Nicholas Uhlmann - Large Works

Bird of Prayer Series
BIRD OF PRAYER (Womanly Bottom - Harry Meerts 50th Birthday Present) Plastic, Corten Steel, Mild Steel, Timber 2009
BIRD OF PRAYER I Acrylic, Corten Steel, Mild Steel, Cast Aluminium 188 x 30 x 18cm \| 2010
BIRD OF PRAYER II Acrylic, Corten Steel, Mild Steel, Cast Aluminium 185 x 30 x 40cm \| 2010
BIRD OF PRAYER III Acrylic, Corten Steel, Mild Steel, Cast Aluminium 177 x 30 x 46cm \| 2010
BIRD OF PRAYER IV Acrylic, Corten Steel, Mild Steel, Cast Aluminium 176 x 35 x 44cm \| 2010
BIRD OF PRAYER V Acrylic, Corten Steel,Stainless Steel, Cast Aluminium 170 x 45 x 45cm \| 2011
BIRD OF PRAYER VI Acrylic, Corten Steel, Mild Steel, Cast Aluminium 201 x 75 x 30cm \| 2011

BIRD SPIRIT VESSEL Corten Steel, Stainless Steel, Copper, Mild Steel, Concrete, Pigment, Timber 120 x 21 x 15cm \| 2010
DREAM POD Corten Steel,Stainless Steel, Mild Steel 205 x 160 x 120cm \| 2010
RECLINING FIGURE IN A LANDSCAPE I Stainless Steel, Corten Steel, Cast Aluminium 130 x 110 x 70cm \| 2009
RECLINING FIGURE IN A LANDSCAPE II (reclning mind in a figurescape) Copper, Stainless Steel, Corten Steel, Cast Aluminium 160 x 135 x 65cm \| 2010
FALLEN STAR Corten Steel, Plastic,Threaded Rod 150 x 100 x 100cm \| 2009

Lorne Sculpture Exhibition 2009 Set Sail For The Heart Of The Sun What was the initial concept for the work? Most artists have their own particular rythm language through which a body of work is composed over time..rather than being overly choreographed I have a sense of trust and anticipation for the next step. I am constantly drawing upon core inspirations and concepts that drive new creations. Initial concepts for the work are: the sculptures that have come before which explore the themes of 'emptiness of independent form'. With this work I am inviting the viewer into a little poetic scene by using pre-existing symbols and themes..ie a sail, a boat form, a standing figure. The true joy of the work lies in the simple relationship of materials and forms to one another. Did the site have any influence over the work? Generally I love to create sculpture inspired by place. I didn't see the site before creating this work so I imagined it. There is always a space in my minds eye where the sculpture will go..real or imagined. Regardless of knowing a site or not..there are often pleasant surprises of un-orchestrated spatial relationships that come to the fore on placing the work. How does it relate to previous works? The sail form emerged two years ago...the figure with elongated head has been developing over this time as well. My earlier work tried to express notions of emptiness through the process of repetitious layering without concious representation of figures, symbols etc. Recently I am trying to get to the same place (emptiness) from a different starting point..using symbols like the figure..the sail..boat...to entice the viewer into the work through the story and then hopefully beyond the initial cues. Why did you use these materials? The sail represents the sky. The boat represents the earth and the figure is a mixture of both. What do you hope people get out of the work? A sense of movement and play. A feeling of quiet, purposeful presence. What future projects do you have planned? I have a public sculpture commission in Adelaide which will keep me busy until xmas and then a solo show later next year. I love most to be developing the work in the studio.
SET SAIL FOR THE HEART OF THE SUN Stainless Steel, Perforated Steel, Corten Steel,Mild Steel, CAst Aluminium Head 270 x 120 x 260cm \| 2009

Voyage of the Beauty Hunters
VOYAGE OF THE BEAUTY HUNTERS Aluminium, Mild Steel, Stainless Steel, Lead, Copper, Brass, Zincalume, S/S Rivets, Banksia, Tallowwood, Red Cedar, Bloodwood 2005
VOYAGE OF THE BEAUTY HUNTERS I Aluminium, Mild Steel, Stainless Steel, Lead, S/S Rivets, Banksia, Tallowwood 178.5 x110 x 60cm \| 2005
VOYAGE OF THE BEAUTY HUNTERS II Aluminium, Mild Steel, Stainless Steel, Lead, Copper, Brass, S/S RivetsBanksia, Tallowwood, Red Cedar, Bloodwood 209 x 70 x 63cm \| 2005
VOYAGE OF THE BEAUTY HUNTERS III Aluminium, Mild Steel, Zincalume, Lead, Copper, Brass, S/S Rivets, Tallowwood, Bloodwood 166 x 110 x 55cm \| 2005
VOYAGE OF THE BEAUTY HUNTERS (Detail) Aluminium, Mild Steel, Zincalume, Lead, Copper, Brass, S/S Rivets, Tallowwood, Bloodwood 2005
VOYAGE OF THE BEAUTY HUNTERS IV Corten Steel, Stainless Steel, Cast Bronze, Copper, Brass, Aluminium, Mild Steel 195 x 110 x 50cm \| 2009
SYDNEY SHOW 2005 (Voyage of the Beauty Hunters Pt3 and Conductor III)

Rock Bottom Riser 2008 A homage to the enduring nature of spirit. Let gravity breakdown body, And spread it into the huge earth, Filling the sail of spirit to infinite sky. Reconcile my presence here. OVERVIEW Rock Bottom Riser was shown to a small audience at the 2008 Palmer Sculpture Biennial and later purchased by a private buyer. To give a wider audience the chance to see one of my strongest works to date I proposed to create the sculpture for the McClelland Sculpture Survey and Award 2010. 'Rock Bottom Riser' comprises three interconnecting sculptural forms: 1. The base: tapering geometric crystalline form to signify the earth. Materials used: fully welded corten steel 3mm sheet. 2. The figure: horizontal form to represent the body. Materials used: perforated steel sheet welded upon 16mm steel rod. Cast aluminium head and tip. 3. The sail: Upright mast and curving sail tapering to a point represents a union with infinite space. Materials used: Stainless steel strips welded upon stainless steel rod. GENERAL CONCEPT The sail form has emerged in my studio practice over the last two years along with the development of figure forms with elongated heads. My earlier work tried to express notions of emptiness through the process of repetitious layering without conscious representation of figures, symbols etc. More recently I am trying to entice the viewer into the same consciousness space (emptiness of independent form) by weaving a story into the overall sculpture by alluding to symbolic cues such as the sail and the figure.
ROCK BOTTOM RISER Corten Steel, Perforated Steel, Stainless Steel, Cast Aluminium 230 x 200 x 70cm \| 2008
SIMON CARROLL TIMELAPSE AT PALMER, SOUTH AUSTRALIA Corten Steel, Perforated Steel, Stainless Steel, Cast Aluminium 230 x 200 x 70cm \| 2008

PRECIOUS BIRD Cast Aluminium, Copper, Mild Steel, Brass, Stainless Steel, Aluminium, Zincalume. Corten Steel Base 190 x 25.5 x 45cm \| 2008
FALCO Aluminium, Mild Steel, Brass, Copper, Zincalume, Stainless Steel, Corten Steel, Timber 2007
MRS EXPANDED UNIVERSE (HOOCHI NOGUCHI) Stainless Steel, Aluminium, Timber 160 x 170 x 120cm \| 2007

Reclining Figure Series
RECLINING FIGURE I Mild Steel, Aluminium. Corten Steel and Stainless Steel Base. 38x 110 x 50cm Base: 95 x 120 x 60cm \| 2006/2007
RECLINING FIGURE II Copper Aluminium, Copper. Corten Steel and Stainless Steel Base. 53 x 95 x 44cm Base: 95 x 120 x 60cm \| 2007
RECLINING FIGURE III Stainless Steel, Aluminium .Corten Steel and Stainless Steel Base. 42 x 115 x 45cm Base: 95 x 120 x 60cm \| 2007
RECLINING FIGURE IV Stainless Steel, Cast Aluminium. Corten Steel and Stainless Steel Base. 140 x 120 x 50cm \| 2008

The Quickening 'The Quickening' shows a significant development to my overall body of sculpture to date. Having clearly refined and evolved a unique sculptural language for the past decade, 'The Quickening' shows a maturation and celebration of this process. By curving the frame both longitudinally and laterally, I am now stretching the work into new and exciting territory. As one walks around the sculpture, the repetitive layering and wrapping of copper strips upon the warped stainless steel framework displays an ever changing breadth and complexity of form and internal space. As the name suggests, 'The Quickening' expresses a gravity defying act of accelerated movement. Central to my work is the notion of emptiness, the interdependent and changing nature of form. To see the emptiness of form is to feel the interconnected nature of reality. 'The Quickening' aims to bring the perception of emptiness closer to the surface, casting away the labels of false recognition.
THE QUICKENING (Burghley House, England) Copper, Stainless Steel, Aluminium, Mild Steel Base Plates 480 x 235 x 110cm \| 2007
THE QUICKENING Detials Copper, Stainless Steel, Aluminium, Mild Steel Base Plates 480 x 235 x 110cm \| 2007
THE QUICKENING (Quenington Sculpture Show, England) Copper, Stainless Steel, Aluminium, Mild Steel Base Plates 480 x 235 x 110cm \| 2007

PARTNERS Stainless Steel, Copper, Mild Steel, Timber 448 x 41 x 36cm \| 2006
THE BEGINNING OF SOMETHING BEAUTIFUL Copper, Mild Steel, Stainless Steel, S/S Rivets, Red Mahogany 152 x 49 x 30cm \| 2005
VOYAGE OF THE DAMNED Galvanised iron, Mild Steel, Stainless Steel, S/S Rivets, Timber 130 x 160 x 320cm \| 2005
VOYAGE OF THE DAMNED (Port Maquarie and Sydney) Galvanised iron, Mild Steel, Stainless Steel, S/S Rivets, Timber 130 x 160 x 320cm \| 2005
COMPLETION FORM 2005 Costal Banksia, Aluminium, Stainless Steel, S/S Rivets 123 x 18 x 19cm \| 2005
COMPLETION FORM 2004 Mild Steel, Stainless Steel, Jarrah, S/S Rivets 89 x 15 x 9cm \| 2004
FATHER AND SON Stainless Steel, Copper, Mild Steel, S/S Rivets, Bloodwood 146 x 220 x 200cm \| 2004
PRAYER II Bloodwood (beeswax), Stainless Steel, Mild Steel, Lead, Copper, Brass, Zincalume, Aluminium, Plywood 172 x 54 x 32cm \| 2004
PRAYER I Spotted Gum, Stainless Steel, Mild Steel, Lead, Copper, Brass, Zincalume, Aluminium, Plywood 122 x 107 x 29.5cm \| 2003
BASE FORM I Stainless Steel, Brass, Mild Steel, Eucalypt, S/S Rivets 120 x 21 x 15cm \| 2003
BASE FORM II Stainless Steel, Brass, Mild Steel, Eucalypt, S/S Rivets 109 x 19.5 x 19.5cm \| 2003
BASE FORM II & CONDUCTOR I Stainless Steel, Brass, Mild Steel, Eucalypt, S/S Rivets
CONDUCTOR II Tallowwood, Copper, Stainless Steel, Mild Steel, S/S Rivets, Plywood 125 x 55 x 48cm \| 2003	">
CONDUCTOR III Brass, Lead, Mild Steel, Stainless Steel, S/S Rivets, Bloodwood (beeswax) 45 x 40 x 120cm \| 2004
CONDUCTORS II & III Brass, Lead, Mild Steel, Stainless Steel, S/S Rivets, Copper, Bloodwood (beeswax), Tallowwood 2003/2004
REST Australian Red Cedar, Brass, Stainless Steel, S/S Rivets 2004
SYNTHESIS Perforated Steel, Mild Steel, Jarrah, Stainless Steel 165 x 22 x 17.5cm \| 2003
SECURE FORM I Mild Steel, Stainless Steel, Jarrah, S/S Rivets 220 x 21.5 x 21.5cm \| 2003
SECURE FORM II Stainless Steel, Brass, Copper, Mild Steel, Zincalume, Jarrah 188 x 18 x 18cm \| 2003
SECURE FORM III Stainless Steel, Jarrah, Mild Steel 300 x 65 x 50cm \| 2001
SECURE FORMS at BMG Art, Adelaide Mixed Media Maximum Height 350cm
CAMEL DREAMING Stainless Steel, Jarrah 230 x 115 x 40cm \| 2001
DRAGON FLY Satinless Steel, Jarrah 240 x 112 x 31cm \| 2001
METALLIC ORGANIC I Aluminiun, Steel, Bronze 210 x 150 x 35cm \| 1999
METALLIC ORGANIC II Aluminium, Steel, Bronze 1999
METALLIC ORGANIC IV Aluminium, Steel, Bronze 35 x 20 x 27cm \| 1999
METALLIC ORGANIC V Aluminium, Steel, Bronze 42 x 187 x 67cm \| 1999

Bird of Prayer Series
BIRD OF PRAYER (Womanly Bottom - Harry Meerts 50th Birthday Present) Plastic, Corten Steel, Mild Steel, Timber 2009
BIRD OF PRAYER I Acrylic, Corten Steel, Mild Steel, Cast Aluminium 188 x 30 x 18cm \| 2010
BIRD OF PRAYER II Acrylic, Corten Steel, Mild Steel, Cast Aluminium 185 x 30 x 40cm \| 2010
BIRD OF PRAYER III Acrylic, Corten Steel, Mild Steel, Cast Aluminium 177 x 30 x 46cm \| 2010
BIRD OF PRAYER IV Acrylic, Corten Steel, Mild Steel, Cast Aluminium 176 x 35 x 44cm \| 2010
BIRD OF PRAYER V Acrylic, Corten Steel,Stainless Steel, Cast Aluminium 170 x 45 x 45cm \| 2011
BIRD OF PRAYER VI Acrylic, Corten Steel, Mild Steel, Cast Aluminium 201 x 75 x 30cm \| 2011

BIRD SPIRIT VESSEL Corten Steel, Stainless Steel, Copper, Mild Steel, Concrete, Pigment, Timber 120 x 21 x 15cm \| 2010
DREAM POD Corten Steel,Stainless Steel, Mild Steel 205 x 160 x 120cm \| 2010
RECLINING FIGURE IN A LANDSCAPE I Stainless Steel, Corten Steel, Cast Aluminium 130 x 110 x 70cm \| 2009
RECLINING FIGURE IN A LANDSCAPE II (reclning mind in a figurescape) Copper, Stainless Steel, Corten Steel, Cast Aluminium 160 x 135 x 65cm \| 2010
FALLEN STAR Corten Steel, Plastic,Threaded Rod 150 x 100 x 100cm \| 2009

Lorne Sculpture Exhibition 2009 Set Sail For The Heart Of The Sun What was the initial concept for the work? Most artists have their own particular rythm language through which a body of work is composed over time..rather than being overly choreographed I have a sense of trust and anticipation for the next step. I am constantly drawing upon core inspirations and concepts that drive new creations. Initial concepts for the work are: the sculptures that have come before which explore the themes of 'emptiness of independent form'. With this work I am inviting the viewer into a little poetic scene by using pre-existing symbols and themes..ie a sail, a boat form, a standing figure. The true joy of the work lies in the simple relationship of materials and forms to one another. Did the site have any influence over the work? Generally I love to create sculpture inspired by place. I didn't see the site before creating this work so I imagined it. There is always a space in my minds eye where the sculpture will go..real or imagined. Regardless of knowing a site or not..there are often pleasant surprises of un-orchestrated spatial relationships that come to the fore on placing the work. How does it relate to previous works? The sail form emerged two years ago...the figure with elongated head has been developing over this time as well. My earlier work tried to express notions of emptiness through the process of repetitious layering without concious representation of figures, symbols etc. Recently I am trying to get to the same place (emptiness) from a different starting point..using symbols like the figure..the sail..boat...to entice the viewer into the work through the story and then hopefully beyond the initial cues. Why did you use these materials? The sail represents the sky. The boat represents the earth and the figure is a mixture of both. What do you hope people get out of the work? A sense of movement and play. A feeling of quiet, purposeful presence. What future projects do you have planned? I have a public sculpture commission in Adelaide which will keep me busy until xmas and then a solo show later next year. I love most to be developing the work in the studio.
SET SAIL FOR THE HEART OF THE SUN Stainless Steel, Perforated Steel, Corten Steel,Mild Steel, CAst Aluminium Head 270 x 120 x 260cm \| 2009

Voyage of the Beauty Hunters
VOYAGE OF THE BEAUTY HUNTERS Aluminium, Mild Steel, Stainless Steel, Lead, Copper, Brass, Zincalume, S/S Rivets, Banksia, Tallowwood, Red Cedar, Bloodwood 2005
VOYAGE OF THE BEAUTY HUNTERS I Aluminium, Mild Steel, Stainless Steel, Lead, S/S Rivets, Banksia, Tallowwood 178.5 x110 x 60cm \| 2005
VOYAGE OF THE BEAUTY HUNTERS II Aluminium, Mild Steel, Stainless Steel, Lead, Copper, Brass, S/S RivetsBanksia, Tallowwood, Red Cedar, Bloodwood 209 x 70 x 63cm \| 2005
VOYAGE OF THE BEAUTY HUNTERS III Aluminium, Mild Steel, Zincalume, Lead, Copper, Brass, S/S Rivets, Tallowwood, Bloodwood 166 x 110 x 55cm \| 2005
VOYAGE OF THE BEAUTY HUNTERS (Detail) Aluminium, Mild Steel, Zincalume, Lead, Copper, Brass, S/S Rivets, Tallowwood, Bloodwood 2005
VOYAGE OF THE BEAUTY HUNTERS IV Corten Steel, Stainless Steel, Cast Bronze, Copper, Brass, Aluminium, Mild Steel 195 x 110 x 50cm \| 2009
SYDNEY SHOW 2005 (Voyage of the Beauty Hunters Pt3 and Conductor III)

Rock Bottom Riser 2008 A homage to the enduring nature of spirit. Let gravity breakdown body, And spread it into the huge earth, Filling the sail of spirit to infinite sky. Reconcile my presence here. OVERVIEW Rock Bottom Riser was shown to a small audience at the 2008 Palmer Sculpture Biennial and later purchased by a private buyer. To give a wider audience the chance to see one of my strongest works to date I proposed to create the sculpture for the McClelland Sculpture Survey and Award 2010. 'Rock Bottom Riser' comprises three interconnecting sculptural forms: 1. The base: tapering geometric crystalline form to signify the earth. Materials used: fully welded corten steel 3mm sheet. 2. The figure: horizontal form to represent the body. Materials used: perforated steel sheet welded upon 16mm steel rod. Cast aluminium head and tip. 3. The sail: Upright mast and curving sail tapering to a point represents a union with infinite space. Materials used: Stainless steel strips welded upon stainless steel rod. GENERAL CONCEPT The sail form has emerged in my studio practice over the last two years along with the development of figure forms with elongated heads. My earlier work tried to express notions of emptiness through the process of repetitious layering without conscious representation of figures, symbols etc. More recently I am trying to entice the viewer into the same consciousness space (emptiness of independent form) by weaving a story into the overall sculpture by alluding to symbolic cues such as the sail and the figure.
ROCK BOTTOM RISER Corten Steel, Perforated Steel, Stainless Steel, Cast Aluminium 230 x 200 x 70cm \| 2008
SIMON CARROLL TIMELAPSE AT PALMER, SOUTH AUSTRALIA Corten Steel, Perforated Steel, Stainless Steel, Cast Aluminium 230 x 200 x 70cm \| 2008

PRECIOUS BIRD Cast Aluminium, Copper, Mild Steel, Brass, Stainless Steel, Aluminium, Zincalume. Corten Steel Base 190 x 25.5 x 45cm \| 2008
FALCO Aluminium, Mild Steel, Brass, Copper, Zincalume, Stainless Steel, Corten Steel, Timber 2007
MRS EXPANDED UNIVERSE (HOOCHI NOGUCHI) Stainless Steel, Aluminium, Timber 160 x 170 x 120cm \| 2007

Reclining Figure Series
RECLINING FIGURE I Mild Steel, Aluminium. Corten Steel and Stainless Steel Base. 38x 110 x 50cm Base: 95 x 120 x 60cm \| 2006/2007
RECLINING FIGURE II Copper Aluminium, Copper. Corten Steel and Stainless Steel Base. 53 x 95 x 44cm Base: 95 x 120 x 60cm \| 2007
RECLINING FIGURE III Stainless Steel, Aluminium .Corten Steel and Stainless Steel Base. 42 x 115 x 45cm Base: 95 x 120 x 60cm \| 2007
RECLINING FIGURE IV Stainless Steel, Cast Aluminium. Corten Steel and Stainless Steel Base. 140 x 120 x 50cm \| 2008

The Quickening 'The Quickening' shows a significant development to my overall body of sculpture to date. Having clearly refined and evolved a unique sculptural language for the past decade, 'The Quickening' shows a maturation and celebration of this process. By curving the frame both longitudinally and laterally, I am now stretching the work into new and exciting territory. As one walks around the sculpture, the repetitive layering and wrapping of copper strips upon the warped stainless steel framework displays an ever changing breadth and complexity of form and internal space. As the name suggests, 'The Quickening' expresses a gravity defying act of accelerated movement. Central to my work is the notion of emptiness, the interdependent and changing nature of form. To see the emptiness of form is to feel the interconnected nature of reality. 'The Quickening' aims to bring the perception of emptiness closer to the surface, casting away the labels of false recognition.
THE QUICKENING (Burghley House, England) Copper, Stainless Steel, Aluminium, Mild Steel Base Plates 480 x 235 x 110cm \| 2007
THE QUICKENING Detials Copper, Stainless Steel, Aluminium, Mild Steel Base Plates 480 x 235 x 110cm \| 2007
THE QUICKENING (Quenington Sculpture Show, England) Copper, Stainless Steel, Aluminium, Mild Steel Base Plates 480 x 235 x 110cm \| 2007

PARTNERS Stainless Steel, Copper, Mild Steel, Timber 448 x 41 x 36cm \| 2006
THE BEGINNING OF SOMETHING BEAUTIFUL Copper, Mild Steel, Stainless Steel, S/S Rivets, Red Mahogany 152 x 49 x 30cm \| 2005
VOYAGE OF THE DAMNED Galvanised iron, Mild Steel, Stainless Steel, S/S Rivets, Timber 130 x 160 x 320cm \| 2005
VOYAGE OF THE DAMNED (Port Maquarie and Sydney) Galvanised iron, Mild Steel, Stainless Steel, S/S Rivets, Timber 130 x 160 x 320cm \| 2005
COMPLETION FORM 2005 Costal Banksia, Aluminium, Stainless Steel, S/S Rivets 123 x 18 x 19cm \| 2005
COMPLETION FORM 2004 Mild Steel, Stainless Steel, Jarrah, S/S Rivets 89 x 15 x 9cm \| 2004
FATHER AND SON Stainless Steel, Copper, Mild Steel, S/S Rivets, Bloodwood 146 x 220 x 200cm \| 2004
PRAYER II Bloodwood (beeswax), Stainless Steel, Mild Steel, Lead, Copper, Brass, Zincalume, Aluminium, Plywood 172 x 54 x 32cm \| 2004
PRAYER I Spotted Gum, Stainless Steel, Mild Steel, Lead, Copper, Brass, Zincalume, Aluminium, Plywood 122 x 107 x 29.5cm \| 2003
BASE FORM I Stainless Steel, Brass, Mild Steel, Eucalypt, S/S Rivets 120 x 21 x 15cm \| 2003
BASE FORM II Stainless Steel, Brass, Mild Steel, Eucalypt, S/S Rivets 109 x 19.5 x 19.5cm \| 2003
BASE FORM II & CONDUCTOR I Stainless Steel, Brass, Mild Steel, Eucalypt, S/S Rivets
CONDUCTOR II Tallowwood, Copper, Stainless Steel, Mild Steel, S/S Rivets, Plywood 125 x 55 x 48cm \| 2003	">
CONDUCTOR III Brass, Lead, Mild Steel, Stainless Steel, S/S Rivets, Bloodwood (beeswax) 45 x 40 x 120cm \| 2004
CONDUCTORS II & III Brass, Lead, Mild Steel, Stainless Steel, S/S Rivets, Copper, Bloodwood (beeswax), Tallowwood 2003/2004
REST Australian Red Cedar, Brass, Stainless Steel, S/S Rivets 2004
SYNTHESIS Perforated Steel, Mild Steel, Jarrah, Stainless Steel 165 x 22 x 17.5cm \| 2003
SECURE FORM I Mild Steel, Stainless Steel, Jarrah, S/S Rivets 220 x 21.5 x 21.5cm \| 2003
SECURE FORM II Stainless Steel, Brass, Copper, Mild Steel, Zincalume, Jarrah 188 x 18 x 18cm \| 2003
SECURE FORM III Stainless Steel, Jarrah, Mild Steel 300 x 65 x 50cm \| 2001
SECURE FORMS at BMG Art, Adelaide Mixed Media Maximum Height 350cm
CAMEL DREAMING Stainless Steel, Jarrah 230 x 115 x 40cm \| 2001
DRAGON FLY Satinless Steel, Jarrah 240 x 112 x 31cm \| 2001
METALLIC ORGANIC I Aluminiun, Steel, Bronze 210 x 150 x 35cm \| 1999
METALLIC ORGANIC II Aluminium, Steel, Bronze 1999
METALLIC ORGANIC IV Aluminium, Steel, Bronze 35 x 20 x 27cm \| 1999
METALLIC ORGANIC V Aluminium, Steel, Bronze 42 x 187 x 67cm \| 1999

Bird of Prayer Series

BIRD OF PRAYER (Womanly Bottom - Harry Meerts 50th Birthday Present)

BIRD OF PRAYER I

BIRD OF PRAYER II

BIRD OF PRAYER III

BIRD OF PRAYER IV

BIRD OF PRAYER V

BIRD OF PRAYER VI

BIRD SPIRIT VESSEL

DREAM POD

RECLINING FIGURE IN A LANDSCAPE I

RECLINING FIGURE IN A LANDSCAPE II (reclning mind in a figurescape)

FALLEN STAR

Lorne Sculpture Exhibition 2009

Set Sail For The Heart Of The Sun

SET SAIL FOR THE HEART OF THE SUN

Voyage of the Beauty Hunters

VOYAGE OF THE BEAUTY HUNTERS

VOYAGE OF THE BEAUTY HUNTERS I

VOYAGE OF THE BEAUTY HUNTERS II

VOYAGE OF THE BEAUTY HUNTERS III

VOYAGE OF THE BEAUTY HUNTERS (Detail)

VOYAGE OF THE BEAUTY HUNTERS IV

SYDNEY SHOW 2005 (Voyage of the Beauty Hunters Pt3 and Conductor III)

Rock Bottom Riser 2008

A homage to the enduring nature of spirit.

ROCK BOTTOM RISER

SIMON CARROLL TIMELAPSE AT PALMER, SOUTH AUSTRALIA

PRECIOUS BIRD

FALCO

MRS EXPANDED UNIVERSE (HOOCHI NOGUCHI)

Reclining Figure Series

RECLINING FIGURE I

RECLINING FIGURE II

RECLINING FIGURE III

RECLINING FIGURE IV

The Quickening

THE QUICKENING (Burghley House, England)

THE QUICKENING Detials

THE QUICKENING (Quenington Sculpture Show, England)

PARTNERS

THE BEGINNING OF SOMETHING BEAUTIFUL

VOYAGE OF THE DAMNED

VOYAGE OF THE DAMNED (Port Maquarie and Sydney)

COMPLETION FORM 2005

COMPLETION FORM 2004

FATHER AND SON

PRAYER II

PRAYER I

BASE FORM I

BASE FORM II

BASE FORM II & CONDUCTOR I

CONDUCTOR II

CONDUCTOR III

CONDUCTORS II & III

REST

SYNTHESIS

SECURE FORM I

SECURE FORM II

SECURE FORM III

SECURE FORMS at BMG Art, Adelaide

CAMEL DREAMING

DRAGON FLY

METALLIC ORGANIC I

METALLIC ORGANIC II

METALLIC ORGANIC IV

METALLIC ORGANIC V

BIRD OF PRAYER
(Womanly Bottom - Harry Meerts 50th Birthday Present)

RECLINING FIGURE IN A LANDSCAPE II
(reclning mind in a figurescape)

SYDNEY SHOW 2005
(Voyage of the Beauty Hunters Pt3 and Conductor III)

MRS EXPANDED UNIVERSE
(HOOCHI NOGUCHI)

THE QUICKENING
(Burghley House, England)

THE QUICKENING
Detials

THE QUICKENING
(Quenington Sculpture Show, England)

VOYAGE OF THE DAMNED
(Port Maquarie and Sydney)

SECURE FORMS
at BMG Art, Adelaide