earthenware

dog

parrot, hammer, lorikeet, cockatoo

Purchased through the Horsham Art Gallery Trust Fund, 2024

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

Something new has happened in Kylie Stillman’s work. It is not a departure. Perhaps a better way of explaining it would be an inward looking, a reflection on process and purpose. In the twelve small book stacks that make up this series, we find not birds or trees – the forms that have become familiar tropes in Kylie’s art – but a stroke, a scribble, a loop, a weave. In Kylie’s words these are: 'the basic structural elements and gestures that make things things - the stroke that makes a painting, the scribble that makes a pen work, the notation that makes writing, the intertwining of wool that makes a garment, the weave of fibres that make furnishings'. - Chloe Watson (2013)Paperback books and timber baseaustralian art, sculpture, female artist

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

The Oopsee Daisee series of work is basically a series of self portraits. They began out of a necessity to recover from a nasty fall. The first sculpture of the series was like art therapy, a means to help overcome the bad memories, and anxieties. And it helped. With my deafness, I have many times when I feel wobbly and unbalanced, which have resulted in falls. This series of works were created proceeding the initial fall, and then proceeding this fall.australian art, sculpture, female artist, disability, portrait

australian art, sculpture, female artist

australian art, sculpture, female artist

sculpture

One of ten sculptural portraits of men with beards on the external of the Ballarat Town Hall..ballarat town hall, portraits, sculpture

Newspaper clippings from The Age, Nov 2013, titled "A W class gets to stand tall" about the positioning of full scale model of W7 1040, at the corner of Spencer and Flinders St. Item details the Art project, sponsored by the City of Melbourne and undertaken by David Bell and his team. Consists of two pieces of newspaper, not known how they went together. See also Reg Item 499trams, tramways, melbourne, sculpture, art works, flinders st, spencer st

Ballarat Bertie was presented to lecturer Neville Gower by students of the first course in Brewing at Ballarat University College (later Federation University)Plaster model of Ballarat Bertie, leaning on a bottle of Ballarat Bitter. Cast lettering on the base "Bertie the Cellarman: On the underface of the base some eight signatures/na,es and with blue felt pen "Property of B.U.C. N. Gower"Brass Plate "Presented to Neville Gower on behalf of Malting and Brewing Class 1990"ballarat bertie, ballarat brewery, gower, neville gower, brewing, brewing and malting, ballarat university college.

Photograph of the Queen Victoria marble memorial in the Ballarat Town Hall.In Memoriam Her Most Gracious Majesty Victoria the Good Obit 22nd January, 1901. Erected by the Citizens of Ballaarat.ballarat town hall, queen victoria, death, sculpture

Decorated mask. Red, black, white, blue, gold. Used in role playing - Catholic school, Ba Rai, Vung Tao prov. Handcraftedmask, hand crafted

Although the 'Waler' was specifically bred for the Australian bush it proved a tough, reliable mount in the desert battles in the Middle East during WW1. Over 130,000 were sent overseas and of these 15,000 served with the Light Horse. None would return to Australia.Cold cast bronze figurine of an Australian Light horseman kneeling beside his "Waler" horse. Mounted on a wooden base with an engraved brass nameplate.THE WALER'S MATE AUSTRALIAN LIGHT HORSE

Jenna Lee dissects and reconstructs colonial 'Indigenous dictionaries' and embeds the works with new cultural meaning. Long obsessed with the duality of the destructive and healing properties that fire can yield, this element has been applied to the paper in the forms of burning and mark-making. In Without Us, Lee uses charcoal to conceal the text on the page, viewing this process as a ritualistic act of reclaiming and honouring Indigenous heritage while challenging the oppressive legacies of colonialism. Lee explains in Art Guide (2022), ‘These books in particular [used to create the proposed works] are Aboriginal language dictionaries—but there’s no such thing as “Aboriginal language”. There are hundreds of languages. The dictionary just presents words, with no reference to where they came from. It was specifically published by collating compendiums from the 1920s, 30s and 40s, with the purpose to give [non-Indigenous] people pleasant sounding Aboriginal words to name children, houses and boats. And yet the first things that were taken from us was our language, children, land and water. And the reason our words were so widely written down was because [white Australians] were trying to eradicate us. They thought we were going extinct. The deeper you get into it, the darker it gets. But the purpose of my work is to take those horrible things and cast them as something beautiful.’Framed artwork

Uncle Jack Charles was a respected Aboriginal elder, a Bunerong, Boon Wurrung, Yorta Yorta, Palawa, Wurundjeri, Tungerong man, and an internationally acclaimed actor, mentor and activist. This inspirational, Indigenous gay man was part of the stolen generation and was taken from his family as a tiny baby. He survived the impact of this early childhood trauma by using drugs. Without support or housing, he was often homeless and imprisoned for long periods of time. True artistic recognition came only later in life. Often the most talented members of our community struggle with addiction and homelessness. This work asks us to take a closer look at the way the state criminalises human responses to trauma, which the state itself has often inflicted, willing us to face history more bravely and to treasure people sooner. Uncle Jack made profound and lasting change in legislation and public awareness on Aboriginality, criminality, and social justice in Australia. After his death there was an outpouring of grief across the country. Leonie worked closely with Uncle Jack over a decade developing this collection and now works with the Charles family to grow his legacy, which continues to positively impact the lives of thousands of people.

Tropical Flesh (ii) draws upon the slippery experience of identity to explore family connection. There are threads of dislocation and the thickness of tropical time. Silicone casts of tropical jackfruits are fused with a cast of the artists’s aunt’s foot, the cast of which was made upon her permanent return to Thailand. Together, the visibly-aged foot and a fruit that decays quite vividly, evokes a sense of time passing. The work is informed by the experience of witnessing members of family age in slices of time, across vast distances. The artist asks us to consider the work as a memento mori.

cockatoo

This work is a large structure of stones, a cairn. It is constructed using volcanic rock from the area and has a number of metal plaques set into the sides of the rock structure. On one plaque the wording reads “Remnant Bush”, another says “Urban Push” and the third plaque reads “Machine Axe & Fire”.

The Shakyamuni Buddha statue holds profound significance in Buddhism, representing the historical Buddha, Siddhartha Gautama, who lived around 2,500 years ago. The statue portrays Shakyamuni Buddha, the founder of Buddhism, who attained enlightenment and shared his teachings to help others achieve the same. For practitioners, the Shakyamuni Buddha statue serves as a focal point during meditation, promoting mindfulness, peace, and a deeper connection to the Buddha's teachings. The Buddha is depicted seating in meditation on a lotus throne. His legs are crossed in the lotus position. His right hand is holding an alms bowl, signifying care and compassion for all beings. His left hand touches the ground in a gesture (bhumisparsha mudra) calling the earth to witness his determination to achieve enlightenment.buddhist art, tibetan buddhism, holy objects, statues

This stump one of several replacements. Black and white photograph of carved tree stump on Omeo Road known as Mr Stringy East Gippslandsculpture, local history

Wooden artefacts from the Sepik River region in Papua New Guinea. Different tribes living along the river produce magnificent wood carvings, clay pottery and other art and craft. Kundu is the Papuan general name used for drum. It is an hour glass shaped drum made of wood with a snake's skin as membrane. A handle is placed on the narrowest part of the drum. Often, the kundu is decorated with animal figures on its edges. - donated by John Nelson TAYLOR QX25010,2900269,3108420 who served in the AIF 19/1/1941 to 7/12/1945 - Regular Army Special Reserve 30/1/1952 to 29/1/1955 and the CMF 1/8/1959 to 2/1/1960. Rank on final discharge - Trooper 8/13 Victorian Mounted Rifles. John was deployed overseas to New Guinea from 17/10/1943 to 23/2/1945 and 5/5/1945 to 26/10/1945 and served in Korea and Japan from 5/3/1953 to 6/4/1954. A member of the Wangaratta RSL he passed away in January, 2021.Wooden artefacts from the Sepik River region in Papua New Guinea. The Sepik area is well known for its sculpture masks shields and other artifacts. Many tribes use drums in rituals. Two decorative wooden face masks, one wooden Drum and one wooden Crocodilepapua new guinea, artefacts, wood, ww2

Professor Alan Merry commissioned the work from New Zealand artist Heke Collier as a gift to the College at his retirement from Council. This artwork was carved by Heke Collier in May-July 2016. It is made from native New Zealand Rimu timber. Heke named this carving Mauri Ora which translates to vitality, well-being or the healing life-force. Tihei Mauri Ora (breath of life) is a well-known Māori saying that was uttered by the first human being. Māori believe that all people and all things have mauri. This carving symbolises the many shapes and forms of mauri with reference to the Māori creation story, and the spiritual and natural worlds. Māori refer to the heavens as Ranginui the sky-father and according to the Māori creation story, Ranginui was pressed against Papatūānuku the earth mother. Their children did not like living in the cramped, dark space between them. One of their sons Tāne separated Ranginui and Papatūānuku to allow light and life into the world. The central male figure carved into Mauri Ora (above) is Tāne. To his right (far right) is his mother Papatūānuku and to his left (far left) is his father Ranginui. Papatūānuku gives birth to all things including human kind and provides the physical and spiritual basis for life. The takarangi (spiral) design in the carving (to the left of Tāne) symbolises the life cycle. Whenua, the word for land also means placenta - organ that nourishes the baby in the womb. Women are associated with the land (whenua) because the land gives birth to people and so do women. In tribal history women have had influence over land and men. Papatūānuku is depicted in the carving to the right of Tāne. Ranginui played a pivotal role in the birth of the sun, moon, planets, stars and constellations – collectively called Te Whānau Mārama (the family of light). Human life and knowledge were said to originate in the realm of Ranginui. Tāne ascended the heavens to retrieve three baskets of knowledge: te kete-tuatea (basket of light), te kete-tuauri (basket of darkness) and te kete-aronui (basket of pursuit). Ranginui is depicted in the carving to the left of Tāne. Tāne had many different roles, and he was given different names to reflect these roles. He is called Tāne-mahuta as god of the forest, Tāne-te-wānanga as the bringer of knowledge, and Tāne-te-waiora as the bringer of life, prosperity, and welfare. His teachings and knowledge are relevant in contemporary times, and the cell-phone carved into his left hand represents this. Tuatara feature in the Māori creation story and some tribes view Tuatara as kaitiaki (guardians) of knowledge. Given that they have lived for more than 220million years. There are birds or manu surrounding Tāne in the carving, who represent Tane’s voice or the voice of the forest. The flax or harakeke depicted in the carving represent the family unit and reinforce the importance of kinship ties. There are plants, ferns, and birds carved into Mauri Ora play an integral role in the life-cycle which represent rongoa Māori or Māori medicine. Traditional Māori carving in Rimu, a native New Zealand wood, with paua insets.merry, alan, anzca council, collier, heke, kaiwhakairo, master carver, rimu

Jean Appleton (1911–2003) Born Sydney, New South Wales A painter and art teacher who studied at the East Sydney Technical College, completing a diploma in drawing and illustration in 1932. In 1935 she travelled to London on a cargo ship. Strongly interested in modern art, she studied under Mark Gertler and Bernard Meninsky at the avant-garde Westminster School.With the outbreak of the war she returned to Australia, thereafter teaching at Canberra Grammar and then at the Julian Ashton and National Art Schools in Sydney. Portrait of a male by Jean Appletonportrait, jean appleton