Inga King, doyen of Australian sculpture, opened Lorne Sculpture 2011 on the weekend. The three-week art event, curated by Julie Collins, features forty large outdoor installations, thirty-four smaller works in shop windows, twenty temporal sculptures, and three performance art pieces. The changeable, blustery weather didn’t deter hundreds of visitors from enjoying the works on display along the Lorne waterfront and it was a packed house for the opening where the prizes were announced.
Greg Johns, from Palmer, South Australia, won the Sculpture Trail $20,000 prize for his work Landings – Landlines – Songlines. The prize was sponsored by Tom and Marinanne Latham and Jack and Cynthia Wynhoven. Johns is also the recipient of a one month residency, accommodation and exhibition package from the National Sculpture Factory in Cork, Ireland.
John’s large installation of totem-like poles, fashioned from redgum, limestone, steel, stainless steel and ironstone merges gently with the bush site. He states in the catalogue:
“This large installation work draws from many sources and from a number of connected works I have completed over the last decade, including temporary works at Lake Mungo in NSW and twenty-five works permanently installed at Palmer in South Australia.
Since 1990, a major aspect of my sculpture practice has been to develop a sense of form which is clearly out of this landscape. To develop that sensibility I have engaged a visual, felt and beneath the surface, symbolic approach. Australian sculpture has not engaged with a deep reading of this extraordinary place.
This installation reflects in a multi-layered way the many influences, including European and Aboriginal, which have formed this place.”
The judges, Mary McCarthy, Corbett Lyon and Peter D. Cole, also listed four artists for special commendation: Dean Putting for The Pack, Jackie Ralph for Shipwrecked Horse, Annee Miron for You are Part of the Commonwealth 1, and Greer Taylor for Tumble.
The Sculpturescape prize of $10,000 was awarded to Melbourne artist Louise Lavarack for her installation Score, Lorne. On a curved bluestone wall on the beach, the artist drew chaotic swirls and spirals, then arranged long stakes in a carefully orchestrated pattern that echoed the rise and fall of the tides. Each stake was marked with an old tide chart which created an undulating swell line when viewed in its total. Lavarack describes her work as:
“… a performative work, a choreographic scribing in response to a particular place. The repetitive, cyclical actions of its making reiterate the ceaseless rhythms of tide and wave. Layers of circular markings applied to the weathered bluestone wall become the ‘stave’ lines for propped vertical rods, which delineate an undulating score for wave action and tidal movement. In due course (much like music or a receding tide) the only evidence of this fleeting poetic insculpturation will be a few faint markings on the wall and a documentary archive.”
The Lorne Sculturescape, sponsored by the Helen MacPherson Smith Trust, involved twenty artists or artist teams who created site specific work in direct response to the Lorne environment. Collins developed Sculpturescape as a homage to the legacy of the Mildura Sculpture Triennials and its significant influence over the development of Australian sculpture.
The judges gave special commendation to Kate Vivian (Modified Landscape) and Dorota-Lila Buczkowska (Swing).
Robert Hague received the $5,000 Indoor Sculpture award for his series of four bronze and gold works Trojan Hammer. He states:
“Familiar to my many sculptures, the lump-hammer is a brute, with a long and chequered history. It was used to carve the marble of the Parthenon, and then again to deface it. Often used as a symbol for honest labour, it is the quintessential tool. The Trojan Hammer series presents itself as a sometimes serious, sometimes humorous look at technology and its implications.”
Special commendations went to Genevieve McLean for The Eye of the Black Bird, Frank Duyker for The World Covered with Crops and Linelle Stepto for Perfected Equivalence.
Genevieve McLean, The Eye of the Black Bird (detail). Wax, foam, wire, artificial flowers & eyes, glitter, fabric, sequins, beading, yarn, faux fur.
Frank Duyker, The World Covered with Crops. Recycled floppy disks and engraved hard disks on a wooden frame.
Linelle Stepto, Perfected Equivalence (detail). Sea snake skin, cane toad skin, kangaroo skin, florist wire.
The Mars Gallery Career Development Award was given to Brigit Heller who displayed work in the indoor and outdoor sectors of the event with In Shades and Tracing. She receives a solo exhibition package from Mars Gallery in Port Melbourne.
Lorne Sculpture 2011 runs until Sunday 6 November. There is so much more to see than what is shown in this post (including a magnificent Inga King sculpture), so it is well worth a trip down to Lorne. And while you are there, you can vote for your favourite work in the People’s Choice Award of $5,000. www.lornesculpture.com