Geoffrey Bartlett is regarded as one of Australia’s most successful and important sculptors. He is widely known for both his studio-based sculptures and major public and corporate commissions, working predominately within the language of abstraction.
His iconic sculptures can be seen at Canberra’s Parliament House, The National Gallery of Victoria, the Australian National University and along Melbourne’s Yarra River, to name a few.
Since the early 1970’s, Bartlett has been developing his sculptural form, honing down the essence of fluidity and tension present in his works and further revealing and enhancing the striking amalgam of textures and materials that characterise his evocative structures.
After a hiatus from working in public space, Bartlett is now partnering with Creative Road who bring more than two decades of public art project management experience. The partnership with Bartlett aims to build upon the artist’s impeccable reputation for delivering robust public artworks of immense beauty. Byron-based Creative Road facilitates the realisation of high quality art and design projects for public, commercial and residential spaces. They recently completed the Elysium project that was the laneway transformation in central Byron.
To receive a complimentary copy of Geoffrey Bartlett’s Creative Road portfolio, email email@example.com
The SWELL Sculpture Festival – Queensland’s largest outdoor sculpture exhibition – is celebrating its 15th year on the Gold Coast (September 8-17). This year, several Northern NSW artists have been selected to exhibit.
SWELL will see the golden sands of Currumbin Beach transformed into alandscape of interactive and inspiring public art amid a carnival atmosphere of live entertainment, street food, artist talks and masterclasses for all ages.
The 10-day exhibition will see up to 50 Australian and international artists display thought-provoking works plotted along a 1km stretch of coastline, highlighting a range of social, environmental and contemporary issues.
Alison Allcock, Brunswick Heads, Surf Warriors
Emerging artist Alison works with materials and objects found in her neighbourhood. For this year’s SWELL Sculpture Festival, she is creating a sculpture out of pre-loved surfboards. Drawing inspiration from the objects themselves, her work involved transformation, in this case from surf boards to an armoury of arrows, spears and harpoons. Alison believes these pre-loved Surfboards have a story and can tell us so much about the Gold Coast’s surfing culture. “Once regarded as an alternative or fringe activity, these pieces stand as a salute to the pioneers of the Gold Coast’s surfing culture. They are free spirited surf ‘warriors’ who explored the coast in a quest to find and conquer the perfect wave”.
Gabriel Rosita, Suffolk Park, Knight To
Artist Gabriel Rosita is creating a whimsical sculpture of a Knight, out of mixed media. The artist is creating the piece to impact viewers emotions in a mixed way. She wants them to see the beauty of the copper, then the conflicting beauty of the rusty steel sheets, imprinted with their own language and history, and finally to experience the power of the horse.
Jeanette Krohn, Byron Bay, Post-Tree Museum II
Artist Jeanette Krohn is hoping to make a strong environmental statement with her sculpture ‘Post-Tree Museum ll’. This is the second piece in her Post-Tree Museum series, the first piece (Post Tree Museum l) was a testament to the original ‘Big Scrub’ forests of the Northern Rivers. ‘Post-Tree Museum II’ is 10 years later and the forests of the world are in a much more precarious position. The Trees this time are therefore made of glass.
Lance Seadon, Billinudgel, Currumbin Cruisin
Lance is creating a series of Billy Carts for the SWELL Sculpture Festival, just like the ones he used to make when growing up in the 50’s with no computers - this is a whimsical look at the Billy Cart era of his childhood. He is creating a six individual and unique Billy Carts exploring the use of recycled and 'junk' materials arranged to convey a sense of drama, movement and excitement; capturing the imagination of young and old alike.
Sydney painter Guy Maestri won the Archibald Prize in 2009, and has now been announced a 2017 Wynne Prize Finalist. He chats to BAM about his nomination, and his residency at the Margaret Olley Centre earlier this year.
BAM. Congratulations on being a Wynne Prize Finalist. Please tell us about Self Portrait for Posterity.
Maestri. With these works, I am playing with the idea of the heroic classical bust and questioning what use there is in leaving a lasting reproduction of my own image for future generations. These sculptures are originally made in clay and then cast in bronze and painted. So they are very permanent, but appear malleable and ephemeral.
BAM. What were highlights of your residency at the Margaret Olley Centre?
Maestri. It was a privilege to be there, looking over that magnificent valley to Wollumbin in the distance, and to have such access to the gallery and a great studio to live and work in. I live in the heart of Sydney, so that in itself was a highlight. But I originally went there to investigate the surrounding area and make landscape work about it, however, I was inevitably drawn to the incredible recreation of Margaret Olley's home and studio. And with access to that space and permission to borrow objects to paint from, my focus shifted to these precious things, and to making intimate works about them.
BAM. Your exhibition Echo recently closed at the Tweed Regional Gallery. What was the process of developing the concept, and choosing the pieces for the show?
Maestri. The show became all about objects and their meaning, and also intimate space. I knew the exhibiting space that I would be using and it is this beautifully dark, quiet gallery space with dark grey walls and museum quality lighting. This had a great influence on the work I made, and on the pieces I chose to exhibit. I wanted it to feel like a museum, with relics and documents. I became interested in the flowers in Margaret's house, and of course the only ones remaining are her plastic ones, but what does it matter when you're making paintings of them? They become another form of reproduction anyway, but also an extension. I also thought a lot about my own grandmother's house, and what remained after she was gone, and the things I now have and cherish from that home. Everyday things with huge personal value to me. And so the show became about preservation too. And reflection. And of course, about painting. The joy of painting. Reinvigorated in me from being in Olley's world.
We Are, the newest sculptural work by Andrew Rogers, will be unveiled at an Opening Reception on Thursday, May 11 as a collateral exhibition to the 2017 La Biennale di Venezia - 57th International Art Exhibition.
Comprised of eight large bronze and stainless steel sculptures, this installation is a further iteration of Rogers’ series titled I Am. Presented in part by the Global Art Affairs Foundation, the work will be on view from May 9 through November 26, 2017 at Palazzo Mora in Venice, Italy.
Rogers’ practice explores human emotion through the light, organic forms that define his sculptural works, as well as the importance of the individual in affecting change. The artist sees the works in the series I Am and its derivative We Are as a metaphor for the dichotomy of human nature. The rough, undulating, organic outer surfaces that represent our physical selves are in direct contrast to the delicate, polished interiors reflecting the internal personal world of our thoughts.
Belief in the individual as a catalyst for change informs Rogers’ ongoing practice: “We are all individuals possessing the sanctity of a singular life and the ability to express ourselves. At the same time we are part of the society within which we live,” Rogers says. “These figurative forms are to remind us that it is the individual that makes our world a place of justice and compassion.”
Rogers work complements the ideas expressed by Christine Macel, 2017 Director of the Venice Biennale, in her curatorial statement: “In a world full of conflicts and jolts, in which humanism is being seriously jeopardized, art is the most precious part of the human being. It is the ideal place for reflection, individual expression, freedom, and fundamental questions. ... More than ever, the role, the voice and the responsibility of the artist are crucial in the framework of contemporary debates.”
The work philosophically relates to Roger’s ongoing series of geoglyphs – large-scale land-art installations for which he is best known. To date the project – titled Rhythms of Life – encompasses 51 major stone sculptures across the world, which act together to create the largest contemporary land art project. Each individual geoglyph is an act of collaboration between Rogers and the local community in which it is situated – as they work together to find and create a symbol that is significant to each respective region and people – and yet as a group they form a set of drawings across the earth visible from space. Over the years this project has involved over 7,500 people in 16 countries across all seven continents and continues to grow.
For more on Rogers' work, visit his website
To RSVP to the opening reception: AndrewRogersVenice@fitzandco.com
About the Artist
Andrew Rogers is one of Australia’s most distinguished and internationally recognized contemporary artists. International exhibitions are frequent and his critically acclaimed sculptures are in numerous private and prominent public collections and around the world. Rogers has received many significant commissions, including several large-scale pieces and various forms of land art. Rogers’ work is exhibited widely internationally and is the subject of books and documentaries shown on Ovation in the United States, the Discovery channel in Europe and the ABC and National Geographic channels. The Rhythms of Life land art project is featured on the Google Cultural Institute’s Art Project website in a digital exhibition of ultra-high resolution images.
About the Global Art Affairs Foundation
The GAA Foundation is a Dutch non-profit organization that aims to heighten the awareness about the more philosophical themes in contemporary art, architecture and in culture in general. In particular, it promotes the theme: "Time – Space – Existence", making this subject matter more accessible to a wider international audience. In order to achieve this goal, it organizes exhibitions, symposia, publish extensively and create art projects. The GAA Foundation was established in 2002 in New York, USA and starting in 2009, the Foundation has been based in Leiden, the Netherlands with a branch in Venice, Italy. Since 2002 the GAA Foundation has organized 26 contemporary art exhibitions and 6 symposia in Japan, the United States of America and various European countries. In addition, it supports, encourages, and enables the creation of artworks and undertakes joint projects with a range of international artists.