To achieve a dynamic quality in metal Benjamin spent years researching techniques to form sheet metal into surfaces of negative, anticlastic curvature. Achieving this in steel relies on a sensitive manual control of specialised machinery as well as traditional hammering techniques, which gives Benjamin’s work a unique tactile quality. While casting might be an option, the sheet metal process leaves a visible, tangible trace of the inherent tensile forces and thus reflects the intention behind the work. Some pieces more literally embody mathematical principles associated with topology, dynamical systems and surface curvature while others are the artists impressions of some of these systems.
Benjamin has an extensive client base and exhibition track record internationally. Recent projects include a number of commissions for hotels such as The Ritz Carlton in Hong Kong and the Shangri-la at The Shard in London. Alongside these he has been making work for exhibition at Sculpture by the Sea, the McClelland Sculpture Survey and Brenda May Gallery.
She is interested in how the personal can find its way through and out of these iconically intact images, and also, how the aggregation of the material works to essentialise a subject. Her works bring latent content to a conscious place through both poetic combinations and accumulated fragments. Poetic combinations allow Lillian to make unexpected combinations by re-contextualising imagery while accumulated fragments provide immense variation within generalised repetition.
His work is held in distinguished public collections, as well as private and corporate collections, including Heide Museum of Art, the National Gallery of Victoria, the Monash University Museum of Art and the Museum of Contemporary Art, Sydney. Meade received the Anne and Gordon Samstag International Visual Arts Scholarship in 2003 for graduate study at New York University.
With support from Asialink, Australia, he undertook a studio residency in India in 1998-99. He is represented by Sutton Gallery, Melbourne.
Copyright of all images remains the property of the artist.
Kris has exhibited in over 60 exhibitions including the third World Ceramic Biennale in Korea, Dianne Tanzer Gallery, Manly Museum and Art Gallery and Craft Victoria. Her work has featured in many magazines and journals including Ceramics Art and Perception International, The Journal of Australian Ceramics, Ceramics Monthly USA, Hand Made in Melbourne, Donna Hay, Vogue Living, Vogue Entertaining and Travel and Gourmet USA.Her work has been acquired for public collections including Icheon World Ceramic Centre (Korea), Parliament House (Canberra), Shepparton Art Gallery, Manly Museum and Art Gallery as well as private collections in Australia and overseas.
In 1987 she was awarded a project grant from The Visual Arts Board, Australia Council to produce a hand printed book of etchings titled ‘Maiknoen’.
One book in the edition of ten is held in the collection of The Balllieu Library, University of Melbourne.
Elizabeth changed her medium and developed a transfer printing method using a hot iron, synthetic transfer paint and the actual plant to print on to canvas. During the printing process some of the plants natural colour came through on to the canvas, creating an interest in the wondrous glow of natural colour.
Inspired by nature, plants form the catalyst of her most recent mark making.
Ink is made from eucalyptus leaves and applied to silk using a wide range of methods; such as painting with a Chinese brush, steaming, dip dye (Shibori) and ice dyeing.
Elizabeth has worked over 30 years as a practising artist exhibiting in solo and group shows around Australia and internationally.
She also teaches art in the community, facilitating classes in centres around The City of Port Phillip.
She has held numerous exhibitions both in Queensland and in Melbourne, and has works held in private collections and corporate spaces.
Ngaio has been battling breast cancer since 2013, and has only this year again discovered that she has secondary breast cancer in the liver. She has not let this slow her art practice, and continues to paint almost daily in her studio.
Ngaio uses instagram as a way of sharing her art practice, in addition to her website
In the fabrication of her sculptures she uses a vast variety of materials from bronze to industrial/mechanical components and from photographs to packaging material. She like to misappropriate everyday functional objects and put them into a new context and an aesthetic, creative realm that is challenging to her and the viewer.
More than wishing to supply answers, she wants to pose questions. She would like to inspire the viewers to have their own thoughts on the universe, our relationship with it and human nature.
Ted has lived and painted in major cities around the world, but it is his adopted hometown of Melbourne and the interior of Australia that are major themes in his work. His large vibrant landscapes/cityscapes painted in oil or acrylic on canvas weave cartography, geography, topography, art and history together and embody a particular way of seeing and thinking about place.
Small-scale works in pencil, crayon, charcoal, watercolour and gouache paint on paper and in concertina sketchbooks pick out details of local interest at street level. Installation, portraiture and limited edition prints on paper using traditional printmaking techniques are included in his oeuvre.
Ted has participated in over thirty solo and group exhibitions. His work is held in public and private collections in Australia and overseas, including the State Library of Victoria and City of Port Phillip collections.
Over 25 years Tricia has had numerous solo exhibitions, and participated in many group shows. She won the Two Dimensional award at the 2005 Williamstown Contemporary Art Exhibition. She has a B.A. Dip Ed. And commenced a Masters in Fine Art at Monash University. Tricia majored in Art History and taught for 25 years at Victoria University. Her work is in private collections in Australia, the U.k. Germany and the Netherlands.
She is a passionate facilitator of creativity and has extensive experience working, teaching and running workshops with in communities, schools and with people of all ages and abilities.
Her love of nature and recently photography has seen her art changing reflecting her concern over environmental issues facing the planet.
He applies the insights and approaches gathered from over a decade of carving timber to resin, clay and 3D printing in order to extend and evolve his investigation and captivation of flow in form.
Much like the natural processes that forge the landscapes around us his process is iterative, continually working the elements and convergences of a piece until they settle comfortably into place, blending and synchronising into a convincing sense of flow.
Scott believes people are intrinsically connected to flow. As eyes and hands trace the ridges, valleys and open plains of a sculpture their hearts and minds are drawn into a kinesthetic engagement that fosters a deeper more lasting experience with the work.
For this reason Scott believes sculpture is a medium that should be enjoyed both visually and physically, that touch is an important element of its appreciation.
Wen first exhibited as a teenager as part of a Gasworks youth art competition. Since then, she has studied philosophy and art history at university, as well as law, chemistry, and most recently mathematics. Wen has found that an art practice is the most rewarding way to synthesise such diverse interests, and now exhibits in various galleries in Melbourne and its suburbs. In 2015 she completed a Bachelor of Fine Arts with Honours at RMIT University.