ChineseUntitled Warrior Figure

FijiianCarved wood

Cement fondue

Fibreglass with bronze finish

Cement fondue

Cement fondue, resin and oil on composition boardSigned u.l

Purchased through the Horsham Art Gallery Trust Fund, 1973

Purchased through the Horsham Art Gallery Trust Fund, 1973

Purchased through the Horsham Art Gallery Trust Fund, 1973

Since our early ancestors first glimpsed their reflection in water the mirror has served as our most immediate means of personal identification. While our sene of self is intricately linked to our physical image, the discovery of DNA and subsequent mapping of the human genome has introduced a new mode of observation and level ofperception, on the one hand acutely defining out personal differences, while at the same time extending our awareness beyond the bounds of individualism and enabling us to witness our undeniable bonds with the rest of the natural world. This work has multiple levels of meaning, drawing on DNA sequencing patterns as living code, while high lighting the very fluidity created between extremes of biological distinction and our shifting states of identity and perception. public art, australian first nations art

Large soft, hollow plastic model of ear with red spots and black Chinese script on purpose made, removable dark brown wood stand. Ear is attached to mount by two small horizontal wood dowels that meet holes in rear face of ear. One (1) pack of vaccaria seeds in small plastic snap lock plastic bag. There are ten (10) sheets of vaccaria seeds with each sheet holding sixty (60) seeds on translucent orange sheets with small, square fabric backing at the rear of each seed compartment. acupuncture, chinese medicine, vaccaria, herbal medicine, rmit chinese medicine collection

Large bronze bust of Confucius sitting on top of a purpose built black painted wood plinth with red painted wood topper. Bronze plaque at front.Confucious (551Bc - 479BC) [Chinese script] (Kong Zi)confucius, chinese medicine, rmit chinese medicine collection

A decorative, spiral shaped piece of iron. historic building, architecture

This piece bears an export mark associated with Arnart Imports. Arnart was an importer and distributor, rather than a manufacturer. It is likely that this is a Pucci porcelain piece, distibuted and sold by Arnart.Porcelain figurine of a male doctor holding a newborn baby. The figure has grey hair and is wearing an unbuttoned white surgical gown. Beneath the gown the figure is wearing brown, striped trousers, a blue shirt, a red tie and black shoes. The buttons on the shirt and his belt buckle are golden coloured. The figure is wearing gold framed glasses with round frames, and is smiling. The figure is standing with his left hand in the pocket of his surgical coat, while holding a baby in his right hand by its left leg. The baby is head down and facing away from the doctor figure. The figurine is standing on a oval shaped base and there is a gold coloured, abstract, decorative embellishment at the front of the base. There is a stamp on the underside of the base of the figurine consisting of the initial 'A' below a stylised crown. The number '44/768' is printed on the base below this stamp. A retail sale tag is tied to the right arm of the doctor figure with a small piece of orange ribbon. The tag reads 'TREASURES/TODAY/HEIRLOOMS/TOMORROW'.

Gift of the artist, 2002

Gift of the Horsham Gallery Society, 1974

Gift of the artist, 2004

Gift of the artist, 2004

Purchased through the Horsham Art Gallery Trust Fund, 1976

DAMP produced Victoria’s Secret alongside a suite of ceramic based artworks, which on close inspection are a patchwork of broken fragments that form the basis of ‘The Harrison Collection’. ‘The Harrison Collection’ and ‘Victoria’s Secret’, began with the simple gesture of breaking a plate. Each member of DAMP painted a fragment of this plate and it was glued back together. For two years DAMP gathered found objects, personal effects and references and transformed these into a sculptural patchwork. Each of the 40 or so objects in the series were a result of the collaboration, demarcated by individual hands. In the case of Victoria’s Secret, a ready-made statue was carved into pieces. DAMP members used the American cartoonist and musician Robert Crumb and a Bauhaus Tapestry as reference material for this piece.collective

Bronze figurine of Australian soldier carrying wounded comrade on his shoulders mounted on plastic base.Collectors Limited Edition - Silent Soldiers Mateship.

Wall Kisser is a kinetic sculpture that is hand-cranked by the viewer. On turning the handle the wall receives the repetitive, kiss-thud, kiss-thud of the leather and velvet hearts which have been padded out with dried lavender and rosemary from the artist's garden (a version of an 18th Century pot pourri recipe commonly used to ward off disease and disguise bad smells). The sculpture's rotating form is loosely based on the design of a vibrator that the artist saw online: an electromechanical wheel of 10 plastic ‘tongues’. This sculpture was part of a body of work entitled Gorgeous, first presented at the inaugural Ellen José Art Award at Bayside Gallery in 2022. Gorgeous was an exhibition that imagined the physical gallery (walls, floor space), as if an abstract version of a lover’s body. Gartside explains, "I am curious about the potential connections between a viewer and an artwork... What could we ask of viewers beyond their attention, and as artists, what can we offer? What is possible when both artwork and viewer have skin in the game? In this work I am teasing out possibilities for eliciting surprise, delight, humour through art, and offering my gratitude for the 'lover' type relationship that I have with my art practice."

This piece was made in Japan and bears an export mark associated with Arnart Imports (N with a stylised crown). Arnart was an importer and distributor, rather than a manufacturer.Porcelain figurine of a male doctor holding a newborn baby. The doctor has brown hair and a moustache and is in surgical attire, with a white gown and white surgical hat. The cuffs of his blue trousers, and his brown shoes, are visible below the gown, and a blue jacket is visible through the gaps in the back of the gown. The doctor is holding the baby upside down by its legs, with his left hand around its calves, and is holding his right hand as if to tap the baby on the bottom. The figurine is standing on a white base decorated with green and black stripes, and is supported by a rectangular block which sits behind the figure. There is a gold coloured, floral decoration at the front of the base. There is a stamp on the underside of the base of the figurine consisting of the initial 'N' below a stylised crown. The number '3446/2' is handwritten on a sticker on the underside of the base. A second, oval shaped sticker is printed with the text 'Made in Japan'.

Conundrum was made to provide a landmark for the local community and in particular to provide a gateway to the Grange Community Centre. The conceptual framework for the sculpture revolves around the symbolic interpretations of the sphere which can be viewed universally as a celestial body or microscopically as atomic particles. The sphere can also be seen as an essential element in the science of motion, as in bearings, wheels, and the use of balls in sport, etc. The three vertical stainless steel poles give the sculpture height and verticality. They provide a supportive framework for the linear configuration which exists as a fluid ethereal linear composition which fixes and suspends the sphere in a buoyant state. It is intended that the viewer will respond and engage with the many associations evident within the sculpture. The sculpture also reflects the unseen forces of nature such as magnetic and electrical force fields, sound waves, clouds, smoke, etc. This energy is released from the top of the three vertical elements connecting with the sphere. The viewer engages with the physicality of the suspended sphere and interacts with the various associations which it may provide. public art

My sculpture, Fossil, is a ‘skeleton’ of a tree trunk, constructed in stainless steel. Depicted in a ruined state, the trunk has been ‘broken’ from the top. While Fossil acknowledges architecture through the use of the constructed cross-bracing motif, its primary reference is to the Romantic artists’ use of the solitary ruined tree in the Sublime landscape. The heroic decay of mighty trees is a subject explored by painters and photographers of the mid nineteenth century who were searching for the ‘picturesque’. A solitary, damaged tree stands as evidence of the physical power of the landscape and natural forces such as storms and lightning strikes. It is trying to suggest itself to be an archaeological artifact of the future, a fossil of the future that speaks of how we view the world’s natural resources at this point in time. public art

In my work I normally use forms that occur in nature (nests, plants, trees etc.). Lately having used steel wire that is going to rust I have been able to become more ambitious with the scale of my work but also to create a contrast between the use of steel and its fragile, organic look. The shapes should evoke the viewers curiosity, invite him/her to explore the different aspects of the work close up. Part of the challenge with "the guardian" was to create an artwork that is going to belong to a very new environment and at the same time looks as though is has been there for a long time (which is hopefully going to happen after the landscape is going to settle down a bit). I felt that I wanted to create a somewhat organic, natural space in an urban environment - not only a visual but also a spiritual experience. (March 2004). public art, female artist

“The tree is a universal symbol of life and knowledge. As such, its root system is the primary channel for its strength and very survival. The root system was chosen as the subject for this artwork because of these meanings and because it is an aesthetically pleasing form that is simultaneously familiar and unfamiliar. It takes the form of a tree but it obviously not a tree. “public art, fountain, mosaic

Artwork created by Leopoldine Memovich

This bronze statue of St Martin de Porres was commissioned by the Sisters of Mercy for St Martin's in the Pines in 1967. Artist Ernesto Murgo was asked to embody the college motto 'Raise your eyes aloft'. The statue had a fibreglass interior overlaid in bronze.Bronze statue of St Martin de Porrescatholic education, ernesto murgo