Class 1: Landscape/ Seascape
| 1st | 6 | Stephen LEEK | Bellingen Landscape | Captured in this painting is the feeling of movement within a landscape. The sky has the viewer asking: is it about to rain? Is the cloud passing over? Is the sky going to clear? Do I need to find shelter? The sky visually links with the ground while asking the viewer to interpret where does the land and sky met. |
| 2nd | 43 | Chris HUNDT | Three Cows | The viewer is lead into the landscape with a visual connection to the cows. The cow’s location within the painting and their direct gaze pulls the viewer to further explore the land beyond. The landscape has been stylized by reducing the details of each element within the painting. |
| HC | 14 | Rosalind ROBERTSON | Pastoral Patchwork | The painting captures the essence of what constitutes the Australian land. The compositional viewpoint emphasizes the vastness of space, while the colour palette captures the moment that has the viewer questioning: has it just rained? Is the land in drought? Is it dawn or dusk? |
| HC | 17 | Robyn SIMON | Third Headland | An ocean that is deep. An ocean that is shallow. All the qualities of an ocean you would expect to see if you were standing looking at the seascape. This is achieved with the difference ways the paint has been applied. A sense of the ocean’s vastness is achieved with the placement and size of the bird. |
| ENC | 33 | Warren BRISLEY | Theorem | This painting is a departure from the expected depiction of landscapes. The geometric shapes intersected with lines and angles suggest a land viewed through the mathematical perspective of coordinates and mapping. The judge encourages the artist to further develop this viewpoint of landscapes. |
| ENC | 15 | Sue ROBERTSON | Primordial Swamp Bellingen 2021 | A landscape that evokes mystery and the sublime. On first glance, there is a recognition of the landscape, but pause longer and the question can arise of: What is lying beyond? The judge encourages the artist to continue the exploration of mood and perspective in painting. |
Class 2: Marie Warwick Memorial Watercolour
| 1st | 26 | Chris HUNDT | Ozzie Backyard | This is summer in Australia. The conveying of a hot summer’s day in an ozzie backyard has been achieved with the strong contrast between the black of the building shadow and white of the ground. Throw in the iconic Hills hoist and the AFL footy, and the story of an Australian summer is conveyed. No colour needed. |
| 2nd | 21 | Guus Bruneerkreef | Wana Wake | The gaze of the figure entices the viewer to engage with the suggestion of something happening outside of the picture frame. Skillful use of layering watercolour has created folds in the fabric that have richness and depth. |
| HC | 29 | Lyndley McCOLL | Now You See Me | A combination of in-focus and out-of-focus elements within the depiction of the chameleon displays skillful watercolour technique. There is a visual interaction between the light and dark spaces combined with the depiction of different textural surfaces. |
| HC | 30 | Carol SIMONS | Natural Phenomemon | The viewer is drawn into the image with the use of colour. The colour of the foliage connects the viewer to a seasonal time of year. This is reinforced and visually strengthened by the density of watercolour layered on the paper. |
| ENC | 25 | Jennifer DIAMOND | Riga-Latvia | The artist has depicted the subject matter in detail using quality technical skills in both drawing and watercolour application. The judge encourages the artist to explore a range of subject matter as to further explore and experiment with watercolour. |
| ENC | 31 | Lyn TIZZARD | Love the Stripes | The subject matter of this watercolour highlights the repetition of pattern. This is seen in the pattern that surrounds the top of the vase and in the textural elements of the leaves. The judge encourages the artist to continue exploring how to use watercolour to represent a variety of textured surfaces. |
Class 3: Open
| 1st | 88 | Marta BRIONES | Would You Marry Me? | The viewer is invited into an intimate family moment. There is a narrative within the image that many people will identify in their own personal experiences. This is the power of the painting. There is a ambiguity of scale and horizon line mixed with pattern that is rendered with distortion. The lack of background information strengthens the details of the subject. |
| 2nd | 66 | Ivinnie BROWN | In the Corner | The intimate scale of the subject matter within a narrow picture plane draws the viewer into the image. The image is full of contrasts. The dark background contrasts with the light of the flowers and hat. The smooth texture of the background contrast with the detail of the flowers and hat. |
| HC | 92 | Deborah KENT | White-fronted Chat | The artist asks the viewer to make a decision as to the purpose of this image. Could it be a print to be used as a scientific illustration or is it for inclusion in a children book? Scientific because of the detail and accuracy of observation, book illustration because of the evoked whimsy. |
| HC | 46 | Maryanne KHAN | Bush Bride | The use of colour, selection and combination of subject matter, landscape location, application technique of paint: all combine to make a painting that is full of familiarity. The viewer can relate to each component within the painting. However, the combination of subjects emphasizes a narrative laced with fun and subversion. |
| ENC | 35 | Warren BRISLEY | Coming In | Printing heroes texture. The textural contrast between the bird and the background aid in focusing the viewers’ attention. The judge encourages the artist to further develop the potential for describing surface texture with this artmaking technique. |
| ENC | 42 | Chris HUNDT | Aqua Shirt | It is unnerving to see a chair with the personal items of the shirt, book and mug, deserted. What narrative can be woven around this painting? When did the person leave their chair, their book and their drink? Will the person return? The judge encourages the artist to take this concept of desertion within familiar environment and further extend the emotional conneciont to the mystery and feeling of unease. |
Class 4: Drawing
| 1st | 69 | Carole HELMAN | Point of View | This drawing has a balanced composition of abstracted forms. The balance has been achieved by careful placement and selection of colour and of shapes. The variety of surfaces within the drawing has been achieved with the drawing material being used to its full potential. |
| 2nd | 65 | Lilyanna ANDERSON | Untitled | This subject of the drawing focuses on identity and relationships. There is a lot of information to be gained from the two people and the dog about who they are. The artist has used a variety of pencil techniques to show texture and surface change. This can be seen in the way the pencil marks differ between the dog and the people. |
| HC | 78 | Nikita VAN ZANTEN | Fireheart | At first glance, the colour and organic form evokes a fluidity found in many areas of nature. On closer inspection, the unexpected but easily recognizable pose of the animal is revealed. This sense of discovery and recognition holds the viewer’s attention. An excellent use of the drawing material. |
| HC | 73 | Laszlo JEFFREY | The Emporium | The use of colour in the drawing communicates the history and character of the building. The fish-eye perspective creates a distortion that focuses attention to the building with a fun inclusion of the bats and hint of building beside. |
| ENC | 12 | Erik NELSON | Tranquil Pterodactyl | The drawing conveys a feeling of another world, of a time gone. The artist has softly blended the colour to create shade and depth. The judge encourages the artist to continue developing the skill of using colour pencils and to explore a variety of techniques. |
| ENC | 71 | Lesley HUGHES | White Rhino | The viewer is pulled into the drawing by the placement of the subject on the paper and the perspective of the animal. The drawing has high technical skill. The judge encourages the artist to consider developing the background surface to enhance the surface textural qualities. |
Class 5: Sculpture
| 1st | 87 | John TUCKWELL | Cathedral Rock | A solid and rigid object that looks soft and fluid. The viewer is challenged by the artist as he hides the expected qualities of ceramic. The artist explores the concept of a vessel: its form and function. The application of surface decoration echoes qualities found in etching. |
| 2nd | 81 | Bruce BOOKER | Patchwork Metal | This sculpture has surfaces that excite. There is a contrast between the man-made industrial material and the natural organic form. The surfaces of the metal tell stories of their prior use in different times and places. The repetitive use and circular form of rivets create pathways across the metal surfaces. |
| HC | 85 | Wendy TANNER | Champion Chook | Here is an object that represents excellence. The champion chook. A prize winner. What a contrast this sculpture is representing. An emotion of high achievement conveyed through the ordinariness of the objects of its construction. The artist has recontextualized the meaning of the objects. Fun and clever! |
| HC | 82 | Gloria MALONE | Fire on the Escarpment | This ceramic bowl has many qualities to be celebrated. The bowl demonstrated the artist’s technical proficiency in the use of the material and method of construction. The surface treatment evokes burnt Australian landscape and a deep knowledge of techniques and materials used to achieve the desired surface effect. |
| ENC | 93 | Deborah KENT | Eight Waders Waiting | This sculpture celebrates surface texture. There is a contrast between the rough, weathered timber surface with the lines of wire that connect the simplified forms of each ceramic bird. The judge encourages the artist to continue the journey of discovery with material surfaces. |
| ENC | 24 | India COWLEY | The Fairy | There are many layers of surface in the wooden tray. This creates interest. The judge encourages the artist to continue developing skills in this material, paying attention to the form. |