Matthew Harding, Phyllotaxis 2002-2003, spun mirror-polished stainless steel (Detail)
Introduction | Exhibition | Judges | Further Reading | Visiting
The Artists  
Geoffrey BARTLETT  
Glen CLARKE  
Peter D COLE  
Matthew CURTIS  
Roselin EATON  
Anna EGGERT  
Jan GOLEMBIEWSKI  
Matthew HARDING  
Nigel HARRISON  
Linde IVIMEY | Wrk 1 | Wrk 2  
David JENSZ  
Andrew LESLIE  
Noel McKENNA  
Mark PUAUTJIMI  
Alwin REAMILLO  
Lisa ROET  
Julie RRAP  
Terry SUMMERS  
Richard Tipping  
Tim WETHERELL  
Arthur WICKS  
   The judges :

Professor Ian Howard
Artist and Dean of the College of Fine Arts, University of New South Wales

Professor Ian Howard trained as an artist and art educator in Sydney (Diploma of Art Education), London (Graduate Diploma of Advanced Studies, Film and Television) and in Montreal (Master of Fine Arts) and has taught visual arts at secondary and tertiary levels in Australia, England, the USA and Canada. He was previously Provost and Director, Queensland College of Art, Griffith University. He is currently Dean, College of Fine Arts, University of New South Wales. Howard has been a practicing artist since 1968. His works have concentrated on the theme of the relationship between military and civilian populations and their material and symbolic products. His most recent exhibitions include A Bridge Too Far, Watters Gallery, Sydney (2002), and a major survey show, Surface Tensions, Beijing (2000). In April 2000 he completed a long-standing project on the Great Wall of China, which became the subject of a Central China Television documentary, Howard and the Great Wall of China (2000). His works are included in major national and international collections. Howard has previously been a member of the Visual Arts Board of the Australia Council, Director of the Board for the Australian Centre for Photography, and Chairperson of the State Government Visual Arts Committee, Arts Queensland.

It was thought that the tremendous response by artists to the first National Sculpture Prize might have been a ‘pent-up demand’ phenomenon. However, equally large numbers of applicants submitting similarly high quality work for 2003, indicates that object/sculpture is alive and well in Australia. Perhaps encouraged by selection outcomes of the first show, figurative work is again incredibly strong. But then, this era is clearly a time for serious contemplation of the human spirit and condition. Superficial comparisons of figurative versus formalist concerns will be tempting. Yet these dominant streams seem somewhere to have merged, and now, evident in the work of many of the selected artists, branch off into rich and challenging fields of their own. Amply demonstrated by the work submitted is the capacity of objects (sculpture) to convey very particular experiences of our world.
Introduction | Exhibition | Judges | Further Reading | Visiting
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