North Sydney street signs and plastic ties, 17000 x 2000 x 600mm – $10,000

Once these signs directed us around North Sydney, now reincarnated as an Urban Serpent they reflect the Serpents mythical past and our urban modernity.

After leaving the National Art School in 1991 I relocated to Portugal, where I had visited in the late 1970’s. For five years I exhibited regularly in Portugal with a final solo show in London before returning to Australia. I was a finalist in the Blake Prize for religious Art twice and more recently won the ‘On the Shore; Sculpture exhibition at Thirroul. Currently I’m doing my Masters in Creative Art at the University of Wollongong.

Fibreglass, polyester resin, instant bitumen, mixed media, dimensions variable $30,000  

Inspired by Sydney’s hauntingly beautiful figs, and how they gallantly cling to, and sprout out of cracked bitumen paths and roads, Sunken Cathedral is as much about survival and regeneration as loss.

 As an artist Godwin has been heavily influenced by industrial processes and photography. Having worked in his father’s fibreglass factory in his early years and as a professional photographer for the past 25 years, this is reflected in his fascination with moulding and casting common everyday objects and combining them with mixed media to create dynamic properties where they can fluctuate between opaque, translucent and glowing states.
Experimenting with processes for combining mixed media with resin, fibreglass and metal, Bjorn has developed a body of work that challenges and pushes viewers to look differently at common objects that surround our lives.

John McDonald, one of Australia’s leading art critics has written of Godwin’s work: ‘He continues an uneasy relationship with suburbia, a maker of objects his basic forms may be comfortable and familiar but the transformations he enacts render these things edgy, satirical and slightly repellent (Sydney Morning Herald, “Spectrum, 23/24th February, 2008)

Ceramic, 500 x 450 x 300mm  $1,900ea

Petra’s practice explores the rising popularity of Anime, Manga (comics), designer toys, and computer games, and how they propel a powerful merchandising machine which generates superfluous amounts of objects often marketed as “collectable”.  The inflatable form is presented as a metaphor for the superficial lightness of commercial merchandising. The transformed inflatable object also situates itself firmly in the realm of illusion and chimera, connecting itself with the fantasy genre of computer games, animation, and film. There is not only an allusion to play throughout the installation, but also a play on the senses through the apparent metamorphosis of the original plastic objects.

In 2009, Petra received and Australian Postgraduate Award and Zelda Stedman Travel Scholarship to embark on an international exchange to Scandinavia. While studying at The National Academy of Arts Oslo, Petra developed her current body of work. Following her 5 month exchange in Norway, Petra went on to do a residency at The international Ceramic Research Centre in Denmark. Here she worked on concepts that related to contemporary notions of play. In 2010 Petra’s Gokko-Rando series (make believe land) was selected to be shown in ‘Sculpture Now!?!’ a survey of contemporary Australian sculpture alongside other artists such as Stelarc and Rod McRae at the Yarra Sculpture Gallery in Victoria. Petra’s work was also selected for the 2010 Sculpture in the Vineyards exhibition and she was a finalist in the Walker St Gallery Emerging Artist Awards.

Steel and glass, 600 x 760 x 200mm $800

I wanted to bring a sense of play to my exploration of contrasts. I recalled the posters of Lissitsky, and wanted to impart the same joie de vivre, and juxtaposition of shapes. The grid stands away from the wall, and the glass panels seem to be floating. The black and red rods could almost be graffiti-like flourishes. Although I have retained a sense of movement, the placement of each element is balanced, and the red line draws all the elements together.

A former graphic designer, Maurice Schlesinger has been sculpting intensively for the past 10 years. He has just completed an Honours degree at NAS and is a long standing member of the Sculptors Society. He has been a successful exhibitor, and one of his most recent sculptures has been acquired for the “M G Dingle and G B Hughes Collection” a bequest to the Shoalhaven City Arts Centre While I enjoy the discipline of realism, I am also drawn to experimentation and abstraction. I am on a journey of discovery, and I plan to take pleasure from every step along the way.

Wood, 2700 x 1200 x 1700mm – $5,000

The obvious reference to the Pieter Bruegel painting is really only a passing not to what is also an allegorical work. More importantly however it is the imagined strength of the driver and the overwhelming certainty that everything is going to be all right that is more pervasive. Both figures have drawn components that figure in the description of the state of consciousness that is my most consistent theme throughout all my work. In this case the fairly apparent concern of the forward thrusting and apparent disregard for safety echos the fossil fuel driven culture in which we preside.

Hobart Hughes art spans performance, installation, sculpture, animation and film. Hobart’s music clip for Mental as Anything ‘Lets Cook’ was selected for an exhibition at the Museum Of Modern Art, New York in 1982. In 2008 his animation ‘Removed’ was screened at the Tate Modern in the Figuring Landscapes show. Since 1993 his installation art practice has incorporated both animation with sculpture. He has had five solo sculpture shows and has been represented in National sculpture exhibitions and has had several sculptures selected for the Art Bank collection.

Cast fibre glass resin, iron dust,

Boys toys, toys for big boys.
For that man that can’t grow up. The man child that can;t face adulthood head on, that still collects comics, collects toys. These acts seek to legitimise their inability to be their fathers and subconsciously seek to solve childhood issues, or maybe they just want to avoid the present.  The removal of rites of passage from boys to men has left a grey area exploited by marketing of investible ‘action figurines’ and ‘collectible graphic novels’. The supposed value is an adult justification of spending on a collection. They seek closure by collecting, but is it closure of childhood or of issues within childhood?

Born 1972 & raised in the English countryside. My grandfather, Norman Sillman, was a respected sculptor & therefore I always felt it in my blood. I went to Wimbledon & Glasgow Schools of Art but my grandpa taught me more than they could. I moved to Sydney in 1996 & I’ve been getting my work into peoples faces ever since. I want people to see that art has an important role to play in their lives. Art, especially mine, can be thoughtful, provocative, enriching & humorous.

Corten steel, 2600 x 1200 x 1200mm  $8,500

According to the story of creation as told in the book of Genesis in the old testament, on the fifth day God created the great creatures of the sea and every winged bird. In this work, Itzick is employing the seagull as a symbol for all birds and all the great creatures of the sea as it is a bird that lives by the sea and is dependent on the creatures of the sea for its survival. By using the plates of which these birds were cut out of and form them into some sort of a birth place or a launching pad for these birds, Fisher is creating his own “fifth day”  demonstrating  that creation is eternal.

My first encounter with raw steel took place on the kibbutz  in Israel where I lived. I was exploring as I stumbled into the metal workshop. The man in charge  who knew me and my creative mind invited me in and said…go on, make something so right there and then I created my first steel structures “Don Quixote and Sancho Panza” out of metal bits which I collected around the place. On this day, this great man began a lifelong mentoring starting me first  on a  two years journey of filing steel shapes and learning as much as I could about this wonderful matter. It was during that time that I fell in love with steel and form… passionately, and I was just 12 years old…

Plastic, resin, steel, insulated wire, recycled found objects, 380 x 600 x 900mm – $1,000 

Point your smart phone at the QR code next to the work for more information

Harvest verb 5. to gather or reap (a ripened crop) from (the place where it has been growing). 6. to receive or reap benefits, consequences etc. 7. to remove (an organ) from the body for transplantation.

Earlier this year I visited Laos and was shocked to discover the ongoing effects of unexploded ordnance, as a consequence of the Indo-China war over 40 years ago when 1 bomb was dropped every 9 minutes between1964-1973. An estimated 80 million cluster bombs remain in the ground, inhibiting access to arable land restricting the cultivation of food and leaving the population malnourished. Every year the bombs continue to yield an unwanted harvest of approx 300 human casualities.

By disarming and clearing UXO the Mines Advisory Group (www.maginternational.org) allows vital land to be utilised for communities to improve their livelihoods. Act now and support the development of sustainable livelihoods by donating to www.actforpeace.org.au for ‘mine action and disarmament’. All donations received will go directly to MAG.  This work is dedicated to my late grandfather Ray Wood 23.3.2011, who was always generous with his time and skills in supporting my artistic passions.

Felicity trained as a visual artist graduating from Sydney College of the Arts, majoring in Glass in 1998. Felicity enjoys mixing traditional sculpting materials with recycled objects. Re-claiming and re-interpreting items to give new meanings and purpose, from what their original maker intended. She enjoys sharing her love of art and making through teaching kiln-forming and being involved in grass roots community cultural development projects. A passion is helping others find a visual form to celebrate what is important to them, and then helping them make it. She runs workshops for IKARA- a site specific theatre company specialising in transforming spaces and working with communities to create unique festivals and events.

Steel, tin, perspex, 3000 x 3000 x 1000mm  $9,000 for set, $6,000 for larger Birdwatcher

Ornithology at the peak of evolution.

Jesse is a full time sculptor lucky enough to live in the bush on the south coast of NSW. Surrounded by the endlessly singing Bellbirds! Jesse is a self taught sculptor, predominately working in steel.