Tag Archives: sculpture prize

Moreland Sculpture Show 2009

Early Tuesday morning I bicycled to see the Moreland Sculpture Show 2009 at Bridges Reserve in Coburg. Although it was only 10am I was not alone in the park. Some people were walking through on the way to the shops and they stopped to look especially after walking over Kitty Owens and Mary Zbierski pavement painting ‘Magic Carpet’ (Ghost Chinese Market Garden). And, also a class of children from Coburg Primary School, from just across Bell St., were looking at the sculpture with their teacher.

Kitty Owens & Mary Zbierski - "Magic Carpet (Ghost Chinese Market Garden)"

Kitty Owens & Mary Zbierski - "Magic Carpet (Ghost Chinese Market Garden)"

At the entrance of the park Tim Craker’s “Botanical Data Files” is a banner of images of leaves cuts from orange plastic fencing. Craker leaves the cut out remains under the installation. Over the years there has been an increased focus on the annual theme of the show; this year’s theme was “Growth”. There is increased interest in ephemeral art rather than traditional sculpture in permanent materials with the inclusion of a $1,000 Ephemeral Award (non-acquisitive). And the definition of the sculpture for the show has been expanded to definitely include installations. Last year’s winner “The Future is Now” by Joel Bliss is still on exhibit in the park. (See my review of last year’s Moreland Sculpture Show. )

Stephanie Karvasilis -  'The Grass is Greener'

Stephanie Karvasilis - 'The Grass is Greener'

Many of the works on exhibit were by artist-gardeners that incorporated living pants in the sculptural work; (see my entry on Artist-Gardeners). ‘The Grass is Greener’ by Stephanie Karvasilis is a portable garden, a suitcase full of grass. Karvasilis’s work exists in multiples, one of which can also seen in the Victoria St. mall, in Coburg’s shopping strip. Amanda Hills includes growing parsley in her sculpture/installation ‘Apiaceous (liked by bees)’. And Gina Cahayagan’s ‘Bird’, although basically a pot plant holder in the shape of a bird, is ingeniously made of mostly of plastic cable ties.

David Marshall - 'Petecormic Growth'

David Marshall - 'Petecormic Growth'

David Marshall’s sculpture ‘Petecormic Growth’ is also clearly a gardening sculpture. ‘Petecormic Growth’ is a fantastic concept using the Pete plastic bottles stuck into a large burnt log. During the drought in Melbourne people have these bottles stuck around their garden and Marshall has made this ordinary object look like beautiful crystals.

Laurie Collins - 'Seed'

Laurie Collins - 'Seed'

There are sculptures in the show made of more permanent materials. Laurie Collins sculpture ‘Seed’ is a circle of found metal objects with a painted green sprout at the centre. And looking closer, on the green sprout a male and female figure sprout. Tony Farrell’s ‘Out of the Ashes’ a metal base relief scene made using found materials. Regina Wells followed recent trends of using mirrors in sculpture with her work ‘Still Reaching For The Sky’, a cluster of pine logs with mirrors on top reflecting the sky; the school kids said that it looked “like sushi rolls”.

Regina Wells - 'Still Reaching For The Sky'

Regina Wells - 'Still Reaching For The Sky'

The exhibition included two political works Liz Walker’s ‘Advance Australia Where?’ that was damaged on Sunday 14/6 had been replaced with a photo and a notice from the Moreland Council. Moreland Sculpture Show has had problems with vandalism for many years but vandalism with a Australian nationalist political agenda is new.

There was also an anonymous inclusion of a site-specific, post-minimalist, plastic-crate sculpture with collage details from the ‘High School for Coburg’ group that was not officially part of the show.

Marynes Avila - 'Ancient'

Marynes Avila - 'Ancient'

Alice Parker’s ‘Growth’ fabric minimalist installation didn’t really work. Dawn Whitehand’s ‘Earth Eggs’ made from unfired clay that would naturally decay was unspectacular. Helen Pollard’s ‘Carry the Message’ made of junk mail origami cranes were very ordinary. And Jo Zito’s ‘Roba Trovata’ was simply ugly.


Sculpture Show

Finalists in the 2008 Ola Cohn Sculpture Award are on exhibition at City Library. Ten sculptures showing the diversity of contemporary sculpture from figurative to funky, fabric to kinetic.

The winner of the 2008 Ola Cohn Sculpture Award is Patrick Delbosc for his sculpture ‘Tween’, a bulbous bronze plated form on two stumpy legs. Patrick Delbosc is a former Diploma of Visual Arts student at CAE.

Patrick Delbosc says: “This work explores the nature of family and of reactions to society life. Full of life, ‘Tween’ engages in an emotional conversation about love and seduction, but also the changing loving relation between persons within a family. The warm copper materials, changing colour over time and light conditions aim at enhancing this expression of change, discovery, excitement and pleasure.”

Other sculptures on exhibition include Antonia Goodfellow’s “Wormhole” is a kaleidoscope-like creation playing with light, space and mirrors. Carl Scrase’s construction of super-balls and toothpicks; which I had seen when it was previously exhibited in Seventh Gallery April 2008, in the group show “We’ve Got a Love Like Electric Sound” (see entry Only Rock’n’Roll)

There were two of the sculptors were working with fabric. Catherine O’Leary covered telephones with material. And Kate Just created a knitted-fabric covered figure sinking in knitted brown mud watering a green carpet lawn ambiguously titled “Paradise”.

And my personal favorite James Cattell’s “The Vigilant Insomniac”, a very engaging kinetic sculpture. Everyone wanted to play with it and the “Please touch” sign gave permission. When the handle was cranked the sculpture rotated jerkily, bells rang and its many eyes winked and blinked. Cattell works in a number of media: ceramics, sculpture, wood and metal, painting, and does children’s book illustration. He created the Children’s Sculpture Garden at Linden Gallery, St Kilda and ceramic pavement inlays in the Bourke Street Mall. Cattell studied Fine Art at Elam School of Art, Auckland.

James Cattell says: “I live to do art and have practised this through painting and sculpture, as well as puppetry and illustration. I will attempt almost any medium or format, as long as I can use my hands to create the work.”

There are also sculptures by Christopher Bold, Katie Weedon, Natasha Frisch, Peter Rosman and, an old sandstone carving by Ola Cohn, herself (not an entry but a reminder).


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