2019 Heysen Sculpture Biennial Exhibition
Dwelling: Shelter, Thinking, Being
24 February - 30 April 2019
The 2019 Heysen Sculpture Biennial exhibition was opened by Dr Lisa Slade, Assistant Director, Artistic Programs, Art Gallery of South Australia. Stephanie Radok curated the 2019 HSB exhibition, edited the Catalogue, and wrote the Catalogue essay.
Education Resource for 2019 HSB
The 2019 HSB features a free down-loadable Education Resource featuring 8 of the 2019 HSB artists and their work. This resource was funded by a generous grant from the Gordon Darling Foundation. It follows the South Australian Certificate of Education curriculum for year 11 and year 12 visual arts studies. Students and teachers will both find it useful. (5mb .pdf file.) Click here.
Symposium with the University of Adelaide
On Friday, February 22nd, at historic Urrbrae House on the Waite Campus of the University of Adelaide, HSB Inc and University Collections staged a full day free seminar around the theme of 'Dwelling: Shelter, Thinking, Being', hosted by Mirna Hiruc, Director of University Collections and members of her team, plus Lynette Zeitz, Manager - Urrbrae House Historic Precinct. This symposium was a new event for HSB Inc and the University of Adelaide for 2019 HSB, and may become a regular event for future HSB exhibitions.
Index of Artists
David ATKINS | Karl CHILCOTT | Quentin GORE | Ian HAMILTON, John HAYWARD | Greg JOHNS | Rebecca LLOYD | Stephen LLOYD | Phillip McGILLIVRAY-TORY | Karl MEYER | Astra PARKER | Ron ROWE | Mary Ann SANTIN | Deb SLEEMAN | Jojo SPOOK | Evette SUNSET | Peter SYNDICAS | Tim THOMSON, David JONES | Westley TULLY | Nicholas UHLMANN | Clancy WARNER, Elizabeth CLOSE | Lorry WEDDING-MARCHIORO | Geraldo ZAMPRONI
Note: the artists and their works shown below are organised in the order that visitors to the 2019 HSB would probably view them, and this matches the catalogue order.
Catalogues of the 2019 HSB are available at the shop at The Cedars, or by post for $7.50 plus postage. Please contact the HSB Inc if you want to order one.
All photos by Daniel Cazzolato Photography unless stated otherwise. All artists are South Australian unless indicated otherwise noted.
Greg JOHNS, Dwelling With Country 2019
Dwelling With Country suggests an intimate connection with our landscape through symbolic understanding. This understanding is often conveyed through local stories which arise from an 'underground' connection with our ancient landscape. What arises is an awareness that all is interconnected and to keep the dwelling in good order the connections must be respected/maintained.
Hand-cut mild steel 16mm plate, installation diameter 10 metres. $27,000
Ian HAMILTON, John HAYWARD, Rite of Passage: Home! 2019
The Bower Tower Project (BTP) began in 2010 as a collaboration between Ian Hamilton and John Hayward. American anthropologist Victor Turner wrote about rites of passage and their importance for many cultures. Rite of Passage: Home! is a proposition. It can be viewed from the outside but will also offer an internal metaphysical experience for anyone willing to take the passage from light through dark to a different light (awareness). The leaving of our childhood home (dwelling) is a rite of passage, often into the unknown. Sometimes we find ourselves in a strange place.
Timber, steel, hardward, 500 x 500 x 200 cm. POA
Lorry WEDDING-MARCHIORO, Stamen (or the nature of change under the right climatic conditions) 2019
Imagine you have been reduced to the size of an ant. How does it feel to experience the world from another perspective? Take a moment to dwell, looking up at the petals of Stamen as they undulate in the wind. Envision a world greater than the one that you know.
Carbon fibre, steel, bearings, automotive paint, 270 x 450 x 450 cm. $15,500
Jojo SPOOK, Spook dogs 2018-2019
In my recent travels through Queensland I noticed how many dogs run free. The Spook dogs represent the longing and need for a home or a dwelling. Usually seen in packs the dogs are rugged in texture and blend and connect with their temporary dwelling, the Australian landscape.
Concrete, feathers, bones, rope dog collars, found wire, hessian, rope. 6 dogs, 1 square metre each. $5,000 the set or $1,000 each. •
Ron ROWE, Campsite 2019
Campsite is based on living in a remote area. It is a group of none forms that are temporary and provide shelter from the elements. The dwellings are varied in size and the painted constellations are referecend from the colour of the evening sunset above my studio in Hahndorf. Evidence of previous habitation are bowls and implements around the site. There is a long history of communities building protective shelters to live in and vacating them as they move on from time to time.
Painted galvanised iron, clay bowls, painted wood, installation diameter 12 metres. $7,000
Rebecca LLOYD, Perspective 2019
You are invited to take a look at your surroundings from a different angle, through a different window. The familiar might surprise and delight you.
Mild steel, glass, copper, 3 pieces, each 200 x 90 x 10 cm. $5,700 •
Astra Parker, Placeless 2019
Placeless refers to dwelling as internal experience, existing in the inner space, in relation to but undetermined by physical environment. It is best described in the poem Who am I? by the 13th century Persian poet Rumi.
I am not from east or west ...
not up from the ground
or out of the ocean ...
my place is placeless
a trace of the traceless ...
Blue slate, mirrored perspex, 80 x 300 x 400 cm. $6,000
Peter SYNDICAS, Ten Mile Creek 2017
Ten Mile Creek is based on a twig I collected from the Flinders Ranges. It was formed by the dramatic landscape where it originated and shares a special connection with the environment that helped shape it. “I search specifically for twigs that portray a human figure as it gives each sculpture a unique duality. On the one hand they are magnified reproductions of fragile twigs, while at the same time they display expressive abstract human forms.”
Woven and welded polished stainless steel, 50 x 216 cm. $4,600
Quentin GORE, Globulous 2019
Taking time to examine and to dwell on the exquisite detail that nature provides us underpins the concept for Globulous. Inspired by the delicate flower forms of the acacia trees found throughout the Adelaide Hills and at The Cedars, the sculpture is a stripped back interpretation of these forms shifting the focus to architecture, materials and processes. I like the fact that the work can also be read as an atomic form. I hope that this work encourages visitors to take the time to dwell on the significance and beauty of the Australian landscape and to help protect its extraordinary flora and fauna.
Three pieces, laminated plywood spherical core, stainless steel tubing, turned birch spheres, 1 @ 180 x 180 x 180 cm; 2 @ 120 x 120 x 120 cm. Large $6,900 each, small $5,400 each. Delivery to Adelaide Metro area - $150 assuming level site and vehicle access.
Mary Ann SANTIN, Dwell Time 2019
Hans Heysen’s view for his painting The Lone Gum was interrupted by an old orchard at The Cedars. The installation dwell time will again interrupt this scene. The work plays with recycled bird netting sourced from wineries to create a new space for dwelling, what placemakers describe as “linger nodes” or “dwell time”, for both wildlife and visitors.
Netting, posts, staples, cable ties, installation 16 x 6 metres approximate
Karl MEYER, Transition 2019
As we continue our great anthropogenic experiment we throw ourselves at the altar of science to stave off collapse. In transition the intersections between two branching forms highlight significant point of disruption and change. Inevitable declines occur when the biosphere’s ability to sustain resources is overridden, resulting in rapid change within systems.
Charred eucalyptus tree, fluorescent plastic, mild steel, 450 x 220 x 200 cm. $6,700
Tim THOMSON, David JONES, Going Home 2019
We seem to think we own the land. We cover the surface with our dwellings. However, other creatures dwell with us. There are lives going on around us beneath our notice. We live in a world increasingly alienated from nature. But oh, what if we were aware!
Wood, steel, size variable; installation 50 metres. NFS
Clancy WARNER, Elizabeth CLOSE, Papa Tjukurpa: Dingo Story 2019
Image courtesy of artist
The dingo sculptures are a reflection of what once was and still is a sense of place and belonging. The Cedars property was traditionally the land of the Peramangk people and the dingoes were one of the original animals of the area before colonisation. The designs on the dingoes represent the traditional custodians of the lands, not specifically the Peramangk, but more a representation that this country always was and always will be Aboriginal Land …
Bronze, 2 units, together 77 x 130 x 120 cm. $18,500
Karl CHILCOTT | Sweden, The Golden Gum 2018-2019
As humans we are a part of nature and culture. All our aesthetics come from nature and our values from culture. Dwelling in our soul can mean searching for reconciliation between them. I have ecologically painted part of a dead gum tree as a metaphor for my deep feelings about the beauty of white gums. The Golden Gum can hopefully contribute towards creating bridges, remembering our roots and encouraging change.
Fallen trunk, gold paint, 700 x 300 x 70 cm. NFS
Evette SUNSET, As Within So Without 2019
Like seeds on the wind searching out a niche to dwell in, like a herd or family group, a flotilla of protective shapes – boat, leaf, seed pod, cradle, and seed capsule, each embracing a young tree – scud across a grassy slope into the heart of a parent stand of Hans Heysen’s Candlebarks, conserved through his active long-term vision of continuity and care. This work honours his values and the planetary role of trees. To make it I harvested four trailer loads of fallen branches, bent the green wood into curves under tension, drilled and wired them into place. Twenty-three days of peaceful work: wallabies, showers of rain, ants, sun, deer, the view, the horse calling, birdsong, salmon light in silver trees, wind.
Candlebark branches, wire, earth, 5 forms, each 2.5 x 2 metres. POA
David ATKINS, Between Moments 2019
Image courtesy of artist
Moments - brief, stacked side by side, stretched, cut short, in harmony, in disarray, curled, bent ninety degrees, aligned … fused together … and between them a void ... dwelling space.
Copper, bronze, 200 x 70 x 65 cm. $15,000
Stephen LLOYD, Journey of a Thousand Dreams 2019
Journey of a Thousand Dreams speaks of the dream of starting anew, of a journey to a new future, dwelling on what could be. It is a dream held by so many wishing to travel to the land we call Australia. This work addresses the dreams held by generations of people back to the first migrations across the seas, 50,000 plus years ago, and continuing to this day. The whole vessels represent the successful journeys, while the broken vessels are evidence that success is not guaranteed. The bell is symbolic of the goal, the sound of its chime travelling out to unknown destinations yet resonating in its new home.
Bronze, recycled timber, ceramic, china, steel rod, recycled leather, 252 x 187 x 183 cm. $33,800
Westley TULLY, Xanthorrhoea - Hybrid #1 2019
The work is inspired by the iconic native grass trees, Xanthorrhoea, endemic to Australia. This plant has the ability to flourish in poor soil, is resilient to drought and responds to wildfire by flowering profusely. These qualities have motivated me towards making this artwork which I see as a metaphor for my approach towards life.
Recycled materials including wooden marine pylon section, jetty cable wire, forged metal pylon band, plough disc, steel, nuts, bolts, washers, paint, epoxy glue, 2.3 x 1.8 x 1.8 metres. $15,000
Geraldo ZAMPRONI | Brazil, EARTH 2019
When I made a virtual visit to Hans Heysen’s place The Cedars I thought about making a structure combining the local earth and recycled waste. In north-east Brazil many dwellings are built with branches and clay earth – this technique is called Pau a Pique. By combining waste in the form of an armature of plastic spoons with an infill of mud in this very old technique the work provokes thinking about ecology and our relationship with the earth.
Earth, ash, plastic spoons, grass, hot glue, water, Dimensions variable. $4,500
Deborah SLEEMAN, Untitled 2019
Dwelling as a state of being, not on the earth, but of it, from it, within it. This sculpture is inspired by rock formations found the world over; places used for millennia as shelter by people, plants and animals. These are the places of found cubbies and imagination, the places of sacred rock art and of shelter in a storm. They dwell inside us, in our collective memory. They embody the continuum of time.
Copper, pressed tin, galvanised iron on steel armature, 160 x 200 x 200 cm. $7,800
Phillip McGILLIVRAY-TORY,The Dwelling 2019
The Dwelling is inspired by cocoons, human dwellings and being “on country”. The structure represents the cocoons of insect larvae and the coming of new beginnings, human shelters - adapt or perish, and the spirit of country - a nod to the indigenous peoples of Australia through the evocation of a Mimi figure.
Wood frame, metal, wire, twigs, bark and a bird’s nest, 190 x 23 x 23 cm. $8,500
Nicholas UHLMANN, Grounded 2019
The soaring nature of the eagle has been Grounded to offer protection and refuge to its young.
Corten steel, copper, stainless steel, cast aluminium, 220 x 65 x 150 cm. $19,000