• Till Death Us Do Part – Robert Howard. 'My first thoughts on the theme of this exhibition centred on our custom of marriage, which surely has to be one of the oldest, and most fundamental ways we have to become ‘joined’ in our lives, and within our society.
    Till Death Us Do Part – Robert Howard. 'My first thoughts on the theme of this exhibition centred on our custom of marriage, which surely has to be one of the oldest, and most fundamental ways we have to become ‘joined’ in our lives, and within our society.
  • Zina Burloiu is Romanian and Terry Martin is Australian. They first met and worked together twenty years ago in Canada, and since then have collaborated on individual pieces, exhibitions and projects across Europe, North America, Asia and Australia. As always, their ideas and cultures resonated when they designed this piece together. The pattern Zina carved represents the joining of their two cultures, two lives of creative experience, and their friendship.
    Zina Burloiu is Romanian and Terry Martin is Australian. They first met and worked together twenty years ago in Canada, and since then have collaborated on individual pieces, exhibitions and projects across Europe, North America, Asia and Australia. As always, their ideas and cultures resonated when they designed this piece together. The pattern Zina carved represents the joining of their two cultures, two lives of creative experience, and their friendship.
  • Couloir – Ross Williamson. ‘Couloirʼ entered English in the 19th century from French, where it literally meant 'passage' or steep Alpine gorges. The piece depicts a landscape, separated by a Couloir, the banks of which have been joined together by a bridge.
    Couloir – Ross Williamson. ‘Couloirʼ entered English in the 19th century from French, where it literally meant 'passage' or steep Alpine gorges. The piece depicts a landscape, separated by a Couloir, the banks of which have been joined together by a bridge.
  • Ross Annels, Walking Table. 'Craft - the joining of hand and heart and soulful skill - can re-join our ancient and damaged connections to natural places.' Local timber species are joined in bent laminations, in turn joined to form a table surface, with turned and steam-bent legs joining the table to the earth.
    Ross Annels, Walking Table. 'Craft - the joining of hand and heart and soulful skill - can re-join our ancient and damaged connections to natural places.' Local timber species are joined in bent laminations, in turn joined to form a table surface, with turned and steam-bent legs joining the table to the earth.
  • Shane Christensen, Reflections, Popular Choice Winner. 'Constructed from two pieces of Qld Maple, joined and shaped in the likeness of a gum leaf. If you look closely you’ll see, the sky is reflected in the sea.'
    Shane Christensen, Reflections, Popular Choice Winner. 'Constructed from two pieces of Qld Maple, joined and shaped in the likeness of a gum leaf. If you look closely you’ll see, the sky is reflected in the sea.'
  • Sandy Bauer’s Gladys – Model timber Fishing Vessel was a skillfully made rendition in red cedar, hoop pine, Qld silver ash and silver quandong.
    Sandy Bauer’s Gladys – Model timber Fishing Vessel was a skillfully made rendition in red cedar, hoop pine, Qld silver ash and silver quandong.
  • Vincent Rush’s Butterfly Vine was inspired by its botanical namesake and turned and carved from jacaranda.
    Vincent Rush’s Butterfly Vine was inspired by its botanical namesake and turned and carved from jacaranda.
  • Lesley McLennan’s Confluence was carved from Huon pine and ‘an exploration of how curves join and change each other’.
    Lesley McLennan’s Confluence was carved from Huon pine and ‘an exploration of how curves join and change each other’.
  • Evan Dunstone, Cataract Rocker, made from Branch 95 briar oak, a ‘close cousin’ of northern silky oak. The rocker is designed to encourage ‘active’ sitting.
    Evan Dunstone, Cataract Rocker, made from Branch 95 briar oak, a ‘close cousin’ of northern silky oak. The rocker is designed to encourage ‘active’ sitting.
  • Vince Everett’s Pendulum Clock was made from lilly pilly, jacaranda, conkerberry, cooktown ironwood and yellow stringybark.
    Vince Everett’s Pendulum Clock was made from lilly pilly, jacaranda, conkerberry, cooktown ironwood and yellow stringybark.
  • 2018 Wootha Prize installation.
    2018 Wootha Prize installation.
  • Looking up at the installation of the 2018 Wootha Prize.
    Looking up at the installation of the 2018 Wootha Prize.
  • Lesley McLennan’s Confluence was carved from Huon pine and ‘an exploration of how curves join and change each other’.
    Lesley McLennan’s Confluence was carved from Huon pine and ‘an exploration of how curves join and change each other’.
  • Randy DeGraw, Joined Apart in Qld beech, hairy oak, Huon pine, budgeroo and eucalypt had textural and coloured highlights.
    Randy DeGraw, Joined Apart in Qld beech, hairy oak, Huon pine, budgeroo and eucalypt had textural and coloured highlights.
  • No Limits by David Harriman portrayed a joining of thoughts and emotions (the chain) that can shackle our life and abilities (the eagle).
    No Limits by David Harriman portrayed a joining of thoughts and emotions (the chain) that can shackle our life and abilities (the eagle).
  • Hape Kiddle, River Song was a superbly carved mobius form.
    Hape Kiddle, River Song was a superbly carved mobius form.
  • Jeanette Rein used a process of laminating layers to create a wood ‘fabric’ for her vessel entitled Labyrinth.
    Jeanette Rein used a process of laminating layers to create a wood ‘fabric’ for her vessel entitled Labyrinth.
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Wootha Winners 2018

10 May 2018
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wootha-prize-2018.jpg

Anticipation always builds before the announcement of award winners for Maleny Expo’s annual Wootha Prize, but this year, with a boosted first prize of $10,000 on offer, the excitement was palpable.

Now in its 11th year, the Sunshine Coast Wootha Prize is an initiative that aims to promote sustainable use of timber resources. The exhibition is juried, with applicants submitting proposals for the piece they would like to exhibit. Of the 37 entries received, 26 were selected to exhibit in 2018.

The judges for this year’s Wootha Prize were Jack Wilms (last year’s winner), along with architect Dr Kathi Holt and spooncarver and teacher Carol Russell.

This year’s theme was ‘joined’, and as usual the variety of interpretations was wide, with a strong sculptural element present in many of the pieces shown. In a departure from tradition, next year’s Wootha Prize will not carry a theme. Entry details for the 2019 Wootha Prize will be available at the end of the year. 

Learn more from www.malenywoodexpo.com

Australian Wood Review congratulates the winners and all entrants for this year’s Wootha Prize.

1st Prize: Robert Howard, Until Death Us Do Part, sponsored by Sunshine Coast Council
2nd Prize: Terry Martin and Zina Burloiu, Time and Tide, sponsored by HQ Plantation
3rd Prize: Ross Williamson, Couloir, sponsored by Transition Timbers
Encouragement Award: Ross Annels, Walking Table, sponsored by Geochempet Services
People's Choice Award: Shane Christensen, Reflections, sponsored by HQ Plantation

Click on the gallery images to read captions.

 

 

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