Tag Archives: recycled materials

Wangaratta Contemporary Textile Award 2017

Exhibition at Wangaratta Art Gallery

Great to have my work Colony 4 shortlisted for the fifth biennial Wangaratta Contemporary Textile Award and currently on show at the Wangaratta Art Gallery.

‘Landscape Constructed’ 4 March 2017 – 12 June 2017 Warrnambool Art Gallery

A selection of 3D and 2D works from Warrnambool Art Gallery’s permanent collection.

‘One of Warrnambool Art Gallery’s most famous paintings, Tower Hill by Eugene von Guerard (1855) is the earliest pictorial record we have of Tower Hill. As such, it is used as a primary source of evidence used by rangers today to reconstruct, rehabilitate and re-vegetate the site which was once denuded and destroyed by European settlers.  However accurate this painting is (over 15 specific native plant species can be identified in the work), the fact remains that Tower Hill is being reconstructed through the vision of von Guerard.
This exhibition takes a look at how landscapes are constructed and de-constructed all the time both physically and in our imaginations. The works chosen depict different aspects of the Australian landscape such as the rugged coastline of the southwest, the Dreamtime YawkYawk, the plantations of the Portland area and the stunning sunsets and sunrises of our region.’  http://www.thewag.com.au/exhibition/landscape-constructed
James Gleeson ‘Sky Divisions Gathering’ 1989
Carmel Wallace ‘Forests to Have and to Hold’ 2012

 

 

Beached Verandah exhibition @ Wishart Gallery in Port Fairy

My verandah was laden with materials gathered from the tideline. Although used regularly in my artwork, this beach-found collection grew at a seemingly exponential rate!   Beached Verandah was devised as an innovative project that would make creative use of my beach gleanings. It drew artists together and provided them with a rare opportunity to work with one person’s collection from a particular place – Discovery Bay in southwest Victoria. The project immersed artists in this coastal environment, encouraging them to share knowledge and explore unfamiliar materials and techniques. The outcome is individual and collaborative sculptures and installations about the place the materials were collected from and the environmental issues they are indicative of. It was wonderful to have the opportunity of working with these artists and sharing my beach-found collection with them.

Front Window Project: Carmel Wallace July 1 – July 30 2016

Carmel Wallace, Colony 4, 2016 (detail)
Carmel Wallace, Colony 4, 2016 (detail)
http://www.frontwindow.com.au/in-the-window/  69 Victoria Parade, Collingwood VIC 3066 Australia
Carmel Wallace_Colony 4_Front Window Project installation 2016_detail 2
Carmel Wallace_Colony 4_Front Window Project installation 2016_detail 2
Carmel Wallace_Colony 4 installation_Front Window Project_July 2016
Carmel Wallace_Colony 4 installation_Front Window Project_July 2016
“I am interested in exploring the resonance of repurposed materials and the impact of multiples as compositional elements. For this installation I have woven beach-found fishing ropes to create a colony of enigmatic forms. My inspiration comes largely from the volcanic vents punctuating the plains [and ocean-beds] of southwest Victoria and the organic forms that inhabit them. Fishing practices and environmental issues are also referenced in the materials and construction of the pieces.”  Carmel Wallace 2016

Woollahra Small Sculpture Prize Finalist 2015

I have been selected as a finalist in this year’s Woollahra Small Sculpture Prize with my work Daphne.

CARMEL WALLACE_Daphne 2015_fiberglass reinforced plastic; recycled manufactured leaves_L 77cm x w 14.5cm x h 12.5cm
CARMEL WALLACE_Daphne 2015_fiberglass reinforced plastic; recycled manufactured leaves_L 77cm x w 14.5cm x h 12.5cm

Daphne was inspired by the Laurel tree in the Portland Botanical Gardens and the myth of Apollo and Daphne that has been interpreted widely in art and literature. According to myth, Daphne is transformed into a Laurel tree so she can escape the advances of Apollo. In the words of Andrew Marvell:

                                                The Gods, that mortal Beauty chase,

                                                Still in a Tree did end their race.

                                                Apollo hunted Daphne so,

                                                Only that She might Laurel grow.

                                                                                    The Garden 1681

This myth is pertinent in a contemporary environmental context where recognition of our relationship with the natural world and the interconnectedness of all life forms underpin the development of solutions to current issues.

37th Alice Prize 2012

Araluen Arts Centre, Alice Springs, NT Australia. Opening: Friday 11 May 2012.  Exhibition: Saturday 12 May – Sunday 10 June 2012

‘The 2012 Alice Prize biennial exhibition will be, as always, engaging and provocative. It features a broad range of media from assemblages in 2D, paintings, sculptures and drawings to multimedia, performance art, photography and digital prints. Indigenous and non-indigenous artists from across Australia are represented in the 65 finalists selected from over 380 entries.

Nick Mitzevich, Director of the Art Gallery of South Australia, will judge the winner of the $25,000 Prize (acquisitive). He joins a long list of distinguished judges from the top echelons of the Australian art establishment who have contributed to building a notable collection, and a significant record of Australian contemporary art, for the people of Central Australia.’

Presented by the Alice Springs Art Foundation

© Carmel Wallace

Desert Colony, my work for this exhibition, hangs as if waiting for unknown hatchlings to emerge. The cocoon form symbolises the sense of change now brewing in nature and the possibility of new life being nurtured by our creations. This form seemed appropriate for responding to unfamiliar desert landscapes – for capturing stories, places and memories that survive and develop long after a journey has ended. I began with newspaper and some earth-stained rope, adding objects found on the ground at roadside stops. Discarded fencing-wire I formed into a breathing cocoon of desert air; black fishing-net echoes burnt terrain; blue rope the surprise of water; green the life it nurtures; and cable-ties the sharpness of spinifex . . . (Carmel Wallace 2012)