Lorne Sculpture Biennale

I was lucky enough to have some spare time following my presentation to the Year 11 Business Management Students at Trinity College, Colac and decided to take the scenic route home, via Lorne and visit this year’s sculpture biennale. The wild card #6

The Wild Card #6, Plastic & Fibreglass, Louise Paramor

Sculpture and landscape are good friends and have the ability to enhance the impact of the each other. Like landscape, sculpture is multi-sensory, and best viewed from a range of angles to fully appreciate the art work. Moving through an installation or around a sculpture deepens your experience and understanding of it.


Column, Corten Steel, Cliff Burtt


Within, Mirror Stainless Steel, Matthew Harding

Many works are on display, 41 along the main sculpture trail, in a range of sculptural media. Large steel and timber sculptures are dominant features of the walk, however for me the most intriguing and engaging were the more ephemeral and interactive works, one of coloured string and one of small branches.


Transference, Aluminium, Frederick White

Grid 11

Grid 11, Buchan Marble, Faustas Sadauskas (Detail)

Midnight Special

Midnight Special, Painted wood, Robert Bridgewater (from inside sculpture)

Terror Australis

Terror Australis, Steel & Chain, Richard Savage

Who left their crown here?

Who left their crown here?, Rope, Annee Miron (Detail)

Chaco Kato enclosed a path through a grove of pine trees with hundreds of metres of coloured sting for her work ‘Himo Theory 2’ (below). Walking through the installation your eye is drawn simultaneously in many directions. As the light filters through the trees and interacts with the sting, it starts to glow and feels as though hundreds of lasers are shooting past your line of vision. The use of colour and the lightness of the material cocoon you as you move within the tunnel within a tunnel.

Himo Theory 2

However, in my opinion the most impressive work from the biennale was ‘Writ’ by Stephanie Karavasilis (below). Using found materials, in this case eucalypt branches strewn down a grassy slope, Karavasilis has created an intriguing experiential work. It is possible to walk past this sculpture without seeing it as the branches blend into the landscape seamlessly. If you look hard though, you soon discover writing on the branches, text from early accounts of the Gadubanud tribe, the original inhabitants of the Otway’s region. The unassuming artwork engages you, draws you along its trail of branches, offering insights and asking questions about the indigenous heritage of the area and how a living culture has almost vanished.

Writ   Writ

Both of these works demonstrate the power of art to reach out, connect and engage with an audience. These works, while not on a colossal scale, are great examples of the power of a simple idea, exceptionally executed with a minimum of resources. If you would like to know more about these works or the Lorne Sculpture Biennale visit the webpage:

If you would like to discuss how some sculpture or garden art could enhance your garden contact us via the form below. You can also check out our review of the Gibbs Sculpture Park in New Zealand for more pictures and information on contemporary sculpture.