Biography;
Acclaimed as Australia’s
pre-eminent sculptor in marble of the human figure, Peter Schipperheyn has traveled
annually to the marble quarries of Carrara Italy,
since being awarded an Italian government scholarship in 1979.
Largely self taught he has dedicated himself to mastering the difficult medium
of carving marble.
In 1989 Mr. Edmund Capon. [Director, Art Gallery of N.S.W] wrote the following about the sculpture of Peter Schipperheyn
"In the annals and history of Australian art, sculpture has forever taken second place to the art of painting. It is a fact that the landscape has been the source of eternal inspiration for the Australian artist, and painting is the medium for the expression of the landscape theme in art. The figurative traditions, the ultimate source of inspiration for Western sculpture, have therefore received essentially scant attention in Australia.
Peter Schipperheyn is one of the rare exceptions to that rule. His art and vision is wholly inspired by the great figurative traditions in Western art: his delicate drawings reflect an extraordinary sensitivity for the human figure, whilst his majestic marble sculptures are expressions of the grandeur and vision that aspire to the greatest European traditions. He is currently unique in Australia; no other living Australian artist has so totally dedicated himself to seeking a truly contemporary expression of Western arts most inspired tradition.
Peter Schipperheyn’s
work expresses hope, sensitivity, classicism, contemporaneity: it shows above
all that the fundamental concerns and emotions of mankind, like great art, transcend
time."
Edmund Capon, Director Art Gallery of New South Wales, Sydney.
Email Schip@bigpond.com
FOREWORD FOR "GENESIS OF SCULPTOR" book on the work of Peter Schipperheyn
BY MR. PHILLIP ADAMS
I write these words surrounded by what Barry Humphries once described as "Phillips collection of broken rubble". Scores of sculpture by sculptors who’ve been dead for three or four thousand years. Frankly, it had never occurred to me to buy anything but the sculptures of ancient civilizations until I was confronted by the bronzes and marbles of a remarkable young Australian. Now his work sits surrounded by my ancient friends.
And I must say their faces, the faces of Egypt, Rome and Greece, look down approvingly. Not that there’s anything cold, old or marmoreal about Peters work. It exudes vitality, speaking of life and love and sensuality in a way that awes and delights.
I don’t know the names of the artists and craftsmen who created the torsos, busts and relief’s that crowd my room, yet I know they would share my respect for Peters work, for the intensity of his vision and the quality of his execution. And I think they would share my fascination in the way he extends the classical tradition into modes of expression that speak to our modern world. On the one hand, consciousness of tradition. On the other, freshness and inventiveness.
All the ancient works I collect are imbued with religious significance and certainty. Whilst I don’t share such transcendental beliefs, I cannot help but be moved by the way they empower the works. And I have discovered, quite by accident, that Peter’s work is motivated by the same depth of conviction.
I had written a column in praise of sexuality, deploring the swing back to conservative values, to prudery and taboo. Whereupon Peter phoned to attack me for what I’d written, for being frivolous about sexuality. Sex, he told me sternly, is sacred. The sexual act cannot, must not be trivialized.
Consequently, I looked at his work anew, realizing that the sculpture that sits on my desk, as I write these words, isn’t simply a self-portrait of him and is wife, or just a Rodin- like celebration of sexuality. The sculpture is in every sense, an act of love.
Thus Peters Neo- classicism is not limited to his use of hammer and chisel on Carrara marble. It is an expression of philosophical certainties that are fairly unusual in the
1980’s- a belief in eternal truths that he renders in the most permanent of materials.In every way, Peter is a paradox. He eschews the trendy in both his beliefs and his materials. In a world, which regularly meanders into absurdity in its desperate desire to be avant-garde and unprecedented, he is happy to embrace the best of the past. And in a world where artists are often embarrassed by the great emotions, preferring the quirky and the frivolous, he is hammering out, quite literally, beliefs that at once are rock-solid and romantic.
I commend Peter’s work to you. Moved by the Egyptians, seconded by the Etruscans and carried by the Romans and the Greeks. All my ancient friends, looming on their pedestals around me, welcome him to their pantheon.
Philip Adams
BIOGRAPHY
1955 · Born Melbourne, Australia.
1975 · Started training in painting and drawing at Caulfield Institute of Technology.
1976 · Traveled to Europe. Lived in Rome for nine months. Attended Academia di Belle Arti, Roma.
1978 · Graduated with Diploma of Fine Art from Caulfield Institute of Technology Awarded Abercrombie Sculpture Prize for a commission for monumental sculpture "Senility". Awarded Camberwell Rotary Prize for Painting. H.F.C. Drawing Prize. Dandenong Festival Drawing Prize.
1979 · Installed "Senility" at Abercrombie Galleries. Size: 7 meters high. Medium: Fiberglass, timber and steel.· Awarded Italian Government Scholarship to study marble carving. Studied for one year at Academia di Belle Arti, Carrara, Italy.· Invited to exhibit at Caulfield City Council Exhibition of Victorian Sculptors.
1980 · Returned to Australia bringing marble and bronze works executed in Italy for a one-man show at Australian Galleries in Melbourne, Australia.
1981 · First one-man exhibition at Australian Galleries, Melbourne.· Private Commission for "S…HE" monumental work in marble for Mr. Laurie Matheson. Size: 3.2 meter's high in Statuario Marble.· Life-size marble "Madonna" sculpture commissioned by the Carmelite Order for Whitefriars College, Melbourne.
1982 · Returned to Carrara, Italy to execute "S..HE" Worked in the studios of Carlo Nicoli
1983 · Returned to Australia. Received Individual Artist Development Grant from the Victorian Ministry for the Arts.· Second one-man exhibition at Australian Galleries, Melbourne. Worked on many commissions including 3 meter high sculpture for the R.S.L. in Alfred Square, St. Kilda. · 3 meter high sculpture of "Mother and child"commissioned by Jack Chia for his headquarters at No. 1 Collins Street, Melbourne. "Clydesdale horse"sculpture commissioned by the Carlton & United Breweries for the State Theatre Building at the Victorian Arts Center in Melbourne.
1984 · Returned to Carrara, Italy. Began work on commissions and exhibition work.
1985 · Returned to Australia. Installed sculptures in marble commissioned by Carlton & United Breweries and R.S.L.· Invited to exhibit in various group exhibitions including "Renaissance References" at the Melbourne University Gallery, Melbourne.· One-man show at Holdsworth Galleries, Sydney
1986 · Invited to exhibit at the Caulfield Arts Center, Melbourne.
1987 · Commissioned by the Sydney City Council to create a commemorative sculpture to Dame Joan Sutherland to be located in the Sydney Town Hall. Size: 2 x 2.3 meter in Statuario Marble.· Commissioned by Christina Matheson to carve a grave piece "La donna dormentata"for her late husband Laurie Matheson. Size: 2.7 x 1 meter (life-size) in Carrara Marble.· Returned to Italy to begin work on commissions.· Began work on monumental work titled "Paura del' intimita" (Fear of Intimacy). Size: 3.2 meter high in Carrara Marble.
1988 · Installed commemorative marble sculpture for Dame Joan Sutherland in the Sydney Town Hall.· One-man show at Holdsworth Galleries, Sydney of works in marble and in bronze."Paura del' intimita" purchased for Cultural Foundation of the Moree Art Gallery in New South Wales with the assistance of the Myer Foundation and Mr. Sinclair Hill.
1989 · Traveled to Japan, France and Italy.· Completed and installed after 13 months work a "Baptismal font" and wall sculpture for the new Baptistery of St. Stephen's Catholic Cathedral in Brisbane. Executed in marble an Altar, Lectern and the Bishop's throne for the Cathedral.
1990 · Traveled to Italy, France, Belgium and America. ·
1991 · Portrait commission of Sir Eric Westbrook for the National Gallery of Victoria.
1992 · Traveled to Carrara to create new works and execute commission including monumental portrait of Mr. Bruno Grollo and family.· Awarded Wynne Prize Art Gallery of Sydney for Colossal heads "Maschera Maschio, Maschera Femmina"
1993 · Commissioned Portraits Australian of the Year. Including Noble Prize Laureate Patrick White, Yothinda Yunipingi
1994 · Traveled to Carrara to execute commissioned work including; "Our Lady sculpture" for Notre Dame University, Fremantle various private commissioned work. Began work on monumental "Figure Femminile"
1995 · Returned to Carrara. Resumed work on "Figure Femminile" · Commission "Autumn Leaves" (Marble) Mr. James Davern, N.S.W. · Portrait Bust of Peter Garrett, of Midnight Oil · Commission Female Torso (Marble) Mr. Simon Peck, Melbourne
1996 · Commissioned "Stations of the Cross" for the University of Notre Dame, Fremantle.· Commission "Processional Cross", Notre Dame Fremantle
1997 · Relief carvings to the new altar St Patrick’s Cathedral Melbourne.· Portrait of Phyllis M Gration A. M. and her Labrador "Lady Nell" founder of the "Seeing Eye" Dog School, life-size bronze.· One Man Show "Drawings and Sculpture from the Nude"Tina Smyrnios Gallery.· Participated in "Wynne Prize Winners" exhibition Woollangambe,Mt Wilson, N.S.W.
1998 · Commission "Eternal Flame" for the Holocaust Museum, Melbourne, Victoria Commission "Peter Pan" fountain sculpture in bronze.
1999 St Patricks Cathedral Commissioned to carve inscriptions and "Paschal Lamb" for the Cathedral Walk. Completed series of Private Commissions
2000 "Male Figure with Mask of Tragedy", "Female Figure with Mask of Comedy" colossal figures for Westin Hotel City Square Melbourne. "Madonna and Child" Lifesize bronze figures, Commissioned Whitefriars College. "Madonna and Child" Commission for Australian Catholic University Melbourne. Grave Piece for G. Powell Commissioned and installed Sringvale Cemetery.
2002 "Madonna and Child" sculpture in Carrara Marble commissioned by the Australian Catholic University for the Chapel
2003-5 Construction of new studio. Began work Late 2003 on 4 meter high monumental bronze sculpture " commissioned by the Dame Elisabeth Murdoch Sculpture Foundation. Finished modelling of the clay sculpture March 2005 April Meridian Foundry takes moulds and begins casting into bronze.
2006 March Installation of "Thus Spake Zarathustra" at McClelland Gallery Langwarrin
One Man Shows
1981 Australian Galleries, Melbourne
1983 Australian Galleries, Melbourne
1985 Holdsworth Galleries, Sydney
1988 Holdsworth Galleries, Sydney
1997 Tina Smyrnios Galleries, Melbourne
SELECTED GROUP SHOWS
1979 Caulfield Arts Center 'Victoria Sculptors'
1982 Commune di Carrara 'Esbizione di tre Scultori'
1982 Galleria Pagani, Milano 'Scultura Moderna'
1983 The Wynne Prize, Art Gallery of New South Wales
1985 Melbourne University Gallery, 'Renaissance References' The Frederick R. Wiesman Travelling Collection (ongoing worldwide travelling exhibition of sculpture paintings and graphics)
1992 Wynne Prize, Art Gallery of New South Wales
1995 Wynne Prize, Art Gallery of New South Wales
1996 19th and 20th Century Australian Painting and Sculpture Decorative Arts Loraine Diggins Fine Art
1998 19th and 20th Century Australian Painting and Sculpture Decorative Arts Loraine Diggins Fine Art.
1998 Latrobe University, Mt Bulla Campus, "Three Sculptors" at the Australian Alpine Institute, Latrobe UniversityMount Buller Campus] Peter Schipperheyn-Michel Meszaros-Andrew Rodgers
PUBLIC COLLECTIONS
The Art Gallery of New South Wales
Victorian State Theatre, Melbourne
National Gallery of Victoria, Melbourne
Town Hall, Sydney
National Portrait Gallery Canberra, A.C.T
Geelong Art Gallery, Victoria
Frederick Wiesman Collection, Los Angeles, USA
Kew City Council, Melbourne
St Kilda City Council, Melbourne
St Stephen's Catholic Cathedral, Brisbane
The Moree Plains Gallery, Moree, New South Wales
Mt Macedon Cemetery, Macedon, Victoria
The University of Notre Dame, Indiana U.S.A.
The University of Notre Dame, Fremantle W.A.
St Patrick's Cathedral, Melbourne
Westin Hotel, City Square Melbourne
Australian Catholic University
McClelland Gallery and Sculpture Park, Langwarrin Melbourne Victoria
PRIVATE COLLECTIONS
In Australia, U.S.A. Canada, Italy, France, Netherlands, England, Belgium, Germany, Brunei, Singapore
1978 Awarded, Camberwell Rotary Prize for Painting>
H.F.C. Drawing Prize
Dandenong Festival Drawing Prize Abercrombie Sculpture Prize, Commission for Monumental sculpture "Senility" later renamed "The grip of time"
1979 Awarded Italian Government scholarship
1981 Commission for "S..HE" monumental work in marble
Commissioned to carve a "Madonna" for Carmelite Order, Melbourne
1983 Awarded Individual Artist Development Grant from the Victorian Ministry for the Arts
Commissioned by Jack Chia "Mother and child" monumental work for No. 1 Collins Street, Melbourne
Commissioned by Carlton & United Breweries to do a sculpture "Clydesdale horse" for the Victorian State Theatre Building, Melbourne
Commission; Returned Service League for a 3 meter high sculpture for the Alfred Square, St Kilda.
1987 Commission; Sydney City Council, to create a commemorative work for Dame Joan Sutherland's 60th Birthday to be located in the Sydney Town Hall Commission "Asleep" grave piece for the late Laurie Matheson at Mt. Macedon Cemetery
Commission; monumental work with assistance from Mr. Ken Myer "Paura del' intimita" for the Moree Plains Gallery, N.S.W.
1989 Commission for St Stephen’s Cathedral in Brisbane of a new Baptismal Font for the Baptistery
1990 Commission portrait of Mr. Bruno Grollo in marble, Melbourne
1991 Commission portrait of Sir Eric Westbrook for the National Gallery of Victoria>
1992 Awarded Wynne Prize, winning works (two colossal heads in marble purchased for collection of Art Gallery of New South Wales.
1993 Commission Portrait of Patrick White, Noble Prize laureate. Portrait Commission, Australian of the Year for National Australia Day Council
1994 Commenced monumental work "Figure Femminile".Commission "Our Lady Sculpture" Notre Dame University Fremantle
1994-96 "Stations of the Cross" fourteen relief panels in bronze Notre Dame University, Fremantle.
1996 Relief Panels in fiberglass executed for Village Roadshow for cinema complex’s in Singapore, Jam Factory, and Melbourne Casino.
1996 "Processional Cross"-for the Chapel at Notre Dame University, Fremantle.
1997 Carved panels for the new altar, St Patrick’s Cathedral, Melbourne. Life size bronze of Phyllis M Gration, and her dog "Lady Nell" founder of the Lady Nell Seeing Eye Dog School.
1998 "Eternal Flame" sculpture in black granite for the Holocaust Centre,Melbourne "Peter Pan" sculpture in bronze, private commission, Rockhampton, Queensland.
1999 St Patricks Cathedral Commissioned to carve inscriptions and "Paschal Lamb" for the Cathedral Walk. Completed series of Private Commissions
2000 "Male Figure with Mask of Tragedy", "Female Figure with Mask of Comedy" colossal figures for Westin Hotel City Square Melbourne. "Madonna and Child" Lifesize bronze figures, Commissioned Whitefriars College. "Madonna and Child" Commission for Australian Catholic University Melbourne. Grave Piece for G. Powell Commissioned and installed Sringvale Cemetery.
2002 "Madonna and Child" sculpture in Carrara Marble commissioned by the Australian Catholic University for the Chapel
2004-6 Monumantal bronze "Thus Spake Zarathustra" commissioned by the Dame Elisabeth Murdoch Sculpture Foundation
SELECTED ARTICLES IN MAGAZINES
News and Views, Berry News Magazine 'A Huge Hand' 1980 Vol. 5, London
'It Really is a Big Country', Rick Amdur 1981 'Giant Walking Stick'
French Hommes Vogue No. 71, July 1984 Carrara 'Voyage au Coeur du Marble'
Follow me, Oct/Nov 1985 No. 19 'Beyond Fashion - The Classicism of Peter Schipperheyn's sculpture' by Ashley Crawford
Renaissance References Catalogue, Melbourne University 1985Tempo Libero, Vol. 4 No. 12 1986 'Peter Schipperheyn Sculptor' By Jennifer Gilmore
Corporate and Office Design, Spring/Summer 1986
The Good Weekend, 5 Sept 1986, 'Portrait of a Father and Mother' by Keith Dunsta
Vogue Living No. 8 1987, 'Chiseled Features' by Diana Bagnall
IL Messagero, March 1987 'Peter Schipperheyn - Nella Scultura IL Senso Della Storia' by Alfio Musatti
Harper’s Bazaar, October 1987
'The Genesis of a Sculptor - Peter Schipperheyn' by James D. Wingate, published by Bay Books, 1988
'Nine to Five' Issue 4 Vol. 2, July 1988 'Fear of Intimacy' by Kathy Shand
St Stephen's Cathedral 'The Story of a Cathedral - The Baptismal Font' by Tom Ellich, 1989
Parfums en Architecture 'Carnet de Voyages' by Jean-Loup de Sauverac, Therese Vian Editions, 1990
Victorian Homes, October 1997 edition, story by Tiffany Jones.
Home Beautiful, "Warehouse with the works" March 1998 edition.
SELECTED PRESS ARTICLES/REVIEWS
° 450 entree landmark' by Ken Haley. The Age, 16 July 1979.
° 'Give the man a big hand'. The Sun, 1 June 1979.
° 'Giant hand points stock to works of Art' by Brigit Cole Adams, Melbourne
Living Section, The Age, 9 December 1980.
° 'Gawking Stick', Focus People, 1980.
° 'Odd and Odder' Arts Review by Ronald Millar. The Herald, 18 August 1981.
° 'Capital Permanent Award' By Rod Carmichael, Arts Section Review of exhibition Geelong Art Gallery, 7 November 1981.
° 'My Stodform' Helg Magisnet (Sweden), July 1981
° 'The Life in Stone' by Bernard Hoffert, The Advocate, 18 August 1983.
° 'A Big Hand for City Hall' by Tricia Quirk. The Sun, December 1983.
° 'Peter Schipperheyn parla la lingua Nobile del marmo' Rocco di zio, Il Globo, 5 September 1983.
° "Cold chisel Warm Art" Zelda Cawthorne Arts & Entertainment- Herald 26/5/96
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