well-finished and well-conceived piece. “Cruising”, which won the Transfield Holdings Found Objects prize uses predominantly ordinary materials as discarded water bottles, ocky straps, and odd bits of wood, string and wire. It is an eye-catching quirky piece.

ALAN KUCZYNSKI

ALAN KUCZYNSKI’S “Off to Work”, in bronze, has much empty space, and is reminiscent of some European work where the whole is imagined by being shown only part. It is a playful, well-executed and proportioned work, disconcerting in the ‘attitude’ or directness of gaze of the man sculpted, and in the choice of what to leave out. His “Shy Guy” won the Barnes Products prize.

PHILIPPA GRAHAM

PHILIPPA GRAHAM’S “Improbable Balance” in bronze is a humorous, well-executed piece with 2 figures cavorting on opposite ends of  a finely balanced horizontal pole. Simplified by leaving out feet, hands and an arm on each, and facial features, its sparseness and angularity captures the fun and movement of play.

FRED ALWAHAN

FRED ALWAHAN’S “Attared” is a beautifully carved piece of heavily veined dark green chlorite marble. It is a simple form, with a hole in the middle and red marble inlay in stripes, on one arm; it has been well-polished and presented.

MICHELLE BULL

MICHELLE BULL’S “Dance of the Birds” is a simple, elegant bronze work, with 2 spectacularly patinated slender forms leaning in towards each other in close relationship.  Her “Torso” won a highly commended mention.

ELLA KRUG

ELLA KRUG’S “Bugger the Diet” in mixed media uses a Whitworth’s giant chocolate box with its gold-paper organizer, and the ‘chocolates” are made of bits of stone, shell, beads – anything at all, and very tempting it is too! It is a fabulous idea, well-executed, and looks very festive.

LEE BLATTMANN

LEE BLATTMANN’S “Curve Interplay 1” in stainless steel and glass, is exactly as named. The steel curves are pleasing in their elegance, being almost musical, and work well with the reflective glass base. His piece “After the Harvest” received a highly commended mention.

HELEN LEETE ‘Balance’ [H90 x W45 x D20]

Balance entails power, potency and worship within gender connections. It is a very recognisable image that immediately speaks of Leete’s pronounced signature and is one in a progression of works based on balancing dancers. Two acrobatic figures in unison create a circular and flowing movement as their bodies connect and flow one into the other. Negative and positive shapes have equal importance and underscore the works equilibrium. The figures are realistic although they have been slightly distorted to emphasise their rounded composition. Balance is an extremely refined bronze about the strong liaison between male and female.

MAURICE SCHLESINGER ‘Nocturne’ [Steel, Glass, Acrylic H68 x W80 x D68]

Nocturne is an arresting and powerful work. It is a composition of geometric shapes in black sheet steel mirrored in transparent sections of black tinted glass and acrylic, creating a feeling of darkness and nighttimes shadows. Schlesinger uses a grouping of these elements to achieve a sense of movement within the work.

Schlesinger comments: “At the back of the sculpture I have allowed a section to extend below the plane of the plinth so that the sculpture appears to be enveloping the support in the spirit of Caro’s table sculptures”.

AMANDA HARRISON ‘On a wing and a prayer’ [Bronze H26 x W24 x D11]

It is hard to resist the humorous and fun elements within On a wing and a prayer. A phrase that originated with the WW11 patriotic song ‘Coming in on a wing and a prayer’ tells of a damaged warplane, barely able to limp back to base. It means in poor condition, just managing to get the job done. A plump cherubic androgynous figure creates a metaphor with cute little wings sprouting out of its back. Looking lost it’s right hand shades it’s eyes as they gaze searchingly into the distance whilst balancing on the toes of the right foot with the left leg pointing upwards. We are left to wonder if he/she will ever make it back to heaven.

ROGER McFARLANE ‘Fruitful’ [Roso Carpazi marble H40 x W32 x D20]

To transform a rough block of marble into such a superb structure as McFarlane has, is commendable. Marble carving is one of the earliest forms of sculptural expression known to man. Gradual wearing away with rasps, chisels and fine abrasives is a skilful process. The procedure reveals the patterns within the marble, adds sheen to the work and gives additional enhancement, character and depth. The lower female torso is the centre of fertility and where human life begins… it is a subject of eternal interest. Fruitful expresses an aspect of physical attractiveness in compelling form.

PETRA SVOBODA ‘Medusa Cat’ [Ceramic, metallic glaze H60 W25 D20]

Medusa Cat is an artwork that is both unsettling and at the same time humorous. A cat, which sprouts multiple kitten heads, hearts and flowers out of every part of her body, is a weird sight! Unlike its namesake, it does have an enchantment and the many inquisitive faces look alert and energetic. There is an instantly recognisable uneasy similarity to that of the terrifying snakes of the mythological monster, Medusa. Svoboda’s ceramic sculpture has a metallic glaze, which is both uniform and adept in application. There are a variety of recognisable influences in the sculpture from animation, pop art and fairy stories. In our market-driven popular culture it is easy to see that the Medusa Cat could suddenly take off.

KANG JUN ‘Water Bird Catches Fish’ [Rosewood H30 W20 D12]

When time is given to study the delicate carving of Jun you will have been rewarded with observing its intricacy and masterful rendering. A water bird with a long beak, sitting on a land formation reaches down to the water below as it snares a fish. All of this action is meticulously carved in rosewood. The proportions, detail, line and spatial balance are perfect. Carving of such high quality as Water Bird Catches Fish has a long history in a number of Asian Cultures, particularly in China.

JOHN WOULFE ‘Evolution’ [Corten Steel, Stainless Steel, Sandstone H170 W120 D120]

Evolution is undoubtedly an astounding representational work. It has slickness and style that surpasses most other works in its wake. The first thing that comes to mind when you see it is “wow”! It is truly a remarkable piece of craftsmanship. Here is a work that demonstrates an extreme enthusiasm for the sea and the vessels that sail on her. Woulfe’s attention to detail is remarkable and the combination of magnificent curved stainless steel, corten steel and sandstone is impressive. Evolution is a winner in a category all of its own.

PAUL DIMMER ‘Myth 2’ [Recycled Spanners H70 W90 D35]

Myth 2 demonstrates a jumping show horse, air born in full stride complete with mane, tail and undercarriage. It is strongly reminiscent of Roman and Greek horses so often portrayed in ancient mosaics and ceramics. Such images from antiquity are often awe-inspiring in their beauty and unequalled in majesty. Dimmer has challenged himself to make his own modern interpretation in sculptural form using everyday spanners of varying sizes that are curved cut and then welded together. A spanner is a strong image in itself and the way he has structured them giving roundness and imbuing life into the horse’s body is remarkable. The power and strength that emits from the work is immense.

PRICEWATERHOUSECOOPERS PRIZE

CRAWFORDS CASTING PRIZE

TRANSFIELD HOLDINGS FOUND OBJECTS PRIZE

ARTISAN BRONZE SCULPTURE CASTING PRIZE

AUSTRALIAN BRONZE PRIZE

DAVID LATHAM MEMORIAL PRIZE

BARNES PRODUCTS PRIZE

SYDNEY SCULPTURE SCHOOL

ROGER FENTON PRIZE

THE SCULPTORS SOCIETY FIGURATIVE PRIZE

THE SCULPTORS SOCIETY ABSTRACT PRIZE

PRESIDENT’S AWARD

PRESIDENT’S AWARD

KERRY CANNON ‘Aerial’ (Ed. of 3) [Bronze]

Cannons’s bronze Sculpture contains a fun narrative with a dark side. It requires a deal of attention, as there is so much to experience within its composition. Principally, it pokes fun at aspects of a bordello. A passant tiger reclining on a platform is in the lower part of the composition representing the baser feelings of the animal kingdom. Two rounded, burlesque figures are performing on platforms above appropriately sexualized stage props. Under the platform of the female dancer are two caged humans that are like animals behind bars. As in fetish, one is lead to think that they are there to arouse sexual desire. The arrangement of action is skilfully balanced and resolute.

MARK FALLONE ‘Nude Ascending a ladder’ [Terracotta: bronze patina]

Fallone’s has chosen a title to his work, which is reminiscent of Duchamp’s ‘Nude descending a Staircase’. However, that is where the similarity ends. There is a strongly constructed ladder, which is used as a support for a voluptuous nude’s bronzed figure. The suggested movement within the work is ponderous and heavy. An elephant trunk-like arm reaches up to one of the rungs of the ladder as its heavy body looks impossible to manoeuvre. It is a work that engages us with its humour. Fallone successfully combines linier elements and rounded forms so that the notion of such an amusing event occurring is magnified.

DAVID SOLOMON ‘African Twins’ [Ceramic metal]

Solomon’s two striped ceramic works are arresting. The manner in which he uses lines with the subtle neutrality of earth colours, directs the eye around the forms. Sharp incisions in the openings of the vessels are full of interest. The sculpture is in separate parts and reminiscent of tribal Africa… this justifiably influences Solomon having spent his formative years in South Africa. By form and appearance ‘African Twins’ are closely associated and contain a dialogue, one with the other. The grogged clay Solomon has chosen to make this hand built ceramic sculpture serves to further enhance its texture and earthy quality.

SALLY ZYLBERBERG ‘Life’s Journey’ [Mosaic of Smalti]

The first thing that impacts on the eye when viewing ‘Life’s journey’ is its sparkling mosaic of joyful colour. On closer inspection there is also an extensive use of symbolism. The boat’s journey although perilous contains much that is positive – a rock of sturdiness and a tree of life with new growth into the light of day. A fish on top of the work represents a touch of exotica and a universal food source. Things are awry with the languid cat floating on the sea and the fish in the air yet the portent of life’s end contains its skeletal form into the darkness of night. The parting of the sea at the bow indicates movement towards the future.

DARRELL TICKNER ‘Forest’ [Aluminium, marble, red gum]

Tickner presents us with a romantic view of the forest and its environment. The time of action is set in the fullness of summer. Three trees and a small stool on which sits a forest creature, together symbolize the plant and animal life of the ‘Forest ‘. The ingredients in his composition create a colourful harmony of shapes and form. Dark green aluminium, white Carrara marble, lime blue composite of marble dust combined with white cement and red gum are the materials he has chosen to create this delightful composition. Overall, the pictorial aspect of this work is in perfect balance with its abstract quality.

FEYONA VAN STOM ‘Snowflake’ [Ceramic]

We have become accustomed to van Stom’s perennial interest in the female form. Each of her sensual shapes contains a different identity. ‘Snowflake’ has the identity of a seductive young woman who to the waist, appears to be covered in a body hugging lace top. The effect of the lace has been created by a glazing technique, which is commonly used in Japanese ceramics. The high gloss, broken glaze crawls over the clay body and contrasts superbly with the matte finish of its remaining surface. ‘Snowflake’ is an image of intense stillness.