2015

Curator’s IntroductionThis year’s Sculpture in the Vineyards is one of the most exciting editions to date, featuring the work of over 40 contemporary artists from around Australia, the exhibition takes place over four beautiful vineyard venues: Stonehurst Cedar Creek, Undercliff Winery, Wollombi Wines and Wollombi Village Vineyard.

In an annual calendar increasingly populated with outdoor sculpture exhibitions right across the country, Sculpture in the Vineyards aims to offer a different, more immersive and complete experience. We provide audiences with the prospect of spending an extended amount of time with the art works at our four venues and with the artists themselves through our events and education program, and also to explore the Wollombi Valley, its rich history, culture and scenic landscapes. Visitors to Sculpture in the Vineyards are encouraged to slow down, take time to discover this beautiful place and gain some respite from the hectic speed of daily life, whilst also enjoying the boutique wines for which the region is famed.

This year we were fortunate enough to have a large number of entries from women artists, which is for me a distinct pleasure. Increasing participation by women in contemporary art, and in particular in large outdoor sculpture exhibitions, is an important aim and one of my personal career goals. The result of this increased engagement by women artists is a wealth of accomplished, strong and dynamic work for the 2015 edition of Sculpture in the Vineyards.

One of the recurring themes in this year’s selection is the transformation of everyday materials, with art-ists paying particular attention to form, technical innovation and whimsy. While our initial responses to these works include sheer admiration and wonder, our attention is held by the depth of feeling in these works and their strong sense of responsibility, hope and optimism in uncertain times.

I would like to thank our amazing and dedicated artists, our Director Tara Morelos, all of the vineyard owners and their staff, our Sculpture in the Vineyards team, all at Ngurra Bu and the wonderful and hospitable people of Wollombi.

Artist talks and workshops, guided tours, in-class programs

Full programs: sculptureinthevineyards.com.au/educationEmail sinthev@gmail.com to reserve a space

Family Picnic Day - Sunday 1st November 11am – 2pm

Sculpture in the Vineyards EDUCATION PROGRAM

This year, the real world exhibition of sculptures in and around Wollombi will be accompanied by a separate exhibition of sculp-tures in a virtual world – the world of the popular construction game, Minecraft.

To bring this about, a rough 1-to-1 scale replica of Wollombi and some of its surrounding vineyards has been built on a specially commissioned Minecraft server and opened up to local kids and other interested young Minecraft enthusiasts who will spend the

Month of November crafting original sculptures in this virtual Wollombi.

A final presentation and judging of their creations will be held on the closing day of the real world exhibition along with guided in-game tours streamed live to the Web.

For more information on taking part or viewing the works, drop us a line at sculpturecraftvineyards@gmail.com

1. Kealey Bacic - Steel Gum Trio $3,200 timber (Gum), steel rods, galvanised steel sheet, silver solder, wire mesh, 200 cm ea. Steel Gum Trio explores the importance of longevity and advancement in the modern world, and the focus on sustainability within nature and our lives. Today, value is seen in extending the life, purpose and usage in every object and element of society. In a world dictated by consumerism, objects are intentionally made to be obsolete, despite their technological and functional advancements. This body of work pushes the material qualities of both natural and man made structures, and their abilities both individually and combined to extract the most usage from a form.

My current art practice is largely influenced by my upbringing and familiar surroundings, coming from a family of engineers and growing up in rural NSW. I find myself working with ele-ments of construction and mechanics combined with the natural Australian landscape and found materials. My art practice as a whole is a reflection of the concept of this body of work as I often revisit previous works and alter them into a completely new structure, their forms are always changing.

2. Robert Barnstone - Line Vessels $15,000 or mild steel, epoxy paint, $6,000 ea thermal & photo chromatic paint, 70 x 90 x100 cm

Reminiscent of our industrial past; both linear in shape and in silhouette, slightly pealing and opening at the sides, these shapes begin giving way to the formation of voids and open channels. A linear or surging form on the rocks gesturing to the sea or an inner negative space holding the void in the contour and landscape of forms. These pieces suggest a serpent squirming along the rocks like a trace vestige from the postindustrial mechanical rustbelt. The combination of raw steel and the land is a particularly potent mixture; it recalls the juxtaposition of the an industrial past while also acknowledging imaginings of the impending tentacles of the urban ecological threat.

Robert Barnstone is an Associate Professor of architecture from WSU where he taught architectural design, furniture design and architectural theory. He holds degrees in sculpture and architecture from Bennington college, AA, London, Master of Architecture, Harvard University. He is a principal with Ascher/Barnstone Architects. .

Undercliff Winery and GalleryBuilt in 1993 the winery is nestled in a tranquil valley only 1.5 kilometres from Historic Wollombi Village. The cellar door was constructed to complement the

existing heritage values of the Undercliff Estate, where the external slab walls superbly set off a cedar cathedral ceiling. The wine making equip-

ment was built specifically for the winery, as was the impressive 6 metre table used for vintage lunches

and other functions.

Proclaimed and settled as a farm in 1846, the prop-erty still retains the original timber slab sheds and homestead, the latter named the Settlers Cottage provides unique accommodation for guests. The

clay quarry for the 19th century Wollombi brickworks is adjacent to the vineyards and is now a billabong fed by a subterranean water table providing irriga-

tion for the vineyard.

152 Yango Creek Road, Wollombi, NSW, 2325Ph: +61 2 4998 3322

undercliff.com.au

4. Nicole de Mestre - At Knit’s End $1,400 flyscreen, cricket materials stumps, metal frame-all recycled, 200 x 180 x 15 cm

There is no such thing as worthless knitting, simply knit-ting that is really not to your taste.

Nicole can be found either in her overcrowded shed or out on Central Coast streets rifling through kerbside pick-up piles searching for inspiration. Her assemblages reflect a curious attachment to times past and things lost, an increasing frustra-tion with the prolific waste of modern society and a healthy obsession with liquid nails. She creates an eclectic range of artistic works, all inspired by environmental concerns and linked through the use of locally-sourced recycled materials and found objects.

5. Scott Ingram - The language of flowers $4,200 found materials, chillago marble, 180x 60 x 60 cm Dysfunctional in appearance, lyrical at heart, this sculp-ture is alchemy of disparate found objects and materials, a transformation of nothing into something, a flower glowing in its own internal light.

3. Bev Chalmers - The Sentinels $1,500 sheet copper, copper pipe, copper wire, timber, fiberglass, liquid iron, 130 x 20 x 20cm, set of 3

Three sentinels, silent, watchful, spirit guardians carry-ing the symbols of earth,sky and water . A reminder that we must live in balance and harmony with nature. They stand in the present as a testimonial to what was, what is and what should be.

7. Karen Manning - Stone Chameleons $550 or stone, mirror fragments, grout, adhesive. $20 - $100ea. dimension variable After visiting Undercliff Winery with its sloping topogra-phy and distinct natural pockets I was inspired to create this piece. I designed it to nestle, chameleon-like within the natural environment and deliberately chose to use mirror fragments to reflect the beautiful colours of the surrounding sky, trees and leaves and ground. Different weather conditions, times of the day and viewing angles all change the way this piece appears as each mirrored stone absorbs the mood of its surroundings.

I enjoy experimenting with different mediums and using re-pur-posed/ recycled materials and natural elements in my work. Site specific and large scale works are a particular passion of mine as they allow to me to interact with the community and often incorporate the public into the making of my piece. I come from an education background and was formerly a secondary school art teacher before moving into developing my own pieces. This teaching background has heavily influenced my desire to bring art out of the studio and into the hands and hearts of the youth of today.

6. Anne Kwasner & George Catsi - Stratum IV $3,900 sandstone, earth, coal, concrete, ceramics, found objects, bones, snake and mouse wire, plants and twine, 140 cm

Stratum IV interprets and responds to cultural, historical, social or metaphorical aspects of the Wollombi Valley. Suitcases, when on a journey hold all that is precious, important and valued. They represent the passage of time and movement from one instance to another. In the base suitcase of the artwork is coal, the precious item, that some say, underpins the region. Coal the pariah, breaking though the sandstone layer above it, seeping through the community, morphing into coal seam gas, blending with our precious wine. Wine varietals and coal seam chemicals. BTEX, blend to produce the perfect drop - ‘X’ - A Modern Blend for the New World.

Anne is multi-disciplinary artist who has worked as a printmaker and draughtsman (drawing) and more recently incorporated ceramics and installation. George is an award winning producer, writer, performer and artist whose installation art and projection work counterpoint place and space. Their Stratum series has been re-imagined as part of the Nth Sydney, Shoalhaven and Rookwood ‘Hidden’ art prizes.

8. Ro Murray - Its Black and White $4,000 permanent marker on acrylic, fishing line, crimps, 200cm high

9 black “figures” cut from gloss acrylic sheet, with con-tinuous writing (upside down) on one side, and blank the other side; suspended just above ground level, attached at the point by fishing line to a steel stake in the ground. The figures are free to rotate in the breeze and reflect the landscape and people.

9. Graeme Pattison - It’s Getting Hotter $5,000 coal, tree branches, steel rod, plastic globe 200 x 300 x 200cm

The world is warming as we burn fossil fuels with little regard for the long term consequences. Anthropogenic change is not the way to treat a good planet. Is it time for change? Coal is mined and burnt producing invisible pollutant gases and contributing to warming of our planet. This sculpture seeks to make the impacts visible by using a model earth to view the global perspective. The scatter of dark, dirty lump coal on the ground is seen as it really is. In summary this sculpture presents a global environmental problem in a striking way using simple and intuitive visual links.

Graeme has a special interest in interactive sculpture and the use of electronics to foster reactions and add extra dimensions and per-spectives that allow for social comment. He uses renewable power whenever possible and sometimes uses sculpture to increase the community’s environmental awareness. He enjoys the creative thinking that artists undertake to reach the next stage where they handcraft and engineer materials in new and challenging ways.

11. Deborah Redwood - Sisters $3000 (1) steel and wood, 380cm (Sister one) 190cm (Sister 2) $1500 (2)

Sisters has been created from discarded materials; the wooden ‘head’ combines discarded offcuts the tall slender flat tubes come from a machine and the tungsten tipped cones at the bottom of the sculptures are taken from rotating sandstone excavators. The different wood varieties and sizes in the ‘head’ represent different thought processes and the tungsten tipped cones placed in different positions represent defensive mechanisms. The sculpture attracts attention to the fact that sisters are similar but not exactly the same.

My art explores the idea of entropy; the breaking down of organised complex objects/systems into chaos. I attempt to use broken (highly “entropised”) parts in my art to minimize environ-mental impact and because each of these parts has a specific memory embedded in it which when combined with other ob-jects enables a new narrative to evolve. The results of entropy are visible everywhere; rust, patination, corrosion, scratching, rubbing, chipping, cracking, fraying, erosion, decomposition and disease. There is beauty within this process that I harness in recreating an intricate highly ordered work of art.

10. Tinkie Quinn - Follow your Dreams $3,300 metal, feathers, Sticks, Rope, water proff treated material, crystals, water proff paper, bamboo. 3 metres We are connected to one another and the world we live in; our actions effect those around us and the planet we live on. People are very familiar with the concept of a dream catcher as an ancient form of magic. I have made one to walk under and become part of. People can come together holding hands in a circle, feel surrounded by the magic woven into the work, contemplate and write their thoughts and dreams onto the paper feathers in the box provided and place them onto the hanging silk pieces. I like to use natural materials as much as I can lending op-portunity for the piece to change. I am also inspired by a world beyond the physical, one that opens the heart and mind beyond sight. I am constantly changing my designs and direction of my style but right now I am enjoying weaving things together and the concept of unity, mankind and nature together. I like to use all recycled materials and natural ones, as respecting the environment is crucial to me and displaying this respect in my art is important.

12. Michael Shiell - Fools Vessel $3,000 reclaimed agricultural fencing wire, 50 x 500 x 60 cm, The Ship of Fools allegory, traced back to Plato refer-ences a captain-less vessel that floats around without direction or purpose. On board the passengers are oblivious to their lack of direction and seemingly ignorant of their potential fate. This poignant narrative is often used as an illustrative metaphor for mans’ lack of action and direction in regard to climate change. Fools Vessel is intended as a point of reference to humanity. The work is woven reclaimed agricultural fencing wire sourced from farmers in western Victoria. These fences were destroyed in 2011 when the Wimmera River flooded; a once in 200 year event which followed quickly on the heels of a chronic four year drought cycle. Fools Vessel is inspired by rapidity of these dramatic and severe climactic events.

Since 1998 I have been creating Ephemeral Environmental Art-work, created on-site outdoors using natural materials that are indigenous to the site. The ephemeral nature of the work allows for the created form to breakdown and retrogress back into the site over time. In recent years my work has adapted this same sensibility to site and materiality to include more man-made materials that are also found at the locations. Having said that thought the environmental concerns that underpin the ephem-eral work is still the primary motivation for the recent work.

14. Hannah Surtees - Tall Tales – Sol $3,000 mild steel 240 cm

I’ve always been intrigued by old industrial steel objects like the ones you can see at the ship-building sheds on Sydney’s Cockatoo Island. There is something majestic and sculptural in the rusty old machinery now lying dormant; once busy, noisy and man-handled full of experiences and amazing stories. Tall Tales is designed to combine man-made with nature through material and graphic shapes based on my drawings of objects from the industrial age. These totemic structures stand respectfully amongst nature or sit triumphantly within a man-made environment. The rusty exterior of Tall Tales changes colours with the weather and casts patterned shadows in the sun with their own unique stories to tell. I am a graphic designer with over 20 years experience in brand-ing for retail interiors where I have gained a good understanding of environments and environmental graphics. I like to draw and doodle and use this to inform my commercial graphics as well as giving me ideas to develop through sculpture and other mediums. My commercial practice has led me to work with vari-ous manufacturers through shopfitting and signage making, thus giving me contacts for developing my personal sculptural work.

13. Ines Stewart - High Hopes $3,000 mirror stainless steel, 240 x 60 x 150 cm The work is personal, relating to the 3 years that I lived on a sailing boat. The upright sail represents ‘high hopes’ and the bent sail shot full of holes shows what may hap-pen to them. Of course it has further connotations now in relation to our refugee policy.

15. Mark Swartz - Sails, Fins, Feathers $3,380 bamboo, copper Wire 30 x 200 x 220 cm

Sails Fins, Feathers continues a body of work that explores the connection between the natural skeletal structures of birds and fish with the universal framework of ships and flying machines. This work combines all four of there forms into a new imaginative and mythical ‘Bird.’ It remains ambiguous as to whether this creature has emerged as a fossil from the past or as the product of a science fiction future

I have been creating unique and sustainable sculptures from a wide variety of materials since 2010. My work extensively explores the connections between organic growth and industrial forms, unifying them into imaginative urban creatures.

17. Angela van Boxtel - Immortal $3,000 plastic shopping bags, dimensions variable The gods had condemned Sisyphus to ceaselessly rolling a rock to the top of a mountain, whence the stone would fall back of its own weight. They had thought with some reason that there is no more dreadful punishment than futile and hopeless labour. I sometimes feel like this when punishing myself to the hard labour of crocheting plastic shopping bags into art pieces, so far up to almost 10,000 bags. People don’t understand...though eventu-ally it will be them ‘crushed’ by their own polluted world in the not far away future by refusing to change their plastic single use consumption habits.

Angela van Boxtel is an eco artist and designer whose work explores creative use of waste materials. She dreams of a beautiful sustainable world with lots of imaginary play for children to explore.

16. Greer Taylor - reciprocity POA found sticks, webbing, vinyl, steel, stainless steel cable, paint, A living forest is a network of connections and nodes; a structure that silently but powerfully ensures the forest continues to thrive; a system based on reciprocity. This suspended multilayered grid is a reflection on both the strength and fragility of interconnected systems. An intricately tensioned grid of steel cables sustains the grid; if one connection is broken the whole starts to collapse – like the forest, dependent on a ‘complete’ ecosystem to function. Modern human society regularly ignores and breaks systems which have kept the planet functioning for eons. We are at a time in history where the future of our amazing planet and its inhabitants is under threat if we do not work to restore human-nature reciprocity.

The intention of my work is to explore possibilities and generate questions about our existence and relationship to land. Most of the work I do is driven by the idea of wilderness – both as a place and as a way of thinking. Transparency, vulnerability, change, mortality, repetition together with an exploration of space are ideas that both stem from my engagement with wilderness and are reciprocally informed by it. My work employs simple forms (grids, circles, cubes, rhomboids) most often generated by repeated actions such knitting, threading string around constructed structures, drilling hundreds of holes into a wall to be filled with wire, plastic or feathers, stacking… text is also used as a repeated element.

18. Louise Jarvis and Gioia Viney $3000 Gymea Lily Garden acrylic rod/ 3mm acrylic sheet /LED lights, dimensions variable

The tall reed-like structures soar at 3 metres taking inspiration from the Gymea Lily (doryanthes excelsa) a flowering plant indigenous to New South Wales. The Gymea Lily Garden reflects the draw of nature. The man-made liles/reeds reflect the environment around them but also allow the viewer to see right through it. The movement of the wind gently sways the structures just as natural reeds would. The reeds ability to light up means that in the right location it can be appreciated as a sculpture day and night.

Louise and Gioia are both in the architectural industry and have a passionate interest and involvement with installation art and architecture. They are interested in biomicry, working with natural forms and the surrounding environment. Their previous experience working together at university and on the recent Vivid installation makes the team run very smoothly. Their ex-perience of vivid gives them experience working on small scale projects and the everyday work they do in architecture gives them broader experience in large scale construction projects dealing with people and panels at high level.

19. Jake Coghlan - Semblance timber log, gold spray paint, gold leaf, 160 x 200 x 200 cm,

Semblance, is both an extension and fabrication of the ritualistic process to wine making and our historical relationship to nature. The log comes from a nearby winery, found on a riverbank washed up after recent floods. I placed the log on top of a pile of old vine prun-ing, due for an annual burn. Here I set the branch and dead vines ablaze before carrying it smoking, through the rows of grape vines, to a rainwater tank. I quenched the smouldering log with rain water. I then covered the charred surface in gold leaf and erected it. The work has since weathered in the elements and been relocated here, at Undercliff Winery. Making Semblance, I realised we have a remarkable power to alter narratives, in order to make sense of history, find meaning and legitimise the present. Just as the gold leaf will wash away and flake off when touched, revealing the surface beneath, in time, other stories become apparent to us. Though physical, Semblance is a narrative of transformation that questions what we see presently and asks that we look for other histories existing beneath the surface.

I am always exploring new practices and modes of representa-tion, often finding myself drawn to making outdoor work. My sculptural work varies from robust steel and stainless steel sculptures to ephemeral site specific pieces. The process is im-portant to production, in every work there is a dialogue between the materials, myself and the site. The transformative effect of realising the potential innate within material imbues the work with a new energy that transcends the commonplace. To be moved by an inanimate object is to experience that transcend-ence. It is a positive and powerful force that gives relevance to all forms

Wollombi Village Vineyard

Located only 200 metres from the centre of the village for easy access, this vineyard may only

be 5 acres but its very fertile creek flats produce abundant crops of chardonnay, shiraz & lovely

table grapes.

Originally this land, as part of the original Wol-lombi village, was used as the ‘Governor Gipps

Inn’ back in 1841, as well as ‘Sloan’s Bakery’, the Cricket grounds as well as the Wesleyan School grounds making it a historical, central location.

When purchased in 1988 by owner’s Alan & Ma-ria Roe the block was simply open vacant land. Their first vines were planted in 1996 and were completed in 2000. The cellar door was opened in September 1996, following the owners’ Alan

& Maria’s retirement. The cellar door is open not just for wine tasting & sales, but also for the well known liqueurs Maria hand makes (Limoncello &

Passione are especially sought after).

2971 Payne’s Crossing Road Wollombi NSW Ph 0419 997 434

wollombivillagevineyard.com.au

20. Rhonda Castle - Harvest $4,500 mild steel and stainless steel bolts, 210 cm high From one generation to another we Harvest knowledge that helps our critical thinking to make connections between what we learn in school and what we see in our everyday lives. For us, sustainability is the potential for long-term maintenance of wellbeing, which has ecologi-cal, economic, political and cultural dimensions. Sustain-ability requires the reconciliation of environmental, social equity and economic demands - also referred to as the “three pillars” of sustainability.

Primarily the sources of my imagery come from what I see every day from nature or a past memory which evokes a process of sketching, writing a passage of thought or taking a photograph to capture that ‘snap shot’ idea. From here I will play with form, materials and dimension, working with a marquette for proof of concept. Each project often consists of multiple works, often in a range of different media, grouped around specific themes and meanings. During research and production new areas of interest arise and lead to the next body of work. With a construc-tion industry background and working in IT and Graphic Design lending itself to understanding the processes of and translating the architecture, geometry and physics into sculpture.

21. Bev Chalmers - The Vine $4,000 stainless steel, perspex, recycled agricultural pipe, fibreglass, liquid iron, 250 x 130 x 90 cm Grapes in clusters, coiling vines, explosive bubbles, salute the wine!

Challenging and changeable; I use a combination of materi-als, tangible and intangible to embody movement . Inspired by nature, this work’s ethereal quality is achieved by using fine materials and a variety of different spaces. The shadows thrown by the sculpture extend it into the natural environment and are intrinsic to every creation and can at times be unintentionally surprising.

22. Nicole de Mestre - Which Banksia? $450 ea video tape, tin, copper wire, 100 cm high

Which is it? A tribute to Australian flora? A resurrected childhood tale; a group of bad banksia men basking in the sun and wickedly planning mischief? Or an envi-ronmental commentary on the inauthentic nature of our fabricated world? Constructed entirely from discarded man-made resources, these Banksias serve to convey a message reflecting my environmental concerns. Our world is being dramatically transformed. Places we love are changing fast, native bushland is receding and we have increasingly temporary relationships with the things that surround us.

23. Danielle Minett - Many Faces, Many Masks $5,500 bronze, 40 cm, $800ea Daily, each individual hides behind masks - sometimes a different mask for each different situation. Masks are usually light and easily changed, however the masks in Many Faces, Many Masks are heavy demonstrating the idea that in reality they often weigh us down. The materiality also creates a longevity - the idea that as much as we would like to dispose of our masks, they can still remain in tact for the long term, hidden and ready when needed again. Each mask is uniquely different and a certain level of chance has been left in the process of these developing these masks. I let go of some of the control- not knowing what the outcome would be, so also emphasis that although we often feel in control of how our masks look, they evolve over time without con-science input and become something else altogether.

I am a fine art photographer and sculptor working in both mediums equally. Conceptually I am interested in delving into the hidden aspects of humanity and in particular the parts which exist but no one really likes to talk about. There is much to be discovered and so many stories to be revealed. I am also very interested in materiality and the place for physical objects in an every increasing digital world.

24. Polly Rickard - Balance $1,100 welded steel, 140 cm high

I have always been fascinated with the malleable nature of steel and the way it can appear to be light as a feather or firmly rooted in the earth. My goal was to get the balance. I bent the stem of this sculpture by hand, with a fulcrum and a vice, and the stem is the only piece which was manipulated and not in its original form.

My practice is to use only found steel and to use it in its original form. Because there is rarely the opportunity to know the original purpose, there is an element of mystery as disparate pieces of previously industrial steel come together in a new life where they have no other responsibility but to contribute to a sculptural concept. Because my pieces are found I am not able to plan ahead, but embrace the spontaneity which goes with this approach. Also, the use of old steel is an embodiment my ethos of reclaim, recycle, rebirth.

25. Stef Schelbert - Nowhere to Hide! $12,500 steel pipes & porcelain, 380 cm high The inspiration for this work stems from my reactions and questions relating to global politics and its potential im-pact on our world and our environment. Nowhere to Hide provided immense enjoyment, discussion and challenge as the units united into a sculptural form. Whether it is the impact of high density/apartment living and its intru-sion into our last private/personal space...? or simply a representation of our modern world where everyone is totally exposed, accessible and vulnerable? Could this be representative of modern society and its acceptance of 24/7 accessibility? Nowhere to Hide!

Swiss born Lake Macquarie based sculptor who uses objets trouvés to create three dimensional structures that evoke powerful reactions to inspire, entertain and compliment the environment into which they have been placed.The inspiration, for my creations, has been found through the selection and combination of a variety of pre-loved materials defined by their unique shape, or location and the quest to know what they might become when united as a sculptural form.My creative journey has had many unexpected twists and turns as the elements are worked, welded, reworked, combined, carved or painted; but the rewards are many as the final work emerges and the once forgotten elements, are united into a unique and exciting assemblage.

26. Ingrid van der Aa - Homeward bound POA plywood and termite nest, 50 cm Homeward Bound addresses the interconnection of different structures and cultures. In the current connected world, identities need to be fluid and open to constant change, so as to be flexible with the movements across borders. I introduced the Dutch clog as an iconic Dutch symbol and as a reflection on form in association with my identity. In Australia I stumbled across the termite nests and their interesting forms and shapes. The transforma-tion process is demonstrated in the artwork through the interconnection of the Dutch clog with the Australian termites and their nests. This process has resulted in the work Homeward Bound, an installation of hybrid objects.Homeward Bound is an up-scaled model of a clog, with a rib-like structure as a house or boat is built. At the same time the work embodies a nest or shell to protect and surround viewers.

Ingrid van der Aa is a Sydney based artist. She holds a Masters degree from Sydney College of the Arts and was a 2015 prize winner at Harbour Sculpture Prize and the Art Abstract Palm Awards at Verge gallery. In the past 10 years Ingrid has exhib-ited in Sydney, Melbourne, Central Coast, Newcastle and The Netherlands across painting, sculpture and installation.

27. Pamela Lee Brenner and Johannes Muljana FanfAir (working title) $3,000 re-purposed found fan blades; pvc, polyurethane, carbon fibre, aluminium and wood , 250 x 150 x 200 - 250 cm

The sculpture references an airship in its lightweight and delicate appearance and explores the idea of using available energy, namely wind, to create movement. The turning of the fan blades by the wind creates the illusion of a ship mid-flight “floating” on the wind, going towards some unknown destination.

Pamela Lee Brenner and Johannes Muljana are artists with backgrounds in interactive media, graphic, web and set design, as well as the more traditional forms of painting and sculpture. Both artists have collaborated in projects with other artists as well as with each other in developing installation, interactive and experimental works over the last ten years. They like to work with recycled, reclaimed materials and technology.

28. John Ramsay - Man of Steel Ephemeral work reinforced cardboard, gum tape, Porters rust paint, 530 cm

Man of Steel references man in the age of the industrial revolution striding towards the future, eroded by time and ultimately destroyed by the elements. Images of coal miners inform my work as they stand strong and proud, pivotal in the history of the industrial revolution. We are still employing the same principles that were formed two centuries ago. Our needs and the needs of the planet are changing, but still we play by ‘out of date’ rules in an ever-changing environment that requires direction in accordance with a sustainable future, rather than a profitable one.

My practice is generated by an idea or concept and the materi-als are dictated by the form. Political, historical and environ-mental issues are the inspiration for my practice. I endeavour to re-evaluate, invigorate discussion and open doors in people’s minds where they may not ordinarily go.

Wollombi Township

Wollombi WinesWollombi Wines is situated adjacent to the

historic village of Wollombi and bordered by the beautiful Wollombi Brook. Family owned and

operated by proprietors Allyson and Peter Hoft, the vineyard produces quality wines with typical Hunter flavor and characteristics, including three delicious lower alcohol wines. Self catering ac-commodation is available at the super Ironbark Cottage. Come and enjoy the beautiful views,

picnic facilities available.

25 Charlton Street (entrance off Wollombi Road) Wollombi NSW 2325PH: +61 2 4998 3427

www.wollombiwines.com.au

29. Aaron Anderson - suburban folly #14 $1,700 wood, 300 cm high

I am exploring “ruin lust”, or the latent desire to see society in decay.

As if to wish it a thing of the past, the memorialized “white picket security fence” ruin site is meant to highlight inclusion/exclusion in Western society.

Thematically, my work centres around the underlying angst associated with contemporary living. I work in a variety of mediums, including constructed sculpture, experimental screen printing, drawing and photography.

30. Kylie Bowles - Muffled Men $500 ea recycled car parts, 200 cm high Muffled men symbolises the many thousands of men, women and children who rely on Australia’s automo-tive industry for their livelihoods. Australia’s automotive industry is an important part of our economy, providing thousands of jobs. Rising fuel prices, cheaper overseas imports, climate change and the carbon tax have all had impact on this industry in recent times, with car production steadily declining. This in turn has led to many thousands of workers becoming unemployed. By creating images of man out of these old car parts I aim to draw attention to the large scale dependence on the automotive industry for survival.

I am inspired to make art from what would normally be dis-carded as waste.

31. Rhonda Castle - Overlord $5,500 corten steel and stainless steel, 200 cm high

History is littered with examples of the groundswell of the people changing and adopting new processes in an innovative and productive manner. Equality, peace and justice are inextricably linked and neither can flourish in the absence of the other. Through the combined power of individuals united in society and freedom of choice we have an all prevailing energy in which the most amazing results can be achieved.

The body of work I’m presenting at present is stainless steel and corten sculptural pieces that are characterised by clean flowing lines that reflect light and their surrounds, picking up a kaleido-scope of colour and taking on a life of their own. Often combined with sandstone or timber to give warmth and character.

32. Keith Chidzey - Forest for the Trees $2,500 mannequins, dimensions variable This installation seeks to highlight the widening gulf between those who have the means to help and the increasing numbers of those who need that help. Oxfam reported that the world’s 100 richest people earned enough money to end extreme poverty worldwide four times over. A direct result of this condition is rampant materialism and a consequent increase in “more anti-social and self-centred behaviour. One of the effects of a materialistic disposition is a greater tendency to treat people as objects to be manipulated and used.” These multi-coloured mannequins placed in a manicured forest setting highlight the pervasive underlying attitude of many that other people are not important – they are just other objects.

I am a sculptor and land artist, driven by imaginative juices flowing from our creator God. This takes the form of: prophecy through art; highlighting environmental responsibility; and promoting social justice issues. Materially, I generally specialize in timber and bronze, but am effective across a wide range of mediums. I particularly enjoy engaging in commissions to help realize other’s dream and visions.

33. Emilia Krumm - Forest Cathedral $7,500 perspex and stainless steel, 400 cm high Creating sculpture is like unpacking a treasure chest from deep within myself; an interpretation of memories accumulated over the years from my experiences. My Italian heritage, African upbringing, life in Australia, all have had a symbiotic effect on my work. My sculpture Forest Cathedral, the message is all about the sacred space that is created, it emulates those sacred spaces in nature where one is transported to a spiritual place. Working with perspex and stainless steel, my work seeks to develop a ‘Chiaroscuro’ effect which enhances the modelled forms and gives them depth resonant of the Renaissance period. The use of negative and positive spaces fascinates me and creates a particular kind of tension in my sculptures.

I love to work with different mediums and enjoy the challenge of construction. It is a privilege to create a large space that is pleasant to be in and around. I aspire to capture the light and reflect the environment around the sculpture to enhance the message of emulating nature. It is important for me to interpret my initial idea into reality and that is, of transporting the viewer to a special place, with the use of light and colours.

34. Ro Murray - Fire Warning $20,000 or recycled perspex, acrylic, steel, 140 cm $2,500 ea.

Last summer, Vanessa O’Hanlon on ABC News 24 pre-sented unforgettable info-graphics showing nearly all of Western Australia or South Australia red for extreme fire danger, orange for severe, and yellow for very high with patches of black for catastrophic; a frightening picture of large areas of Australia under threat. The ratings are prompts for people to stay safe and put their Bushfire Survival plan into action.Bushfires are becoming more severe and frequent through extreme temperatures and winds, which are a subsequence of Climate Change.

Ro Murray makes visual comment about contemporary issues in the media. She has a diverse art practice from drawing to installation. Over the last few years she has been drawing in-situ on glass doors and windows with markers.

35. Phillip Relf - Pumpkin Vine NFS wire, steel, hessian, kerosene 300 x 300cm

Fire was no stranger to the ancient Celts. Samhain or Halloween was celebrated as one of the four great festivals, long before it was taken up by the new colonists of Americas. The grinning face of the Jack-o-Lantern is seen now amongst the grapes in a vineyard as the festival is transported yet once again, to new shores.

I have long been interested in the use of fire in community celebration and ritual. The ability to make fire separates us from all other animals on the planet and it is difficult to image a social gathering without it. The fire-sculpture embodies the elements of the living flame in a recognisable form, dancing in the dark of night. Fire symbolise transformation, the crossing from one state to another, the eternal cycle that is as much an ending as a beginning.

36. Jimmy Rix - I still call Australia home $8,500 corten steel, chain 184 x 150 x 50cm.

I have spent years living overseas and I was always grateful that I was Australian. I definitely yearned for the day that I would return. Over the last few years watching the boat people debate, it really has made me question who is really Australian and who deserves to live here?

I grew up on a rural property on the Darling Downs in Queens-land and from an early age I learnt to weld. The farm was littered with old rusty pieces of machinery which was a source of materials and inspiration. At the age of 18, I attended paint-ing and drawing classes at Metro Arts in Brisbane but I soon realized sculpture was my calling so I became a private pupil of a ceramic artist and later a bronze sculptor. I have made three large-scale public commission works for Landcom and NSW Transport in Sydney and have shown multiple times at Sculp-ture by the Sea in Bondi and Cottesloe. I have been awarded the major prize at Lake Lights Sculpture Prize in 2014 and 2015 and the Delta Sculpture Prize in Wyong in 2012. I currently live and work in Wollombi.

37. Stef Schelbert - The Black Knight $8,300timber and Steel, 270 cm The symmetry and precision of this discarded steel drum sieve lent itself to the creation of “The Black Knight”. Our “Knight in Shining Armour” is dressed for success!

The inspiration for my work stems from my reactions and questions relating to global politics and its potential impact on our world and our environment. Recycling and up cycling are fundamental components of my creative journey. My creations are formulated through the selection and combination of a variety of pre-loved materials defined by their unique shape, or location and the quest to know what they might become when united as a sculptural form.

38. Selena Seifert - Resilience $9,500 recycled glass mosaic on concrete, steel and fibreglass 150 cm

Resilience is a response to environmental change and transience, entwined by the mystery and eternal truth of nature. Inspired by the graceful Venus de Milo; goddess of love and beauty, the aestheticism of beauty and nature blur into a reflection on Aphrodite and an attempt at understanding the hidden life of plants and their fragility. The entwining vines grow over the bustled skirt symbolising growth and regeneration.

Selena is a multi disciplinary artist and educator. She works with a range of materials including industrial offcuts and recycled glass to create contemporary sculptures, paintings, mosaics, and public artworks. Selena has exhibited her work across Australia, Europe and USA. Selena’s public artworks are dotted across Sydney, The Blue Mountains and the Central West of NSW.

39. Hannah Surtees - Tall Tales – Sentry $4,200 5mm mild Steel, 60cm

These totemic structures stand respectfully amongst nature, or they can sit triumphantly within a man-made environment. The rusty exterior of Tall Tales changes col-ours with the weather and they cast patterned shadows in the sun, they have their own, unique story to tell.

40. Sharon Taylor - Encircled $ 2,800 ceramic and timber, 150 cm high Encircled is a monument to the beauty of trees, the strength, resilience and grandeur of the forest, enclosing ageless hidden mysteries.

I am a Ceramic Artist, constantly inspired by my natural sur-roundings. I enjoy the endless possibilities of working with clay, bringing ideas to life in three dimensional form. My large pieces are always textural and tactical,made to be touched as well as admired.

41. Angela van Boxtel - Tree of Life $3,000 plastic shopping bags, dimensions variable The tree of life is a common motif in various world theolo-gies, mythologies, and philosophies. It alludes to the interconnection of all life on our planet and serves as a metaphor for common descent in the evolutionary sense. Tree of Life represent our current state in the ‘evolution’. Wondering what fruit it will bear in the near future?

Angela van Boxtel is an eco artist & designer whose work explores creative use of waste materials.

42. Therese Wilkins - Winged Chair $ 700 wood, paint, resin, feathers, glass beads, steel, galvanised wire.

The chair is the place of power; the wings symbolize the Seraph - angelic heraldry who held aloft the seat of the most powerful. The chair is a metaphor for the relation-ship and balance of power that exists between humans and birds . A careful balance in the vineyard between birds and the grapes on the vines .

I am on an art road, a traveller who captures images and weaves a visual narrative through printmaking and sculpture. Narratives are woven by employing both traditional and innova-tive printmaking methodologies such as overlaying images, multi-plates, collage, the use of tonal variation, and mixed me-dia. The use of a variety of man-made and ephemeral materials is evident in my sculptural work which harkens back to earth and the stories of the land, sea and air. Birds feature heavily in my sculptural work.

43. ACAB collective - Panacea pine wood, plastic drop sheet, living plants, artificial plants, solar powered LEDs, spray paint, expanding foam, plastic bottles, dimensions variable

Panacea is comprised of natural and artificial materials that are first deconstructed and then reconfigured in an exploration of what constitutes our natural world. Crystal-line greenhouses have been constructed to house our flora sculptures alluding to agricultural control of growth and development in nature. Panacea explores the merg-ing of our hand with the natural world as an extension of human intervention in the ecosystem. Our practice aims to challenge the prevailing ideology of nature as a bal-anced, regenerative system, which is then disturbed by human activity and instead propose that we are collective participants in what nature is becoming.

Zinzi Kennedy & Ben Johanson are ACAB; a Melbourne based collective who produce light manipulating sculpture and installa-tions reinventing locally sourced materials by accumulation and transformation. ACAB engages in the ecological dialogue about the relationship between nature, technological progress and contemporary cultures obsessive consumption of commodities. By attempting to both re-present and synthesize materials seen as being endemic to either the natural or artificial worlds, ACAB explores the forecast of our taste for more. Are our swollen landfills the start of a new evolution in nature?

44. Louise Jarvis and Gioia Viney $3000 Gymea Lily Garden acrylic rod/ 3mm acrylic sheet /LED lights, dimensions variable

The tall reed-like structures soar at 3 metres taking inspiration from the Gymea Lily (doryanthes excelsa) a flowering plant indigenous to New South Wales. The Gymea Lily Garden reflects the draw of nature. The man-made liles/reeds reflect the environment around them but also allow the viewer to see right through it. The movement of the wind gently sways the structures just as natural reeds would. The reeds ability to light up means that in the right location it can be appreciated as a sculpture day and night.

45. Kylie Bowles - Wind of Change $1,500 relief printed feathers on material, wire, fishing line, beads, 200cm

We walk through a world filled with meaning. As you walk around my work, breathe deeply, let go of all anxieties. Let the feathers take them into the wind towards that blue feather of change, finding your own path to serenity.The creation of this work has been a journey of personal discovery. The feathers transform my emotions enabling me to find freedom and peace, and to soar into the next phase of my life. May you feel the touch of a feather on your cheek as you walk by.

I enjoy responding to the environment, whether it be to issues of sustainability, the beauty of life or the breath of the wind. ‘Wind of Change’ however was much more personal, exploration the changes occurring in my life, and finding my way back to my artistic practice. I enjoy exploring ways to combine methods of sculpture and printmaking.

Stonehurst Cedar CreekLocated on land originally granted to Napoleonic

War Veterans in the 1820’s, this property has become renowned for its horticultural produce. The Heslop family farmed deer and cattle on

the property for many years before establishing the vineyard in 1995. Their vision is to produce

premium quality wines through sustainable viticulture – no insecticides and only organically

approved fungicides are used.

The family homestead, Cellar Door and wine cellar are all built of sandstone quarried on the farm and old convict stone. The Cedar Creek

Cottages, which are self–contained with all mod-ern amenities, are built from old timber slabs and convict brick to the rich heritage of Wol-

lombi. Now in its 7th generation of farming, the vineyards continue to maintain a very healthy

environment in this wonderful part of the world.

1840 Wollombi Road Cedar Creek NSW 2325Phone: +61 2 4998 1576

cedarcreekcottages.com.au

46. Aaron Anderson - suburban folly #15 $1,800 wood, MDF, found objects, carpet, dimensions variable

I am exploring “ruin lust”, or the latent desire to see society in decay. By fabricating sanitized ruins, known as follies, I am attempting to inject melodrama and faux significance into the mundane objects and structures that surround us. They are fast-tracked, prefabbed ruins for an impatient culture needing to control and romanticize its own future history. This work is meant to represent a pre-ruined dining room table, listing to one side. Through a neatly cut hole in the table top, black found objects will protrude, lending a melodrama to a the scene construct-ed with benign household items.

Thematically, my work centers around the underlying angst associated with contemporary living. I work in a variety of mediums, including constructed sculpture, experimental screen printing, drawing and photography.

47. Kylie Bowles - Pod $30,000 wire, fiberglass, mosaic tiles, dimensions variable $10,000 ea

Whales are majestic creatures. If you blinked you could easily miss that quick flick of their tales. I have attempted to capture this magical moment in my sculptures. I enjoy responding to the environment, whether it is issues of sustainability, the beauty of life or the breath of the wind on your skin. ‘Pod’ explores how our natural marine environment could disappear in the blink of an eye. The use of a material destined for landfill only highlights further my environmental concerns with our materialistic lifestyles.

48. Bev Chalmers - Symphony $4,000 red gum, stainless steel rods, sheet, pipe,brass, electrical tape, 23 x 60 x 150 cm

This piece is influenced by musicians and the differ-ing orchestral instruments they use to unite and create inspirational performances.

49. Belinda Clarke - Heads Will Roll $1000 ceramic, glaze and autolac paint. $350 ea

Our facial expressions often show what’s going on inside our heads and sometimes this is at odds with the words coming out of our mouths. Text-based communication technology removes facial cues entirely and consequent-ly misunderstandings in email and text are common. We need to find a way to bring humanity back into our com-munications. Heads Will Roll is a study of the subtleties of human contact through face to face connections.

The changes in modern life astound and surprise me. I like to explore these differences and express them through my sculp-ture. I am very interested in the physical action of sculpting and I often use clay for its unlimited possibilities.

50. Gordon DoGsWooD NFS Utopia: past - present - future wire, glass, hessian, wood,steel, 500 x 500 x 300 cm “ Opaque and obscured agendas hide behind thin veiled walls.” DoGsWooD

“The job of the artist is always to deepen the mystery” Francis Bacon.

Working under the name of DoGsWooD affords me the uncon-scious and unbridled liberty to fully engage with the artist within. As an informal philosophical anthropologist, my fascination is with those intrinsic elements which connect, divide, unite and drive us as individuals and as a collective. These elements inform, inspire and drive my creative process and expression. Working within multiple planes of interest; literal, interpretative and abstract, I am driven to create works that engage with notions of discovery, narrative, meaning and play. The variety of techniques I employ reflect these interests, as well as demon-strating an engagement in the exploration and evolution in my own creative personality.

51. Adam Galea - Warhorse Metamorphosis $5500 steel, fibreglass, cement, marine plywood, exterior paint, 200 x 200 x 100 cm

Warhorse Metamorphosis is about the progression of technology. As a species, we often create new technol-ogy that is overly convenient to a point where it can cause new problems. Taking this to a hypothetical extreme, the work combines two elements of early 20th century warfare: the cavalry and the gas mask. Put the two together and a worthy adversary is created. But it is also something that could be seen as an abomination or sublime.

52. Selina Hitches - Vintage POA free formed concrete, mixed media, sandstone, recycled hardwood,

How does my love age;On vine and with tenderness,Time spent to ponder,Once opened, belong. Free formed concrete with its pliability and versatility has a life of its own, it is all about timing, process and the environmental elements that effect the final outcome.

In my work I introduce the audience to materials that they have grown accustomed to seeing in cold, utilitarian, unsympathetic ways. My goal is to take the viewer beyond the materials by transforming something impersonal and inanimate into something that is both physically and emotionally beautiful, that encourages a moment of reflection. I have always welcomed a challenge and working with the aesthetic side of the building industry has provided a strong foundation for my process. I love to ascertain the manifestation of emotion and uniqueness in the most unlikely of places.

53. Scott Ingram - Windows of perception $9,250 steel, chillago marble, stainless steel , 200 x 70 x 20 cm Form, light, space and time relate through ideas, imagi-nation, energy, emotion and memory. When the portal opens between these phenomena and the windows of perception are cleansed “everything would appear as it is, infinite. For man has closed himself up, till he sees all things thro’ narrow chinks of his cavern.” William Blake. The marriage of heaven and hellMy art practice is spent drawing ideas from memory and obser-vation, exploring what may come from the ether. I am drawn to the physical nature of sculpture. When something is laid down on paper or canvas it happens quickly, but making it become sculpture is demanding. Materials and concepts are explored to discover their nature. Stone/marble are my favoured material, although difficult to work, it is totally organic has a life of its own.

54. Akira Kamada - Cornering the Milky Way POA vine, rope, wire, thread, dimensions variable

Since times long past the night sky has been an inspira-tion to many, a mesmerizing and endless source of reflection and meditation. Gazing up at the Milky Way we can feel a connection with people around the world, and across the ages, and with our inner selves, as we are dwarfed by the immensity of the galaxies beyond. Our connection with others, in and beyond our own spheres, and with the natural environment that sustains us, is an important concept in much of my work. I am also concerned about the impact of human behaviour on the natural environment. The main drive behind much of my artistic practice however, is simply to seek out and reveal the beauty of everyday materials or objects. I believe that everything has it’s own beauty but we often can’t see it when we’ve pre-judged it as being nondescript, ordinary, or as having no value.

Recently I have created a range of different works using vine, primarily grape vine. I use simple, organic shapes, of various dimensions, either resting on the ground, or suspended above it. Each has its own narrative. This piece invites the viewer to make their own connections

55. Polly Rickard - Movement in Landscape $950 found steel, used in its original form, 145 cm high

This welded steel sculpture has a forward movement that suggests the title, Movement in Landscape. As it was constructed with found steel there is an element of surprise and eclecticism as each piece brings something of its other life to the new creation. At last, pieces of steel that I had hoarded for years had found a home.

My practice is to use only found steel and to use it in its original form. Because there is rarely the opportunity to know the original purpose, there is an element of mystery as disparate pieces of previously industrial steel come together in a new life where they have no other responsibility but to contribute to a sculptural concept. Because my pieces are found I am not able to plan ahead, but embrace the spontaneity which goes with this approach. Also, the use of old steel is an embodiment my ethos of reclaim, recycle, rebirth.

56. Alex Scheibner - Remember Remember $3,800 forged mild steel, recycled strata support bolts, $300 ea. chemical rust patina and cast concrete, 140 cm high

The poppy is a powerful symbol used to remember the men and women that sacrificed themselves during past conflicts. By rusting these twenty oversized poppies I’m questioning whether a memory as important as past sacrifices ages as the generations pass. Perhaps by reminding ourselves more often of the past we can avoid the same mistakes and honour those that earned their place in the annuals of history.

I hold two trades, blacksmith and fitter, bo th of which I use to form materials I sculpt from. I love the way direct metal sculp-ture is created, it’s such a dynamic exercise, so much force and effort go into shaping it and can result in something that looks organic and genteel. The same material can be used for the hard lines of a geometric sculpture or a flowing plant form. The tools I need to work, I can make from the same material I’m forming. Metals are the most versatile medium and can truly be beaten from a sword to a plough shears.

57. Selena Seifert - Fragmented Soul $7,500 recycled glass on fibreglass and steel base 130 cm high

“Think ... of the world you carry within you.” Rainer Maria Rilke

A free thinker, deep in thought contemplating the world without and within. Her organic patterns; a metaphor for growth depicting her thoughtful and tangled soul. Frag-ments are falling into the mirror and reflected back at her; she lives as a fragmented soul in fragmented times; searching for unity, shared values, morals and ethics. Mosaics are often thought of as fragmented pieces, but the pieces also make up larger pictures to become whole again. As she ponders the pieces of herself , the mirror reflects the sky, trees and clouds. Her unity with nature and the divine are in encircling conversation.

Selena is a multi-disciplinary artist and educator working in a range of media creating contemporary sculptures, paintings, mosaics, and public artworks. Selena has exhibited her work across Australia, Europe and USA

58. Jill Gibson - Tie Me Up, Tie Me Down $3,400Foam, steel, PVC, elastic, 250 x 50 x 15cm depth

As part of a historical continuum much of my practice is rooted in the emerging Feminist movement of the second half of the 20th Century that endeavours to challenge and question the role and status of woman as artist and woman in a domestic context. The piece looks at a spe-cific type of fastening used widely in female corsetry– the hook and eye. This form of fastening first appears under the name of “crochet and loop” in 14th century England. The first reference to the modern term appears in Au-brey’s Brief Lives in 1697, which describes a ‘restraining’ corset being attached with “hook and eies”

Often sculptural, yet performance, installation and painting, Jill’s work is underpinned by process and research. Her interest is in the drawn line as sculpture, a ‘physical’ body, moving from the confines of one area and into the next yet bound by certain con-vention and rules. She often work with rubber (utilising old bike inner tubes) and foam which can be manipulated and formed into shapes which adopt human characteristics yet take on a form of their own folding, bending and occasionally collapsing.

Acknowledgements Sculpture in the Vineyards is a not for profit organisation which relies upon volunteers, professional pro bono support and the much needed financial and in-kind support from sponsors and partners. Director: Tara Morelos • Curator: Christiane Keys-Statham • Education Officer: Mark Swartz • PR and Marketing: That Messenger Bird and their partners, friends and family who supported them in supporting us. Photography: Harrisions Photography & courtesy of individual artists. Front Cover: Remember Remember by Alex Scheibner

Join experienced Aboriginal guides on a tour of ‘the map site’ at Finchley - a significant rock engraving site used by Aboriginal people for thousands of years in traditional lore and ceremony. Tours begin with a smoking cer-emony, followed by a tour of the carvings. Guests will have the opportunity to hear Dreamtime stories and ask questions about the history of Aboriginal people in the Wollombi Valley.

$50 per person includes tour guide, wine and cheese watching the sun set over Mt Yengo. (2 hours + travel time – approx 45mins each way)

Saturday 7, 14, 21 November 2015Bookings essential – call 4998 3322 to reserve your place

Wollombi Valley Progress Association