Before embarking on building, renovating, tree removal/lopping or any other works, it is important to ascertain whether you require a permit.
Why do you need to get planning and building approval?
Planning permits and building permits serve different purposes.
A planning permit is required to ensure that your project complies with the relevant zoning and overlay controls applicable to your property and to ensure that your project considers its impact on the surrounding area with respect to character, built form and materials, surrounding neighbours, traffic, environmental impacts and community need.
A building permit focuses on the technical aspects of construction and safety ensuring that your project complies with the relevant building codes and regulations.
Links to the relevant controls are:
What types of projects need a permit?
Here are some common projects that need approval - contact us even if your project is not listed here:
- multi-dwelling developments and apartments
- construction of a new single dwelling or dwelling extension
- buildings and works, including some internal changes to a building
- demolition/partial demolition and new works to buildings in a Heritage Overlay
- garages, carports, sheds, pergolas, decks, verandahs
- removing trees and vegetation
- new land uses such as a childcare centre, medical centre etc...
- earthworks
- Septic tanks
- tennis courts
- swimming pools and spas
- fencing
- business identification signage on a building or property
- subdivision of land
- covenant removal/variations
- liquor license for a restaurant/cafe
- consent for any works or tree removal and the like if your land has a Section 173 agreement.
- tables and chairs and/or signage on the footpath
- asset protection
You have a dream project - where to start
New to building or renovation?
For advice on all things renovation and construction, visit the Victorian Building Authority (VBA).
Every dream project is different with its own needs and challenges. Here are the steps to give you a rough guide on the process, timeframes and costs when starting any project.
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Contact us to discuss your project with us to confirm if you need a planning permit
You can also view:
- Apply for a planning property enquiry
- Apply for pre-application advice
- Learn about the planning permit process
If you don't need a planning permit you can proceed straight to building permit
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If we confirm that you need a planning permit, start the application
After you apply you can also -
Get a building permit before you start construction
We do not issue building permits so you will need to contact a building surveyor to organise a building permit.You will need the permit to ensure what you're hoping to construct or change is done right and to building code standards.
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Apply for any other permits you need before you start works
You may need permits for connecting to infrastructure, protection of public assets and more. Often you will find out which permits you need throughout the process, so it is always best to discuss your plans with us or industry professionals.
Some common permits include:
Hoping to build sustainably?
We've created a list of resources to help you build a sustainable, energy-efficient home or commercial building.
View resources
The Warrandyte Historical Society invite you to come and learn about the discovery of gold in Warrandyte and how it shaped the township and community.
Warrandyte is justifiably proud of its place in the gold history of Victoria. Gold was first discovered at Anderson's Creek in June 1851. It was the first officially published goldfield, named the 'Victoria Field', in honour of the new Colony. It was also the first place in the Colony to issue gold mining licences.
This exhibit celebrates the 170th anniversary of the first discovery by Louis John Michel and his team. You'll find interesting and colourful banners on display inside and outside the Museum, showcasing
the discovery of gold and how this has shaped the township and community. They share the lure of gold and excitement around the discovery that continues today.
You can visit to see the outside banners placed on the fence-line of the Museum at any time during the Heritage Festival. To access the banners inside the Museum, please see the exhibition times.
This exhibition is open from 18 April to 22 May 2022.
The indoor exhibition inside the Museum, is open on Sundays, from 1:30 pm to 4:30 pm.
There is both on-street parking, and off-road car parks available on Yarra Street.
Power 2 Pedal is a fun and welcoming program, delivered in a safe environment where kids and teens with autism will learn and develop their bike riding skills.
This program will also support people to build their skills and confidence to be able to include bike riding in their everyday life, for example riding to school.
When
Each Monday between 22 April and 27 May 2024 (six week program).
Cost
$90 or participants can use NDIS plans to pay for the program.
Intermediate (Level 2)
This level is designed for those who are confident riding but need to refine their skills. Focus areas may be controlling/turning, braking, scanning, gear changing and hazard awareness. Participants will also get the opportunity to learn new BMX skills and ride on the BMX track.
If your child is a less experienced rider, register for the Level 1 (beginner) program instead.
Each session will have a maximum of 10 participants with two coaches.
Support staff
We recommend all participants have someone with them at the program to support their development one-on-one.
Please note that support staff are not organised through this program. Should participant support be required, please organise this through a disability service provider (such as Leisure Networks).
What to bring
Participants are encouraged to bring their own bike and helmet. If this is not possible and you require access to equipment or you are unsure what level would be appropriate for your child, please phone Tori on 0434 412 989 or email tori.honner@leisurenetworks.org.
Places are limited in this program and registration is required.
Power 2 Pedal is supported by VicHealth in partnership with Aus Cycling, Manningham Council, and the Park Orchards BMX club.
For more information read the flyer below.
As part of 16 Days of Activism Against Gender-Based Violence, we are are hosting this FREE workshop for you to learn the techniques required to communicate for social causes near and dear to your heart.
Join Nazanin and Attiane from Feminista Melbourne for an amazing poster making workshop.
No minimum skill level is required. If you can use scissors and glue stick, you can make a collage.
To find how you can get involved with 16 Days of Activism and join the call to eliminate violence against women and girls, visit Respect Victoria.
Suitable for
This workshop is suitable for ages 16 years and up. For participants under 18 years of age, we require parental consent to attend this event. We will reach out to confirm prior to the event.
Workshop cancellation
Due to illness, unforeseen circumstances or where a suitable substitute is not available and a workshop has to be cancelled, you will be contacted via email and by SMS 30 minutes prior to the class starting. In these situations, either a class refund will be processed, or the event will be rescheduled.
Parking
Parking is available at Manningham Council MC2 building. There are two ways you can access the building – through the Doncaster library entrance on ground level or via the elevators from the MC2 underground car park.
The library entrance may be closed after hours. In which case, please enter via the underground Carpark at MC2 and take elevator to Level 2, exit right, turn left along walkway to the art studios.
Please note: Carpark entry gate automatically closes at 8pm but has a sensor for exiting as you leave at the conclusion of your class.
If you or someone you know are experiencing family violence, please call 1800RESPECT or visit respectvictoria.vic.gov.au. For emergencies call 000.
📷 Image courtesy of Nazanin
This Q and A session is for businesses wanting some follow up after our From zero to Insta-hero: understanding Instagram for business newcomers workshop. ...
The Digital Accelerator Program is offering free hands-on workshop to local Manningham-based businesses.
Join us for this Q and A session on understanding Instagram.
This session is for people who attended our Digital Accelerator Program workshop: From Zero to Insta-Hero - understanding Instagram for business newcomers.
It's your chance to get additional support with tailored advice from the facilitator, Kirri Romero from The Online Fix.
Come along and ask all those questions that have come up as you apply all your learnings.
Don't miss this chance to deep dive or get advice and ideas specific to your business to support you with your marketing activities.
Session is run online, via Zoom.
Book your spot!
About the speaker
Kirri Romero, Director and Chief Digital Strategist, The Online Fix
Kirri Romero is the lead digital strategist and principal consultant at the Online Fix, a strategy, mentoring and upskilling digital consultancy. Kirri has over 20 years of experience working in all facets of online, creating successful online experiences working in a variety of industries, from finance to education, food, fashion and health industries. She is a top-rated mentor and training facilitator for the Digital Solutions program, Business Resilience Program and Partners in Wellbeing program. Kirri has her own mentoring client book, she helps hundreds of businesses each year with their digital marketing strategy and tactical help to take action on their marketing.
Her foundational knowledge was gained during the formative years of growing the digital presence of Australian Super to what you see today and continues now with her own multi-channel marketing consultancy servicing a range of clients. As a result, her strategy and solutions work are grounded in up to the minute practical experience gained from operating the field.
The digital know how gained from years of working online and her in-depth understanding of the online environment has made her adept at adapting to the unfolding trends of digital while being able to quickly show her clients how to take advantage of the ever-changing environment.
The Digital Accelerator Program is offering this free hands-on workshop to local Manningham-based businesses.
This Q and A session is for people who want to follow up after our Digital Accelerator Program - unleashing the power of AI workshop.
It's your chance to get additional support with tailored advice from facilitator, Kirri Romero from The Online Fix.
Come along and ask all those questions that have arisen as you apply the learnings.
Don't miss this chance to deep dive or get advice and ideas specific to your business to support you with your marketing activities.
Session is run online, via Zoom.
Book now!
About the speaker
Kirri Romero, Director and Chief Digital Strategist, The Online Fix
Kirri Romero is the lead digital strategist and principal consultant at the Online Fix, a strategy, mentoring and upskilling digital consultancy. Kirri has over 20 years of experience working in all facets of online, creating successful online experiences working in a variety of industries, from finance to education, food, fashion and health industries. She is a top-rated mentor and training facilitator for the Digital Solutions program, Business Resilience Program and Partners in Wellbeing program. Kirri has her own mentoring client book, she helps hundreds of businesses each year with their digital marketing strategy and tactical help to take action on their marketing.
Her foundational knowledge was gained during the formative years of growing the digital presence of Australian Super to what you see today and continues now with her own multi-channel marketing consultancy servicing a range of clients. As a result, her strategy and solutions work are grounded in up to the minute practical experience gained from operating the field.
The digital know how gained from years of working online and her in-depth understanding of the online environment has made her adept at adapting to the unfolding trends of digital while being able to quickly show her clients how to take advantage of the ever-changing environment.
Artist Paul Handley’s Pillars of Déplacement traces his journey through the migrant settlement camps of Europe to the island shores of Lesbos, variously between 2016 and 2019, a period of social and political flux for the region. Geopolitical tensions and conflict at this time in countries including Syria and Afghanistan led to the displacement of thousands of people who were forced to seek refuge in foreign lands.
Despite it being a fundamental human right to seek asylum, this flow of refugees destabilised social fabrics across multiple communities and led to a wave of resistance from governments and local communities in the areas where the refugees sought asylum.
This exhibition represents the artist’s firsthand experience of this tension through a collection of documentary images, objects and artworks that stand as symbols hope, such as his sculptures inspired by the life-jacket graveyards of Lesbos. The exhibition acts as an artistic shrine to all the displaced and lost across the globe and throughout history, spurring reflection on migration and people movement and the ramifications it has on communities and countries.
Exhibition opening
Featuring opening remarks from Manningham Mayor Cr. Andrew Conlon, as well as Paul Handley in conversation with Manningham Art Gallery curator, Davey Warnock.
When: Saturday 17 April, 2.00pm to 3.30pm.
Cost: This is a free event but places are limited.
Artist talk
Join Paul Handley for a conversation about his experiences travelling through the migrant camps of Europe and the process of translating those experiences into artworks.
When: Thursday 22 April, 11.00am to 12.00pm.
Cost: This is a free event but places are limited.
Portable Protest Pod - workshop for youth (13-18yrs)
In this workshop for secondary school-aged youth, participants will discuss the history of protest and the art of creating impactful signs and performances.
When: Saturday 1 May, 3.30pm to 5.30pm.
Cost: Tickets are $5 per person. Places are limited.
Image: Paul Handley, Pillars, 2021, wallpaper pigment print, 240 x 360cm.
More Information
Manningham Art Gallery
Located at the entrance to MC Square, Manningham Art Gallery presents a diverse range of contemporary art exhibitions and related public programs throughout the year. See all upcoming exhibitions.
Learn what works on Instagram today and the key elements for success ...
The Digital Accelerator Program is offering this free hands-on workshop to local Manningham-based businesses.
From zero to Insta-hero: understanding Instagram for business newcomers
Designed for small business owners getting started with Instagram. Learn what works on Instagram today and the key elements for success.
We’ll show you what works and key elements for success. We will cover:
- the Instagram universe (Feed, Stories, Reels, Shop)
- tips for growth
- content approaches
- engagement strategies
- tips for approaching Instagram Influencers
- how to measure success
Bonus: We will also provide a range of additional resources and help, including templates and cheat sheets. Plus, a bonus a follow up question and answer troubleshooting session if you have questions as you work to create an action plan for your business.
About the speaker
Kirri Romero, Director and Chief Digital Strategist, The Online Fix
Kirri Romero is the lead digital strategist and principal consultant at the Online Fix, a strategy, mentoring and upskilling digital consultancy. Kirri has over 20 years of experience working in all facets of online, creating successful online experiences working in a variety of industries, from finance to education, food, fashion and health industries. She is a top-rated mentor and training facilitor for the Digital Solutions program, Business Resilience Program and Partners in Wellbeing program. Kirri has her own mentoring client book, she helps hundreds of businesses each year with their digital marketing strategy and tactical help to take action on their marketing.
Her foundational knowledge was gained during the formative years of growing the digital presence of Australian Super to what you see today and continues now with her own multi-channel marketing consultancy servicing a range of clients. As a result, her strategy and solutions work are grounded in up to the minute practical experience gained from operating the field.
The digital know how gained from years of working online and her in-depth understanding of the online environment has made her adept at adapting to the unfolding trends of digital while being able to quickly show her clients how to take advantage of the ever-changing environment.
The Digital Accelerator Program is offering this free hands-on workshop to local Manningham-based businesses.
Unleashing the power of AI tools: to streamline, optimise and succeed!
Learn which AI tools are available to you and will help you market your small business. We will look at how they can help, things to be aware of and provide you with lots of ideas on how you can use AI tools for your small business to do more, do better or both! We will cover:
- the state of AI currently
- the range of AI tools available and how they can help you as a small business owner
- tips and tricks to get the most out of the tools and how to assess and test them for your business
- the skills you need to make the most of using AI in your small business marketing program.
Bonus: We will also provide a range of additional resources and help, including templates and cheat sheets. Plus, a bonus a follow up question and answer troubleshooting session if you have questions as you work to create an action plan for your business.
About the speaker
Kirri Romero, Director and Chief Digital Strategist, The Online Fix
Kirri Romero is the lead digital strategist and principal consultant at the Online Fix, a strategy, mentoring and upskilling digital consultancy. Kirri has over 20 years of experience working in all facets of online, creating successful online experiences working in a variety of industries, from finance to education, food, fashion and health industries. She is a top-rated mentor and training facilitator for the Digital Solutions program, Business Resilience Program and Partners in Wellbeing program. Kirri has her own mentoring client book, she helps hundreds of businesses each year with their digital marketing strategy and tactical help to take action on their marketing.
Her foundational knowledge was gained during the formative years of growing the digital presence of Australian Super to what you see today and continues now with her own multi-channel marketing consultancy servicing a range of clients. As a result, her strategy and solutions work are grounded in up to the minute practical experience gained from operating the field.
The digital know how gained from years of working online and her in-depth understanding of the online environment has made her adept at adapting to the unfolding trends of digital while being able to quickly show her clients how to take advantage of the ever-changing environment.
Did you know Manningham Matters goes out to over 56,000 households and businesses across Manningham?
Manningham Matters is our community magazine and features a mix of Council information and community news. We currently produce six issues a year and distribute to all households and businesses in Manningham.
We’re looking to improve how we communicate with our community and want to hear from you. Later this year, we’ll be looking at how we can make sure Manningham Matters best serves you and what you want to see more of or less of going forward.
If you want to get involved, register your interest below.
Register your interest to provide feedback on Manningham Matters
The Community Grant program supports and empowers community groups and organisations to deliver programs and activities for our community in Manningham. ...
The Community Grant program supports and empowers community groups and organisations to deliver programs and activities for our community in Manningham.
We are committed to developing and fostering partnerships with not-for-profit groups and organisations whose work enriches the municipality and is consistent with our vision.
Grant opportunities
Funding opportunities
Apply for assistance to preserve your bushland
These grants are designed to help property owners with land care education, land stewardship, pest and animal control and ecological improvement works.
The Sustainable Gardening Australia, Edible Gardening Seminar Series is a complete home gardening program that will teach you how to grow your own delicious fresh, healthy, and nutritious food at home. ...
The Sustainable Gardening Australia, Edible Gardening Seminar Series is a complete home gardening program that will teach you how to grow your own delicious fresh, healthy, and nutritious food at home.
Growing your own food can be not only rewarding and enjoyable but can also save you money as well.
Each seminar will cover a different aspect of growing organic food including soil preparation, pest and diseases and selecting what fruits and vegetables are right for your garden.
Edible gardening topics
- Tuesday 11 October: Getting Started with Veggie Gardening
The first step is to want to grow organically, but where do you start? This workshop will set you up to start your veggie gardening journey so you can enjoy the benefits of growing your own fresh, healthy, and nutritious food. - Tuesday 18 October: Healthy Soil for Produce Gardening
Healthy soil is full of life and fundamental to the health of our gardens, providing plants with all the nutrients and water they need to grow. Good soil is essential for growing produce. - Tuesday 8 November: Dealing with Garden Pests without Harsh Chemicals - CANCELLED
Garden pests can be managed using nature and its resources to strengthen the balance within your garden, avoiding unnecessary chemical use. - Tuesday 15 November: Composting and Worm Farming
Using compost, worms, bokashi or chooks to turn kitchen and garden waste into black gold for your garden. - Tuesday 22 November: Preparing for Summer Harvest
Everything you need to know to grow fresh produce at home this summer.
Food and gardening swap
Bring along your home-grown foods, seedlings, and other gardening items to share with someone else. The home-grown food and seed swap takes place 20 minutes prior to the start of the seminar. So don't forget to bring your own treats to share.
This program is part of the wider Spring Outdoors Sustainable Gardening Australia Seminar Series. This series includes seminars and webinars at Nillumbik and Banyule councils.
For a full list of events in this series, download the Spring Outdoors Sustainable Gardening Australia brochure, or visit Spring Outdoors.
Keep up to date with our latest environment and sustainability events by subscribing to our Environment Newsletter.
We’ve opened our final exhibition for the year!
Showcasing moving image artworks by Australian artists, this exhibition celebrates ACMI’s vibrant collecting and commissioning program.
Come and see the exciting new works at Manningham Art Gallery, Doncaster. Open until February 2024.
Ngura Pukulpa - Happy Place by Kaylene Whiskey
Yankunytjatjara artist Kaylene Whiskey envisions a world where pop culture collides with traditional Anangu culture.
Analects of Kung Phu: Book 1, The 69 Dialogues between the Lamp and the Shadow by Jason Phu
Jason Phu presents us with a guide for surviving contemporary life through the lens of martial arts films.
The Gods of Tiny Things by Deborah Kelly
Deborah Kelly’s kaleidoscopic video unleashes a vivid collage of animated figures and landscapes cut free from the pages of old magazines and encyclopedias to explore the threats of extinction and the climate crisis, the tolls of colonialism, and the global political shift to the right.
The Beehive by Zanny Begg
The Beehive is a non-linear experimental documentary exploring the unsolved murder of Sydney anti-development campaigner Juanita Nielsen.
Gaps by David Rosetzky
Gaps embodies Rosetzky’s ongoing exploration of personal identity and the relationship – or ‘gaps’ – between self and other through speech, movement and dance.
Bayi Gardiya - Singing Desert by Dr Christian Thompson AO
Open on Thursday 1 February and Friday 2 February 2024 from 10.00am to 2.00pm at Doncaster Library. To experience this 360-degree work, please visit the Creative Lab located on the mezzanine floor of Doncaster Library, accessible via the lift in the junior area. There will be a staff member there to assist. Suitable for all ages.
In this 360-degree video experience, Christian Thompson invites audiences to walk through the landscape of his childhood where they witness a simple yet profound aesthetic gesture of the artist singing in his traditional Bidjara language, a recognised lost language.
Photo caption: Kaylene Whiskey, Ngura Pukulpa – Happy Place, 2021. Between the Details: Video Art from the ACMI Collection. Image courtesy of Kaylene Whiskey and Iwantja Arts.
Photo: Max Mackinnon
An ACMI touring exhibition
The works in this exhibition are commissioned by ACMI, Artbank, Bundanon Trust, Carriageworks, City of Melbourne, Melbourne Art Foundation, Professor Cav. Simon Mordant AO and Catriona Mordant AM, John Allsopp (Web Directions) and assisted by the Australian Government through the Australia Council for the Arts.
Here is a summary of the planning permit process.
1. Before you apply
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New to planning? Get a general understanding of what permits you will need before making any applications
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Get advice in writing about whether or not your proposed building, works or land use needs approval from us.
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Get feedback on your draft proposals, concepts or plans, before you submit a formal planning permit application.
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Check out some common scenarios and resources to help you understand what is needed before applying
2. Apply for the permit
Everything you need to know to start a planning permit application.
3. After we receive your application
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Stay up to date with your application's status in the planning applications portal.
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Find out what you need to do to amend your permit before the public notification stage.
4. Public notification of your application
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Review all Applications currently undergoing assessment.
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Any person who believes they will be affected by a planning application can lodge an objection during advertising.
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Find out what you need to do to amend your permit before the decision stage.
5. We notify you of our decision once permit issued
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Only the Victorian Civil and Administrative Tribunal (VCAT) can review an application. After we have made a planning permit decision, we cannot undertake an internal review.
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Landscape bonds are a condition of a planning permit. We ask for payment of bonds to ensure landscaping works are properly completed.
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If you need more time for development or commencement of land use, you will need to ask for an extension to the planning permit.
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An Agreement under Section 173 of the Planning and Environment Act (or Section 173 Agreement) is a legal agreement between us and the owners of a property that is registered on a property title.
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If you would like to to amend approved plans or conditions of a Planning Permit, you can find out more information and submit your application here.
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If you are developing land in Manningham, you may need to submit a Construction Management Plan (CMP) as required by a condition of your planning permit.
6. Once your development is completed
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If your Planning Permit required payment of a landscape bond, you will need to apply for a refund once your development is completed.
Change your contact details or withdraw your application
Follow these easy steps to change your planning application details:
- Search for your planning application on the planning applications portal.
- Select change applicant details or withdraw your application.
Find your local is here to help you discover and explore the many unique products, services, food experiences and outdoor adventures that are all here in Manningham!
Follow us on Instagram
@findyourlocalmanningham and get to know the local businesses that support our community.
Check out some of the things you can do with family and friends, right on your doorstep!
Walking and bike trails through bushland in the Warrandyte State Park. Along the Mullum Mullum Creek and Yarra River (Warrandyte River Reserve) and through wide open spaces of Ruffy Lake Park and Westerfolds Park. Encounter an abundance of native flora and fauna. Join the Main Yarra Trail at Finns Reserve and ride all the way to the city!
- adventure playgrounds at Wombat Bend, Warrandyte River Reserve and Ruffy Lake
- wineries, distilleries and fine dining in Warrandyte South and Wonga Park
- local shopping centres at Jackson Court, Templestowe Village and Tunstall Square and more
- the Yarra River – enjoy walking trails, canoeing, fishing and swimming
- culturally significant Heide Museum of Modern Art in Bulleen and the Manningham Art Gallery in Doncaster
- dog friendly parks at Finns Reserve in Lower Templestowe, Banksia Park in Bulleen or Stiggants Reserve in Warrandyte.
Ready to get out and explore? Check out how One Hour Out recently spent a day in Manningham.
How local businesses can get involved
Would you like to share something about your business with the Manningham community? This might be an introduction to your business or the story behind it. Or maybe a new product offering or upcoming event.
We are looking for business content to promote on our Find Your Local Instagram page. For the chance to have your business featured, click the button below.
Explore Manningham
Encounter, experience and explore your Manningham.
The Manningham Victorian Ceramic Art Award supports Victorian studio ceramics and acknowledges the special place ceramics have in the Manningham region.
The biennial acquisitive award and accompanying exhibition celebrates the best in contemporary Victorian ceramic art practice from across the state. Works acquired through the award form part of the Manningham Art Collection and are subsequently displayed in public buildings throughout the municipality, including Manningham Art Gallery exhibitions.
The Manningham Art Collection includes almost 30 ceramic artworks acquired through the Award since 2009, representing some of the best contemporary ceramic work in Victoria.
The award is currently not running, please keep up to date with Arts Manningham news, opportunities, and events via our Facebook page and newsletter.
Past winners and acquisitions
Title | Description | Year |
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David Ray |
"Within my work I apply critical comment to contemporary consumerism and the less reputable aspects of our national identity through often flamboyant baroque creations. WILD explores the juxtaposition between the perception of the beautiful and the ugly. Decoration is incorporated within the body of the work, weaving, twisting and turning, with a confounding plethora of images, motifs and decals – the ‘glamour of the artificial’ colliding, almost in total meltdown. The hand of the artist is never far from one’s consciousness when viewing my work, which is intentionally imperfect, asymmetrical and sometimes seemingly top heavy. Also lingering in one’s awareness is the nature of ceramics; usually pristinely designed and immaculately fashioned and fragile. These two opposing qualities are a reaction to the overriding influence of machines as opposed to the natural." - David Ray, 2017. |
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Tim Clarkson |
"Some say the world is getting hotter, some say this is due to mankind’s impact upon the earth, yet others refuse to acknowledge that the environment around us is changing and in a rapid way. With more information and knowledge at our fingertips than ever before, why is it that many of us just don’t see the impact our actions are having on the world around us? With each day, we are given the opportunity to do something about it, yet for something so critical to our future survival, there is little being done about it. Since 1992, melting ice from both poles have been responsible for a fifth of the global rise in sea levels, with the polar ice sheets melting faster in the last 20 years than in the last 10,000. The work titled Washed Away looks at how other inhabitants of this world are suffering the consequences of our own actions. Global warming is altering key habitat elements that are critical to wildlife’s survival and putting natural resources in jeopardy. Studies have projected that the Arctic could see its first ice-free summer as soon as 2020." - Tim Clarkson, 2017. |
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Magdalena Dmowska |
"When approached in the round, my ‘still life’ of ceramic forms references domestic objects, architecture and the body, whereas from a distance it references painting. Painting is confined by its frame, or self-contained by its edge as it encounters the wall, while ceramic objects work in the round, hence they frame themselves as the ‘clothing of emptiness’. I want my work to show the special power of ceramic forms through their association with tactility and the familiar, as they create intimacy with the viewer, contrary to the experience of separation associated with painting. My work explores the manipulation of familiar forms in order to move the viewer’s attention towards the metaphysical aspects of ceramic objects soothingness and lastingness, the metaphor for the perceptible representing the immaterial. I want the viewer to think about the inside of the closed forms, to embark on a journey of discovering what is really present in the space – the still life of ceramic forms translated into abstract painting. Beyond the art gallery, ceramic objects are perceived through their socially embedded meaning associated with function. My work demonstrates that ceramic forms can operate as hybrids, referring to the function while completely abandoning it in order to embrace the container as the ‘ultimate form of abstraction’." - Magdalena Dmowska, 2017. |
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Bridget Foley |
"The movement of the glazes and the irregular line that moves around the vessels where the glazes overlap evokes the shifting lines of sand that occur when tides come in and out. I have spent many hours walking along the beaches on the Surf Coast of Victoria. These experiences get expressed in the work I make." - Bridget Foley, 2017. |
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Eva Glac |
"Duality and duplicity, the agony and the ecstasy of reproduction and sexuality. A species may employ illusory tactics for its reproduction and survival. Unwitting suitors and would be predators see what they want to see or are tricked into seeing. However, no human is a tool for someone else’s purpose. They are not owned, exchangeable or reduced to mere flesh. Body parts are beautiful and are not things without personality or dignity. We are slowly adapting to survive the verbal and physical abuse that is the result of objectification. Will we change physically, behaviorally or physiologically? The Eucalyptus flower buds are for your viewing, but do not ever touch the Corymbia ficifolia without my permission." - Eva Glac, 2017. |
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Dean Smith |
"This artwork focuses on the link between the worked ceramic form and the disquieting landscape near my home. The gold-mining activity of the past has left the landscape disordered and jagged. The jagged line is echoed not only in the topography and quartz reefs but in the dry, brittle vegetation - the bare twigs whose reflections are amplified and multiplied in the dams and reservoirs. These observations are worked into my ceramic form as surface markings, through scoring and drawing with enamels and palladium. The landscape has contrasts of light and shade, past and present. The tannin-stained dams, the shadowy pine plantation, unearthed metal relics, scorched white bones and unexplained objects, sounds or past movements. My vessel-like form refers to the randomness and order I see in this particular landscape - the unexpected elements translated through strong contrasts and subtle nuance in the sculptural form." - Dean Smith. |
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John Dermer |
"I have pursued the demanding and often frustrating discipline of salt glazing for almost fifty years. Couple this with my preference for working with porcelain, and the potential complications are amplified. However, this is a conscious choice I make and not some perverse form of self-inflicted pain! After much experimentation with various clay bodies I find that the porcelain provides me with a clean palette and a fine surface which underlays, and integrates with, the materials I apply to react with the salt. For my purposes the clay body is as integral to the form as it is to the nature of the surfaces I seek - it does not remain hidden as with most conventional glazing and firing techniques. I view the salt kiln as an extension of my hands. It is a final tool in the process of making pots. Unlike alternative glazing techniques, salt glazing requires a huge investment in time and money through the construction, maintenance and firing of these dedicated kilns. It is not a ceramic field to be taken lightly. Over the years I have persistently endeavoured to push the boundaries in order to break away from the universally accepted limitations of the salt glazing process. After relentless experimentation and research, many disastrous failures, kiln calamities and some lucky mistakes I have been able to achieve surface textures and colours that are totally unique in the history of salt glazing. However, this pot presents a surface that I have never seen or achieved previously. I also fear I may never again! My aesthetics are a reflection of the traditions and values of the Leach-Hamada movement. I believe in a balanced form, an honesty of process towards materials and a respect for the timelessness of presence. When this pot emerged from the kiln I was both stunned and elated. The proud, organic forms and the subtle nuance of colour and surface texture appear to have been born and not created. They have integrity, beauty and presence. They encourage me to continue to seek the magic pot. A pot that will live far beyond me, but would proudly occupy any place along the historical timeline." - John Dermer. |
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Kate Jones |
"The combination of painted surface and sculptural form creates an ambiguity that questions assumptions about both genres. This allows the work to sit in a liminal space that affords a realm of possibility in which new configurations of ideas and relations can occur." - Kate Jones. |
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Irianna Kanellopoulou |
"My practice is largely involved with the creation of individual ceramic forms that create a narrative and explore issues of identity, (dis)placement, unity and movement. I often utilize collected images and objects of our environment and popular culture to explore the persona and emotional associations with our immediate environment and memories, real and invented. I am interested in using the figure as a cultural object to project a narrative of surreal reality; a super reality. The work is infused with symbolism and it personifies imaginary dialogues, deliberately shifting relationships while drifting in and out of an augmented reality. Different characters and personalities are captured in a fleeting moment to reveal a network of masked identities, fragmented conversations and hidden emotions. Focusing on the micro the work draws our attention to the small details which are often overlooked. This microcosm, at times humorous and bizarre, highlights the transformation and personification of such images as a means of making sense of our surroundings, our environment and ultimately ourselves. Drawing inspiration from 18th century European porcelain, the work fuses the traditional with the modern and utilizes traditional techniques that are rapidly being lost through modernization." - Irianna Kanellopoulou, 2015. |
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Susan Robey |
"As an architect and ceramic artist I use architectural imagery to make ceramic objects that are about the boundaries between one kind of space and another - outside and inside, hollow and solid, open and enclosed. I play with mass and scale in both form and surface texture and make reference to architectural elements such as walls, windows and columns. With soft, flexible cast clay slabs, I draw on my detailed understanding of architectural structures to construct thin walled objects with the lightness of paper but the solidity of buildings. I have adapted builders' techniques to my handbuilding processes including the use of formwork and the application of carpentry joints such as the mitre and the dowel. I use the static and inert in architecture to create the illusion of animation. I want the objects I make to be challenging and ambiguous." - Susan Robey. |
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Prue Venables |
"A search for simple, quiet, innovative forms to be held and used; the translucency of porcelain with light dancing on the sprung tension of a rim, the softly melting body inviting touch; even the frustration of failure - all motivate my work. The procedures and intelligence of making hold my attention. I delight in the relationships that spring and develop between objects as they stand together like elements of musical harmony. From the shadows that form between them to the implied movements across spaces, they dance. An exploration of technical invention with origins in both studio and industrial spheres now enables handles to be fired separately, suspended, to be joined later. Such high risk practice leads to objects that have a sense of impossibility and without the encumbrances of limitations defining them even while they are still an idea. Silver components extend formal possibilities and facilitate the strengthening of joints between sections. The silver material and new techniques has enlivened my understanding of the porcelain I thought I knew so well." - Prue Venables. |
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Petrus Spronk |
"My new series of work is concerned with the magic of the firing process. The throwing of the bowls is the same, though more refined. The burnishing of the bowls is the same, though more refined. The preparation for firing is as it has always been, but more finely skilled. With this work it is the firing process in the wood-fired kiln where the emphasis lies: the enriching of a surface imbued with flame and smoke markings, extracting from the kiln is visual magic, enhancing the work with kiln mysteries, painting the surface of the bowl with a brush loaded with fire and smoke, creating landscape images in its primal form, returning to the source, something raw with something refined, and there lies the necessary tension in the work; the tension which gets the attention." - Petrus Spronk. |
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Alan Constable |
Constable’s sculpture is a lyrical interpretation of a technical instrument and the artist’s finger marks can be seen clearly on the clay surface like traces of humanity. In this way, Alan Constable’s camera can be viewed as an extension of the body as much as a sculptural representation of an object. |
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Neville French |
"My work involves an exploration of elemental porcelain vessels. Through each work, I try to distil an essence of place and evoke notions of quietude and transcendence through the expressive use of glaze and its relationship to form, space and light. The Willandra dry lakes region in southern New South Wales is a World Heritage site of profound significance for its record of geological evolution and human cultural record of earliest Australians. At Lake Mungo the land has been sculpted by climatic changes spanning millennia and the vast basin, silent spaces and ephemeral effects of light, weather and time, inspire my current work. In response to this extraordinary Australian landscape – a place of great spiritual significance – I have gently altered this wheel thrown piece to evoke a poetic sense of the vast topography whilst extending the glaze matrix to achieve subtle shifts in the colour and light on the form." - Neville French. |
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Terunobu Hirata |
"For more than 30 years, I have lived in Australia after leaving my home country, Japan. The life in Australia has always reminded me of my origin as Japanese. My passions have been to express the emotions and feelings I have had through the life in Australia into my work. Also, tasks such as working with clay, throwing on the wheel and firing the kiln give me a sense of satisfaction through interacting with nature. They are a source of my inspiration although they can be distressing at times. I have been fascinated by the ash glaze on dark body. This work gives the feeling of harmony of movement and tranquility. I draw upon the Bizen pottery style from Japan which influences my dark surfaces and undecorated forms. I have been experimenting with various methods to fulfill my passions for pottery. I have been excited and thrilled with what I do as a potter." - Terunobu Hirata. |
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Janetta Kerr-Grant |
"I am interested in how a particular sense of place is conveyed in ceramics. For the past few years I have been drawn to the urban iconography of freeways. My inspiration derives from frequent travel, often at dusk, along the Western Highway. The soft haze of twilight dissolves the heavy traffic, streetlights and road signs into a richer more ambiguous landscape. In this diffuse half-light these ordinary, even banal, vistas are transformed into landscapes of unexpected and fleeting beauty. Working from reference photographs, I use this imagery as the starting point to produce elemental ceramic vessels that explore notions of mood and atmosphere." - Janetta Kerr-Grant. |
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Vanessa Lucas |
"A single smooth dark stone among rough grey rocks on a deserted beach in Tasmania suggested the form of these jugs and the dark satin glaze. The jug series has emerged with variations from the primary immutable form, each descending shape seeming to fall naturally from the largest vessel." - Vanessa Lucas. |
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Tracy Muirhead
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"Utensils have been used by man for millennia. They are useful, practical objects, but the use of tools and utensils is not unique to humans; in fact gorillas, chimpanzees, elephants and birds have been observed using stones, twigs and bone shards to help obtain a desired object or substance. Today, we regard table manners and the ability to wield cutlery as a mark of sophistication.This series of utensils removes all pretension of sophistication in that they are basic, verging on crude, yet as a group, make an elegant statement where the whole is greater than the sum of its parts." - Tracy Muirhead. |
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Christopher Headley |
"Forgotten Worlds responds to memory and emotion. The intention of the work is to allow the viewer time to reflect on the past. Guided by the rich assembly of images that create a history - the broken fine china plate, the idealised view of nature and the dream of flight. Such histories are recorded and projected into present time and we connect with them through our emotions - such as melancholy. Melancholy is thus evoked in the context of quiet reflection, evoking memories of both happiness and sadness." - Christopher Headley. |
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Paul Wood |
"I begin new work by gleaning op shops, ebay and second-hand shops for unwanted ceramic objects. These are piled into a kiln and fired. Their shape and glazes melt, warp and fuse together into new forms. I am interested that their previous existence in one’s everyday domestic life to their rejection as non-fashionable ‘clutter’ are given a new life and resurrected into small monuments to their past circumstances. Their new rather wilted form expresses the exhaustion of their previous domestic setting. L.N. Fowler is a re-produced Phrenology head lying on its side on a pile of platters. A glass bowl is melted over its head. The leaf imprint on the melted glass bowl becomes like a textile pattern on a cloth head scarf. Gone is the previous brittle and rigid state of the bowl. Now it is fluid and feels light like a piece of muslin cloth. Tucked inside the Phrenology head’s bust are two miniature figurines. In their earlier context they may have seemed innocent and a little banal. Perhaps they sat on a quiet mantel piece. In their new context there is something a little darker coming into play. Looking closely at these two figurines you notice that the male figure has been beheaded. The Fowlers head, previously used for science and now lying on its side on some platters and clothed in a beautiful scarf also alludes to a more sinister narrative. Perhaps a King or Queen has called for its head to be chopped off and served on a platter!" - Paul Wood |
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Brian Keyte |
Humankind has evolved within the natural world. I reason, therefore, that if one can utilise nature’s design rules then the product will rest easy on the human eye that has evolved with it. As the golden mean or phi seems to be what nature uses, each piece is made with this in mind as a guide to structure, with the plastic nature of the clay and the intended glaze contributing to the final form. I constantly work with the ratios of a form’s elements in mind. Thus much of my work could perhaps be classed as an engineered structure. The calculated rhythm of a wave formed rim, and the careful forming of a bowl shape coming close to perhaps a sine wave, a catenary or parabolic curve. Some may see these forms as clinical in their calculated aesthetic, but they are informed by nature as the mathematics behind them is simply the mathematics that falls out of the natural world when we study it. It is the Cartesian mathematics of Descartes, Newton, Venturi and others who simply observed nature in fine detail and sought to explain it in the language of numbers. With an understanding of these rules and a piece constructed to them, I can then break those rules to move beyond this clinical thoughtful foundation and add creative flair unbounded by them. |
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Robyne Latham
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The mystique of saggar firing is captivating. The process is complex from beginning to end, from wedging the clay to firing the work. It invariably requires the artist to juggle the potential of intuition with the whisper of serendipity. The inevitable and unavoidable flip-side of this magic, due to the very nature of the firing, is the possibility of a disaster. Frequently, one can open the kiln to find hours of work have literally ‘gone up in smoke’. This necessitates the artist to develop a sound and philosophical resilience to the loss of works. Works which do endure a saggar firing however, emit a unique quality, borne of the coalescence of earth, fire, water, air and space. This unique quality can challenge the construct of time. With curiosity one can ask, “Could this work have been created last week or a century ago?” The works, Kick’n Goals and Strange Fruit address timeless themes of the human condition. Both works explore the co-existence of beauty with ugliness, and grace with trauma. On one hand humans can create a sculpture, a garden or a symphony of such beauty, and concurrently such violence and destruction. There exists a synergy between the unique quality of saggar fired work, the intent of challenging the construct of time and the exploration of universal themes. |
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Tina Lee |
"After collecting ceramics for 10 years I have become interested in the ceramic objects that people do not collect. The objects discarded or rejected and existing on the periphery of good taste. My current body of work juxtaposes elements of the highly sought after collectable with elements of the undesirable object relegated to the junk pile. The small ceramic vase in the opportunity shop that no one ever buys has become an object of focus. I decided to call a forlorn, common 1950s vase, Karen. Like the vinyl LP’s of Tijuana Brass, Kamahl and Karen Knowles, she is always available. She is usually two dollars. She is dependable. The slip cast shell that is covered in a dry textured glaze characterizes Karen. She is one of probably thousands cast so many times the relief decoration is hardly legible. In the ceramic world, Karen competes with the handcrafted, the one-off, the authentic, and the unique collectable object. In the hierarchy between the handmade and the slip cast multiple, she remains at the bottom. But that is what is appealing about her. After living with her for a while, her simple ordinariness begins to grow on you. The psychology of the mass produced is comforting to us because it’s everywhere—past and present." - Tina Lee. The Karens' is permanently displayed above the entrance to Manningham Art Gallery. |
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Vipoo Srivilasa |
"Child’s Play is a piece from the series Bloody Bangkok. This series is a response to the red shirt and yellow shirt protests that have occurred in recent years." - Vipoo Srivilasa |
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Michael Doolan |
"My work, inspired by popular culture and finding expression in a 'world of the toy' de- and re-construct childhood imagery. They engage the viewer with this world. Intentionally set up to be viewed through the eyes of an adult while still allowing us to participate childlike, in this 'world of the toy'. My aim is to capture and reveal the invisible, hidden qualities of the miniature. Their featureless countenance employed to subvert “my” subject’s visually-friendly nature. A major feature of these works is their high gloss reflective finish. This mirror-like finish will force the viewer to engage with the work as an active and intimate participator, so they observe themselves as a distorted reflection. There is an intention with this work to question the way we perceive ourselves in the world, in this case, my world of the toy, around them." - Michael Doolan. |
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Tim Clarkson |
"Long intrigued with the art of origami, this work reflects ceramic sculptures based on typical origami forms. The forms are then used as canvases in which current issues that we are facing in the world today are expressed. Whilst researching origami, the crane was used as a starting point. Although this form is one of the most commonly known origami folds in the world, it was the history behind the origami crane that made it the perfect subject matter. The crane is strong, graceful and beautiful, and is a symbol of loyalty and honour. Each year thousands of paper cranes are folded around the world as ways of promoting peace, making friends and also honouring those whose lives were destroyed in the bombing of Hiroshima. By using the ceramic medium, the forms are created and imitate the paper qualities of origami, whilst also giving the work a more permanent existence. From the sharp angular lines to the crisp paper folds, all elements of the paper crane are recreated to symbolise the precision and geometrical forms found in the art of origami. With the use of custom decals, the newspaper print further adds to the illusion of paper. Almost 60 years on we are still faced with the threat of nuclear attacks, with the rise of civil restlessness in the Middle East testifying to this. With reference to the Hiroshima bombing the work connects the past with the future reminding us that history has a way of repeating itself." - Tim Clarkson. |
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Ann-Maree Gentile |
"When I was growing up Manningham was a road, a road that lead to my Nonna and Pop’s, Aunties and Uncles and the Doncaster Baths. Now it’s a municipality. For a very long time Doncaster was my world. I lived there, went to kinder and school there and all my friends did too. The landscape, places and people of Doncaster inhabit many nooks and crannies in the memory section of my brain. I have taken this opportunity to explore some of my childhood memories, there is nothing earth shattering in fact it makes me wonder how some of these memories are so vivid while others have just faded away. Sometimes when we speak of these times people ask how do you remember something so obscure and when they talk I wonder if I was really there. Long live the joy of finding a plastic toy in cereal box and the strange machinations of memory." - Ann-Maree Gentile. |
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Victor Greenaway |
"The strength of my work is in the ability to create spontaneity in each piece during the session on the potter's wheel. As a brush or chisel is the tool of a painter or sculptor, so too is the wheel mine. The dynamics are created through light and shade, modelled through the use of indentations and various surfaces and colours. The translucency of the porcelain contributes to this by passing light through thin linear markings and fine edges. As in a quick sketch or abstraction the outcome relies on experience, intuition and a confidence in technique. Often the result is uncertain and the work lost or discarded but the journey is an exciting one and constantly rewarding. I look for glaze surfaces to enhance the form and lines by creating light and shade, adding dynamic energy to the piece. I often find glossy glazes to be too distracting so tend to select glazes that are more satin or matt. I also produce work that follows the specialist techniques of the black Etruscan bucchero firings. It provides a beautiful and appealing contrast to the high-fired, pure white of the Limoges porcelain." - Victor Greenaway. |
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Wendy Jagger |
"Surrounded by the beautiful and sometimes austere alpine environment of Victoria’s North East, my work is strongly influenced by its seasonal landscapes. Field drawings are developed in the studio in a range of painting media or depicted in translucent porcelain imagery. Working with Southern Ice porcelain, etching the imagery, layer by layer into the thrown walls of the vessel is painstaking and fraught with danger. At any moment, the bone dry clay could shatter, as I rub away at the shellac resist, eroding the surface. Yet it is exciting. It’s like painting with light. It’s like a treasure hunt, as I search for that luminous translucency. It is a quest of passion. Firewheel came about when a shadow play of light cast dancing botanical patterns on the wall one afternoon. Different densities of light passed through the growth of the native shrubs outside the window. Firewheel has been delicately double etched, on the interior and exterior of the form to recreate this shadow play." - Wendy Jagger. |
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Irianna Kanellopoulou |
"In the piece Dreamscape different images of automobiles are fused together to represent the car as an important icon of desire as well as an embodiment of our personas, dreams & sexuality. I use a combination of handbuilding and slipcasting techniques, exploring the sculptural and plastic qualities of clay in a contemporary context. Working with modules and different components allows relationships between forms to develop, investigating the life of an object outside of its initial intent and purpose. I seek to merge traditional hand crafted ceramic techniques with industrial methods and processes to achieve a fusion of techniques. The integration of these contrasting elements is an essential aspect of my artwork and enables me to continue to explore and push the boundaries of my artistic practice." - Irianna Kanellopoulou, 2009. |
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Sally Lee
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Sally uses translucent porcelain for her work as she appreciates its fine texture and the way it provides for the passage of light through the form. She also enjoys the challenge of working with such a technically challenging medium. The technique of combining pattern, colour and design within the body of the vessel itself is her particular enthusiasm. In the union of luminosity, pattern and structure Sally is seeking to create an ideal of beauty inspired by nature. Her soft muted colours and designs take inspiration from anything from a simple rock, flower, a butterfly, fish or feather to the colours and forms of the Australian landscape. The irregular forms reflect the accidental deviations and variations often found in nature. Sally's pieces are exquisitely delicate and are not glazed as she feels that the subtlety of the forms can be better appreciated this way. The vessels are instead simply polished both before and after the final firing. |
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Mary-Lou Pittard |
"Clay allows me to use many processors when forming my work. I enjoy the transformation from the soft pliable state through to the hard durable finish. I often push its bounders to see what I can produce sometimes to no avail but still find myself back the next day exploring again. Once the piece is made its shape often dictates the decorative elements. With every year my decoration seems to become more intricate. My love for food and cooking has always played a big part in my creating process. Ideas in the studio or dishes in the kitchen are inspired by the mood or flavour of the day. Like cooking I start with traditional ingredients but end up with something new and exciting. Mass production never interested me as a student, I never wanted to let go of the imperfections of the hand made object. Years ago I came across an unusual ceramic object in a Regional Gallery. It was titled “Asparagus Dipping Bowl ‘It was made especially for dipping asparagus I loved it. I also have a book on Victorian household goods that is full of obscure and extravagant objects. I enjoy combining elements of a ceramics tradition with my own artistic desires. They play on the functional decorative side, to use or not to use, ‘Breakfast Tray’ is for those lazy mornings to use out on the veranda or enjoyed displayed on the sideboard." - Mary-Lou Pittard. |
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Visit our local shopping centres or markets for a little bit of retail therapy and to explore our local arts, crafts, fashion and food.
Our shopping centres
We have a range of local shopping experiences close to home that suit a variety of budgets and needs. From dog grooming to enjoying a tasty lunch, our friendly traders provide excellent service and are happy to help. Discover some of our great shopping locations today.
Manningham Council has been made aware of a cyber security incident involving OracleCMS who manage customer calls to Council out of hours.
When people call Manningham Council after hours, OracleCMS takes the call on our behalf. Depending on the nature of the call, they may collect personal information, including the caller’s name, phone number, email and address.
An unauthorised third party has gained access to a portion of OracleCMS’ data and published files online. Oracle CMS is working with government authorities and a cyber security expert to secure their systems and investigate the incident.
Manningham Council customer contact details may have been accessed. This is limited to the names, phone numbers and some property addresses for customers who have called Council outside of business hours. Most importantly, OracleCMS does not have access to any of our databases, so any information we have stored in our system has not been accessed.
As soon as OracleCMS identify who has been impacted, customers will be contacted directly and provided with advice and guidance to reduce the risk of their information being misused.
We have instructed OracleCMS not to collect any customer information and to transfer any urgent requests directly to our on call staff until further notice.
We take the security of our customer's information very seriously and apologise for the concern this may cause our customers. We will provide updates as they come to hand.
Stay Cyber Safe
We will never contact you to ask for usernames or passwords. If a third party may have accessed your contact information, it is important to do the following:
- be aware of telephone and text-based scams
- do not share your personal information with anyone unless you are confident about who you are sharing it with
- if you are asked to login, check the web address located in the address bar and if you are suspicious contact the entity through the usual channels to ensure you are logging into a legitimate website
- enable multi-factor authentication for your online accounts where possible, including your email, banking, and social media
- ensure you have up-to-date anti-virus software installed on any device you use to access your online accounts
- check the strength of your passwords.
For more information, follow the guidance from the Victorian Government on how to recover from a data breach.
Improving drainage and flood mitigation is one of the ways we’re building a better Manningham.
We’re installing a drainage system for properties between 127 and 155 Brackenbury Street, Warrandyte.
Where are the works?
This system will be installed in the right of way between properties on Brackenbury Street and Yarra Street in Warrandyte.
When will the works happen?
This drainage upgrade is part of our 2023/24 Capital Works Program and will begin with surveyor assessments in early 2024. All project dates are subject to change due to programming and weather.
To complete these assessments, some trees and vegetation will need to be removed from the area.
All trees and vegetation proposed for removal have been assessed and classified to be of low significance, including weed species, overgrown trees, and dead plants, which are located too close to houses and fences and should be removed for safety reasons.
We will share additional information about the later construction phases after the completion of these initial works.
Why are the works needed?
Residents have raised concerns about rainwater run-off pooling and causing damage to some properties in the local area. To address the issue, a new drainage system will be installed. This system will provide a legal point of discharge for the properties on Brackenbury Street. It will direct stormwater into drains and prevent rainwater run-off and erosion from affecting the properties on Yarra Street.
How will the works affect me?
Some properties on Brackenbury and Yarra streets, and several Yarra Street shops will be impacted by this project. We are working directly with affected residents and shops to keep them informed about the impacts of this project.
Questions?
If you have any questions about this project or our drainage upgrade projects, contact us.
Improving drainage and flood mitigation is one of the ways we’re building a better Manningham.
We’re upgrading the drainage system along Mitchell Avenue, Warrandyte to improve stormwater management and reduce flood risk.
The project will involve:
- installing underground drainage
- replanting trees and vegetation.
This project will be delivered as part of our 2024/25 Capital Works Program.
Where are the works?
This system will be installed on both sides of Mitchell Avenue, Warrandyte, up to Yarra Street.
When will the works happen?
This drainage upgrade is part of our 2024/25 Capital Works Program. Construction dates will be confirmed once the contractor has been engaged.
Why are the works needed?
This upgrade will improve stormwater management by installing a new system to prevent flooding, reduce water pooling, and minimise erosion. This will ensure a safer and more resilient environment for our community.
How will the works affect me?
The works will take place on weekdays during the hours of 7.00am and 5.00pm. There will be some construction noise and minor traffic delays during these hours.
Construction will require a single lane road closure. We will have traffic management and signage on site to guide you through the area.
We appreciate your patience and understanding while we work to improve the drainage connections in your area.
Questions?
If you have any questions about this project or our drainage upgrade projects, contact us.