People's Choice announced for Meroogal Women's Art Prize


The Meroogal Women’s Art Prize People’s Choice Award was announced at the property on the Saturday following International Women’s Day.

The Prize, now in its 17th year continues Sydney Living Museums’ collaborative tradition of inviting contemporary artists into our places has been generously supported by the SLM Foundation, Bundanon Trust, and Shoalhaven Regional Gallery, Nowra.

This year, the People's Choice Award was a tie between two artists! The joint winners were Kylie Douglass from Cudmirrah for her work Womandala created from cuttlefish bone, and Beth Norling from Katoomba for her work not all things are washed away made from soap and ink.

Both artists shared the $500 prize money and received an SLM Membership.

Thanks to everyone who visited the exhibition and voted. The exhibition is on for a few more weeks and closes 30 March.


Kylie Douglass, 'Womandala', cuttlefish bone. Photo © Nicholas Watt for Sydney Living Museums.

Kylie Douglass, Womandala, Cuttlefish bone

Photo © Nicholas Watt for Sydney Living Museums.

Kylie Douglass’s work Womandala has two specific meanings – handcrafted entirely by women, and the circle. This mandala represents the core of Meroogal and the energy within and around the house. Each piece is a replica of the tangible objects used and decorated within the property. From the heart of the house, the fireplace, resonating from the centre towards the exterior and finishing with the gardens, Womandala is a complete visual representation of the women of Meroogal.

Artwork photographed in situ at Meroogal.

Beth Norling, ‘Not all things are washed away’, soap & ink

Photo © Nicholas Watt for Sydney Living Museums. 

Beth Norling’s not all things are washed away explores the question: ‘what is left and what is lost?’ In 1860 the McKenzie family survived a devastating flood in Terara [a town on the banks of the Shoalhaven River], losing everything except the grandfather clock that still stands at Meroogal. Beth’s work depicts things that remain at Meroogal and imagines the moments that are forever gone. The technique of scrimshaw is relevant to the concept: ink is applied then washed away, the excess trapped in the scratches of the image beneath.

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