Sculpere Newsletter

Sculpere Newsletter June 2011

Editors: Katherine & Zoe Harrington Do you have any news worthy stories? If you do then please let us know about them and contact us at SCATE@netcall.com.au

Congratulations to Rudi Jass on inclusion in the Chelsea Flower Show, and to Betty Collier and Laurie Collins for their overseas representations later this coming year: see the attached pages. Thanks are due to our sponsors for their continuing support this last year – International Marketing Group, Dame Elizabeth Murdoch, the Meszaros family, Dalchem, Mark Cowie, Catherine Tait, Helen Bruinier, Marija Patterson, and Meredith Plain. Thanks also go to the numbers of members contributing small donations as well as to the Committee and Coordinators for their voluntary work, at times in difficult conditions.
The AGM is 13 July. Marija Patterson after much-valued contributions has resigned from the Committee due to her personal workload, and we need a replacement.
Our 6 exhibitions this year are possible this year due to the conscientious efforts of Mark Cowie, Jenny Rickards, Monica Mauer, and Beatrice Magalotti. The role of Coordinators is relatively new and we need to give them more support.
The newsletter has grown in stature with the involvement of Katherine and Zoe Harrington. Planning of a new website is continuing. An approach has been made to the Contemporary
Sculptors Association for merging the organisations.
Please plan for submissions of works in the next exhibitions:
the ASV Annual starting 7 September, and the Tesselaar Sculpture Prize starting 15 September. In line with ASV standing policy we welcome all styles and techniques - abstract, fi gurative, realistic, kinetic, etc. Please note that exhibition opportunities are now exceeding the existing supply of ASV artists and their works.
Members are reminded to pay their subscriptions for the year to 30 June 2012 as soon as possible, preferably by 7 July.

Geoff Williams President

ASV News & Forthcoming Exhibitions

Welcome to Our New Member:
Kathryn Portelli

Castlemaine Exhibition

Barry Weymyss, ‘Yama-ni’ (Red gum, brass and mild steel)
work seen in the foreground
Neil Tait, ‘Incline’ 2009 (mild steel)
work seen in the background.

Diane Thompson, ‘What’s in a name’,
winner of the Castlemaine exhibition. (Steel,
stainless steel vegetable steamers, wood)

Paul Smits, ‘Stagnation’ (polyester)
Photograph: courtesy of Mark Cowie

ASV members, Catherine and Neil Tait generously opened their property and garden alongside their business at their rural bush setting in Muckelford, approximately ten minutes from the centre of Castlemaine for the ASV sculpture exhibition. The exhibition was held during the highly-successful and well-attended Castlemaine State Festival in early April 2011. Over 50,000 people attended this year’s State Festival, and many hundreds attended and viewed the sculpture exhibition during the ten days.
Twelve sculptors exhibited 25 works, in a variety of media, including: bronze, mild steel, limestone, wood, and corten steel. All works showed a high-level of conceptual development, coupled with technical expertise in composing works utilising a range of materials.
The Taits very kindly donated $500 toward the prizemoney. Danielle Johnson from Training for Work and the Victorian Training Group generously sponsored the remaining $1000 prize-money. ASV is very appreciative of the support of these sponsors for this inaugural exhibition and competition.
In judging the exhibition, Anthony Conway Acting Head of Visual Arts and Design at La Trobe University (Bendigo), was very complimentary of the range and style of work on display. He awarded Diane Thompson fi rst prize of $1500 for her work, ‘What is in a name’, stating, “The lovely re-cycling of steamer baskets interplays with the utilitarian use of objects and their subsequent repositioning, which, in turn, creates a work of intrigue and beauty. The work also has good height and is uplifting.”
Michael Meszaros also kindly donated his time and gave an informative presentation about the Association to the audience at the opening.The exhibition, curated by Mark Cowie, sold three works.

ASV Executive Committee Meeting
6 April 2011.
SUMMARY OF SIGNIFICANT MATTERS

Janice McCarthy has resigned from the position of trainer for the new web site, due to family reasons. The Committee expressed their appreciation and sympathy for the illness in her family.
John Ride is away from the end of July to mid-October, and an assistant is sought for the Treasury role during this period.
The Committee accepted the Treasurer’s Report, including Accounts for Payment and Profit Statement Year to Date.
The Light Gallery, Eltham, was secured as a venue for the ASV Annual Exhibition.
The Committee received Mark Cowie’s report on the MIFGS Exhibition, and noted that it included 71 exhibits, and sales were $20,000 (8 pieces). Action concerning ASV members who did not turn up to sit their turn at the Exhibition was discussed, and it was agreed that sitters are important to sales.
Progress on the Website was discussed. A shortage of member expertise in the area was noted. The Committee agreed to delegate management of changes to Geoff, Jenny and Marija. Alberto would be asked to quote for changes which are not included in the original brief, and the Committee would then consider them.
A proposal to merge activities of ASV with Contemporary Sculptors Association (CSA) was considered and it was agreed that the President write to the CSA inviting a meeting to discuss the possibility of a merger.
Geoff reported an approach from the Victorian Artists Society to explore the benefits of sharing exhibition opportunities, and it was agreed that he follow up.
The ASV AGM was discussed and 13 July was agreed, due to the absence of the Treasurer from late July to October. Committee members indicated agreement to stand again next year. The Committee agreed that in future Exhibition Co-ordinators should pay no entry fees and no commission on sales of their own works, in recognition of the considerable amount of time and effort involved in running exhibitions. It was also agreed that a coordinators can be shown as curators on the ASV website.

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Do not miss out on our great Society Activities...
Hi all members, I have not had time to organise activities of interest for our monthly meetings due to a busy schedule and am not going to continue that role this year, but somehow I’m still here.... Any volunteers? In the meantime the following things have been organised:
10th AUGUST - we are going to visit the Bayside Sculpture Studios. This should prove to be a very informative and interesting evening. Many of our members belong to this group.
9th SEPTEMBER - we will meet at our rooms where Geoffrey Ricardo will come and tell us about his work. I will tell you more a little closer to the date.
In the meantime if anyone has any ideas about activities or has a studio that would be interesting to visit please let me know.
Also let me know if anyone is interested in taking on this Job .....

Gillian Govan

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MEMBERSHIP COORDINATOR NEEDED

Are you interested in becoming more involved in the Association? There is a great opportunity to work with the Membership Secretary for a couple of months to learn about how the Membership data is kept up to date, how to use Excel to output records, and produce Membership Renewal forms. You will also become more aware of the workings of the ASV website. Please contact Kay Salehi on 9808 4056 or send her an email on kays27@tpg.com if you are interested. Hope to hear from an interested member soon.

Exhibition Opportunities outside ASV

Dear Artist,
We invite you and associates to participate in the Spirit of the Land Art Festival 2011, with a NATIONAL FARM ART SCULPTURE AWARD of $10,000 in prize money and additional $7000 in other awards. The National Farm Art Sculpture Award is for sculptures created from recycled or new farm materials and/or any natural element of the land in a new art form called “farm art.” The Arts Festival includes three exhibitions held in Lockhart in the heart of the Riverina District of NSW, some 70 kms from Wagga Wagga and 90 kms from Albury/ Wodonga.
The exhibition categories are:
Sculpture (any medium, including Farm Art) Fine Art (oil, water, clay, textiles, glass, ceramics, photography, multi-media)
Indigenous art (cultural and contemporary)
Secondary School (Totem Poles, Fine Arts)
Primary Schools (Cardboard Totems)
Garden Art (any medium)
Silhouettes (Two dimensional life sized metal sculpture)
There are additional awards in some categories including a prize for a local artist who resides within 60kms of Lockhart, and an indigenous artist award.
Registration is open to emerging and established artists who can exhibit in any or all categories. This includes farmers whose entries were the catalyst for the national sculpture award, but you do not need to be a farmer to enter this category. There is no limitation on the number of entries. Entries close on 1st October 2011. A brief resume and personal photograph is requested for promotional purposes.
The Festival will officially open on Friday 7th October 2011 and close on Sunday 9th October. Exhibits can be collected on Sunday 9th October after 4pm. Work not sold may be considered by the Festival Arts committee for inclusion in Lockhart’s Sculpture Park for a period of up to three months. Unsold works can be posted on the website for sale. Standard commissions
apply. Whilst all care is taken, artists are responsible for insurance. A Memorandum of Understanding outlines all parties’ responsibilities.
Award Presentations:
Prize winners will be announced on Friday night at the Spirit of the Land preview.
Registration:
Early registration will assist with our national/ international promotional campaign and photographs of artworks would also be appreciated. These can be emailed or posted. The Festival has attracted international media crews from New Zealand, China, Brazil, UK, and USA and Portugal.
Accommodation:
Accommodation is available in Lockhart at Lockhart Motel (0269205357), The Rio (0269204116) Bank & Stable (0269205443), Rose Cottage B&B (0414757257), Commercial Hotel(0269205109), Railway Hotel (0269205513), and at Boree Creek Hotel Motel (0269271407) the Urana Caravan Park (0269208192), The Kings Own Hotel Motel, The Rock (0269202011), Hanericka Farm Stay, The Rock (0401349393).
If you require additional information please contact me on (02) 6920 7428 or sue-schneider@hotmail.com
Yours sincerely,
Sue Schneider, Chairperson Spirit of the Land Lockhart Festival
Phone 026920 7428 or mobile 0428124838
www.spiritofthelandlockhart.com.au

Interview with Sculptor, Mark Cowie

One becomes two’ 2006 mild steel (All photographs courtesy of the artist)

‘Navigation’ 2011, mild steel and redgum

‘Jonah’s Journey’ 2006, mild steel

‘Guardian Spirit’ 2009 mild steel, redgum and stone

Katherine & Zoe: Your works resemble those of the 20th century Modernists such as Caro, Calder; and your ‘Trees’ are highly reminiscent of Jean Arp’s, ‘Sculpture to be lost in the forest’. Why do you create abstract Sculptures?
Mark: The artists mentioned are ones I have admired and researched quite extensively, along with a diverse range of Australian and other international visual artists. I like to think the influences that preside over my own sculpting practice are many and varied, yet there is little doubt that a handful of Australian sculptors have had a more direct influence in my artistic education, as evidenced in the styles displayed in many of my earlier sculptures.
Creating abstract visual art forms enables me to express elements of those matters that are inherent in the broader collective and which, hopefully, refl ect some fragment of the human condition. Yet such elements are primarily intangible and near-on impossible to adequately describe or explain, and that is where sculpting steps in to occupy a small part of the immense void in my understanding of pretty much most things. Put simply, I find creating abstract sculpture a vividly expressive experience. For me, the process drills into and occasions the release of layers of feelings, sensations, intuitive responses and matters emanating from the unconscious. It raises questions of how much of my output is as a result of simply being a conduit for greater expressive forces distilled in hitherto mysterious domains. The capacity of art to encourage awareness and engender mindfulness continues to amaze and impress me.
K & Z: What and who inspires your works?
M: At the most immediate level, my intuition inspires me. It is the way I work predominantly. Although I do a lot of drawing and sketching, so very little of my work is shaped or determined by prepared plans and designs. The process pretty much commences when I enter my workshop. There is too numerous a collection of sculptors, whose breadth of work I indulge in and admire, to do justice in this format. Suffice to say, Lenton Parr, Anthony Pryor and Geoffrey Bartlett were early inspirations, as was the delightful Peter Blizzard. As
my practice evolves I am constantly inspired by the works of many contemporary Australian sculptors. And more than anything I feel inspired by the flow of thoughts and kernels of ideas generated through interaction and discussion with fellow sculptors.
K&Z: Your works show a vast knowledge of materials and techniques that come from training and experience. How did you develop these skills?
M: I do not profess to possessing the strongest or broadest range of skill sets. My skills are adequate, yet evolving. I am always tapping into the experience of others and seeking knowledge from those who have attained profi ciencies and competencies in their chosen mediums. I have been fortunate enough to receive tutelage from and be shown methods and techniques from a broad range of people, working in diverse artistic disciplines and in the fabricating and engineering-related fi elds. Several years ago I undertook training in engineering and metal fabrication at TAFE, which provided a strong foundation for much of my work in steel.
K&Z: You use a lot of colour in your works. Do you think that colour enhances a sculpture? What is your theory on colour?
M: I’m not sure I have any particular theory on colour, other than I like, at certain times, certain colours more than others. It is, at best, a transitory association because there are times when I believe a piece works best when presented in its raw organic state. That all said, I do seem to find yellow a very appealing colour and it has featured in a number of my works. More recently, I have become rather fascinated by the range of patinas and finishes that can be applied to bronze.