“Wine and Sculpture both age well”, David Ball. Winmark Wines Owner and Vigneron Karin Adcock is an avid collector of art and sculptures and David Ball’s monumental Biosis was the first of many sculptures to find their home at Winmark.
Explore the property to find the red Portals of Illusion or the newest installations of Lollipops, Celest and Fight or Flight sculptures. Find Bronze Flower and Field of Aggies set against the natural landmarks of the property. Winmark is a place of remarkable beauty and unexpected discovery.
b.1963 Sydney, Australia
View Rebecca’s Studio Film here
Rebecca Pierce is a practicing Artist and Designer.
In 2001, after nearly twenty years involved in the fashion, design and licensing fields, Rebecca started painting and exhibiting on a full time basis. Rebecca has participated in numerous solo and group exhibitions throughout Australia and overseas. She has been a finalist in major art prizes including the Glencore Percival Portrait Painting Prize, the Mosman Art Prize, the Heysen Prize, the Fishers Ghost Art Prize, the Hawkesbury Art Prize, the Hunters Hill Art Prize, the ANL Maritime Art Prize and the Willoughby Art Prize. Rebecca’s work is represented in corporate and private collections in Australia and Internationally.
Rebecca primarily works with paint, inks and fine points on canvas and paper. Her work initially with a design and finely detailed orientation harnesses these elements whilst exploring aspects of the natural and urban landscape. The interpretation of the human face and the reading of the landscape, effects of cyclical, emotional and climatic changes to ourselves and others responses to these are often drawn upon. The unpredictability of Rebecca’s subject, frequently rendered to create a third dimension, can often simultaneously create tension laced with elements of playfulness.
Rebecca currently lives and works in Sydney, balancing art making with her roles of running an art gallery and her design practice. The design work extends to corporate commissions as well as not-for-profit projects and charity work.
The forms in my work are often in the act of becoming, changing, evolving or resisting. The diversity of medium, colour and texture is in an attempt to heighten these states of flux. Tapping into the ever flowing and sparking subconscious, where movement and change is a constant, primal and sometimes tribal inferences come to the fore.
Frequently I reference the frenetic pace we place upon ourselves, conscious or subconscious, and the suggestion of what we impose, berate and complain of, but do not always acknowledge, amend, rectify or accept. Technically, I am interested in making inks, sections of paper, aqua enamels and impasto paints more visceral and physical, with a body and texture of their own. The conscious choice of this diversity of medium within a single work is in anticipation that the contrasts will translate and heighten the ever changing. Luminous colours shouldering sections of print, nestled against washes of colour, bordering swathes of texture are there to drive this message further, the tension of these differing mediums and placement of pulsating colour to communicate friction and movement.
The process of painting is for me a metaphor for life and creation. As we are a part of nature our energies flow through what we do and often the materials we use. For me the paint is often imbued with a sense of the Artist themselves. Applying and moving the medium around the canvas, offering the medium its own flow and path, and at other times controlling and orchestrating its position and presence, manipulating its lead, creates a tension, being again another state of flux. These random movements, both innate and subliminal, engendering form and structure, can often provide a sense of verity and validity.
Felicia Aroney is Western Australian born, now living and working in Sydney as a leading contemporary artist. Felicia draws inspiration from her European heritage, channeling the distressed and peeled painted facades of classical architecture. Working with oils and acrylics, her distinctive abstracted floral works, and contemporary abstracts she utilises a highly sculptural mark-making process. Using a palette knife to layer and shape the paint until it stands relief from the canvas. Her newly appointed collages are just another expression of Felicia`s love of her Australian environment. Felicia paintings evoke a sense of history and antiquity mixed with all things Australian. A wonderful synergy of her European heritage and Australian background. “As a child I recall the tactile nature of the surfaces in Europe. Both the uneven pebbled ground, and roughly rendered walls lead my imagination to a gate way to the past. Falling in love with the imperfections and embracing the spontaneity of ancient architecture and town planning have influenced my technique. Using a palette knife I create similar textures, layering paint, never striving for perfection nor overthinking my application, but rather feeling and trusting the process. Together with my love for both my European influences and my love for Australia’s flora, particularly my favourite flower, the hydrangea, I breathe life into my work”
Represented by 6 Australian Art Galleries Over 50 solo and group exhibitions. Exhibited Hong Kong, Singapore, Seoul and Florence (Italy) Collaborations with “Designer Rugs” and “Fendi” Mosman Art Prize finalist Hornsby Art Prize finalist Lethbridge Art Prize finalist Blacktown Art Prize finalist Waverley Art Prize finalist Private collections Asia, Australia and Europe
James Ainslie’s preferred palette is acrylic paint on paper, with the occasional use of mixed media.
His forte is modern realism, although he also produces abstract art.
Ainslie’s paintings resonate with an inherent passion for the country’s unique beauty, particularly the sandy dunes and reflective waters of Queensland and South Australia.
Ainslie was born in SA in 1950, graduated in art from the South Australian School of Art and has exhibited throughout Australia and overseas since 1975. Sand and water have always inspired his work, harking back to a childhood in South Australia, spent playing around the Coorong and exploring the huge sand tracts around the Murray River. Now living in Noosa, he has turned his attention to the undulating dunes of Fraser Island and the many beaches along the Sunshine Coast shoreline.
Annual visits to Broome ensure that Kakadu and The Kimberley remain strong influences.
Ainslie was regularly an artist in residence at Ayers Rock, and was invited to represent South Australia in London with 6 other artists, and showed at the Museum of Fine Art in Pasadena, U.S.A. with Ainslie Roberts and Garry Duncan. James won the prestigious Camberwell Flora & Fauna Prize in 1990 and was co-winner of the Barossa Valley Heritage Award.
His work is featured in prestigious collections such as Artbank; BP Australia; Reserve Bank of Australia; Mobil Australia; William Hancock collection, San Francisco; Banker’s Trust; Diamond Merchants, South Africa; and many public and private collections worldwide.
Represented by Without Pier ,Melbourne, Victoria ;Art Images ,Adelaide; Gallery One, Q.L.D.; Red Hill Gallery Q.L.D., Art Nuvo, Buderim Q.L.D.:Aarwun Gallery Canberra : Gallery: Manyung Gallery ,Vic.,.; Gallery Beneath ,Q.L.D , Shoalhaven Fine Art & Framing gallery : N.S.W.: Lethbridge Gallery, Q.L.D.
As an artist my paintings are often a direct result of a location.
It is the colours, textures, smells, patterns, in fact the essence of a place that inspires my Images. The interpretation may be realistic, but often may develop more abstractly.