These rings showcase materials foraged within one bioregion: a region described by natural features rather than human-made borders. This work has been created in response to the insensitivity of globalised supply chains.

Judges’ comments:

“Kyoko Hashimoto and Guy Keulemans have created a stunning sculptural ensemble formed from a wide range of natural and found materials from a tightly defined bio-region. These materials derive from geology formed millions of years ago through to wood, natural sponges and marine plastic washed up on the shore. Their work allows this diversity of media to artistically speak for itself whilst illustrating the range of forms to be found in the contemporary world.”

When asked how it felt to be named the open category winner Kyoko Hashimoto and Guy Keulemans expressed how grateful they felt.  

“We’ve worked really hard over the past years to develop a unique conceptual approach in our practice, so it’s great to be recognised. We’re humbled because the standard of work in the competition is very high – we suspect it must have been a hard task for the judges to choose a winner.”

Both artists reflected on the inspiration behind this piece. It started several years ago when they made a set of rings exploring global relationships between raw materials and their forms in designed objects.

“We sourced materials from all around the world using online scientific sample catalogues. For example, we obtained calcite limestone from Brazil and petroleum oil from Ecuador, precursors for concrete and plastic.”

“We wanted to explore global supply chains. Designers should work to shorten supply chains for sustainability reasons – so we challenged ourselves to design, and make with materials from one location. That project became the Bioregional Rings.”

Kyoko Hashimoto and Guy Keulemans took their work outdoors and foraged for rocks, plant and animal remains from beaches, abandoned coal mines and other locations.

“The COVID lockdowns really helped this process as we had more time to comb the beaches of the Central Coast. Some of these pieces were formed into specific shapes while others were kept natural to show off their incredible vibrancy.” 

A jeweller by trade Kyoko Hashimoto explained the silver rings were designed to support a wide range of materials and forms without topping over. They are wearable as jewellery, but also function as tiny plinths.

When asked what message Kyoko and Guy would like conveyed, they contemplated how the world we live in is made of material affluence. 

“While the interconnection of global economies allows many favourable conditions for makers, it’s also easy to knowingly or unknowingly contribute to the destruction of the natural environment. We want designers, artists and industry to think about their supply chains, and the potentiality of the natural world that is local and close by to provide materials of production.”

“There is an ethical aspect to this: it shocks us that so many environmental degradations and labour injustices of mining and manufacturing continue because they happen in faraway places. Re-homing our production practices should sharpen our attention towards sustainable and ethical making, but also, beyond that, create an empathy with nature and its incredible age, complexity, and beauty.”

Kyoko Hashimoto and Guy Keulemans will take home a $30,000 cash prize.

Emerging artist category: 

SOUTH AUSTRALIAN artist Deb McKay has been named the winner of the Emerging artist category in the 2022 Waterhouse Natural Science Art Prize, for Fragile Forms.

Deb McKay’s work is a study of movement, time, and aging. It pays homage to the human body as it changes with age, exploring fragility and the way the forces of time, memory, and movement impact it.

Judges’ comments:

“Deb McKay shows extraordinary technical skill and meticulous attention to detail. The wide diversity of natural forms evoke the complexity of life on Earth. The use of fragile porcelain as the creative medium is a metaphor for the fragility of the natural world that the artist describes.”

When asked what inspired the work, Deb pondered the concept of ageing.  

“As my body ages I feel a sense of deterioration, there is a parallel between what my body allows and the corroding of the natural world. My work is imagined and at times playful, but the inspiration is always nature. I love the way the influence of light, texture and the temperature I work in often determines what I make and the response the clay gives me when I work with it.”

Deb built this sculpture completely by hand in porcelain. Each piece of clay is hand rolled, twisted, stretched, pushed, and pulled to create different forms.

“My work is slow, repetitive and imaginative inspired by but not dictated by natural forms. It is then bisque fired, glaze fired and then luster fired to produce the gold highlights. The process is long - the largest piece taking two weeks and the smaller pieces about a week each.”

When reflecting on her work Deb explains how each piece looks new to her when she finally sees it finished as she wonders where this work came from.

“I know I made it, but I get lost in the process,” she added.

When asked how it felt to be named the Emerging Winner of the year’s prize, Deb said she was extremely honoured.

“It’s such a well-executed event by the South Australian Museum and so loved by the public. So many talented artists from around Australia enter because it is so well respected, and it makes me feel very proud.”

Deb reflects on her piece Fragile Forms and the message she would like conveyed with visitors to the exhibition.

“Our world is fragile, and it is deteriorating, often from external forces not just natural deterioration. I became a grandmother this year and I can’t help but ask this question – in the future will my grandson only be able to view our natural world in glass boxes in the Museum?”

Deb McKay’s prize is $10,000 cash.

Celebrating its twentieth year, the Waterhouse Natural Science Art Prize is Australia’s premier biennial natural science art prize. This year it attracted a 23% increase in entries compared to 2020 across Australia and overseas. This year’s competition received almost 500 entries, with 71 artists shortlisted.  

South Australian Museum Director, and one of the prize’s judges, Mr Brian Oldman says he is always surprised at the calibre of entries.

“It’s been fantastic to see an increase of entries into the competition, including so many incredible pieces that depict critical issues in our environment. I hope viewers of the exhibition leave feeling both artistically enriched and scientifically informed.”

This year’s panel of judges also included Professor Alan Duffy, Astrophysicist, Swinburne University of Technology, Kelly Gallatly, Arts Leader, Curator, Writer and arts advocate and Erica Green, Director of the Anne and Gordon Samstag Museum of Art.

Exhibition visitors can have their say and vote for their favourite artwork by submitting a vote at the Museum by Friday 22 July, with the winning artist receiving $5,000 in prize money, courtesy of the People’s Choice Dr Wendy Wickes Memoriam Prize.

The exhibition of all finalists in the Waterhouse Natural Science Art Prize opens at the South Australian Museum on Saturday, 4 June – 7 August 2022. The winners and highly commended works will then tour to the National Archives of Australia in Canberra. Tickets are on sale now.

To view the full gallery of finalists, please click here.