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Current project: Radio Wave Bench Sculpture

2017, Anton Blume, Sabrina Dowling Giudici, Michael Lautwein
(Sandstone concrete, stainless steel, moulded polymer)

This sculpture is located on the most Western coast of the Australian continent, a remote part of the planet that has a rich space history including critical involvement with the first moon landing. The client aimed to permanently and publicly celebrate this auspicious period. The design solution needed to embrace the many disparate historical elements. By investigating foundation principles of working on Space, it led to the notion of space science as being the unifying factor across the various story details – in particular, the use of radio waves to connect and communicate.
The biomorphic sculpture design presented is a tribute to space history. It has transformed an unused public space into a place that now elicits curiosity and engagement. It is used by children as a climbing object for play, as a bench seat by others and as a bike rack.

Fascine Fishing

2018, Anton Blume, Sabrina Dowling Giudici
(Mild & stainless steel, solid surface acrylic polymer, powder coating and automotive spray paint)

Located between the two jewels of the World Heritage areas of Ningaloo Coast and Shark Bay on the Western edge of the Australian continent, the regional centre of Carnarvon continues to offer new creations in both traditional and contemporary art forms. Their new main street art trail culminates at the waterfront where an abstract interpretation of a giant fishing rod leans over the beach edge dangling with a uniquely designed fish, ready for selfies and chat about the ‘one that got away’ or not! It is a tribute to the town’s historical whaling and current fishing industries.

“This is my favourite public art piece in regional Australia. It traverses the space between the everyday and magic. Its accessibility is in its playfulness combined with its functionality. It’s a light. It’s a light laugh, it’s a little gasp, it’s a very needed departure from the mundane in a public place. It makes the space safer by bringing enchantment and illumination into the world. It’s easily understood. It’s a giant fish on the end of a fishing pole. Its unpretentious, inclusive. It’s not wrapped in discourse or rhetoric. Everyone gets it…. and it really does bring enchantment into a place that needs it, to people who deserve magic.”
Theaker von Ziarno, Art Director

Current finalist in the Australian Corian Design Awards.

Campfire Welcome

2018, ‘Campfire Welcome’, Elders from Yinngarrda Country and neighbours, Malgana, Payungu, Thudgarri, Thalanji with Sabrina Dowling Giudici and Anton Blume.

“This sculpture is much more than artwork, it represents the first piece of recognition within Carnarvon we Aboriginal people have received and have been a part of the creation process. It has not been done for us but with us. This is the first step of a process – I won’t be here to see the end of this process but I am here for the first step.”

Uncle Bobby Dorrey, Yinngarrda Elder and Spokesman for Malgana Elders.

Monsignor Hawes Heritage Centre

Fuse Art Collective

Anton Felix Blume, Bonni Ingram, Sabrina Dowling Giudici

This triptych is an ecclesial artwork that is the entrance statement in the foyer of the new Geraldton museum dedicated to the life and significant works of Monsignor John Cyril Hawes (1876-1956).

The artwork is informed by four inter-related themes – sorrow which begets hope, begets healing, begets redemption. Hawes architectural expression of sorrow was instructive to our approach; in the Geraldton Cathedral’s Chapel of Our Lady of Sorrows, he seemed to respond deeply to the crisis of grief of the world’s first global war and this formed the basis of the exploration for relevant artwork elements.

The composition uses multiple layers that blend digitised images of technical drawings and artwork by Monsignor Hawes, photography by Anton Blume and contemporary Aboriginal paintings by Bonni Ingram; it is based on the Rood Triptych form favoured by Monsignor Hawe style often created by him. All the artwork elements are selected highlights of Monsignor Hawes lived experience during his years in Western Australia – his profound Franciscan spirituality and dedicated vocation as priest and architect.

Pundulmurra Percent for Art

Fuse Art Collective

Anton Felix Blume, Bonni Ingram, Sabrina Dowling Giudici

Our goal was to create artwork celebrating Country that revealed itself over a series of panels. Weaving through our contemporary approach is the cultural authority of Aboriginal understandings of nature and Country as found in the land and seascapes of Yamatji people.

The artwork is informed by ideas of health and wellbeing together with belonging, mediated through our artwork expressing connection to Country. We believe it is through this authentic connection to Country that one’s self-worth is nurtured and becomes the strong foundation upon which faith grows into courage to enter the adventure of learning.

The unifying motif symbolising healing and good health, flowing through each panel, is the bush-medicine leaf of the Scaevola spinescens, used extensively as traditional medicine in the Pilbara, Gascoyne and Midwest. Familiar landscape scenes elicit a sense of recognition together with readily identifiable flora motifs. The Bird flower (Crotolaria Cunninghamii) is highlighted due to its distinctive shape and colour and uniqueness in the Hedland landscape and surrounding districts.

Fusion

Fuse Art Collective

Anton Felix Blume, Bonni Ingram, Sabrina Dowling Giudici

This body of work is playing with the visual articulation of Gascoyne local and globalised cultures and knowledge innovatively told by combining new technologies and old stories. A collaborative fusion of cultural influences and artistic styles, a celebration of passion and connection between culture, people and country.

Listening to Country 1

The Indigenous landscape is a driving passion for many locals; this connection to Country is captured in the three large digital images in the main courthouse waiting area of to the new Justice Complex in Carnarvon. The centre piece includes a collaborative fusion of aerial photography together with symbolic Yamatji paintings. This work was created in collaboration between Bonni Ingram & Anton Blume. Produced by Sabrina Dowling Giudici

Bungarri Warduga Barndimanmanha

(“Ingaarda language for: “Gascoyne River Healing Journey”)

My first big public art commission is complete. For this work we – the Fuse Art Collective – focussed on creating a series of artworks interpreting the rugged beauty and stories of the Gascoyne River – the lifeline of the region the building is standing in. The work is celebrating local culture and living in this unique part of Western Australia.
Contemporary Aboriginal paintings of Yamatji Country composed of abstract symbolisms and rich colour are fused with photographic imagery from the region.
A seven meter high entrance features cyclone proof glass artwork using a ceramic printing process. Bush Medicine leaves act as reoccurring healing motifs floating from the outback rain catchment area of the river through the Kennedy Ranges and pastoral desert country, past the horticulture plantations into Shark Bay and the Indian Ocean. White river gum trees act as a visual transition from river life to marine scenery celebrating the natural diversity of the Shark Bay World Heritage area.

Gascoyne River Healing Journey, 2015, Western Australia, Fuse Art Collective: Anton Blume, Bonni Ingram & Sabrina Dowling Giudici, Client: Western Australian Country Health Services.

3000 feet

3000 feet carefully places a frame around selections of endless structures, fractual patterns, shapes and colours of some of Australias prestine and remote regions , Shark Bay, Lake McLeod, The Gascoyne River, Ningaloo Reef & the Kennedy Ranges

This project is a personal journey from ranges into river beds, from red soils to turquise waters, white salt lakes to vivid explosions of colour. Artistic interpretations of aerial landscapes inspired by raw nature and indigenous art & culture.

Colour

Watery blues, turquoises, greens; beachy whites, yellows & creams; rusty reds, hazy purples & dry greens.

Harsh light and strong contrasts shape a unique Western Australian colour palette. Abstraction and the reduction of shapes allows for pure colour impact.

My Generation

Born in the 80’s, at school in the 90’s and 00’s of the new century. We have already experienced the Millenium, the proliferation
of mobile phones, pc’s and the internet. Flexible, spontaneous, always available and notoriously late. My generation. But who are the people really, who have experienced these events in the same period of time.
By photographically portraying representatives of this generation I tried to find answers to these questions.

Laboratorium Mensch

(Human Laboratory)
A photographic examination of the dangers of genetic engineering

Genetic engineering is no longer in its infancy and is now, more then ever, prevalent in our day-to-day lives. Many medical treatments used today employ genetic modifications. The food industry has promised the optimisation of the characteristics and quality of groceries. Industrial processes like cheese maturing, meat and livestock production, beer brewing and milk production have been optimsed for more efficiency, by applying the results of genetic engineering. More and more we consume genetically modified food on a daily basis, but the dangers of these developments have seldom been sufficiently researched.

This body of work discusses hose cirumstances. With a twinkle in one’s eye i am looking at possible long term effects by portraying a small Familie in the year of 2100.

Places of Transition

A photographic interpretation of Sigmund Freund and his model of depth psychology.

Situated in the periphery of our urban agglomerations, we find places of transition. The denseness of urban space is repressed by the heralds of more original, more natural landscapes. As the veil of the night lays itself down on these places, the familiarity of the surroundings weakens. As the landscape covers itself in darkness, it ceases to allow us to view it in its entirety anymore. …(concept exerpt)

Wave Shade Shelter (Concept)

2019, Anton Blume, Michael Lautwein, Sabrina Dowling Giudici
(Wood & Steel)
This versatile structure can be a shelter, BBQ facility, recharge station or shade area to enliven exposed urban areas. The shape is intended to attract users so that it’s immediate relief from a hot day. Initial shadow analysis resulted in an approximate 70% shade factor. It can also be accessorised with information systems like UV radiation monitors, device recharge, NFS information facilities and future 5G applications. This structure is the most advanced in the WAVE™ series development project with modular seating, tables, planters, bins, bollards, bike racks and tree grates to follow.
The inspiration arose from lived experience and passion for living in the Australian coastal Outback where high and dry temperatures guide lifestyle choices. These conditions extend into one of the world’s most urbanised cultures with around 85% of the population living in coastal urban centres. The excessive UV radiation has made Australia the skin-cancer capital of the world. Despite this, the Australian beach culture is the strongest natural attraction for both locals and overseas visitors. Therefore a shelter was designed that carries the outdoor feeling but delivers sun protection at the same time

01 Works

  • Radio Wave Bench Sculpture
  • Fascine Fishing
  • Campfire Welcome
  • Monsignor Hawes Heritage Centre
  • Pundulmurra Percent for Art
  • Fusion
  • Listening to Country 1
  • Bungarri Warduga Barndimanmanha
  • 3000 feet
  • Colour
  • My Generation
  • Laboratorium Mensch
  • Places of Transition
  • Wave Shade Shelter (Concept)

02 About

  • Curriculum Vitae

03 Contact

  • +61 (0)468 391 390
  • Carnarvon, Australia

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2.1 Exhibitions

  • 2015

    Nyinyaangu - Fusion Works with Bonni Ingram, Black Swan State Theatre Centre, Perth, Australia

  • 2015 –

    Listening to Country, Police & Justice Complex, Carnarvon, Australia

  • 2015 –

    3000 feet, Gesundheitszentrum Blume, Erftstadt, Germany

  • 2013

    Self Portrait, Fremantle International Portrait Prize, Fremantle, Australia

  • 2012

    Celestia Photographica, Design & Curation, Old Parish Hall, Carnarvon, Australia

  • 2011

    Reduction in Times of Abundance, AKD, Cologne, Germany

  • 2009

    Worlds Aside, Passagen, Cologne, Germany

  • 2009

    Places of Transition, Ecosign, Cologne, Germany

  • 2018

    The Heart of our Outback Exhibition, Tree in the Bush, Rockingham

2.2 Awards & Commissions

  • 2018

    The Heart of our Outback Landscape Photography Prize, Finalist, Rockingham, Australia

  • 2017

    Public Art for Carnarvon Main Street, Western Australia

  • 2017

    Garla, Finalist, Fuse Art Collective, Mid West Art Award, Geraldton, Australia

  • 2016

    Ningalens Film Festival, 3rd Place, Exmouth, Australia

  • 2016

    Health & Community Service and Training Centre Pilbara Institute, Public Art Commission, Winner, South Hedland, Australia

  • 2016

    Monsignor Hawes Hertiage Centre, Public Art Commission, Winner, Geraldton, Australia

  • 2014

    Gascoyne Art Awards, Winner Best Photography, Carnarvon, Australia

  • 2014

    Carnarvon Health Clinic, Public Art Commission, Winner, Australia

  • 2013

    Fremantle International Portrait Prize, Finalist, Fremantle, Australia

2.3 Education

  • 2014 2016

    PD in Projection Art with Roly Skender & Sohan Ariel Hayes, Western Australia

  • 2015

    Art on the Move, PD Workshop Touring Exhibitions, Carnarvon

  • 2013

    Artsource, Introduction into Curation Workshop, Carnarvon, Australia

  • 2009 2011

    Bachelor of Arts in Communications Design, IB-University, Berlin/Cologne, Germany

  • 2007 2009

    Ecosign, Academy for Design & Sustainability, Cologne, Germany

2.4 Residencies

  • 2013

    Camera Obscura Residency, Exmouth, Australia

  • 2012

    Camera Recyle Project, Morawa, Australia

  • 2012

    Camera Obscura Residency, Carnarvon, Australia

2.5 Professional Affiliations

  • 2015 2021

    Board of Directors, Art on the Move, Perth, Australia

  • 2013 2015

    Executive Committee Member, Gascoyne Arts Council, Carnarvon, Australia

  • 2012 –

    Member, Artsource