“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.
Click here to download a catalogue of Rebecca Pierce’s artwork featured at Winmark Art Gallery
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.
Click here to download a catalogue of Jenny Green’s artwork featured at Winmark Art Gallery
Jenny Green sees her sculptures as ‘drawings in space’ evoking mood and motion. Typically, her works are abstract yet they’re often influenced by the figure. While the media she uses (steel, bronze and resin) may be industrial, her sculptures are light and airy. Using lines, curves, shapes and colour she aims to capture a moment, a movement, a feeling.
With a BFA in Sculpture from the National Art School, Jenny has been sculpting for over 20 years. She holds annual solo exhibitions and regularly exhibits in group shows. Jenny’s sculptures vary from the larger scale (at 2-3 metres) to the smaller, works that suit homes or offices and can be enjoyed indoors or outdoors.
Jenny has been a finalist in numerous prizes including the Ravenswood Australian Women’s Art Prize, North Sydney Art Prize, Northern Beaches Art Prize, University of Western Sydney Sculpture Award, Hornsby Art Prize, Tom Bass Prize for Figurative Sculpture, Harbour Sculpture and Sculpture in the Vineyards.
Jenny sat on the Board of the National Art School from 2015 – 2018 and was President of the Sculptors Society from 2007-2012. The University of NSW awarded her an Alumni Award for Arts & Culture in 2016.
Jenny’s work also features in public spaces: for example, Fraction of the Whole at the University of NSW and Solitude in Double Bay’s Guilfoyle Park, part of the Woollahra Public Art Trust’s collection.
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.
Erik Flygenring is a Danish artist who was always dedicated to drawing, painting, sculpturing, even throughout his working life as a consultant surveyor. Upon his retirement in 2008 he became a fulltime artist working from his work shop at home, in Troense a tiny island near Svenborg located in the Southern provincial part of Denmark, where he lives with his wife Birgit.
Erik spends his time creating oil paintings and small sculptures in wood and bronze.
Each piece represents a minor fantasy universe of various human characteristics, habits, feelings and reflections. The wooden sculptures are produced out of pieces of old building timber and original handmade nails of which most are collected by himself. Most paintings and sculptures are inhabited by small human “Joyfullies”.
Erik has exhibited at City Halls and Art Galleries in various Danish provincial towns.
He has been portrayed on Danish Television.
He has recently exhibited with is son Søren Flygenring Basset who is also an artist as well as being a chemical engineer. Together they represent a world of fantasy and beauty.
Jim and his wife Cathy have lived on properties in rural NSW. Him, an ex-builder, draws on their beautiful gardens for inspiration and welds in his shed using left-over steel pieces. Cathy hand paints the pieces that are welded by Jim. This
gives each sculpture a unique character. The Agapanthus sculptures are made of steel and painted to represent the mauve and white flowers. They never die and flower all year round.
They were created by Jim in a time of intense drought in regional NSW.
David Ball won the Sculpture by the Sea Bondi major prize in 2017 the first time he exhibited there. He hand-builds his monumental sculptures, engineering feats that often appear to defy gravity.
David was born into the bush and has always lived on its edges. It has given him everything he values as a sculptor.
David Ball’s work is derived from forms observed in nature. From the molecular to celestial then distilled, simplified and imagined. Finally scaled up or down to sit easily in the landscape.
David has been sculpting for more than two decades. His early works sold into private collections but nearly all his latest sculptures are public commissions in locations ranging from Middle Harbour, Sydney, and Rowville, Victoria, to Goulburn and Shellharbour, NSW.
Versatile multi-award-winning sculptor Michael Purdy is a member of the exclusive Sculpture by the Sea Decade Club, comprising international sculptors who have exhibited at
the Bondi show 10 times or more. Michael has been making public sculpture and private commissions for more than two decades and is one of Australia’s most-loved sculptors.
His most recent award is the Western Sydney University Acquisitive Sculpture Award 2016. In 2014 Michael was awarded the UWS UrbanGrowth Acquisitive Prize and he has won several Bondi Sculpture by the Sea prizes including the inaugural Sculpture Inside Curator’s Prize in 2010 and People’s Choice Award in 2005.
Major commissions include large-scale sandstone works at Fraser Motorcycles showroom and The Argyle nightclub in Sydney plus many private outdoor and indoor commissions.
Austrian born Katarina Wells is a ceramic sculptor who lives and works from her studio in Clareville on the Northern Beaches of Sydney.
She has been involved with ceramics for almost 20 years, exploring different materials from fine porcelain and paper clay to heavily textured stoneware clays. She is drawn to organic sculptural forms, finding inspiration in the natural bounty that surrounds her.
Most of her pieces ‘grow’ slowly over a period of up to a week, a process that allows her to step back and observe where a piece intends to go. Raw oxides and porcelain slip are used on many of her works, which allows for the tactile surface to remain.
Collaborators in life and art Ulan Murray and Rachel Burns present works of pure beauty and elegance. The sculpture evokes a strong sense of place from around the globe and awaken memories of the past. Their works are made predominantly from copper and more recently corten steel.
Ulan Murray is a lapsed biologist who has spent the last 10 years consolidating his arts practice. Rachel Burns is a practicing artist with over 30 years’ experience in the arts industry. She has an Honours Degree in Creative Arts from Wollongong University.
The sculptures depict the equilibrium between the foliage and the root system of the tree – an image that is rarely conceived. The work becomes a meditation on the environment: from the monumentality of landscape to the minutiae.
In 1992 Simon decided to pursue his passion for art and design and moved from engineering to form a business creating sculptural metal works incorporating various timber elements. After completing his studies in Fine Furniture Design and Making at UTAS Tasmania he set
up his workshop in Toronto, NSW, and his first large scale commission was design and fabrication of the joinery for the Federal Courts of Australia, Sydney Queen Square Law
Courts which commenced 2008 and completed in 2010.
Another great passion of Simon’s is the environment and often the flowing forms and organic shapes find their way into his designs. He likes to think about his designs as being timeless, heirlooms of the future, maintaining value, being functional and resting comfortably in the architecture of today. Simon has developed a unique style that embodies the essence of the Australian landscape, inspired by forms of Aboriginal artefacts.
Simon has won awards from the Australian Wood Review and had a piece acquired in the permanent collection of the Tasmanian Design Centre, which was featured on ABC’s Collectors. Many of his public art commissions and be viewed in the Hunter and Illawarra regions and he has worked collaboratively with a number of wellknown artists and sculptors.