Aldo Bilotta
Gesture
Nickel plated steel, 120 x 40 x 40cm
$4,800

The oil paint tube evokes the pursuit of the artist and the artist’s ideas. It questions our perception of art today and what is relevant. I am drawing on the symbolism of the paint tube and forging metal into the 3D object. Like Claes Oldenburg’s “tooth paste tube” referencing the mundane everyday, identifying and recognising a figurative or human element in the tube – a projection of the viewer.

Mark Booth
75.90-90°
PVC pipe, mixed media, 83 x 88 x 55cm
$4,950

Modules combine to create organic, biological, intestinal knots. Achieved through the use of pattern, camouflage changes perception of a form by making it appear to shape-shift. A natural phenomenon, it can be adopted to disguise man-made forms and blend them into their surroundings. 75.90-90°appears as an undetected, cancerous, parasitic growth.

Maudie Brady
Geoffrey
Polymer resin, 46 x 22 x 26cm
$3,500

Geoffrey Rush is one of Australia’s most well known actors. He agreed to sit for Maudie in August 2015 in his home in Melbourne for a total of 4 sittings and commissioned a bronze cast of the work for his private collection.

SOLD. Further editions available.

Maudie Brady
Daydream
Polymer resin, 50 x 140 x 50cm
$6,500

My main concern whilst creating Daydream was to capture a true likeness of the gravity imbued in the pose, whilst maintaining the sense of grace and softness essential to the feminine form. The model’s gaze is soft, yet present. With a slight smile she invites you into her daydream.

SOLD. Further editions available.

Claire Brown
Keeper
Bronze, 16.5 x 12 x 11.5cm
$500

This work is one of my first bronze castings. I was exploring the dynamics between two figures, where their interaction revolves around a contest for the ball.

Claire Brown

Untitled

Limestone, 47 x 53 x 24cm

$850

This piece evolved from studies of a torso, in particular various positions of the shoulder blades. My objective was to accentuate a sense of compression and tension between the elements within the work.
SOLD.

Sach Catts
Water Cure: Beton Brut
Prestressed concrete, galvanised steel
130 x 241 x 70cm
$6,000

This piece was conceived from a study of the body and its abuse. “The water cure”, a historic synonym for “waterboarding”: the interrogation technique that became a potent symbol of the War on Terror. Beton Brut is a propositional design for a waterboarding apparatus according to official CIA procedures.

Carol Crawford
Grand Amore – the embrace
Italian scaglione alabaster
45cm x 30cm x 30cm
$9,500

Grande Amore expresses ‘envelopment and the caress’. Alabaster and the process of carving this superb stone is very much like a love embrace - all encompassing and full of surprises. I never decide the outcome of the piece prior to starting work on it. My process is very slow and after the roughing out, I use hand files and hand polish the stone.
SOLD.

Christine Crimmins
Coupling
Plaster
35 x 25 x 25cm
$750

I like white, round shapes. Utson’s Opera House inspires me. Reputedly, Utson reassembled sections of a sphere in his design. I use this idea to reassemble segmented shapes to recall the whole and giving the piece a unity. Often these pieces resemble human figures. I call this piece Coupling.
SOLD.

Anne Delaney
Dervish Mother
Painted steel, 180 x 160 x 160cm
$3,300

Dervish Mother explores the movement generated by a figure swirling through states of flow, surrender and stillness. ‘Drawn in space’ using pieces of round steel bar that are manipulated and welded, and inspired by biomorphic forms, the sculpture captures the essence of a female form, but is not representational.

Christopher Edwards
Liberation
Silicon bronze on granite, 102 x 36 x 50cm
$21,000

This figure symbolizes a sense of freedom and the joy of shedding the bonds of discrimination or restrictions of any form.

Daniel Fischer
Flays
Found industrial metal, 79 x 45 x 44cm
$650

My works explores the human form as a mechanical creature. Forged from industrial refuse, this piece explores how the precision of mass production readily recedes, giving way to the erraticism of the human condition. As with mechanics, the interplay between the two forms creates the whole. The introduction of the polished, enamelled planes is an aesthetic decision – a disruption to the chaos.
SOLD.

Roy Flior
Sheila
Wood, paint, 178 x 40cm
$750

Sheila is an abstract figure exploring the human form, evolving from a central vertical line, constructed from wood painted in bright acrylics.

Kym Frame
Women Afoot
Hand made paper, banana fibre, methyl
cellulose, perspex LED lights
240 x 240cm
$4,000

Women Afoot is my effort to evoke the multiple and complex layers of what it is to be a woman and our many roles and experiences. My intention is that both the paper and the form express the intricate blend of strength and fragility that is at our core.

Jenny Green
The Sentinel
Painted aluminium,193 x 60 x 55cm
$16,000

The Sentinel surveys its surroundings. Ever vigilant; it stands guard and protects those it cares for. It remembers breezes, sun and storms; it enjoys the delights of children playing; it recalls the lives of people it has encountered and become entwined with.

Gillian Hodes
Dave 1
Bronze, 25 x 13 x 18cm
$3,700

In an increasingly hyper-connected modern society, Dave’s face alludes to the frustration of creating genuine connection. While a glimmer of the individual shines through the bronze patina, both the hardness of the material and Dave’s closed eye remind us that while we are more connected than ever, we continue to grow apart.

Freya Jobbins
Cassiopeia
Plastic dolls, 75 x 60 x 30cm
$3,800

Cassiopeia was a beautiful but vain Queen. Punished by the Gods, she was turned into a constellation, holding a mirror, a sign of her vanity. Exploring notions of aesthetics and linking it to Greek mythology, where ancient morals often reflect themselves within our contemporary society. Here the phone is the mirror.

Cat Kerr
Un-tit-led
Mixed media, dimensions variable
$500

The sculpture displays a cow suckling from a human breast. A reversal of roles between humans and cows in milk production and consumption demonstrates a shift of power between the human and animal figures.

Miroslav Kratky
Black Prince
Wood, 105 x 75 x 8cm
$3,000

This relief should be seen as an indirect acknowledgement of the sculpting techniques of the present times and also as a moderate reference to the figurative imagery of medieval era. For me, particularly German carvers seem to convincingly carry the tradition of the bold preoccupation with only what is essential.

Amaya Lang
Herbert
Glazed earthenware, 72 x 40 x 40cm
$485

Herbert represents a body that is hollowed out and reassembled into a landscape of internal plumbing. I hope to uncover links between the body’s internal and external landscapes, and give an identity to the innards. The ceramic medium is utilised to address the body’s seemingly solid yet overarching fragile nature.
SOLD.

Kerry Leonard
Body Box
High density foam, MDF, resin, paint, steel LED
200 x 60 x 80cm
$18,000

Body Box is intended as a ‘felt‘, rather than a ‘seen’, perception. A canon of figurative sculpture - the male torso - is presented here in negative form inside a box and invites you reach inside to touch, explore and know that which is normally recognizable by eye in an instant.

Jaclyn Lindsay
Gaia
Ceramic, 150 x 45 x 45cm
$1,200

This work is my representation of an earth goddess - Gaia. I wanted to make a figure of the human form that looked as if it were chiselled out of a piece of raw Earth, to show the important connection between human and nature.

Damien Lucas
Vigilance
Plaster for bronze, 40 x 30 x 23cm
$8,500

It’s a figure, vigilant, like the Sphinx, it stares endlessly. Vigilant, frozen, it stares endlessly, at what? Frozen, for eternity, at what, does it stare? For eternity, it’s a figure, does it stare, like the sphinx?

Kasia Lynch
Spirit Trumpet
Bronze, chair, leather, speakers, sound
composition, 120 x 60 x 56cm
$7,000

In the early 19th century Spiritualist mediums utilised home-made metal trumpets as psychic energy amplifiers, giving volume to voices of the dead. Voicing an encounter between the artist Kasia Lynch and psychic medium Danae Thorpe, Spirit Trumpet speaks of the anxiety and poetics of that which is unknown.

John Lynch
The god, Gravity, fallen
Chillagoe marble, 60 x 90 x 45cm
$7,900

I am interested in the western history of sculpture, especially ancient Greece and Rome. I asked myself, “Why is there no god of gravity”? Gravity is an all-pervading force like the sun, moon, winds etc. I became fascinated that gravity didn’t ‘exist’ until it was ‘discovered’ in the seventeenth century. I set about inventing a god for gravity and a god must be in marble. I have invented symbols of the plumb-bob (penis) and apple (Newton) for this new god.

Simon Maberley
Aurora
Hot sculpted and blown glass, stainless steel, 190 x 65 x 65cm
$18,000

Forged by extreme heat and manipulated with technology our ancestors could only dream of, Aurora is a figurative allegory for the Anthropocene age. Glass and steel combine to symbolise an extension of our species’ interaction, influence and dominance of the “natural” world.

Victoria Monk
Birdwoman
Mild and recycled steel, hardware
165 x 53 x 48cm
$2,100

The bird has symbolic significance to many cultures and religions as the link between heaven and earth. It is said to be able to communicate with gods ascending into heaven. The sculpture draws the analogy between the bird as messenger and the woman as communicator.

Bridget Nicholson
The Woman taught me to weave
Pandanus and steel, 2800 x 60 x 52cm
$10,125

The result of a month’s residency in Arnhem Land. Days spent collecting pandanus, preparing, dyeing, and learning different techniques. The work reflects the reliance on the body through all aspects of the making process. Whilst simultaneously considering the position and complex nature of relationships to land and cultural practice.

Samantha O’Farrell
Downward Facing Dog
Ceramic, 16 x 16 x 12cm
$450

This work attempts to capture the ritualistic and recreational aspects of physical culture. Embodying fragility and flexibility, in both human movement and material, Downward Facing Dog is reflective of the vibrant essence of the body at physical liberty.

Stephen Ormandy
Reclining Nude Gender Non Specific
Stone, epoxy glue, brass rod, 18 x 9 x 27cm
$3,300

This work is looking at finding a soft physical reference within strict geometric rules that drive the visual language.

Eden Plaisted
Skyhook
Pine, epoxy, charcoal powder, wood sealer
172 x 255 x 30cm
$9,000

For me, creating art is about consciously circumventing the intellect and letting the vision arise from the immeasurable part of my being. I strive to imbue my work with a sense of sacredness and curiosity, reflecting an intrinsic belief in the interconnectedness of both the material and the nonmaterial.

Louis Pratt
Future Events
Resin and pigment, 36 x 21 x 20cm
$3,300

When creating this work I was considering how the work would sit on a plinth and different point of time and the flow of time. In respect to the plinth, I imagined myself on top of a high plinth during the scanning process. The time element is evident as I’m interacting with myself at different moments of time.

Jake Preval
Untitled (Self Portrait with Socks)
Bronze, sport socks, 20 x 20 x 30cm
$2,500

Decapitated, hollow and stuffed with used socks, Untitled… offers an abject re-imagining of historic sculptural modes, toying with notions of idealised beauty and the desirous gaze. Devoid of heroic scale the personal seeps into the classical, creating a strange new bust for the bedroom floor of the 21st century.

Ron Royes
Alone together
Ceramic on wood, 62 x 90 x 67.5cm
$3,500

A loved one can be lost to death or illness.
Where death gives one no choices, loss to illness does. In this work I have separated a group of four figures moving away from the main figure. This figure sits alone shrinking into himself as his family walks away.

Rainer Schlueter
IN CIMA
Marble, steel, 75 x 12.5 x 12.5cm
$3,500

The marble sculpture IN CIMA (on top), a body fragment emerging out of a column of Carrara Marble is part of a series I have created or reworked since my move to Sydney in March 2015. It is about the mental walls one has to conquer to adapt to new challenges and change.
SOLD.

Jodi Stewart
Garden of Delight
Porcelain, 8 x 18 x 28cm
$450

My work focuses on draped forms evocative of the human vulva. I carefully hand polish selected surfaces of the porcelain before firing, emphasising the similarities to the satin or velvet textures of skin. The flowing, lyrical lines of the sculpture emphasise the tactility and sensuality of the form and material.

Richard Stringer
Replica Museum #4
Cultured marble, perspex, felt and wood,
various sizes
$5,500 for the entire work, $220 for individual pieces.

Replica Museum #4 is part of an expanding project to create miniatures of my own large scale or public works such as ‘Queen Bee’ at Eureka Tower. These are a play on the ‘Athena’ and ‘David’ statues one finds in the souvenir stalls of Athens and Florence.

Alma Studholme
Narcissus
Ceramic, gold leaf, 50 x 61 x 65cm
$11,000

The open structure of the mythological figure of Narcissus indicates a normal healthy human spirit, open to others and open to life. But Narcissus is oblivious to this reality, as he is transfixed in a desperate gaze only with his golden face. This unhealthy love led to his early death.

Mike Taylor
Burden
Resin, 90 x 80 x 50cm
$4,200

We are thin transparent voids into which life experience accumulates. This accumulation can become a burden and appears in two forms. First is the memory of personal experience that cannot be unlearned and the second is stuff, those owned things with which we surround ourselves.

Sal Yates
The Seat of Man
Mixed media, 100 x 38 x 38cm
$1,500

Anatomically, hips support the weight of the body. The seat of our sexual organs and procreative genitalia are mystically associated with vital energy, power and sexual essence. This fertility effigy figuratively represents The Seat Of Man – Mankind – the body’s fulcrum, our sexual connection and the continuance of life.