On the edge

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Bermagui, Sculpture on the edge

Late afternoon. A sky swirling with grey clouds. Bright sun occasionally glaring down. A blue bay stretching across to the graceful shoulder of mountain. The white wake of launches returning to harbour. The warm air of early autumn. A sloping hillside, green grass drying to straw. A few people wandering around, mostly with cameras.

And scattered across the grass a pack of two-dimensional dogs of many breeds, a large white rhinoceros, figures in a range of human shapes, a large metallic shark, a curvaceous trout, a small school of metallic fish, a bed of white flowers rising out of tyre rosettes, a stone carved in spirals and circles, a flight of stairs running away from the oppression of feet, a pole with a corona of red-eyed heads, welded or ceramic birds, and sensuous forms in steel, hardwood, granite, welded metal.

If you have a space with a background of mountain, sea, sky or bush just waiting for a sculpture, take your pick. Prices range between $400 for a small dog to $12,000 for a largish shark.

 

Trevor Dunbar & Dinah Vandermeys - Just fine K9s

 

Ben Eyles - Don't forget about me!

 

Todd Costa - Juz (just for the fun of it)

 

Sonja Jacob - Quiet moment

 

Olive Tanner - Silhouette in profile

 

Brett Martin - Protection

 

Travis Woodbridge - Trout

 

Dustin Clancy - Spot fish (?)

 

Nina Garcia - Sweetlips detail (?)

 

Rachel Develin - Enlightened wasteland

 

Michael Purdy - Pulse 2013

 

 

Michael Purdy - Stepping out 2014

 

Tony Millard - We are watching ... We are listening ... We know

 

John Gosch - Raptor

 

Joy Georgeson - Dusk, Boobook owl

 

Jen Mallinson - Marine motion

 

Edward Wilson - Evolution

 

Jenni (Yamuna) Bruce - Move to metal

 

 

 

 

 

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Sculpture on the edge

Tags

Bermagui, Sculpture on the edge

 

Every year Bermagui on the south coast of New South Wales hosts Sculpture on the Edge, an outdoor exhibition against the backdrop of Gulaga and the sea. I headed south in perfect weather to ramble round the headland and accustom my camera to the subject matter and palette of home after the very different subject matter and palette of Warsaw.

I was surprised in conversation with a sculptor who was removing his pieces when he said it didn't much matter where his sculpture was placed. For me, position adds so much. I enjoy the opportunity to photograph against sky, grass and sea to capture the shapes and patterns of sculptures, even if this means going supine.

 

Mostly I visit sculpture in galleries where the pieces miss out on revealing the beauties that this outdoor space offers them. Here, you can circumambulate each piece at leisure and catch its different faces.

 

Shadows are another pleasure of sculptures displayed outside, especially at near noon on such a peerless day, although I first encountered this doubled pleasure in Gallery Bodalla with Don Atkinson's nets.

 

 

In the middle of pleasing shapes appeared a powerful figure, reminder of brutalities hard to imagine on this peaceful headland and the dignity with which people bear them.

 

 

 

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