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Nillumbik Shire Council
Sculpture: Peter WEGNER (b.1954 NZ - a.1958 AUS), Peter Wegner, The Wake 1(from the 'Black Saturday' series), 2010
The 'Black Saturday' bushfires were a series of bushfires that ignited across the Australian state of Victoria on and around Saturday, 7 February 2009. It was Australia's worst ever natural disaster. The fires occurred during extreme bushfire-weather conditions and resulted in Australia's highest ever loss of life from a bushfire: 173 people died and 414 were injured as a result of the fires.This work is by a local contemporary artist with a national and international reputation for figurative and portrait works. The 'Black Saturday' series is a powerful investigation of emotion and grief as experienced by many Nillumbik residents during the 2009 'Black Saturday' bushfires. A cluster of bronze figurines either stand alone or embrace in groups. Their expressions and gestures of despair are made more pertinent with the raw like application and surface treatment of the material used. The 'Black Saturday' series is a challenging work, but one that encourages healing, connection and empathy. Three figures embrace in despair (two men, one woman). One throws his arms around the other two figures who are consoling each other in an emotional embrace. Surface treatment is textured . Metallic brown colour. 'WEGNER THE WAKE 1 AG205643'wegner, figurines, bronze, black saturday, sculpture -
Nillumbik Shire Council
Sculpture: Anthony PRYOR (b.1951- d.1991 Melb, AUS), Paretaio, 1985
In the early 1970s, Arthur Boyd bought and restored a large, two-storey traditional farmhouse called Il Paretaio. Situated on the crest of a hill and surrounded by fields and olive groves, it is five kilometres from the village of Palaia in the province of Pisa, Tuscany. Boyd established this farmhouse as a residency programme, (which was later managed by the Australia Council). The residency program ended in 1990. Anthony Pryor undertook an Australia Council residency at Paretaio in 1984. This work is one in a series made during his time there. This work was entered into the Shire of Eltham Art Award in 1985.Pryor is an artist of national significance. This work is an example of his series of 'boxes' made principally for his own pleasure and often swapped with artists and other friends as soon as they were finished. The 'box' series was part inspired by Japanese techniques of wooden construction. Pryor first visited Japan in 1975 and was immediately drawn to Japanese methods of working with stone and wood. Many of these boxes are based upon the principles of the Japanese Zen Buddhist monk Sengai Gibon (1750-1838). This work relates to Sengai's famous hanging scroll Circle, Triangle and Square in which the circle can be read to stand for the cosmos, the square for the individual, and the triangle for aspiration. A heavy, box-like (cube) structure created from huon pine, with bronze, brass and stone elements. Within the cube is an eastern inspired, rear lattice wall in combination with bronze domestic fittings, and symbols (cube, pyramid and circle). Metal lightning, clouds and wooden rainbow hover over an asymmetrical bronze bed floating within the cube. A chair leans and a tilting ladder reaches towards the sky. Stamped into wood: lower right 'ANTHONY PRYOR PARETAIO'huon pine, pryor, brass, bronze, stone, cube, paretaio, italy, eastern, japan, sengai gibon, symbols, zen buddhism, sculpture, personal -
Nillumbik Shire Council
Sculpture: Julie BEGG, In the Balance
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Nillumbik Shire Council
Sculpture: Joseph Scott COWCHER, Passionately Packaged, 1987
This artwork was a finalist in the 1987 Shire of Eltham Art Awards. The materials Cowcher has chosen constitute different transformations of earth - stone, sand (fired into glass), bamboo and dried grass. The work is a sign of the artist's passion in working with these materials and 'packaging' them into an aesthetic composition that connect and dance with one another.Three purple glass objects in the form of pine cones, held together by raffia, resting on a large slab of white stone. N/A -
Nillumbik Shire Council
Sculpture: Guiseppe RANERI, Tangerine Woman with a Blue Ribbon
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Nillumbik Shire Council
Sculpture: Patty CHANDLER, The Bridge
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Nillumbik Shire Council
Sculpture: Ken ROBB, Bonded
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Nillumbik Shire Council
Sculpture: Robert DELVES, When the Boat Comes In
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Nillumbik Shire Council
Sculpture: Stephen HUGHES, The Talisman Seed
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Nillumbik Shire Council
Sculpture: Julie BEGG, Night Flight
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Nillumbik Shire Council
Sculpture: Jill KAHANS, Bark
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Nillumbik Shire Council
Sculpture: Judith BEN-MEIR, The Joke
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Nillumbik Shire Council
Sculpture: Augustine DALL'AVA, Still Plane
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Nillumbik Shire Council
Sculpture: George TURCU (b.1945 ROM), The Secret City
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Nillumbik Shire Council
Sculpture: Peter CARRIGY, Platypus
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Nillumbik Shire Council
Ceramic sculpture (porcelain): Prue VENABLES, Group of Three Jugs
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Nillumbik Shire Council
Sculpture: Mark STONER (b.1951 UK, arrived 1957 AUS), Untitled Spiral, 1991
A small scale concrete work that can be imagined as an ancient monolithic fortress or religious edifice. It suggests ideas like perpetuity, worship, preservation and history. Untitled Spiral is made up of three spirals, the first is constructed as a closed form, the second is open and the third is the space created within the second. The sense of enclosure is powerful but this is offset by the ledge which traces the top edge of the spiral shapes. This pathway leads from a precarious position to the highest point of sanctuary, or to what Stoner refers to as Nirvana. The structure is built of masonry-like units which "suggest a material presence and earthiness". Stoner is absorbed by how we define landscape and what is meant by natural. He is interested in the notion that ancient man-made structures such as stone walls, which are intrinsic to many landscapes, can now be accepted as being natural, organic forms. -
Nillumbik Shire Council
Sculpture: Vicky SHUKUROGLOU, Object
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Nillumbik Shire Council
Sculpture (ceramics): Judy TREMBATH, Thinking of Iraq
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Nillumbik Shire Council
Sculpture, Ghost, 2012
The (logging) truck carries a representation of John Glover’s painted landscapes, which Cox has painted on a solid block of wood. John Glover is one of Australia’s most celebrated colonial landscape painters. Born in England, he was a highly successful water-colourist and painter of landscapes in the tradition of French artist Claude Lorrain. Arriving in Australia in 1831, Glover adapted his picturesque style and luminous technique to his new surrounds, creating naturalistic and atmospheric paintings of Australian nature, settler life, and Aboriginal culture. Working out of doors, Glover developed an understanding of the unfamiliar Australian landscape, especially the twisting forms of native eucalyptus trees. His direct experience of nature, as both pioneer settler and painter, resulted in a new approach using a subtle palette of olive greens, ochres, misty greys and intense blues, and layered glazes of mauve, grey and gold, to portray Australian light and atmosphere. Dale Cox continues the ongoing preoccupation and tradition of landscape painting in the Nillumbik area and our impact on the environment in a contemporary way. The truck creates a playful nexus between painting (representational landscape) and sculpture, purposely bluring boundaries across these traditionally distinct disciplines. ‘Ghost’ seeks to convey the idea that when we remove something significant from a location, like the landscape itself, the remaining ‘place’ changes to become a new ‘place’. This may seem self-evident until we think more deeply about location and landscape. The white truck is a ghost, an ethereal, transient being that spirits away an entire place, forever removed from itself, and forever changed. Logging wild trees can never be like harvesting a ‘crop’. Logging removes a landscape, and changes a place forever. The ‘packaging’ of this painted landscape highlights the anomaly between commodity and our environment. Dale Cox was a local artist and this work was highly commended at the 2012 Nillumbik Prize. White plastic toy (logging) truck with a landscape painting on a wooden block. The landscape painting is reminiscent of paintings by colonial artist John Glover. N/Alandscape, truck, sculpture, environment, john glover, colonial, painting, ghost, nillumbik prize -
Nillumbik Shire Council
Ceramic, Gus McLaren, Sculpture Animation, c1991
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Swan Hill Regional Art Gallery
Sculpture, COHN, Ola (Carola), Jekyll and Hyde, unknown
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Swan Hill Regional Art Gallery
Sculpture, GYDE, Allan, Sitveni and Lillibet, 1989
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Swan Hill Regional Art Gallery
Sculpture, HOLDING, Judith, Blue Mallee, 2018
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The 69 Collective
Painting and Sculpture, Theo L.A. den Brinker, Sura 7, 2008
This artwork is part of 69Fifteen, the book published in 2013 celebrating 69 Smith Street Gallery’s 15th year in operation as an artist-run space.Digital print. Series of panels featuring text. The text is printed over the image of radical Muslim cleric Abu Bakar Bashir.theo den brinker, 69 smith street gallery, artist-run initiative, artist-run space, melbourne art galleries, painting, sculpture -
Koorie Heritage Trust
Book, Bonyhady, Tim, Burke & Wills : from Melbourne to myth, 1991
The first half of the book examines the organization and conduct of the expedition by drawing on a wide range of sources either ignored by or unknown to previous writers. The second half considers the changing place of the explorers in Australian culture, examining the presentation of Burke and Wills in paintings and sculptures, poems and plays, films and children's books. Context of Burkes Victorian Exploring Expedition, the course of the expedition and its subsequent place in Australian history and culture; numerous brief references to Aborigines - as guides, the Yantruwanta (Yandruwantha) generosity to Bourke, Wills and King and hostility to expeditions.8-383; ill.; plates; maps; index; ref.; 26 cm.The first half of the book examines the organization and conduct of the expedition by drawing on a wide range of sources either ignored by or unknown to previous writers. The second half considers the changing place of the explorers in Australian culture, examining the presentation of Burke and Wills in paintings and sculptures, poems and plays, films and children's books. Context of Burkes Victorian Exploring Expedition, the course of the expedition and its subsequent place in Australian history and culture; numerous brief references to Aborigines - as guides, the Yantruwanta (Yandruwantha) generosity to Bourke, Wills and King and hostility to expeditions.burke and wills expedition (1860-1861) | burke and wills expedition (1860-1861) in art. | burke and wills expedition (1860-1861) in literature. | australia -- discovery and exploration. -
Latrobe Regional Gallery
Sculpture, FOLLAND, Nicholas, A job for tomorrow, 2009
A chandelier resting on a stainless steel bench which houses a refrigeration unit. The unit is connected to the chandelier and generates ice growth around its central body. -
Latrobe Regional Gallery
Sculpture, GASCOIGNE, Rosalie b. 1917 Auckland, New Zealand d. 1999 Australia, Firebird, 1991
Retro-reflective tape on ply on composition boardfluorescent, found material, reflective, sculptural, indentation, marked, recycled material, repurposed -
Latrobe Regional Gallery
Print, COLEING, Tony b. 1942, Drawing for Sculpture, 1970
Two colour lithographSigned and dated 'Coleing 70' lower right corner of print. Edition 14/25 lower left corner of print. -
Latrobe Regional Gallery
Sculpture, GUNN, Mandy arr. Australia 1966, [W]RAPT, 2012-2013
Recycled paper shopping bags and wrappings on cardboard construction