City of Hobart Art Prize 06
Brenda Factor
Mass 1: Pink Cars 2006 (detail)
Tracey Cockburn
Unreliable Evidence 2006
Deborah Williams
street dog – when afraid scratch
leg 2004 (detail)
Sponsors:
In particular the Hobart City Council wishes to
thank the sponsors of the City of Hobart Art
Prize 2006 for their generous contributions to
the exhibition.
The principle sponsor of the City of Hobart
Art Prize 2006 is Moorilla Estate which
generously provides the Moorilla Winter
Collection – Tasmania Prize as well as superb
wine and catering for the opening event and
accommodation for the judges and winning
artists in the luxurious chalets located on
the estate.
Advertising is provided by The Mercury
newspaper and WIN Television. Australian
air Express is the official carrier for artworks.
Printing of the invitations and catalogue is
undertaken by Monotone Art Printers.
Prizes:
The 2006 City of Hobart Art Prize offers two
main acquisitive prizes of $7,500 in each
category and a People’s Choice Prize of $1,000.
In partnership
with the Tasmanian Museum & Art Gallery
Principal
Sponsor
Cover: Below
Cassandra Chilton
‘from a distance looks
like flies’ 2006 (detail)
Suzi Zutic
A Place to Call Home 2006 (detail)
Mark Vaarwerk
Seven Brooches 2006 (detail)
Natasha Rowell
She’ll Be Right 2004 (detail)
The Hobart City Council would like to thank
its Arts Advisory Special Committee, and the
Visual Art Sub-Committee, the judges, Council
staff, the staff of the Tasmanian Museum and
Art Gallery, and the artists and craftspeople
whose support and participation have made
this exhibition possible.
A cultural
initiative of
Cover: Top Left to Right
Penny Malone
If the Shirt Fits 2005 (detail)
Bridgit Kennedy
Scents of Place – armband 2005
Moorilla Estate has generously provided the
$5,000 Moorilla Winter Collection – Tasmania
Prize which honours the memory of wine-maker
Jason Winter, who was killed in the Port Arthur tragedy.
>
>
>
2006 City of Hobart Art Prize Judges:
> Roger Butler, Senior Curator, Prints and Drawings, National Gallery of Australia;
> Patricia Anderson, art critic and writer for The Australian newspaper and,
> Craig Judd, Senior Curator of Art, Tasmanian Museum and Art Gallery.
Catalogue Essay: Peter Timms
Graphic Design: Gordon Harrison-Williams,
Workhorse Design Group
Photography: Simon Cuthbert (Winners) and
Peter Angus Robinson (Artists’ listing)
Moorilla Winter Collection – Tasmania Prize
Judges:
> Tim Goddard, CEO Moorilla Estate,
> The City of Hobart Art Prize Judges.
Hobart City Council Staff:
> Project management: Philip Holliday and
Sahn Cramer
> Management support, exhibition design and installation: Ben Booth
> Administrative support: Kaye Harrison
Conservation staff: Erica Burgess
Promotion and signage: Hannah Gamble and Michelle Nichols
Administrative support: Pam Stewart,
Judith Longhurst
For further information on the City of Hobart
Art Prize and the Carnegie Gallery exhibition
program, and other Hobart City Council cultural
initiatives, contact the Visual Art Coordinator,
Hobart City Council,
GPO Box 503 Hobart 7001.
Telephone: (03) 6238 2845
Fax: (03) 6236 9365.
Internet: www.hobartcity.com.au
Email: [email protected]
Published by Hobart City Council August 2006
© Copyright Hobart City Council 2006
Tasmanian Museum and Art Gallery Staff:
> Project management: Peter West,
Mark Colegrave and Jo Eberhard
> Exhibition design and installation:
Jo Eberhard, Mark Colegrave and Craig Judd
Proudly
sponsored by
Workhorse 06
Clockwise from top left:
Rebecca Stevens
Nature Reserve Study 2006 (detail)
jewellery / printmaking
Judges Statement
Prize Winners
The City of Hobart Art Prize: Jewellery
Cassandra Chilton
‘from a distance looks like flies’ 2006
The ‘Specimens’ series uses the cameo as a
frame to beautify and feminize an unlikely
subject. Inspired by collection boxes and ‘The
Collector’ (John Fowles, 1963), this series
parallels the intricacy of the selected insects’
silhouettes with the baroque lines of the cameo.
The City of Hobart Art Prize: Printmaking
Tracey Cockburn
Unreliable Evidence 2006
In these works it is the idea of the fragment
that is paramount – the fragment as
representative of a lost and, through a process
Top:
Cassandra Chilton
‘from a distance
looks like flies’
2006 (detail)
of representation, a possible recoverable
past. The fragment evokes all that could have
gone on in a particular site and is, for me,
representative of lives lived and the daily
existence of those who might have resided
there.
Moorilla Winter Collection – Tasmania Prize
Leyla Tas
Remnant Series 2006
My work explores the dynamics of relationships
through visually mapping physical interactions.
I seek to define the ambiguous space that
exists between object and subject by using the
format of brooches and installation. Creating
decorative filters that draw our attention to the
interaction between the body of the wearer and
the outside world.
Below Left:
Tracey Cockburn
Unreliable Evidence 2006
Below Right:
Leyla Tas
Remnant Series 2006 (detail)
Judges’ Commendation: Jewellery
Julie Blyfield
Margaret’s Pressings (brooch series) 2006
The ‘pressed desert plants’ series of brooches
evolved from looking at a wonderful collection
of 100 year old pressed plant specimens
collected by the Lutheran missionary Pastor
Johann Reuther from the remote desert in the
north east of South Australia around 1900.
Judges’ Commendation: Printmaking
Rebecca Stevens
Nature Reserve Study 2006
My practice involves drawn recordings and
studies of particular locations and their
associated built structures. There is a focus on
particular functions of structures that relate to
the general usage of the constructed spaces.
For example I have complete bodies of work
focusing on the staircases and walkways and
means of movement of some of the industrial
icons of Tasmania and also of the fences and
gates around natural phenomena in nature
reserves.
The City of Hobart Art Prize 2006 gives
audiences a sense of the skill and energy of
Australian printmakers and jewellers.
The Winner of the City of Hobart Art Prize
2006 for Printmaking is Tracey Cockburn. The
artist has developed a technique involving
the application of patterns onto a clear
plastic ground. The patterns are derived
from nineteenth century shards of domestic
pottery wares. Oscillating across history and
verging almost into science fiction, the judges
were impressed by the way Cockburn has
re-translated the notions that surround our
attraction to the fragment. The expanded
scale chosen by the artist gives an organic and
sensual sculptural integrity to the work while
the glossy and lustrous base material creates
astounding depth of colour and delivers new
life to the original found forms.
Highly Recommended for Printmaking
in 2006 is Rebecca Stevens. The judges
were struck by the manner in which Stevens
has made a tightly conceived, innovative
post conceptual play with formalist values.
Translated, this means that Stevens has
referred to the heritage of the great Tasmanian
print maker Bea Maddock, with her continuing
exploration of repeated image and text
relationships. In this series of six, Stevens
juxtaposes postcards and snapshots, so full of
accumulated detail, with pared back, shadow
like traces from those same locations. Stevens
prints these images on the comparatively
unorthodox surface of plaster to lend a marble
clad timelessness to seemingly inconsequential
sites, memories and reflections.
Highly Recommended for Jewellery in 2006
is the Adelaide based artist Julie Blyfield.
The judges were intrigued by how the artist
shifts traditional associations with silver away
from the often antiseptic clarity of polished
metal towards the organic. In Blyfield’s works,
silver is treated as casually as torn paper,
then intricately re worked using the ancient
technique of repoussé and then finally hand
coloured with paint. Blyfield carefully represents the fragility and concentrated but
delicate gradations of colour of desert plant
specimens that she encountered in the archives
of the South Australian Museum.
The winner of the City of Hobart Art Prize
2006 for Jewellery is Cassandra Chilton. In this
suite of works which draws on the long history
of the cameo, the artist transforms seemingly
prosaic milky, semi matte acrylic plastic into
precious objects. The judges were excited by
the way the artist integrates barely visible
fine silver detailing and finish that not only
retains the intimacy of the traditional cameo,
but also suggests the discretion and surprise
of Wedgewood. However, rather than depict
classical maidens with perfect profiles, Chilton
has chosen various beetles as her leitmotif!
Who would have thought that such an animal
be so elegant?
The judges for this year were Roger Butler,
Senior Curator of Prints and Drawings, National
Gallery of Australia, Patricia Anderson author
and arts writer for The Australian newspaper
and Craig Judd, Senior Curator of Art
Tasmanian Museum and Art Gallery.
Craig Judd
Below:
Julie Blyfield
Margaret’s
Pressings (brooch
series) 2006
Catalogue Essay
A message from the Right Honourable,
the Lord Mayor of Hobart,
Alderman Rob Valentine
It is with great pleasure that I welcome people
to the City of Hobart Art Prize 2006 exhibition.
The City of Hobart Art Prize has evolved
to become a cultural event of excellence and
innovation. This exhibition brings together the
categories of jewellery and printmaking from
entries received by artists, craftspeople and
designers across Australia including all states
and territories. The artwork created by the 73
practitioners featured in this exhibition offers
a fascinating insight into the spectrum of
contemporary approaches to jewellery and the
print medium across the nation.
From this exhibition, the works of two artists
– the winners of each category – will be chosen
for acquisition into the City of Hobart Art
Prize Collection. The City of Hobart Art Prize
Collection, a significant cultural asset, offers
a unique view of contemporary art practice
across mediums from, for example, furniture
design, textiles, photography, digital media and
painting, to this year’s categories jewellery and printmaking.
My congratulations to Cassandra Chilton for
‘from a distance looks like flies’ winning
entry in jewellery and to Tracey Cockburn
for Unreliable Evidence winning entry in
printmaking. Both winners receive a $7,500
prize provided by the Hobart City Council.
My congratulations also to Leyla Tas the
winner of the Moorilla Winter Collection
– Tasmania Prize which includes a $5,000 prize
generously provided by Moorilla Estate and
a dozen bottles of a premium Moorilla Estate
wine with Remnant Series showcased on the
label. Congratulations finally to Julie Blyfield
and Rebecca Stevens who each received a
commendation from the judges for
their entries.
To all of the artists and craftspeople who
submitted entries this year, I sincerely thank
you for participating in the City of Hobart
Art Prize and making it the success that it is.
Thanks must also go to the Tasmanian Museum
and Art Gallery and our valuable sponsors.
In particular, the City of Hobart Art Prize is
wonderfully enhanced by the participation
of our principle sponsor Moorilla Estate. My
thanks also to this year’s judges Roger Butler,
Senior Curator, Prints and Drawings, National
Gallery of Australia; Patricia Anderson, art critic
and writer for The Australian newspaper and
Craig Judd, Senior Curator of Art, Tasmanian
Museum and Art Gallery. They have had
the unenviable task of short-listing from an
extremely competitive field and, of course,
choosing the winners.
The Hobart City Council is very proud of
its role in initiating and continuing to present
this important national art prize as we believe
it reflects our City’s identity as a place where
contemporary visual arts, craft and design are
supported and celebrated.
When submitting work for this exhibition,
artists were asked to provide written
statements to help the judges with their
deliberations. These statements range from
cursory to fulsome, from flippant to weighty,
from the obscure to the enlightening. Together,
they would fill a book (one of the reasons
they cannot accompany the works on display).
Yet, from this welter of words, some common
threads may be drawn.
The artists usually begin by describing the
source of their imagery (an historical event,
something observed in nature, or perhaps an
idea gleaned from philosophy or literature)
which they are using both as a starting point
and a way of confirming the seriousness of
their intentions. The problem for us viewers
is that, unless these references are made
explicit in the work itself, they will remain
a mystery. Indeed, some of these works are
rather impenetrable without the help of written
or verbal explanation. But not many. If we are
properly attentive (and if the artists have been
properly attentive to us), we are sure to find
something to engage with, even when unaware
of what the work is supposed to be about.
Someone in woodchipping recently
dismissed objections to clearfelling as ‘just
aesthetic’. He was only trying to stir the pot,
but it is very revealing (and rather sad) that he
used aesthetic as a term of disparagement. If
nothing else, this very diverse group of works
can show us why our aesthetic responses to the
world matter and why we are impoverished in
their absence. It is the anti-utilitarian argument
that certain things have value in themselves,
aside from their usefulness. The exploitation
of nature for monetary gain is a point of
departure for many of these artists, even
among the jewellers, who seem to delight in
overturning their craft’s traditional associations
with luxury and indolence.
It should hardly be surprising that
consumerism is another important theme.
We forget that the vast majority of human
societies have been characterised by scarcity
and hardship. Our affluence presents us with
an entirely unprecedented situation which
demands a rethinking of almost all our values.
Art is, and always has been, a means by
which societies assess their ethics and moral
principles, and here there is evidence both of
ironic delight in the excesses of mass culture
and stern disapproval of its wastefulness and
triviality.
As many of these artists are aware, a sense
of history is necessary for any meaningful
reflection on our present situation. An historical
perspective helps us to clarify who we are,
where we come from and where we might
be headed. Without that grounding, we are
trapped like prisoners in our own era.
It is, or so we often suppose, an era of
unusual disruption and confusion. The search
for order and regularity in the face of apparent
chaos is evident throughout the exhibition,
typically expressed through the investigation
of pattern and repetition, or an interest in
systems of classification. Our sense of order,
our need for regularity and a certain amount
of predictability, is rooted in our biological
inheritance. ‘Without a pre-existent framework
or “filing system”’, writes the art historian
Ernst Gombrich, ‘we could not experience the
world, let alone survive in it.’ Art helps us
to construct possible frameworks, however
abstract it may sometimes be.
And, this being the era that it is, sexuality,
sensuality and ‘the body’ are also much in
evidence. That comes as no surprise as far as
the jewellery is concerned, since jewellery’s
purpose is to adorn the body and has always
carried a strong hint of the erotic. Yet the
printmakers, too, are not immune to this
fascination with our corporeal selves. This
may indicate an element of pop-cultural selfabsorption. More deeply, however, it reflects
concerns about the survival of individualism
against the mass, and fears about the loss of
personal identity and the fate of mere flesh and
blood in a computerised, mechanised society.
Such speculations as these would have been
incomprehensible to past generations for whom
jewellery meant diamonds and pearls and
prints little more than lithographs or engravings
of famous paintings. These former crafts have
now claimed their place as artforms capable of
conveying complex meanings and this generous
selection of recent work amply demonstrates
their potential.
Peter Timms
Judges Statement
Prize Winners
The City of Hobart Art Prize: Jewellery
Cassandra Chilton
‘from a distance looks like flies’ 2006
The ‘Specimens’ series uses the cameo as a
frame to beautify and feminize an unlikely
subject. Inspired by collection boxes and ‘The
Collector’ (John Fowles, 1963), this series
parallels the intricacy of the selected insects’
silhouettes with the baroque lines of the cameo.
The City of Hobart Art Prize: Printmaking
Tracey Cockburn
Unreliable Evidence 2006
In these works it is the idea of the fragment
that is paramount – the fragment as
representative of a lost and, through a process
Top:
Cassandra Chilton
‘from a distance
looks like flies’
2006 (detail)
of representation, a possible recoverable
past. The fragment evokes all that could have
gone on in a particular site and is, for me,
representative of lives lived and the daily
existence of those who might have resided
there.
Moorilla Winter Collection – Tasmania Prize
Leyla Tas
Remnant Series 2006
My work explores the dynamics of relationships
through visually mapping physical interactions.
I seek to define the ambiguous space that
exists between object and subject by using the
format of brooches and installation. Creating
decorative filters that draw our attention to the
interaction between the body of the wearer and
the outside world.
Below Left:
Tracey Cockburn
Unreliable Evidence 2006
Below Right:
Leyla Tas
Remnant Series 2006 (detail)
Judges’ Commendation: Jewellery
Julie Blyfield
Margaret’s Pressings (brooch series) 2006
The ‘pressed desert plants’ series of brooches
evolved from looking at a wonderful collection
of 100 year old pressed plant specimens
collected by the Lutheran missionary Pastor
Johann Reuther from the remote desert in the
north east of South Australia around 1900.
Judges’ Commendation: Printmaking
Rebecca Stevens
Nature Reserve Study 2006
My practice involves drawn recordings and
studies of particular locations and their
associated built structures. There is a focus on
particular functions of structures that relate to
the general usage of the constructed spaces.
For example I have complete bodies of work
focusing on the staircases and walkways and
means of movement of some of the industrial
icons of Tasmania and also of the fences and
gates around natural phenomena in nature
reserves.
The City of Hobart Art Prize 2006 gives
audiences a sense of the skill and energy of
Australian printmakers and jewellers.
The Winner of the City of Hobart Art Prize
2006 for Printmaking is Tracey Cockburn. The
artist has developed a technique involving
the application of patterns onto a clear
plastic ground. The patterns are derived
from nineteenth century shards of domestic
pottery wares. Oscillating across history and
verging almost into science fiction, the judges
were impressed by the way Cockburn has
re-translated the notions that surround our
attraction to the fragment. The expanded
scale chosen by the artist gives an organic and
sensual sculptural integrity to the work while
the glossy and lustrous base material creates
astounding depth of colour and delivers new
life to the original found forms.
Highly Recommended for Printmaking
in 2006 is Rebecca Stevens. The judges
were struck by the manner in which Stevens
has made a tightly conceived, innovative
post conceptual play with formalist values.
Translated, this means that Stevens has
referred to the heritage of the great Tasmanian
print maker Bea Maddock, with her continuing
exploration of repeated image and text
relationships. In this series of six, Stevens
juxtaposes postcards and snapshots, so full of
accumulated detail, with pared back, shadow
like traces from those same locations. Stevens
prints these images on the comparatively
unorthodox surface of plaster to lend a marble
clad timelessness to seemingly inconsequential
sites, memories and reflections.
Highly Recommended for Jewellery in 2006
is the Adelaide based artist Julie Blyfield.
The judges were intrigued by how the artist
shifts traditional associations with silver away
from the often antiseptic clarity of polished
metal towards the organic. In Blyfield’s works,
silver is treated as casually as torn paper,
then intricately re worked using the ancient
technique of repoussé and then finally hand
coloured with paint. Blyfield carefully represents the fragility and concentrated but
delicate gradations of colour of desert plant
specimens that she encountered in the archives
of the South Australian Museum.
The winner of the City of Hobart Art Prize
2006 for Jewellery is Cassandra Chilton. In this
suite of works which draws on the long history
of the cameo, the artist transforms seemingly
prosaic milky, semi matte acrylic plastic into
precious objects. The judges were excited by
the way the artist integrates barely visible
fine silver detailing and finish that not only
retains the intimacy of the traditional cameo,
but also suggests the discretion and surprise
of Wedgewood. However, rather than depict
classical maidens with perfect profiles, Chilton
has chosen various beetles as her leitmotif!
Who would have thought that such an animal
be so elegant?
The judges for this year were Roger Butler,
Senior Curator of Prints and Drawings, National
Gallery of Australia, Patricia Anderson author
and arts writer for The Australian newspaper
and Craig Judd, Senior Curator of Art
Tasmanian Museum and Art Gallery.
Craig Judd
Below:
Julie Blyfield
Margaret’s
Pressings (brooch
series) 2006
Catalogue Essay
A message from the Right Honourable,
the Lord Mayor of Hobart,
Alderman Rob Valentine
It is with great pleasure that I welcome people
to the City of Hobart Art Prize 2006 exhibition.
The City of Hobart Art Prize has evolved
to become a cultural event of excellence and
innovation. This exhibition brings together the
categories of jewellery and printmaking from
entries received by artists, craftspeople and
designers across Australia including all states
and territories. The artwork created by the 73
practitioners featured in this exhibition offers
a fascinating insight into the spectrum of
contemporary approaches to jewellery and the
print medium across the nation.
From this exhibition, the works of two artists
– the winners of each category – will be chosen
for acquisition into the City of Hobart Art
Prize Collection. The City of Hobart Art Prize
Collection, a significant cultural asset, offers
a unique view of contemporary art practice
across mediums from, for example, furniture
design, textiles, photography, digital media and
painting, to this year’s categories jewellery and printmaking.
My congratulations to Cassandra Chilton for
‘from a distance looks like flies’ winning
entry in jewellery and to Tracey Cockburn
for Unreliable Evidence winning entry in
printmaking. Both winners receive a $7,500
prize provided by the Hobart City Council.
My congratulations also to Leyla Tas the
winner of the Moorilla Winter Collection
– Tasmania Prize which includes a $5,000 prize
generously provided by Moorilla Estate and
a dozen bottles of a premium Moorilla Estate
wine with Remnant Series showcased on the
label. Congratulations finally to Julie Blyfield
and Rebecca Stevens who each received a
commendation from the judges for
their entries.
To all of the artists and craftspeople who
submitted entries this year, I sincerely thank
you for participating in the City of Hobart
Art Prize and making it the success that it is.
Thanks must also go to the Tasmanian Museum
and Art Gallery and our valuable sponsors.
In particular, the City of Hobart Art Prize is
wonderfully enhanced by the participation
of our principle sponsor Moorilla Estate. My
thanks also to this year’s judges Roger Butler,
Senior Curator, Prints and Drawings, National
Gallery of Australia; Patricia Anderson, art critic
and writer for The Australian newspaper and
Craig Judd, Senior Curator of Art, Tasmanian
Museum and Art Gallery. They have had
the unenviable task of short-listing from an
extremely competitive field and, of course,
choosing the winners.
The Hobart City Council is very proud of
its role in initiating and continuing to present
this important national art prize as we believe
it reflects our City’s identity as a place where
contemporary visual arts, craft and design are
supported and celebrated.
When submitting work for this exhibition,
artists were asked to provide written
statements to help the judges with their
deliberations. These statements range from
cursory to fulsome, from flippant to weighty,
from the obscure to the enlightening. Together,
they would fill a book (one of the reasons
they cannot accompany the works on display).
Yet, from this welter of words, some common
threads may be drawn.
The artists usually begin by describing the
source of their imagery (an historical event,
something observed in nature, or perhaps an
idea gleaned from philosophy or literature)
which they are using both as a starting point
and a way of confirming the seriousness of
their intentions. The problem for us viewers
is that, unless these references are made
explicit in the work itself, they will remain
a mystery. Indeed, some of these works are
rather impenetrable without the help of written
or verbal explanation. But not many. If we are
properly attentive (and if the artists have been
properly attentive to us), we are sure to find
something to engage with, even when unaware
of what the work is supposed to be about.
Someone in woodchipping recently
dismissed objections to clearfelling as ‘just
aesthetic’. He was only trying to stir the pot,
but it is very revealing (and rather sad) that he
used aesthetic as a term of disparagement. If
nothing else, this very diverse group of works
can show us why our aesthetic responses to the
world matter and why we are impoverished in
their absence. It is the anti-utilitarian argument
that certain things have value in themselves,
aside from their usefulness. The exploitation
of nature for monetary gain is a point of
departure for many of these artists, even
among the jewellers, who seem to delight in
overturning their craft’s traditional associations
with luxury and indolence.
It should hardly be surprising that
consumerism is another important theme.
We forget that the vast majority of human
societies have been characterised by scarcity
and hardship. Our affluence presents us with
an entirely unprecedented situation which
demands a rethinking of almost all our values.
Art is, and always has been, a means by
which societies assess their ethics and moral
principles, and here there is evidence both of
ironic delight in the excesses of mass culture
and stern disapproval of its wastefulness and
triviality.
As many of these artists are aware, a sense
of history is necessary for any meaningful
reflection on our present situation. An historical
perspective helps us to clarify who we are,
where we come from and where we might
be headed. Without that grounding, we are
trapped like prisoners in our own era.
It is, or so we often suppose, an era of
unusual disruption and confusion. The search
for order and regularity in the face of apparent
chaos is evident throughout the exhibition,
typically expressed through the investigation
of pattern and repetition, or an interest in
systems of classification. Our sense of order,
our need for regularity and a certain amount
of predictability, is rooted in our biological
inheritance. ‘Without a pre-existent framework
or “filing system”’, writes the art historian
Ernst Gombrich, ‘we could not experience the
world, let alone survive in it.’ Art helps us
to construct possible frameworks, however
abstract it may sometimes be.
And, this being the era that it is, sexuality,
sensuality and ‘the body’ are also much in
evidence. That comes as no surprise as far as
the jewellery is concerned, since jewellery’s
purpose is to adorn the body and has always
carried a strong hint of the erotic. Yet the
printmakers, too, are not immune to this
fascination with our corporeal selves. This
may indicate an element of pop-cultural selfabsorption. More deeply, however, it reflects
concerns about the survival of individualism
against the mass, and fears about the loss of
personal identity and the fate of mere flesh and
blood in a computerised, mechanised society.
Such speculations as these would have been
incomprehensible to past generations for whom
jewellery meant diamonds and pearls and
prints little more than lithographs or engravings
of famous paintings. These former crafts have
now claimed their place as artforms capable of
conveying complex meanings and this generous
selection of recent work amply demonstrates
their potential.
Peter Timms
City of Hobart Art Prize 06
Brenda Factor
Mass 1: Pink Cars 2006 (detail)
Tracey Cockburn
Unreliable Evidence 2006
Deborah Williams
street dog – when afraid scratch
leg 2004 (detail)
Sponsors:
In particular the Hobart City Council wishes to
thank the sponsors of the City of Hobart Art
Prize 2006 for their generous contributions to
the exhibition.
The principle sponsor of the City of Hobart
Art Prize 2006 is Moorilla Estate which
generously provides the Moorilla Winter
Collection – Tasmania Prize as well as superb
wine and catering for the opening event and
accommodation for the judges and winning
artists in the luxurious chalets located on
the estate.
Advertising is provided by The Mercury
newspaper and WIN Television. Australian
air Express is the official carrier for artworks.
Printing of the invitations and catalogue is
undertaken by Monotone Art Printers.
Prizes:
The 2006 City of Hobart Art Prize offers two
main acquisitive prizes of $7,500 in each
category and a People’s Choice Prize of $1,000.
In partnership
with the Tasmanian Museum & Art Gallery
Principal
Sponsor
Cover: Below
Cassandra Chilton
‘from a distance looks
like flies’ 2006 (detail)
Suzi Zutic
A Place to Call Home 2006 (detail)
Mark Vaarwerk
Seven Brooches 2006 (detail)
Natasha Rowell
She’ll Be Right 2004 (detail)
The Hobart City Council would like to thank
its Arts Advisory Special Committee, and the
Visual Art Sub-Committee, the judges, Council
staff, the staff of the Tasmanian Museum and
Art Gallery, and the artists and craftspeople
whose support and participation have made
this exhibition possible.
A cultural
initiative of
Cover: Top Left to Right
Penny Malone
If the Shirt Fits 2005 (detail)
Bridgit Kennedy
Scents of Place – armband 2005
Moorilla Estate has generously provided the
$5,000 Moorilla Winter Collection – Tasmania
Prize which honours the memory of wine-maker
Jason Winter, who was killed in the Port Arthur tragedy.
>
>
>
2006 City of Hobart Art Prize Judges:
> Roger Butler, Senior Curator, Prints and Drawings, National Gallery of Australia;
> Patricia Anderson, art critic and writer for The Australian newspaper and,
> Craig Judd, Senior Curator of Art, Tasmanian Museum and Art Gallery.
Catalogue Essay: Peter Timms
Graphic Design: Gordon Harrison-Williams,
Workhorse Design Group
Photography: Simon Cuthbert (Winners) and
Peter Angus Robinson (Artists’ listing)
Moorilla Winter Collection – Tasmania Prize
Judges:
> Tim Goddard, CEO Moorilla Estate,
> The City of Hobart Art Prize Judges.
Hobart City Council Staff:
> Project management: Philip Holliday and
Sahn Cramer
> Management support, exhibition design and installation: Ben Booth
> Administrative support: Kaye Harrison
Conservation staff: Erica Burgess
Promotion and signage: Hannah Gamble and Michelle Nichols
Administrative support: Pam Stewart,
Judith Longhurst
For further information on the City of Hobart
Art Prize and the Carnegie Gallery exhibition
program, and other Hobart City Council cultural
initiatives, contact the Visual Art Coordinator,
Hobart City Council,
GPO Box 503 Hobart 7001.
Telephone: (03) 6238 2845
Fax: (03) 6236 9365.
Internet: www.hobartcity.com.au
Email: [email protected]
Published by Hobart City Council August 2006
© Copyright Hobart City Council 2006
Tasmanian Museum and Art Gallery Staff:
> Project management: Peter West,
Mark Colegrave and Jo Eberhard
> Exhibition design and installation:
Jo Eberhard, Mark Colegrave and Craig Judd
Proudly
sponsored by
Workhorse 06
Clockwise from top left:
Rebecca Stevens
Nature Reserve Study 2006 (detail)
jewellery / printmaking
Works in the exhibition
Jewellery
Dimensions for works are given in
centimetres, height x width x depth.
Robert Baines
Lives in Melbourne, VIC
Bloodier than Black No 1 Brooch 2004
Silver, powdercoat, paint 20 x 14 x 4.6
Julie Blyfield
Lives in Adelaide, SA
Margaret’s Pressings (brooch series) 2006
(detail)
Oxidised sterling silver, enamel, paint, wax
6x7x2
Cassandra Chilton
Lives in Melbourne, VIC
From a distance looks like flies 2006 (detail)
Acrylic, fine silver, 925 silver, stainless steel,
750 gold
Dimensions variable
Ximena N Briceno
Lives in Weston, ACT
Keep Walking Joseph Banks… Dec 2005 (detail)
Anodised aluminium, stainless steel,
sterling silver ring shanks, roll printed,
dimensions variable
Simon Cottrell
Lives in Preston, VIC
Three Brooches 2006 (detail)
Monel, Stainless steel, 16ct green gold
15 x 100 x 10
Roseanne Bartley
Lives in East Coburg, VIC
Travel Series 2006 (detail)
Tin lids, parking signs, fuel can,
dimensions variable
Karin Beaumont
Lives in Margate, TAS
Soliloquy in Silica 2006 (detail)
Sterling silver, titanium, black opal,
dimensions variable
Michelle Cangiano
Lives in Thornbury, VIC
Untitled 2006 (detail)
Sterling silver & oxidised sterling silver 7 x 8 x 1
Renee Damiani
Lives in Para Hills, SA
Squishy sensory series 2005 (detail)
Recycled plastics, foam, rubber, recycled
latex toys, polyethylene, pvc, sterling silver,
dimensions variable
Works in the exhibition
Jewellery
Elodie Darwish
Lives in Bentleigh, VIC
Calderisms 2006 (detail)
Stainless steel, acrylic, sterling silver 6 x 11
Julie de Ville
Lives in Collingwood, VIC
Gunclub 2004 (detail)
Mouse, natural diamonds, jet, 9ct & 18ct gold
3.5 x 2.5 x 3
Anna Davern
Lives in Melbourne, VIC
Muster 2006 (detail)
Mild steel, recycled tin, fine gold, pearls,
dimensions variable
Marcos Davidson
Lives in Melbourne, VIC
Bass Dish 2004
Paper bakerlite and fine silver 3.5 x 3 x 10
Joungmee Do
Lives in Strathfield, NSW
Hwajodo (painting of flowers and Birds)
2006 (detail)
Silver, steel, coloured copper, gold,
dimensions variable
Victoria Edgar
Lives in Ceres, VIC
Aspiration II 2006 (detail)
Sterling silver, nickel silver, copper,
18ct yellow gold & glass 1000 x 60
Brenda Factor
Lives in Blackheath, NSW
Mass I: Pink Cars (working title) 2006 (detail)
Jewellery casting wax 3 x 7 x 3
Maureen Faye-Chauhan
Lives in Kangaroo Ground, VIC
En Trance series 2005
925 silver stainless steel cable 13 x 13
Yuko Fujita
Lives in Elwood, VIC
Charms 2005 (detail)
Mild steel, silicon, sterling silver, silk thread, clay,
Dimensions variable
Works in the exhibition
Jewellery
Barbara Gambin
Lives in Seaford, VIC
Walking the Dog 2006
Sterling silver, fine silver, boulder opal,
amethyst, fresh water pearls
7.5 x 8 x 2
Pennie Jagiello
Lives in Preston, VIC
Flat Coral 2006
Polypropylene, plastic coated copper wire,
stainless steel
3.5 x 15 x 2
Marian Hosking
Lives in Kew, VIC
Tasmanian Suite 2006
925 silver 120 x 6 x 6
Vikki Kassioras
Lives in Melbourne, VIC
Concrete Pearls 2006
Concrete, stone aggregate, oxide, sterling silver
1.5 x 48 x 1.5
Linda Hughes
Lives in Macleod, VIC
Neckpiece Cautionary Sign 2006 (detail)
Laminate, silver, rubber, dimensions variable
Bridget Kennedy
Lives in Lane Cove, NSW
Scents of Place – armband 2005
Stainless steel, beeswax, rare earth magnets
12.5 x 12.5 x 2
Natalie Lleonart
Lives in Elsternwick, VIC
Your Own Merry Menagerie 2004 (detail)
Recycled plastic & aluminium knitting needles
8 x 4 x 1.5
Katheryn Leopoldseder
Lives in Flemington, VIC
Necklace For My Mother 2004 (detail)
Lead, aluminium, copper and gold leaf
9.5 x 65 x 118
Keith Lo Bue
Lives in Stanmore, NSW
What Mr. Darwin Saw 2006 (detail)
Mixed media 17 x 9 x 7
Works in the exhibition
Jewellery
Sally Mahony
Lives in Torrens Park, SA
Shadowscape (pin board) 2005 (detail)
Mild steel (acid etched & heat blackened)
sterling silver, timber, perspex
40 x 120 x 12
Jane Millard
Lives in Brighton, VIC
Spot and Crumple (series necklace & brooch)
2005 (detail)
Silver, copper, enamel paint, stainless steel,
dimensions variable
Glenice Lesley Matthews
Lives in Swanbourne, WA
Memory Rock I – Albany WA (Brooch) 2004
(detail)
Cloisonne Enamel on fine silver, matt finish
oxides
4 x 5.5 x 1.5
Sean O’Connell
Lives in Bundeena, NSW
Transit 2006 (detail)
Mild steel, stainless steel, yellow gold
25 x 20 x 10
Leslie Matthews
Lives in Adelaide South, SA
When it comes, the landscape listens, shadows
hold their breath 2006 (detail)
Sterling silver & sterling silver blackened
9 x 6 x 3.5
Nina Oikawa
Lives in Caulfield North, VIC
Fossil Garden
Necklace 2006 (detail)
Fine silver, sterling silver, various resin,
synthetic stones
Dimensions variable
Tiffany Parbs
Lives in North Carlton, VIC
Blister-ring 2006 (detail)
Skin, digital print 30 x 47 x 4
Vanessa Raimondo
Lives in Werribee, VIC
Materializing the Body (series of 3) 2005
(detail)
PVC plastic, polyester, dimensions variable
Brenda Ridgewell
Lives in Shelley, WA
Untitled 2006 (detail)
Sterling silver 15.5 x 1.8
Works in the exhibition
Jewellery
Jett Street
Lives in Casuarina, NT
Untitled 2006 (detail)
Red coral and iodized non tarnish wire
80 x 30 x 20
Melissa Turner
Lives in Macmasters Beach, NSW
I don’t know what I want 2006 (detail)
Stainless steel, steel, silk thread, silver
Dimensions variable
Leyla Tas
Lives in Railton, TAS
Remnant Series 2006 (detail)
Sterling silver, rubber, mild steel, 18k, enamel,
plexiglass, mirror
40 x 250 x 30
Mark Vaarwerk
Lives in Paddington, NSW
Seven Brooches 2006 (detail)
Plastic shopping bags, milk bottle, sterling
silver,
Stainless steel. 5 x 6 x 1
Blanche Tilden
Lives in Carlton, VIC
Carte Blanche series (three necklaces) 2006
(detail)
Cold worked glass, 925 silver, silk cord
Dimensions variable
Linda Van Niekerk
Lives in Hobart, TAS
Chrysalis Series 2006 (detail)
Fine silver, dimensions variable
Zoe Jay Vaness
Lives in Callala Beach, NSW
Neckpiece 1 1,2,3,5 2005 (detail)
Neckpiece 2 1,1,2,3,5 2005
Neckpiece 3 2,3,4,5 2006
Neckpiece 4…3,3,3 2006
Mixed media, dimensions variable
Alice Whish
Lives in Hunters Hill, NSW
Quarter Boat 2004 (detail)
925 silver & fine silver oxidised
4.5 x 5.5 x 15
Suzi Zutic
Lives in East St Kilda, VIC
A Place to Call Home 2006 (detail)
Sterling silver, fine silver, 9ct gold, white
sapphires, paint
2 x 2 x 4.5
Sequence: top left down column, across to bottom right.
Works in the exhibition
Printmaking
Raymond Arnold
Lives in Queenstown, TAS
Shielding the Body / Bayeux Soldier 2005 (detail)
Etching diptych 120 x 160
Nicole Choroszy
Lives in North Hobart, TAS
Kiku 2005 (detail) Etching 80 x 80
Christl Berg
Lives in Invermay, TAS
Burst 2005 (detail)
Digital prints (20 cut-out prints) 200 x 200
Tracey Cockburn
Lives in Moonah, TAS
Unreliable Evidence 2006
Screen print on acrylic 150 x 70 x 2
Jason Carter
Lives in Taroona, TAS
Blockbuster 2006 (detail) Digital print 65 x 90 x 4
Neil Emmerson
Lives in Parap, NT
Wood Nymph Triptych (the heart is a lonely
hunter) 2005 (detail) Screen print 112 x 76 x .8
Susanna Castleden
Lives in Fremantle, WA
White Out 2006 (detail)
Relief, ink and screen print 100 x 250
Dianne Fogwell
Lives in Watson, ACT
Casting Dreams – refugee 2006 (detail)
Linocut 240 x 270
Angela Cavalieri
Lives in Clifton Hill, VIC
Scripta Manent 2006 (detail)
Linocut print on canvas 262 x 196
Belinda Fox
Lives in Brunswick, VIC
Take it Back 2006 (detail)
Pigment, etching & lino on paper 120 x 140
Dimensions for works are given in
centimetres, height x width x depth.
Works in the exhibition
Printmaking
Madeleine Goodwolf
Lives in Gardners Bay, TAS
Low Tide 2005 (detail)
Multi plate etching 61 x 165
David Hawley
Lives in Moonah, TAS
Wave 2006 (detail)
Acrylic screen print on plywood 235 x 220 x 2.5
Kaye L Green
Lives in Austins Ferry, TAS
The Tree in Time and Light 2006 (detail)
Lithograph & lino cut 60 x 85
Julie Irving
Lives in Elwood, VIC
Untitled 2006 (detail)
Digital print 120 x 150 x 45
Rew Hanks
Lives in Beecroft, NSW
Tiger’s Host (detail)
Lino cut 71 x 69
Claude Jones
Lives in Rozelle, NSW
Hovering Creature 2005 (detail)
Intaglio, digital and wax 40 x 30
Keith Lo Bue
Lives in Stanmore, NSW
Study: A Cure For Melancholy 2005 (detail)
Digital print, archival pigment inks on
Hahnemuhle Watercolour paper 151 x 110 x 7
Marco Luccio
Lives in Kinglake, VIC
Fortyfive Storeys High 2005 (detail)
Drypoint 118 x 88.6 x 5
Megan McPherson
Lives in Clifton Hill, VIC
two extra 2006 (detail)
Unique state, relief printed etching, silk thread
42 x 38 x 3.5 (framed)
Works in the exhibition
Printmaking
Penny Malone
Lives in Moonah, TAS
If The Shirt Fits 2005 (detail)
Hand printed pigment on cotton & silk screened
plexiglass 130 x 90 x 4.5
Natasha Rowell
Lives in Jingili, NT
She’ll Be Right 2004 (detail)
Etching, Ala Poupee 50 x 40
Penny Mason
Lives in South Launceston, TAS
Streaming Through Time #7 2006 (detail)
Lithograph 21 x 97 x 3
Toby Richardson
Lives in College Park, SA
Single mother of two waits for her big break:
Oaklands 5046 2005 (detail)
Giclee print on German etching paper
2040 x 1100
Michael Schlitz
Lives in Huonville, TAS
white tree black tree 2006 (detail)
Woodblock on Kozo paper 138 x 125 x .01
Stephen Spurrier
Lives in Darling Heights, QLD
The Delhi Diaries 2006 (detail)
Digital prints (set of 3 Artist’s Books in Slipcase)
11 x 30 x 3.5
Rebecca Stevens
Lives in Glebe, TAS
Nature Reserve Study 2006 (detail)
Ink on plaster, photographs, postcards
63 x 195 x 3
Deborah Williams
Lives in Brunswick, VIC
street dog – when afraid scratch leg 2004
(detail)
Etching on paper 88.2 x 59
Katy Woodroffe
Lives in Riverside, TAS
Songs of the Nightingale: in the Chamber of
Dark Secrets (detail)
Mixed media on paper, 144 x 114