2012 Heysen Sculpture Biennial B6

26 February - 9 April 2012

The 2012 Heysen Sculpture Biennial was opened by Nick Mitzevich, Director of the Art Gallery of South Australia. John Neylon wrote the Catalogue essay.

Nick Mitzevich, Director of the Art Gallery of South Australia, opening the 2012 Heysen Sculpture Biennial. Also pictured, Allan Campbell, Curator of The Cedars and HSB committee member, and Pamela Kouwenhoven, artist and HSB committee member.

Heysen Sculpture Biennial Committee:

Curator: Allan Campbell

Coordinator: Alison Brown

Artists: Penny Choate, Pamela Kouwenhoven, Max Lyle, Ron Rowe

Friday, 2 March 2012 - Dr Tamsin Kerr, Director of the Cooroora Institute, Queensland will write and speak about the Homage to Nature exhibition, its place in Australian environmental art and the works of the artists taking part. 'Collaborating with country and sculpting our future: site-specific artworks as creative policy' is the title of her presentation.

Dr Tamsin Kerr's article on the 2012 Heysen Sculpture Biennial B6 is in the Art Monthly magazine, August 2012.

Photos by Daniel Cazzolato 2012 unless noted otherwise.

Catalogue essay by John Neylon, an Adelaide-based curator and art writer for The Adelaide Review.

List of Artists

Kym AFFORD | Roy ANANDA | Craige ANDRAE | Silvio APPONYI | Rae BOLOTIN | Donna BRINK-RICE | Penny CHOATE | Jan CLIFFORD | Rick CLISE | Helen CRAWFORD | Johnnie DADY | Leith ELDER | Sandy ELVERD | Lynn ELIZINGA-HENRY | India FLINT | Karen GENOFF | Ian HAMILTON | Anton HART | John HAYWARD | Kon HEYER | Margie HOOPER | Greg JOHNS | David KERR | Sue KNEEBONE | Pamela KOUWENHOVEN | Max LYLE | Gavin MALONE | James MARTIN | Rick MARTIN | Tis MILNER-NICHOLS | Andrea NUM GLOVER | Chris ORMEROD | Astra PARKER | Sophia PHILLIPS | Will POWRIE | Helen PRINTER | Julia ROBINSON | Colin ROGERS | Ron ROWE | Deb SLEEMAN | Jojo SPOOK | David SUTER | Peter SYNDICAS | Evette SUNSET | Marijana TADIC | Tim THOMSON | Westley TULLY | Nic UHLMANN | Vic WACLAWIK | Mal WASS | Egbert WELLMANN | Sally WICKES | Liz WILLIAMS | John WOOD | Margaret WORTH | Trevor WREN


Next Stop, Merope, Pleiades

Reading of the Roswell Incident, USA (1947), so hushed up and too of The Dark Object, Nova Scotia (1967), I have no doubt of extra terrestrial life.

Welded aluminium & glass, 1200cm dia by 20cm $5,000

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Roy ANADA & Johnnie DADY

Doo Wop 

The work consists of two corrugated iron structures; both are set to Greenwich Mean Time.

Roy Ananda is represented by Dianne Tanzer Gallery and Projects, Melbourne.
Johnnie Dady is represented by Greenaway Art Gallery, Adelaide and Anna Pappas Gallery, Melbourne.

Corrugated iron, timber, paint, fixings. 380cm x 180cm x 240cm each. POA

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Steel, 300cm x 150 cm x 200cm, $20,000 Clip Art

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I have been working on some marble vertical themed pieces in the last couple of years. This is the first of the polished granite works, portraits of grass. The most common subject seen by man. On which our farming economy relies.

Black granite, 180cm x 30cm x 30cm $33,000

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Seed Tree 5

This work was inspired by tiny seeds I found in the area close to my studio that is located on the edge of Wollemi National Park, and the photographs taken with the help of powerful microscopes.

Stainless steel, 103cm x 71cm x 40cm, $8,000

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Fungi Fantasia A Tribute

Fungi play unseen crucial roles:
They are components of ecosystems -
Transporting, storing, releasing
And recycling nutrients.

Fungi contribute to:
Food, yeasts, medicines and dyes;
Biodegradation of waste;
Forgery-proof money.

Bark, sticks, cotton, paint, still growing. POA

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Fishing for Waste

This work is intended as a contemplation on.
What we harvest from the sea,
What we take from the earth,
What we do with the waste.

Aluminium, wire, tin. 135cm x 93cm x 93cm, $2,000

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I was interested in the challenge of developing random weave forms from discarded prunings from my garden which are also replicated in The Cedars garden. These impermanent forms will remain for a time but will eventually return to the earth from whence they came.

Various prunings including privet, wisteria, birch, fatima and daffodil leaf paper. 150cm x 180cm x 180cm. POA

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The Agonising Paralysis of Choice

Do I choose the safe, known option?
Or risk the consequences of the unfamiliar and uncertain?
What if I choose wrongly?
Or if I could have made a better choice?

Steel pipe and sign blades. 220cm x 100cm. $850

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Below the Surface

Human interconnection with nature is tempered. We live with a facade of stability and control over our life, and our place in the world. We are energy, operating above and below our conscious abilities.

Copper, glass, clay, wood. 115cm x 60.5cm x 60.5cm. $2,000

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Onion weed. An ornamental plant imported from Europe that has become a pest species in Australia, thriving in disturbed and impoverished soils. Ideas and cultures, like plants, can thrive in unexpected places.

Steel, expanded foam rubber. 200cm x 200cm. POA

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Vital Signs 

A solitary bed cradles young native plants struggling to grow among rusty remains of urban waste. Visitors are encouraged to sustain these plants' vital signs so they survive into the future.

Dimensions variable POA

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Forest of Dreams 

The forest is peopled with evocative creatures that resonate with our unknown ancestry, uncovering our unconscious mythology. Created in collaboration with Anni Luur Fox and Suzi Windram.

Fused glass, mixed media, steel 200cm x 150cm approx $3,800

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Humans have been creating signs upon the Earth for thousands of years; as waymarks, indicators of possession or in order to give emphasis to sites of importance. The circle drawn from earth, stones and cloth dyed with windfallen leaves declares this piece of land significant for a time.

Stones, wool, eucalyptus dyes 150cm diameter approx $2,700

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Harvest Home

I see Easel Eucalypt Haystack Vast landscape Home and Hearth Where At an open window Sally, Her back to me She sits Sewing. This Brilliant Light Bathes Everything.

Wooden easel, timber, doormats, sea grass string. 150cm x 180cm x 100cm approx POA

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Bower Tower Project: Large Marquette #1 

Ian Hamilton and John Hayward established the Bower Tower Project in 2010. The project, initially inspired by the structures of the male Golden Bowerbird (Prionodura newtoniana) is a continuing investigation of art making and structure building

Documentation: Leo Davis and Peter Lindon, Metalwork: Tom Borgas, Carpentry: Steven Cybulka

Wood, metal, rope 1500cm x 1500cm x 600cm NFS

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Anton HART


Landing was originally made in 1996 and inspired by Eileen Gray's famous 1920s house E. 1027. Resetting this piece in 2011 overlooking Heysen's studio reflects on ideas of looking and framing, the landscape and history.

Etched glass, G-clamps 250cm x 130cm $5,000

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Made from discarded sleepers and brake drums, this has become my largest sculpture. The rich texture of the wood and the circular shape of the metal were the inspiration for this work.

Wood, metal 250cm x 150cm x 75cm $6,000

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Mirror of perfection, St Francis

Playing with different materials to serendipitously find fresh meaning.

Metal, wire, plastic, fabric, glass, timber, 165cm x 80cm x 90cm. $1500

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Shedding Figure

Shedding Figure is from the series I began around nineteen-ninety. My aim has been to develop a sense of figuration which comes out of a 'reading' of the Australian landscape. These protection figures also reach out to universal themes.

Corten steel 225cm x 37cm x 38cm. $37,000

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David KERR

Turkeys and Saplings 

This is an abstraction of Heysen's Bronzewings and Saplings painting. Heysen wrote in 1921 that this painting was the most complicated piece of design he had tackled. My assemblage forages in this painting within the three dimensional space of Heysen's saplings.

Assemblage of plastic chairs, sapling environs. Located in a 10m x 10m section of saplings. POA

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Burnt Offering

Exhausting the supply of fossil fuel, creating greenhouse gasses, global warming. Is this our bequest to the planet?

Metal exhaust pipes, bitumen paint, burnt wood, charcoal. Size variable. POA

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Four Freedoms 2

The four sculptural forms refer to the definitions of the 'Four Freedoms' of democracy as stated by US President Roosevelt in the 1940s Freedom of Speech, Freedom of choice of Religion, Freedom from Poverty, Freedom from Fear. All have relevance to our present day world where these basic freedoms are constantly being challenged and compromised.

Mixed media: wire mesh, steel, bamboo, and other natural and manufactured materials. Height 200cm. $4,000

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Keep Me Wet Baby

To be wet is to be alive. Our bodies are about 70% water and 20% carbon. A sack of water held up by a frame of carbon, endlessly recycled, even through a River Redgum.

River Redgum - eucalyptus camaldulensis, 190cm x 76cm x 6cm. $3,300

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James MARTIN (1944-2011)


The enlarged features and form of the five elements that make up the Régates series illustrate James' ongoing fascination with, and inquiry into, the limitless ways in which it is possible to represent the human face and form.

Sculpture completed by Rick Clise

Coloured cast glass-reinforced cement, 5 elements, each 104cm x 26cm x 25cm. $2,250 each: $10,000 for series of 5

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Pferde Stuhl (Horse Chair)

Early Colonial Horse Chair - thought to have been brought to Australia c. 1840 by German Whalers. This is an experiment in horse chairs which culminated in the horse divan, an example of which can be found in the collection of the Cameroon Museum of Decorative Arts.

Metal, wood, paint. POA

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Nostalgic Lens

Life is no picnic, or is it?

It is all too easy to romanticize bygone eras as simpler times or we could smugly vilify ignorance of early settlers and the unwitting destruction of delicate eco systems. Hindsight distorts the lens of perception.

Focusing on form, colour and texture Tis Milner-Nichols selects materials for their inherent qualities. The resultant sculptural language develops a narrative to explore the gap between encounter and identification.

Tin, copper wire, yarn, 44cm x 146cm x 87cm. POA

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Phone the crows La Nina Fibonnacci

Phone the crows La Nina Fibonnacci is a playful piece Re/calling/cording past sequences: Methods of sensory communication, of visual appropriation, of cinema, of naming weather patterns and the fabrication of identity. El Nino, a South American man had many abusive calls ­blaming him for the weather pattern!

Mixed media, plastic, bakelite, wood, paint, dimensions variable. POA

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Stray Arcs

Mild steel, 220cm x 120cm x 70cm. $7,000

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Standing. Still.

Standing. Still is part of a series of forms which focus on the coexistence of movement and stillness in one form, as well as the form's relationship to a place at one time.

Galvanised steel, 330cm x 30cm x 30cm. $7,800

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Lost or Found

These objects started to appear in my fist as I prepared clay to Make Something. And they accumulated. My procrastinations, simple fascinations. The urge to collect and conquer the ineffable. Make meaning without meaning to.

Porcelain, soil, grass, Size variable. POA

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Through vernacular materials, this work pays homage to native grass species, in particular the prickly and highly adaptive desert Spinifex, or Triodia genus. Spinifex is both destroyed and regenerated by fire.

Steel, local timber, copper, rubber hose, stone, spinifex resin, 300cm x 150cm diameter. $2,850

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What next? 

When I got home, the big tree that sheltered my house was lying, cut, in the paddock.

Macrocarpa cyprus wood, bronze, found objects, 220cm x 100cm x 130cm. $15,000

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Heysen's fairy tale cottage studio, the Welsh myth of the faithful hound Gellert and a whimsical play on garden statuary inspired the work Guardian

Flywire, fiberglass, foam, plaster and garden gnome, Size variable. $3,500

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Messages in bottles from an unsustainable Earth. The dispersing seeds contain the same information that was fixed to early Pioneer space craft.

Plastic bottles, aluminium, 1000cm approx. $650

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Out of the Water

Hebel stone, granite rocks, paint, 300cm x 270cm x 100cm. $3,333

Out of the Water - version 2

Hebel stone, granite rocks, paint, 300cm x 270cm x 100cm. $3,333

My sculpture is an ongoing investigation with the monolithic forms in a variety of media.

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I search for gaps in which to create a dialogue between the intangible connections of people and the natural world, continuing to explore the perceived animate and inanimate as integral rather than separate entity.

Imagining the future through fragments of the past and the deep resonance of the elements are the fuel for this work.

Pressed tin, copper, cast glass, steel, rivets, 220cm x 400cm x 200cm. $9,900

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Provides elements of sensuality combined with the use of harsh materials. Fashion item, the dress is a metaphor for the female form being grounded with winged elements of freedom.

Metal, dimensions variable. $2,800

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Distant callings coinciding Earth, moon, stars, Rain.

Fibre reinforced concrete, Five spheres - 50cm, 70cm, 80cm, 110cm, 150cm diameters. Five pieces $7,250, Individual $450; $1,250; $1,350; $2,150; $3,200

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The Shady Pool

Peter's sculptures explore a fascination with organic shapes in their simplest forms - fractals of nature. Twigs - fragile, precious, shaped by the elements. Delicately carved, the revealed forms are translated in a magnified scale and immortalized in bronze.

Bronze sculpture on marble base, 50cm x 180cm x 22cm. $6,800

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1000 Stooks of Gratitude

The Idea - the work is a space both created and experienced by all those who came to pause within it, taking pleasure and meaning from their time here together with each other, the land, its creatures and weathers: we bend to the earth and as the trembling grasses pass through our hands listen, just listen

Mementos - DVD documentary and photographic cards will be on sale at The Cedars shop.

Wild Yorkshire Fog grass tied in situ by visitors and left to dry. 400cm diameter

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Marijana TADIC

The Bounty of Light 

Hans Heysen, who arrived in Adelaide from Germany in 1884, recalled, 'My first impression upon arrival was that of expanse, of simplicity and beauty of contours - the light, flat and all objects sharply defined.'

Certainly for me who also traveled to Australia, the singularity, the clear intensity of the light, never fails to astonish. The Bounty of Light is a reference to the amazing richness of Australian light - the quality that inspires and sets the Australian landscape apart.

Galvanised steel and automotive paint, 4 spheres: 1m $5,000, 1.5m $7,500, 1.8m $9,000, 2.2m $12,000, Group of 4 spheres, $30,000

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This past year has made me increasingly aware of the transient nature of life. This is my response.

Bronze, 200cm x 100cm x 100cm. $21,280

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Westley TULLY


-of your life-

Cast bronze and braided cord, 61.5cm. $1,800

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Nicholas UHLMANN


Partners presents a union between interconnected opposites, giving rise to an underlying tension to negate a seemingly dual existence.

Copper, stainless steel, rivets, mild steel, timber, 448cm x 41cm x 36cm. $13,000

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Colonial settlers brought livestock with them that was unfamiliar to the Australian landscape. Cattle have transformed the landscape from its native state.

Paper mâché, wood, steel,150cm x 200cm x 300cm. POA

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Three in Stasis 

Where does the landscape finish?
At the horizon? - At your feet? - At your front door?
Through simple existence we create a 'lived' relationship with the landscape and its inherent materiality, a relationship built from a collective history of interactions and interventions upon the spaces we inhabit.
Taking influence from the traditional Japanese aesthetic the 'materiality' and interventions combined in Three in Stasis is in response to the evolving interrelationships we have with our surrounds. These relationships I believe are more than personal responses, they are part of us.

Limestone, jute, eucalypt, 240cm x 240cm x 240cm. $3,000

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Facing the Wind

Soft Steel, 190cm. Sold

The Dancer

Soft Steel, 220cm. $3,200


The very structured edges of my figures, which made me name them Fringe Forms© and their partly dissolved bodies are meant to be an expression of the influence of space. Just as the ocean determines the coastline through its inlets and bays, space (the space around) is an intrinsic element which influences the contour of my sculptures.

Marine plywood and acrylic, 220cm. $1,500

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The white rabbit emerging from the ground carries layers of allegorical meaning. In essence it represents the role of earthly and ecological stewardship, and the responsibility for wise and timely choices.

Mixed media, Mt Gambier Limestone, 100cm approx, $1,800

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The work was made specifically for this environment. My intention is that it should convey something of the universality of being a child. Being placed in the garden becomes a metaphor for cycles and seasons, past and present.

Ceramic, mosaic, 120cm high. $11,000

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The Secret Life of Trees

The Sculpture refers to the layers of experience held within every tree. The memories of seasons, drought, rain, winter and summer, held for many years and seldom revealed. Memories of time crystallized in an internal structure.

Steel, wood, resin, Three elements 300cm x 7.5cm. $10,000

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Margaret WORTH

Comings and Goings: sanctuary 

A response to the natural site and to the context of Heysen's home and studio, reflecting on life, art and reputations. They all come and go.
An anthill and rotting wood are given sanctuary, temporarily.

Since 2009, just before the huge dust storm that crossed eastern Australia, I have been interested in working with dusts. I have found it a broad ranging material from the kitchen to the cosmos, with a wealth of scientific studies on how it has affected the composition of the world and how our lives are affected. Everything begins to look different in the light of knowing it's origins in dust.

The idea of sanctuary is central to the existence of The Cedars and seemed fitting also for this industrious ant hill, perched on a fallen one of Heysen's beloved gum trees.

PVC, polyethylene, ant hill and rotting wood. Dimensions: 230 X 300 cm diameter

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Trevor WREN

Miss Australia

Carbon is essential to all known living systems and without it life as we know it could not exist. It is one of the few elements known since antiquity. Without it this work would not exist.

Welded railway spikes. 160cm x 240cm x 10cm. $9,000

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