The STA BOX Gallery @ Picton 

The Wollondilly Shire Council administration building is the home of the STA Box Gallery in Wollondilly. Enjoy the online gallery  below and visit  STA Box Gallery Wollondilly in the Wollondilly Council Foyer on Menangle Street Picton. 

BOX Gallery exhibitions are available to STA Members on application. Members can apply for an exhibition in one or more BOX Galleries. If you would like to register an interest in a BOX Gallery exhibition email us for more information.

Find out more about the STA Box Gallery Project

Necklaces they might have worn by Cathy Hutton

These necklaces created from antique and vintage buttons are my tribute to the magnificent creativity of the sixteenth century Italian Renaissance, as shown in the exquisite fabrics produced in the workshops of Florence and Venice and in the precious buttons designed and handmade by master craftsmen.

Although for many years I have been making an annual trip to Northern Italy to search out the rare and unusual buttons that can still be found in the local antique markets, I only recently realised that the glass and metal buttons that were the real treasures of my collection would perfectly complement the gorgeous antique fabrics that I had seen in costume museums such as the Museo del Tessuto in Prato and the Museo di Storia del Tessuto e del Costume in Venice.

I then selected from the many portraits of Renaissance women dressed in their finery and painted by artists such as Titian and Bronzino those that would inspire me to create the necklaces that the women portrayed might have worn with their sumptuous dresses.

Although the buttons I have used to create these necklaces were made centuries later, they in turn have been inspired by the designs created by the jewellers and goldsmiths of the sixteenth century.

Cathy operates under the name Vintage Caterina and can be contacted about any of these exquisite pieces or to discuss bespoke commissions via email; [email protected]

Isabella d'Este by Tiziano Vecellio, known as Titian 1530c
Caterina Sforza by Lorenzo di Credi 1481
Eleanor of Toledo and Her Son Giovanni by Bronzino 1545c
Portrait of a lady by Pedro Campaña (Pieter de Kempener) 1530c
Catherine Carnaro as Saint Catherine of Alexandria by Titian Posthumous portrait 1542

Previous STA Box Gallery Wollondilly Exhibitions

Artemis Anthropocene by J A Cornish, Spring 2024
Plastic Mannequin, Papier Mache – telephone books, newspaper, PVA Glue; Eucalyptus Scoparia Branches, Eucalypt Angophora Costata Bark; Woodchips from Pine and Cypress; Charcoal; Magpie Nest – natural materials & plastic waste; Fairy Wren’s Nest – natural materials; Paper Wasp Nest – natural materials.

‘Artemis …’ is an obvious comment on waste and the overuse and destruction of natural resources, also the proliferation of plastic waste in our environment and the affect it has on our health and the health of the natural world. She’s made from a plastic mannequin covered in papier-mâché from telephone books and newspaper, specifically, the Sydney Morning Herald’s Good Weekend and News Review, the sections I read. I’ve got a love-hate relationship with paper, especially newspaper and magazines; I love to read, I hate that often what I’m reading was once a tree. The newspaper is mostly cut into leaves, and layered on the mannequin like they were drawn to her, almost in an effort to remake themselves as trees again.
There are also butterflies, a bee (made from multiple cut out bees), a dragonfly, and two crescent Moons cut from the newspaper – I actually wanted to do more and create a fresco across her upper chest, but cutting tiny exact insects ran into time I didn’t have (for now). Bees were chosen because they were sacred to Artemis and have been identified as the single most important species on earth. The butterflies and dragonfly are a nod to my Welsh ancestors and sister (who loves dragonflies), and Artemis wore a crescent moon as a crown. The leaves are also like shoals of fish, and I like this Homeric Hymn to Artemis traveling across the land: “The tops of the high mountains tremble and the tangled wood echoes awesomely with the outcry of beasts: earth quakes and the sea also where fishes shoal.” One of the 12 Olympian Gods, Artemis is Goddess of waters and rivers, her twin is the sun God Apollo, and Poseidon God of the ocean was her uncle.
As a nerdy child reading Greek Myths and Legends, Artemis was a favourite “…the first nymph, a goddess of free nature. She is an independent free woman, and she doesn’t need any partner…” Amongst other things, she’s the Goddess of the wilderness, wild animals, nature, vegetation: “…In bucolic (pastoral) songs the image of [Artemis] was discovered in bundles of leaves or dry sticks” – hence my sticks and branches.
The single most important piece in the sculpture is the magpies’ nest. Finding it and seeing that it was created by these brilliant birds from so much plastic waste broke my heart. I found the nest, which had blown down from a huge eucalypt in a storm, in 2018. Eight or so years of drought had denuded the local gardens and wild grasses and I suspect the Magpies had to scavenge far and wide to find any nesting materials, including the plastic packing tape, the spines of a plastic fence, the plastic netting and even the very large wood and wire mobile I’d created which they stole from my garden, a block from where I’d found the nest. The wire was unwound from some of the props in the mobile and wound thorough the nest. The thin fencing wire remains in the nest, but I had to remove the rest of the mobile as it was too heavy for my Artemis’ branches – quite the circle of creation.
And as for plastic and how it relates to Artemis, Goddess of the hunt, wilderness, reproduction, and women’s health? “Microplastics (MPs) and nanoplastics (NPs) are emergent pollutants, which have sparked widespread concern. They can infiltrate the body via ingestion, inhalation, and cutaneous contact (they can rub off by touch). As such, there is a general worry that MPs/NPs may have an impact on human health in addition to the environmental issues they engender… With the detection of MPs/NPs in fetal [sic.] compartment and the prevalence of infertility, an increasing number of studies have put an emphasis on their reproductive toxicity in female[s]. Moreover, MPs/NPs have the potential to interact with other contaminants, thus enhancing or diminishing the combined toxicity.” ** Plastic weakens Magpie nests too.
In some First Nations Lore, the Magpie is a messenger and guide.

*All quotes from Wikipedia, except: **Toxicity of microplastics and nanoplastics: invisible killers of female fertility and offspring health – National Library of Medicine. America. Published 2023 Aug 28. Yuli Geng, 1 Zhuo Liu, et al.

Conviction by Bill Dorman, Winter 2024

Conviction features multiple figures chained together into a canoe-like vessel. I reference the boat-borne invasion of colonisation, transportation of convicts and the contemporary political football of asylum seeking. The work highlights the fraught relationships that Australian culture holds with boats and with the people who arrive upon the shores of this island

I call on the provenance of the vessel’s material – the original brass of Goulburn’s courthouse roof – to critique the systems that have both historically and contemporaneously created and controlled a dominant narrative of lawfulness. In this work I am extending my sculptural investigations of empathy for displaced and subjugated peoples.

Find out more about Bill at his website www.billdorman.com.au

Conviction 2024
Old brass from the original Goulburn Courthouse roof dome, steel, brass, copper, 
1070mm wide- 1220mm high- 140mm deep
$5800
Enquiries

Erased: Lost. by Lea Durie, Autumn 2024

Ceramic works by Lea Durie from Braidwood.
I create works using ceramics, found materials, textiles and paper. My practice is concerned with our natural and built environment and how we can bring care to the forefront of our thinking. I am interested in places and materiality that is connected to that place, sometimes working with wild clay. Working with the materials of a place I explore the impact of extreme weather and a changing climate.
I explore land, maps and changes to the landscape through land use, with climate change as a point of reference.

Find out more about Lea at her website leadurieceramics.com.
Instagram @lea_durie and facebook.com/lea.durie

Erased : Lost. by Lea Durie

 

Purchase enquires are directly to the Artist  [email protected]

Excised 2024
Wild Braidwood Clay, Stoneware Clay, slips and underglaze 15 x 17 x 11 cm
$300 Enquiries

House 2024.
Wild Braidwood Clay, Stoneware Clay, slips and underglaze 14x 9 x 9 cm
$200 Enquiries

Town 2024
Wild Braidwood Clay, Stoneware Clay, slips, decals and underglaze
30 x 12 x 12 cm
$450
Enquiries

Gaping 2024
Wild Braidwood Clay, Stoneware Clay, slips, decal and underglaze
12 x 9 x 9 cm
$200
Enquiries

Cutout  2024
Wild Braidwood Clay, Stoneware Clay, slips and underglaze
12 x 10 x 6 cm
$200
Enquiries

Landmarks 2024
Wild Braidwood Clay, Stoneware Clay, slips and underglaze
5 x 16 x 13 cm
$300
Enquiries

Sculptures by Walter Brecely Summer  23 – 24 

Artist Walter Brecely’s diverse education, spanning Fine Arts at Illawarra Institute of Technology (1993-95) and a Bachelor of Creative Arts majoring in Sculpture from University of Wollongong (2000), complements his proficiency in engraving, stone setting, and metal casting. 
His work has earned acclaim including the 2008 Goulburn Regional Art Award, and finalist positions in several art prizes including the Woollahra Small Sculpture Prize and the Deakin University Contemporary Small Sculpture Prize. His latest accolade is the 2023 BOCCA Sculpture Prize. Walter was also the Lead Illustrator for the VR project Inanimate Alice: Perpetual Nomads from 2016 to 2018, a coproduction funded by Screen Australia and the Canada Media Fund. The project secured the 2020 Reader’s Choice Prize at Woollahra Digital Literary Awards and an Honourable Mention in 2017’s Turn On Digital Literature Prize.

Contact Walter directly through his website to chat about any of the works. All are for sale. walterbrecely.com , Facebook:@BrecelyStudios 
and Instagram:@walterbrecely

Trembler, 2014. 
Wood (elm), stainless steel, recycled diesel engine filters.
Enquiries

Organically Challenged, 2013. 
Recycled lawn bowls, copper, recycled goblets. 
Enquiries

Lawn Weeds, 2013.
Recycled lawn bowls, copper.  
Enquiries

Saplings, 2018.
Copper, stainless steel, sterling silver, recycled glass. 
Enquiries

The Walkers, 2012.
Recycled cutlery, stainless steel, sterling silver. 
Enquiries

Marquettes by Neil Dickinson
Spring 23 

An exhibition of small-scale marquettes or models by Queanbeyan Artist Neil Dickinson. Neil is a figurative sculptor who created these works as art of the process to larger public sculptures installed in various locations throughout the region.

Neil graduated from the Canberra School of Art in 1983 and received a Postgraduate Diploma (Sculpture) from the University of Tasmania in 1985.

‘Central to my work is a belief in the nobility of the human form and the celebration of the constant struggle with all forms of oppression – the philosophy of inner spiritual growth in the face of materialist aggression.’

Each Marquette gives us a unique insight into the Artist’s process and vision during the creation of a major piece.

Works on display are not for sale.

Neil can be contacted about commission work via his social media accounts. 
Instagram – @neildickinson.sculptor and
Facebook

And his page at DeviantArt

Grandma's Call
Googy Egg
Morty the snail
Wombat
Queany the Platypus

Grandma’s Call Bronze 540mm x 200mm

A combination of my grandmothers who were wonderful women. They lived through the 1st and second world war plus the depression. They were very loving, resilient, strong and kind despite all of the challenges they faced in life. For me the calling out and stance were important visual clues to the nature of their personalities.

Waste to Art by SH Creative Space, Winter 23

Waste elevated through creativity into the extraordinary  by Artists at theSouthern Highlands Creative Space (SHCS). The group worked collaboratively to achieve a work bursting with colour, joy and a myriad of engaging tableaus. The artists created the sculpture over a period of months starting with a facilitated workshop with STA. The project growing from a shared commitment to treading lightly on our planet and from the annual Waste to Art Wollondilly Exhibition & Competition that many members of the group have entered over the years.

Waste to Art Wollondilly encourages creative minds to use waste as art materials. The 2023 prize will go on display 6-8 July at Wollondilly Shire Hall in Picton with free creative making workshops on offer throughout the STA region to help community members get inspired to create and enter for a chance at the $2600 in prize money on offer. Find out more.

 

Councillor Suzy Brandstater was kind enough to open the SH Creative Space exhibition in the STA Box Gallery.

Find out more about SH Creative Space at their Facebook.

Wire works by Linda Burgess, Autumn 23 

Linda Burgess uses a range of natural and manufactured materials to create sculptures. I use sustainably sourced timber, including garden prunings, reclaimed wood from renovations and weed trees (eg camphor laurel). The contrast between the natural and industrial worlds inspires me.

 Please contact Linda for sales enquiries on available work.   
Follow on intsagram
@lindathewoodcrafter

Cat $20
Bee $25
Whale $65
Bird on a rock $55
Giraffe Family $135
Quirky Bird $50
Crow (wings up) $95
Little Egret $195

Woven Together works by Jodie Munday and Cawdor Public School
Summer 22- 23 

Fabulous woven works by Jodie Munday. Featuring a very special collaborative Lyrebird Nest created with students at Cawdor Public School who participated in a Woven Together workshop with the artist.

Please contact Jodie for sales enquiries on available work.   
Follow on intsagram
@cr8iveart2523

Cawdor Students
Cawdor Students
Rob Moran, Jodie Munday, Julie Sivell and Rose Marin
Jodie Munday and Cawdor Public School, Lyrebird Nest, NFS
Jodie Munday, Moulded Raffia Bowl, $325
Jodie Munday, Jute woven bowl, $130
Jodie Munday, Jute and wool vessel, NFS
Jodie Munday, Green Bowl, NFS
Jodie Munday, Bowl, $350
Jodie Munday, Sunrise, woven bowl, $270

Books & Boxes by Doreen and Ben Lyon, Winter 2022 

The first ever STA Box Gallery exhibition in Wollondilly by leading local makers Doreen and Ben Lyon.
Please contact the Artists for sales enquiries.   Follow on intsagram @bensboxesdesign

Doreen creates artists books that contain drawing, rubbings and prints. Each book is unique and a place for Doreen to tell rich stories of the local environment and share her love of nature.

Ben is a master artisan in wood.  He creates boxes and sculptures under the name Ben’s Boxes. Each unique creation is worked to enhance the natural timbers that are the artist’s chosen material.  

Doreen Lyon, textile cover and mixed media artist book 6 x 10 inches POA
Doreen Lyon, textile cover and mixed media artist book 12 x 8 inches open POA
Doreen Lyon, mixed media artist book – double sided – 6 x 8 inches folded 48 inches open concertina POA
Ben Lyon, Cedar jewellery box 10 x 7 x 5inches $100
Ben Lyon, camphor laurel jewellery box 12 x 8 x 5 inches $120
Ben Lyon, camphor laurel simple box 12 x 8 x 51/2 inches high $150
Ben Lyon, Camphor laurel bandbox 7 x 41/2 x 2 inches $100

The STA Box Gallery is supported by our partner venue Wollondilly Shire Council

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[email protected]

0427 938 110  
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PO Box 1323 Goulburn 2580
ABN 67 208 214 681

 

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