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 :

Ron Robertson-Swann, AO
Sculptor and Painter

Ron Robertson-Swann is actively involved in the arts in Australia as a sculptor, teacher and advocate. Robertson-Swann studied sculpture with Lyndon Dadswell at the National Art School in Sydney and with Anthony Caro and Phillip King at the St Martin’s School of Art in London and was an Assistant to Henry Moore. He has exhibited extensively in both Australia and overseas, and his works are included in all major public Australian collections. Robertson-Swann has been awarded the Transfield Prize, the Comalco Invitational Sculpture Award, and the Alice Prize. In 1986 he was the Australian National University Creative Arts Fellow. Robertson-Swann has had a long career as a teacher of sculpture, including Head of the Sculpture Workshop at the Canberra School of Art and the National Art School in Sydney, where he is currently a lecturer in Sculpture. He was a member of the Ministerial Task Force to establish the new National Art School, and a founding member of the Visual Arts Board of the Australia Council. In 2002 Robertson-Swann was awarded the Order of Australia Medal for service to the arts in Australia.

Of his work, Robertson-Swann says:
Picasso’s invention of collage, and the reliefs that followed, began a new convention in sculpture that broke the tyranny of the monolith and sanctioned a new range of materials and methods of making sculpture. It gave me the freedom to draw in space and to take on some of the modes of painting such as still-life and landscape. My aim is to develop my sculpture towards the condition of music.

To be able to distinguish between innovation and novelty, balancing the new with the accomplished, not mistaking fashion for zeitgeist and making those judgements in one’s own time is daunting. I would not like the viewers to think we have solved these problems and presented the results, but rather that we have engaged the public with these issues. The prominence that the National Gallery of Australia and Macquarie Bank has given to Australian sculpture is important to it’s understanding and healthy development.
Introduction | Exhibition | Judges | Further Reading | Visiting
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