"The work gestures towards Utopian, modernist public art, like that of Miro, Matisse and Sainte-Phalle, but I was also inspired by Yarra's own Keith Haring murals, in the way that he repeats his personal iconography to fill a chosen space. I wanted to make an expansive, open and inclusive artwork. I drew legs from women playing footy, cricket and soccer, but tried to draw them in the least heroic, least literal way possible." Commissioned as part of an upgrade project at the Malcolm Graham Pavilion, Kevin Bartlett Reserve, Burnley, 2020. The existing facilities were upgraded to include female change rooms and amenities. The project funding comes from Yarra City Council and the State Government through its Female Friendly Facilities Fund. The commission is a result of Yarra's Public Art Policy 2015 - 2020 which ensures Council commits a percentage of the capital works budget for new community infrastructure projects. Matisse and Sainte-Phalle, Keith Herring, Miro, ModernistCopyright the artistA series of abstracted legs in various shapes that jump, kick and run across the wall, activating and animating the space with bold, bright colours.accompanying plaquesport, women, installation, modernism

This work was first commissioned by the Melbourne city council as part of a celebration of the opening of the Birrarung Marr park. 25 victorian sculptors were given $2,500.00 to create a work which would be part of the park for about 6 months. Date of manufacture and installation: 2002 'Silent/Listen' was gifted by the artist, Petrus Spronk, to the people of Hepburn Springs in July 2001.Two smooth rectangular engraved granite slabs placed directly on the ground. Each granite stone is engraved on its uppermost surface. The left hand work is engraved with the text - 'silent' and the right hand work is engraved with 'listen'. Unsigned. Dated July 2001 petrus spronk, public art, sculpture, environmental art, hepburn shire public art collection, hepburn shire, listen, silent, hepburn springs mineral reserve, granite

Penelope Aitken lives and works in Melbourne, Australia. She makes paintings and installations about relationships: between people, between things and between people and things. Recurring subjects include friendship, genealogy, romantic liaisons, and cross-cultural exchange as well as gardening, craft and landscape design. 'I am interested in the social, psychological and aesthetic motives behind organisation, belonging and displacement and I often make work that investigates such arrangements.' She has held regular solo exhibitions since 1995 and has been represented in group exhibitions since 1989. These have included shows in public and commercial galleries, artist run spaces, outdoor projects and festivals in Melbourne, Sydney, Perth, Brisbane, Bundaberg, Kuala Lumpur, Taipei, Tokyo and Famagusta, Northern Cyprus. Aitken has previously worked at the Australian Centre for Contemporary Art and at Asialink at the University of Melbourne. From 2006 - 2009 she was a board member of the Melbourne artist run gallery, West Space and she has also curated and coordinated numerous exhibitions and written and edited catalogues, articles and essays. She holds a Bachelor of Arts and a Bachelor of Education (Visual Arts) both from The University of Melbourne and completed her Masters of Fine Art at the Victorian College of the Arts in 2004. In 1997 Aitken was selected to be a studio artist for two years at Gertrude Contemporary Art Spaces, Melbourne and in 2000 she undertook an Australia Council Studio at the Taipei National University of the Arts, Taiwan. More recently she spent two months in 2007 at the Laughing Waters Residency, Birrarung, in Eltham, Victoria. There she began her current interest in the rocks used in the landscape designs of Gordon Ford. Paintings of Ford's rocks made since 2007 as well as glacial erratics, meteors, and other natural and displaced rocks were exhibited in March 2011 at the Light Factory Gallery in Eltham in a show called My History of here, and Second Nature, one work from this exhibition, was awarded first prize at Eltham Masterworks 2011. Other work made about rocks in nature and culture include: the project, A dark archive, as well as in two installations: You seem so settled for one that doesn't belong held at West Space in 2009 and Gathering these things to remind me of home shown in 2010 at the Bundaberg Regional Art Gallery, Queensland. In July and August 2007 Aitken undertook an arts recidency at Birrarung, a house and garden designed by Gordon Ford and managed as the Laughing Waters Artist in Residence Program by the Shire of Nillumbik Victoria. The rocks depicted in the painting 'Mapping Mass & Void 10' are all taken from the garden at Birrarung. Aitken has made reference to those rocks and the way in which Ford thought of the rocks as individuals that need to be handled and placed with consideration to show off their best aspects.oil and acrylic on linen ek prac 2015

Eltham Council (now the Shire of Nillumbik) commissioned this work in 1989 to create an entrance / gateway to Edendale Community Farm. It was also aided by a grant from the Ministry of the Arts (now Arts Victoria). The former name of this work was "Gateway to Edendale Farm". Edendale Farm is a demonstration farm modelling sustainable environmental practices, providing support to the local residents of Nillumbik. Established in 1986, the land was purchased in 1970. It was previously an English gentleman's residence and was used for grazing. It consists of 5.6 hectares, with the Diamond Creek meandering through the property. The Victorian Fences Act 1968 governs liability of occupiers of adjoining lands to fence, and deals with disputes between neighbours regarding boundaries fences and costs. This work took into consideration ideas and suggestions from residents and committees, who required the use of recycled materials and that the work celebrate man's relationship with nature, animals and the earth, as well as relate to the fence-line on the far side of the carpark. Trembath also absorbed significant aspects of local history, making references to Eltham's agricultural past, the clearing of the land, the destruction of trees, the ruthless pruning of trees by suburban Councils and incorporated such Australian features as the post and rail fence. 'The Fences Act 1968' is significant for aesthetic, historic and social reasons at a regional level. It makes prominent the historical and social significance of Edendale and the rural aspects of Nillumbik. The use of existing tree stumps and salt pots in the work explores the iconography of the countryside such as the isolated farmhouse, pioneering farming practices, post and rail fencing and the regrowth of lopped trees. The title of the work, as well as the extensive community involvement in its creation, also makes reference to the Victorian Fences Act 1968, which makes neighbours jointly responsible for the cost of construction and maintenance of fences in the partitioning of land for settlement. 'The Fences Act 1968' has been classified as of regional significance by the National Trust of Australia. The work is an installation of wood and metal, approximately twenty five meters long. The design is very informal and rustic and runs the full width of the fence-line. It comprises groups of recycled tree trunks fitted with metal caps (chrome-nickel 'salt pots' that are shaped like tall bowler / top hats). Metal rods protrude from the trunks and some of these rods have metal birds. Two larger, sentinel-like stumps at the two outer ends have metal flame-like wings, which bend inward. To the left of the entrance, a simple architectural element indicates an isolated farmhouse. The rustic fence runs between the groups of tree trunks with native planting in clumps along it. The fence-line incorporates a functional engineered double gate and post and rail fencing. There may be many interpretations of the work and the intention is to stimulate interest and imagination rather than alienate. Interpretation is based on the personal experience that a visitor brings. The artist recommended that no explanation of the design logic be positioned with the work. N/Apublic art, sculpture, edendale, recycled, wood, metal, fences act 1968, gate, trembath, salt pot, tree stumps

This was the first work de Clario painted during his Australia Council residency in Paretaio, Arthur Boyd's studio in Tuscany. It was painted in an old stable with a vaulted ceiling that reminded de Clario of a cenacolo or supper room. Domenico de Clario has an international reputation, gained particularly through his installation work and collaboration with composers and musicians. De Clario made many irregular shaped, un-stretched paintings during this period. He was involved with Arte Povera, a socialist based art movement where the 'poverty' was reflected in the choice and use of materials. This work was entered into the 1986 Shire of Eltham Art Awards. Painting: oil on canvas mounted on stretched canvas. Semi abstract painting containing out of focus objects within a room.de clario, painting, semi abstract, expressive, painterly, personal, arte povera, paretaio

Isobel Clement has been practising since the 1980's. She completed her post graduate diploma at Phillip Institute (RMIT) in 1990. She paints, draws and uses installation for creative discourse. She has had more than ten solo exhibitions. Her work is included in collections such as National Gallery of Australia, the Australian Print Workshop Archive, Art Bank Australia and The Bundanon Trust. She has been shortlisted for the contemporary painting prize, the Bayside Art Award, on three occasions in recent years and was the winner of the Nillumbik Prize in 2009.Isobel Clement is a local artist who won the 2008 Nillumbik Prize. Painted in monochrome the artwork depicts two vases (with decorative edges) and two cups on a table in a row. Each of the four objects are slightly different in scale and shape and parallel to the picture plane. N/Astill life, nillumbik prize, painting, monochrome, vases, cups

Imam is represented in the Nillumbik Shire Art Collection and was the winner of the 2015 Nillumbik Prize for her work "Diagram of sentiment #1" (judged by Linden New Art Director Melinda Martin). She was also a finalist in the Nillumbik Prize 2016, 2015, 2013 and 2010. Imam completed a residency at Laughing Waters in 2011. Imam works within photography, the moving image and installation to create works centred on themes of embodiment and the female perspective. In this work she participates in a dialogue between her body and the Finnish Archipelagos in order to develop a relationship with the islands as both a place and an organic body [of land] where flux and change occurs. Photograph of the artist immersed from the waist down in green moss (landscape).N/Afinnish, archipelago, inkjet, print, photographic, body, island, moss

warrnambool art gallery, exhibition, apostle no.2, isaac greener and lucas maddock, isaac greener, lucas maddock

A4 paper. 1 page.Cream coloured. Black ink. QVWC original logo in top right corner.art exhibitions, historic buildings, woman professionals

Sixteen page book with brown paper covers in addition. Pages printed on art paper with a red overprint on some pages. Titled "Nachod Signals", published by the Nachod and United States Signal Co. Inc, successors to Nachod Signal Co of Louisville Kentucky. Has a list of dates on page 2, of patents, the last being 5/2/1918. Has on the bottom of most pages "Nachod Spells Safety" Details the Nachod signals system, type CD with the details of the operation, elements of the system, signal layout, installation and wiring, trolley Contactors, signal aspects, relays, assembly on poles, ordering information, fuses, special designs and modifications, information in ordering, quantity and list of material, and specification details of the Type P on the last three pages. See also Reg Item 3318 for another US company system, received by ESCo at the same time. Indicates that the Nachod and US Signal Company had merged.On top of page 1 "Ballarat Tramway Preservation Society Catalogue No. 3" in black ink and overstamped ESCO's date stamp of 4 Nov. 1926. On page 2 at bottom :"Nachod and United States Signal Co. Inc successors to" has been overstamped. trams, tramways, signals, railways, tramways

66 page booklet titled The Local Heroes real people, real lives, real stories… Front cover is off white at the top and patterned yellow shades at the bottom with the title in the centre, City of Greater Bendigo above. Background to the Local Heroes Project, drafted by Dr Gan Che ng PhD. MA. Inside the front cover. Photos, names of Students, Principal and Teachers of Bendigo South East College Team, Catholic College Bendigo Team, Eaglehawk Secondary College Team, Girton Grammar School Team and Weeroona College Bendigo team are in the front of the book. There is information about the project. Photo and information about Simmon Pang - Project Initiator/Photographer. Foreword by The Hon. Martin Dixon MP - Minister for Education Victoria with photo and Foreword - Cr Lisa Ruffell - Mayor of the City of Greater Bendigo. The following pages have a short synopsis and photo of Barry Ackerman - Expert in the Rubber Industry & Twice Mayor, Joanne Baker - Founder of Righteous Pups Australia, Linda Beilharz OAM - Intrepid Adventurer, Valerie Broad OAM - Founder & Artistic Director of Youth Choir, Paul Chapman - Co-Founder of The Australian Turntable Company, Susanne Clarke - Passionate about Community Engagement, Patrick (Pat) James Connolly - Bendigo Amateur Boxing Club Coach, Robert Jackson (Cookie) Cook - Founder of Horizon House, Geoff Curnow - Farmer & Community Volunteer, Merna Curnow - Farmer & Agricultural Consultant, Jenny Dawson - Accounting & Banking, Laura Dusseljee - Choir Director & Music Teacher, Ian Maxwell Dyett JP - Life Dedicated to Volunteering, Donald James Erskine - Founder of Industrial Conveying Australia, James Victor Evans - Teacher, Historian & Actor, Rod Fyffe - Champion of Arts & Culture, Richard Guy OAM - banker & Philatelist, Edwin Richard (Dick) Hazeldene OAM - Chicken Farmer to Poultry Entrepreneur, Robert (Rob) Hunt AM - Head of Bendigo Adelaide Bank and Founder of Community Banking Model, Russell Goldfield Jack AM - Founder of Golden Dragon Museum, Jack Kelly - Teacher Sharing Experience, Ian George Mansbridge - Farmer, Accountant & Banker, Ken Marchingo - Instigator of Haven; Home Safe, Elizabeth (Beth) McKerlie OAM - Dedicated to Scouting, Gordon McKern OAM - Founder of McKern Steel, Sharelle McMahon - Netballer Extraordinaire, Lola Mary Miller AM BEM - Teacher of Health & Physical Education, Julie Millowick - Accomplished Photographer, Educator & Artist, Dennis Reginald O'Hoy - Academic & Historian, Margaret O'Rourke - A Champion for Connected Communities, Karen Quinlan - Director of Bendigo Art Gallery, Jonathan William Ridnell - Broadcaster, Leon Maxwell Scott OAM - Business Entrepreneur & Rotary Volunteer, Margot Elizabeth Spalding - Co-founder of Jimmy Possum Designer Furniture, Wendy Diane Stavrianos - Painter, Sculptor & Installation Artist, Jack Taylor OAM JP - An Eaglehawk Legend, Wes Vine - School Principal & Vigneron, Lynn Warren - Aboriginal Elder, Raymond James Wild - A Plumber's Story, Diana Williams - Founder of Fernwood Fitness and John Wolseley - International Artist. The back cover also has small photos and the names of people mentioned.ian dyett collection - the local heroes, city of greater bendigo, dr gan che ng, la trobe ubiversity bendigo, bendigo south east college, catholic college bendigo, eaglehawk secondary college, girton grammar school, weeroona college bendigo, simmon pang, the hon martin dixon mp, cr lisa ruffell, bendigo art gallery, city of greater bendigo, the capital - bendigo's performing arts centre, la trobe university australia, catholic kiocese of sandhirst, haven home safe, the hotel shamrock bendigo, hazendene's, bendigo & district aboriginal co-operative, mr baillieu myer ac, bendigo advertiser, australian broadcasting corporation, bendigo chinese association inc - lion team, wannik dance academy dancers, bendigo forever young choir, bendigo youth choir

Alnis Ansons (1928-2015) was introduced to architect Kevin Knight in the lead-up to the opening of the Brighton Municipal Offices in 1961. The architect, on seeing some relief work in the artist’s home, asked Ansons if he would attempt an ambitious 70 square metre work within the council building which would wrap around the lift shaft of the three storey building. The tight deadlines and budgetary constraints imposed on the project impacted on the artist’s process but, in adapting to these limitations, Ansons developed a bold and original technique for producing commercial ceramic works. The mural, which symbolises the people of Brighton at work, worship and play, is constructed from hundreds of individual ceramic casts that have been treated with an engobe, similar to an underglaze, to produce a myriad of colours. The pieces were then fired only once, and grouted with copper grouting from top to bottom, creating a three-dimensional effect on the central column in the council chambers. Ansons was assisted during the installation by his future wife, Ralda, who was tasked with holding the pieces in position as they dried, to prevent them from sliding or shifting.Alnis Ansons, Brighton Council Chambers Mural 1961, ceramic. 750 x 595 cm. Bayside City Council Art and Heritage Collection. Commissioned c. 1960Circular ceramic relief mural around lift well in Brighton Council Chambers. The work begins on the ground floor of the Brighton Library, through to the mezzanine level up to the Chambers. mural, public art, alnis ansons, brighton council chambers, brighton library, ceramic, kevin knight, bayside chambers, bayside city council

Site specific outdoor installation on permanent display near the Sandown Street Dog Beach, BrightonAnne Ross, Summertime 2017, patinated bronze, 220 x 220 x 150 cm. Bayside City Council Art and Heritage Collection. Commissioned 2017.A free standing, three dimensional sculpture, cast in bronze, patinated and painted. A larger than life dog wearing sunglasses with ears blowing in the wind is sitting under a singular tall tree facing the beach. Both the dog and tree sit on a large rectangular base.sculpture, public art, dog, brighton, beach, tree, anne ross, coastal art trail, foreshore

Amy Huxtable was born at Cheltenham in 1918, to Robert Henry Huxtable and Violet A Dagg. Her father was an installer for an oil company and travelled the State. taking his family with him. She completed her education at the Bendigo High School and later attended the Bendigo Business College, becoming an expert shorthand writer. Her first position was as a copy writer with Radio 3BO, in the mid 1930s. She worked with an advertising agency in Melbourne and then with the Age,newspaper. In 1953, Miss Huxtable was appointed temporarily to succeed Miss E B Millane as social editress of the Bendigo Advertiser, during the latter's absence abroad. In 1956, Amy travelled abroad and on her return in 1957 was appointed permanently as Women's editor, a position she held for twenty-three ears. During her early years with The Advertiser she wrote under the name Toora, but in later years her own name became widely known. Miss Huxtable was well known both in her professional capacity and through a interest and involvement in community activites. She was life governor of the Bendigo Hospital, the Bendigo Home for the Aged, and Mirridong Home for the Blind, she was a member of Soroptimist International and the Business and Professional Women's Club. Amy was also a tireless worker for the spastic society and a strong supporter of the YWCA. When Amy Huxtable died at Mt AJvernia Hospital on 16 January 1980 Mayor Campbell ordered the city flag to be flown at half-mast. "Lowering the flag is the least we can do for such a lady" Cr Campbell said. Douglas Lockwood, editor of the Bendigo Advertiser said, "She was a devot d colleague who gave her craft and her newspaper the kind of service which identified a rare and generous spirit." She was a true professional who decided to make Bendigo her home. More than 300 people packed St Paul's Church for her funeral ervice the bell tolled as the casket was carried from the church. At a ceremony in the Conservatory Gardens on No ember 22 1981 The Amy Huxtable Memorial Committee presented to the City of Bendigo, a garden seat in memory of the late Miss Huxtable. This Bendigo manufactured seat was a fitting tribute to one ofBendigo's most loved and esteemed citizens. All Miss Huxtable's Advertiser articles were microfilmed and presented to the Library by the above committee. Amy Huxtable Memorial Committee - Newspaper Articles and letters to the Bendigo Art Gallery 2808.9a First Article: Bendigo Advertiser article 18/12/1985 on "two of Bendigo's noted daughters , Ola Cohn and Amy Huxtable" Describes the restoration of the Ola Cohn drinking fountain in Rosalind Park, and the installation of the Amy Huxtable Memorial Seat in the Conservatory Gardens. Second Article: Bendigo Advertiser Letters to the Editor Column 30/12/1988 paragraph entitled "Credit where it is due: "A special tricentennial council effort would be to restore the paths, kerbs and sculpture by Ola Cohn, J H Curnow Fountain, the Bob Brothers Memorial and the Chain of Ponds" (Rosalind Park) 2808.9b Seven Pages of letters: 1. To Mrs Thelma Dingle from Doug Hall, Bendigo Art Gallery Director 30/1/1986 regards the Amy Huxtable committee funding the restoration of the Ola Cohn Fountain by sculptor Mr Marc Clark. 2. From the Amy Huxtable Committee 24/3/1986 back to the Art Gallery explaining that the committee leftover funds be given to the art Gallery to go towards the restoration of the Oal Cohn Fountain. 3. From the Art Gallery to Miss N D young, Amy Huxtable Committee 3/4/1986 thanking the committee for the funds. 4. From the committee to the Mayor and Councillors, Bendigo City, 4/2/1987 asking for an update on the project. 5. Copy of above letter. 6. From the City of Bendigo to the Committee 17/2/1987, advising of progress on the restoration of the fountain. 7. From Norma Young to the Bendigo Advertiser Letters to the Editor, advising of progress on the Ola Cohn Sculpture and the J H Curnow Fountain restoration. history, amy huxtable, bendigo, amy huxtable memorial committee, bendigo conservatory gardens, ola cohn, j h curnow fountain

Ash KEATING Among fifteen finalists this artwork won the 2012 Guirguis New Art Prize, a prestigious national acquisitive biennial art prize administered by Federation University Australia. The Guirguis New Art Prize (GNAP) is a national acquisitive $20,000 contemporary art prize which presents a selection of Australia's most exciting contemporary artists with works that explore and embrace new ways of artistic expression, utilising existing mediums and new technologies in innovative ways. Initiated and generously supported by local Ballarat surgeon Mr Mark Guirguis, this prestigious art prize is administered by the Federation University Australia (FedUni). As a local philanthropist and art collector, in developing the Prize, Mark Guirguis' aims were to celebrate the significance of the arts to communities and to Ballarat, emphasising contemporary art and 'living' culture, and to highlight FedUni's Arts Academy. Artist Ash Keating works across a conceptual, site-responsive and often collaborative art practice that incorporates painting, sculpture, installation, video, performance and public interventions, and has referenced a wide range of social and environmental issues within his art. Frequently working beyond the gallery, and often harnessing community narrative and energy, his work also draws upon myth, ritual and ceremony. 'West Park Proposition', 2012, is a three channel and screen video installation, utilising multiple camera video documentation of an endurance painting intervention undertaken on the morning of 01 September 2012 on the east facing wall of a newly built tilt-slab industrial building, situated on the direct edge of the current urban and rural boundary in Truganina, Victoria. The multi-screen work documents an endurance guerilla-style action painting intervention and ritualised painting performance in which a symbolic violence is enacted against a storehouse of commodity production and consumption. Upon winning the award artists Ash Keating said; “The work was made near Ballarat on the Deer Park bypass. It is an aesthetic comment about the way these new tilt-slab industrial buildings spring up without caring for the environment." The work, which took eight hours to create, was about reclaiming the space from “cost-effective architecture” without any aesthetics. The inaugural judge for the Prize, Jason Smith, Director, Heide Museum of Modern Art (MoMA) said, "Selecting the winner of this inaugural GNAP was exhilarating and excruciating: exhilarating because the seriousness of each artist's enterprise, and their uncompromising resolution of concepts, has created an inaugural exhibition of exceptional power. This first GNAP is a survey of some of the most poetic and provocative imaginations working in Australia today. Selecting one winner from such a show in which each of these artists has in some way transformed my thinking about the world was the excruciating part. Ash Keating's work West Park Proposition, 2012 kept drawing me back in the several hours I spent viewing the works. It simultaneously affirms the political and critical role of the artist as a key agent of change and action, and someone who reminds us of the beauty and resilience of humanity and nature in the face of unrelenting change. As a work combining performance, collaboration and hope, Keating's West Park Proposition is a work of immense and compelling poetry."artist, artwork, keating, ash keating, guirguis, guirguis new art prize, gnap, gnap13

Lou HUBBARD (1957 -) Born Brisbane, Queensland After a career in the film and television, Melbourne based artist Lou Hubbard completed a Master of Fine Art at RMIT University in 2001. She works primarily with video and installation, and has exhibited widely throughout Australia and internationally, Lou Hubbard is currently the Head of Photography at the Victorian College of the Arts. In announcing the award 2015 Guiguis New Art Award the judges applauded Lou Hubbard on her compelling installation, which comprised a deflated, disembowelled latex horse collapsed over a Coalbrookdale patio chair, table and bench seat situated over a skateboard and plastic dog. “Occupying a space between the traditions of equine, assemblage and unmonumental sculpture, Lou Hubbard’s Dead Still Standing confounds and compels viewers in its uncanny play of materials and movement,” senior curator, contemporary art, National Gallery of Victoria and judge Max Delany said. “In this elaborate yet concise work, Hubbard has created a form of surprising and unsettling effect that reflects our experience of a world in translation.” The win came as a surprise for Hubbard, who said she was overwhelmed at the talent of all 15 finalists. “I was so surprised, because I was in good company with the other artists, who were all quite extraordinary,” she said. “In the nature of the competition, I feel very lucky.” With multi-layer meanings to her piece, Hubbard said it was actually Ballarat’s rich history that inspired her work. She said it was the Ballarat goldfields and the idea of what horses might have gone through during those years that gave her a concept to work with. But that wasn’t the only source of ideals portrayed in the piece – Hubbard also explored the effect training had on horses. “The horse stands in a way that portrays (how) the human exhorts the way of training,” she said. “The horse is edging like it wants to move, which is impossible, and the furniture acts in lots of ways. The chair, for example, is like the horse’s ribs, which are being ripped out.” It was these multiple meanings that also had the curator of the Post Office Gallery, Shelley Hinton, impressed with the work. “The work challenges us ethically and culturally, in a way that pleads for analysis, as we do in our complex daily lives,” she said. Lou Hubbard's 'Dead Still Standing' won the was awarded the prestigious $20,000 Guirguis New Art Prize in 2015. The Federation University Guirguis New Art Prize was a national biennial and aquisitive contemporary art prize. The $20,000 biennial acquisitive prize was sponsored by Ballarat surgeon Mark Guirguis, administered by Federation University Australia and presented in partnership with the Art Gallery of Ballarat.The genesis of the prize was to raise the profile and encourage the Art School of what was then Ballarat University. lou hubbard, guirguis, guirguis new art prize, sculpture, horse, animal, installation artwork

Chris WHITE Chris White is a sculptor and installation artist This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Welded metal sculture.art, artwork, sculpture

Kylie THOMAS (14 May 1973 - ) Born Creswick, Victoria A graduate of the Bachelor of Arts (Visual Arts) (1993) and Diploma of Visual Arts (1995) from Federation University (then University of Ballarat) Kylie Thomas continued her art practice after studying under distinguished sculptors Peter Blizzard and Adrian Mauriks. This work was acquired from her graduate folio. Soon after completing her studies Kylie Thomas became an artist in residence at Ballarat Grammar School building a public sculpture for the grounds conceived by one of her selected students as part of the program. She became the youngest exhibiting applicant to be awarded the City of Port Phillip, Rupert Bunny Foundation artist in residence program. After moving to Mallacoota she was absorbed into the community as a visual artist, actor, playwright and assistant publicist. Her commissioned public artwork and sculptures as part of residences collections were all lost in the 2019 bushfires that decimated Mallacoota. Moving back to her hometown of Creswick Kylie Thomas completed a Diploma in Education qualifying as a secondary teacher, always continuing her art practice while teaching. Needing to work again, but with no desire to teach, Kylie Thomas studied Building Design and Architectural Drafting, homing in on other areas which could link back to her artistic practice. Working in this field for a short time she moved to Melbourne where she exhibited paintings and sculpture installations as part of The Melbourne Fringe Festival. She also worked in set design, and as a stage manager and theatre actor. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.This work is a spiritual totem created in the tradition of the bricoleur, dedicated to bygone cultures, lost technology and mystery referencing nature, humanity and technology. Humanity to use technology with and for nature. The materials are symbolic, the use of bone, Perspex, computer parts, found and crafted objects constructed in a resulting harmony creating a symbiotic relationship. Tapping the 4th dimension that could lift off into space and come back again, with a feeling of weightlessness, awe and suspension captured. A sculpture which stands on a white pedestal with perspex cover. 'Cultural Dedication' is the final work in a series of sculptures influenced by the ancient cultures of Egypt. art, artwork, kylie thomas, sculpture, alumni

Danny McDONALD (1949- ) Born Australia Since 2000, Danny McDonald's art practice has been largely focused on medical research and public installation activity. Images show evidence of his foray into medical science's image-making techniques and demonstrate his hypothesis that art and science are intimately linked in their 'objective' outlook on the world. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Framed colour jetspray and seriagraphart, artwork, danny mcdonald, serigraph

Donna MARCUS Featuring instantly recognisable post war kitchenware Donna Marcuus transforms them with colour and placement to create sculptural installations. The individual elements in each work, originally produced in the 1950s and 1960s, are transformed and trigger memories and personal memories through experience of the items in a different, earlier context.Annodised alumnium cookware made into a sculptural wall hanging. art, artwork, anodised aluminium, sculpture, donna marcus

Donna MARCUS (1960- ) Featuring instantly recognisable kitchenware Donna Marcuus transforms them with colour and placement to create sculptural installations. The individual elements in each work, originally produced in the 1950s and 1960s, are transformed and trigger memories and personal memories through experience of the items in a different, earlier context. In 1981 Donna Marcus was awarded a Bachelor of Visual Arts from the Tasmanian School of Art, followed by A Master of Arts (Visual Arts) from the City Art Institute (University of New South Wales). In 2006 Donna Marcus received a PhD from Monash University in Melbourne, Victoria. This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Anodised aluminium sculptural pieces made from old cookware. The 'Cities' that Donna Marcus depicts in anodised aluminium reflect the artist's travel and history. These urban representations draw on memories from home and more particularly, the kitchen. art, artwork, donna marcus, sculpture, annodised aluminium

Mary MODEEN (1953- ) Born United States of America Lives Scotland Mary Modeen is an artist/printmaker and interdisciplinary academic who also works in artist books, installations, and recently, in video and sound. She is also an academic of nearly 30 years full-time experience in higher education, residing in Scotland where she convenes the Art, Philosophy and Contemporary Practices at the Duncan of Jordanstone College of Art and Design, University of Dundee. Modeen’s research has several threads: perception as a cognitive and interpretive process, and place-based research, which tends to connect cultural values, history and embodied experience. In 2000, while a Visiting Research Fellow at the University of Ballarat (later Federation University Australia), Mary Modeen was commissioned to create a sculpture in a Public Art context for the campus. This item is part of the Federation University Art Collection. The Art Collection features over 1000 works and was listed as a 'Ballarat Treasure' in 2007.An external sculpture commissioned in a Public Art context for the Mt Helen campus Business Building (B Building) by Scottish Artist and Visiting Research Fellow, Mary Modeen. Mary Modeen's three dimensional sculptures and installations draw on her interest in "light" relating to artworks and conceptual art. The 'plugs' in the sculpture represent students, while the blue acrylic disk represents alumni, and the spread and impact of our students throughout the community. art, artwork, sculpture, mary modeen, business school art collection

Erin McCUSKEY Erin is a filmmaker, photographer and digital media artist with a bent on ‘difference’. She is the Creative Director at Yum Studio where she has forged a national reputation for delivering innovative and unique creative media projects, using projection, media, social media and social broadcasting. Ern McCuskey has a passion for producing projects with human rights at their core. Her short films, installations and commissions have screened at Museum of Australian Democracy at Eureka (MADE), Melbourne International Film Festival (MIFF), Flickerfest, Indiefest, Gertrude St Projection Festival, Ballarat International Foto Biennale, numerous exhibitions, performances and collections. Erin’s work is informed by the knowledge that difference is a necessary part of society and the core of a healthy one. She is passionate about creating media that is thought provoking, possibly controversial and also entertaining. Media creation is a group pursuit and those behind the camera are more often control the balance of power, therefore she is committed to unique collective story development. “I believe that art is in the everyday, that we all can, should and do, create. My work is informed by the moving images of my siblings as children recorded by my father, the houses and homes, spaces and events, which live on as objects themselves in various homes as photos, archives, projected and loved. These flickering images were embedded and now I spend time creating more.” (Central Highlands Art Atlas, http://www.artsatlas.com.au/erin/) This item is part of the Federation University Art Collection. The Art Collection features over 2000 works and was listed as a 'Ballarat Treasure' in 2007.Three photographs mounted side by side (portrait orientation). #1 image of curtains #2 image of sculpture of man reflected in a mirror #3 light reflecting through crystal door handle. Slight scratching on front bottom of frame. art, artwork, erin mccuskey, mccuskey, photography, foto, available

Diana NIKKELSON (c1943-30 December 2022) Diana Nikkelson is a Ballarat-based Gunditjmara elder. Her grandfather was Watchobaluk. A part of the stolen generation, Diana Nikkelson was one of 10 children, and she had nine children of her own. A founding member of the Ballarat and District Aboriginal Co-operative in the late-70s, Diana Nikkelson was a board director for 16 years and chair for six years. She worked on the Bunjil the Eagle installation at the Koorie Playground at Lake Wendouree, and designed the goanna which was etched into the paving along Police Lane in 2006, and has painted murals across Ballarat. This item is part of the Federation University Art Collection. The Art Collection features over 000 works and was listed as a 'Ballarat Treasure' in 2007.AboriginalThis work by Ballarat-based Gunditjmara elder Diana Nikkelson was commissioned by the University of Ballarat (later Federation University) for use on the Aboriginal Employment Strategy brochure. The central figures in this painting represent the artist and the fathers of her children. The outer groups are Diana Nikkelson’s children and their families. art, artwork, diana nikkelson, aboriginal, dreaming, nikkelson, gunditjmara, aboriginal employment strategy

Dr Lisa ANDERSON (1958- ) Dr Anderson’s research questions environmental issues that impact on the social structures of communities and their mapped or metaphysical borders. She develops projects around ways of understanding the effects of climate change. These include work with folklore, legends and religions that tell stories of coping with weather, forced migration of animals and people and coping with difference. She has undertaken international residency programs and exhibitions in the Arctic, Iceland, Paris, Norway, London and China, and she was the first Artist in Residence at the Australian Museum. These unique opportunities continue an extensive art practice of installation work, video, photography and sculpture. Anderson has an extensive record of exhibitions in Australia and overseas with work included in both private and corporate collections. Her exhibitions include Journeys: Due North, a large installation work that includes work created over a 10-year period of engagement in expedition and science work North of the Arctic Circle. Beneath the Beauty of Architecture, an exhibition at her London Gallery, Bicha, used images created in China, Nunuvut Territory in Canada and the Antarctic while working with the migration stories of survival. Dr Anderson has created many large scale artworks that challenge notions of occupation of the City, including Writing the City, a three-year program of installation works to shift the use of Sydney to being a city of public space in its pre-Olympic development. Singing up Stones celebrated the people who created and use the Opera House and the Quay for performance and ideas. This included the first image projection onto the Sydney Opera House, a projection onto the Sydney Harbour Bridge and a ballet of cruise liners with the sound simulcast on the local radio station. Two digital prints with acrylic on metal and bullet holes. This work is the result of research on the hidden voice of landscape undertaken by Dr Lisa Anderson while an Honorary Professor at Federation University Australia. lisa anderson, available

Virginia JONES A ceramic and installation artist, Virgina Between 2002 and 2005 Virgina Jones was the recipient of a Post Graduate Scholarship from Southern Cross University Postgraduate Scholarship from 2002 and 2005 .Nine blackware Formsjan feder ceramics collection, blackware, virginia jones, installations

Virginia JONES A ceramic and installation artist, Virgina Between 2002 and 2005 Virgina Jones was the recipient of a Post Graduate Scholarship from Southern Cross University Postgraduate Scholarship from 2002 and 2005 .Blackware sculpturejan feder memorial ceramics collection, blackware, virginia jones

Virginia JONES A ceramic and installation artist, Virgina Between 2002 and 2005 Virgina Jones was the recipient of a Post Graduate Scholarship from Southern Cross University Postgraduate Scholarship from 2002 and 2005 .jan feder memorial ceramics collection, blackware, virginia jones

Virginia JONES A ceramic and installation artist, Virgina Between 2002 and 2005 Virgina Jones was the recipient of a Post Graduate Scholarship from Southern Cross University Postgraduate Scholarship from 2002 and 2005 .Blackware sculptural form by Virginia Jonesjan feder ceramics collection, blackware, virginia jones, installations, sculpture