This year\u2019s event will host 105 installations this year including six artists who originally showed in the inaugural exhibition.<\/li>\n<\/ul>\nA melting Mr Whippy truck, which became an iconic installation of Australia\u2019s largest free-to-the-public outdoor sculpture walk, is making a comeback to Sculpture by the Sea for the event\u2019s 25th birthday.<\/p>\n
James Dive\u2019s Hot with a Late Chance of a Storm<\/em>, complete with distorted Greensleeves<\/i> refrain, is returning to the Tamarama beachfront where his commentary on hot Australian summers first became a pre-Instagram sensation.<\/p>\n![](\"https:\/\/static.ffx.io\/images\/$zoom_0.125%2C$multiply_0.7725%2C$ratio_1.5%2C$width_756%2C$x_1%2C$y_0\/t_crop_custom\/q_86%2Cf_auto\/6b23ff1ae82a68592eb86f77bacbcef1c9c2ccf4\")
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It\u2019s back: Sculpture by the Sea\u2019s iconic melting ice cream van.<\/span>Credit: <\/span>Flavio Brancaleone<\/cite><\/p>\nLast seen on the two-kilometre coastal walk 17 years ago, the oozing beach sculpture is lone among this year\u2019s installation of 105 artworks to be back by popular demand.<\/p>\n
It\u2019s been restored, repainted, and recast in more durable fibreglass after Dive\u2019s original artwork, which he completed as part of the Glue Society creative collective, had become somewhat \u201cloved to death\u201d on its first public outing.<\/p>\n
\u201cIt wasn\u2019t in a state to be exhibited again after that first Sculpture by the Sea, so it went off the radar for a time until we could restore it and build it even stronger than the first time around,\u201d Dive said. \u201cIt was so popular being on that beach for four weeks.\u201d<\/p>\n
Sculpture by the Sea\u2019s founder David Handley nominates Dive\u2019s work for Glue Society, Lucy Humphry\u2019s Horizons \u2013 <\/em> an inverted lens orb that turned the Tamarama headland view upside down \u2013 and Marcus Tatton\u2019s 2011 entry The Ruin<\/em>, among his favourite sculptural works of the last quarter of a century.<\/p>\n\u201cIt\u2019s ingenious, light, and inclusive, as are all three,\u201d enthuses Handley.<\/p>\n
Sculpture by the Sea began as a one-day event in 1997, quickly expanded to a four-day exhibition the following year, and went to nine days the next. That year, 1999, three and a half of its four weekend days were a wash-out.<\/p>\n
\u201cIf we had been washed out in year one, we would have suffered, but by then, there was enough momentum. The sculptors had jumped on board, and we already had international sculptors exhibiting,\u201d Handley said.<\/p>\n
A trained lawyer, Handley, originally had the idea of staging an outdoor Art by the Sea, until he cottoned on that lightweight canvasses would never survive the blustery coastal conditions.<\/p>\n
\u201cI loved the idea of artists as dreamers and helping to facilitate artists\u2019 dreams and free to the public arts events,\u201d Handley says. \u201cGrowing up in the 70s and 80s I had a chip on my shoulder that the rest of the world didn\u2019t think of Australia unless they played sport against us, except for roos, a rock and a reef, so I wanted to create something that brought all that together.\u201d<\/p>\n
In the year 2000, Handley intentionally delayed Sculpture by the Sea until after the Olympics to catch the post-Olympics bounce: \u201cThat was the year that Sydney really fell for Sculpture by the Sea.\u201d<\/p>\n
In 2015, two artworks were destroyed, and three were damaged by a storm surge that hammered the sculpture walk.<\/p>\n
Four years later, Handley and Waverley Council fell out over a new concrete pathway intended to assist disabled access, which Handley thought compromised artists\u2019 key sites at the end of the headland. The ridge was eventually widened to be large enough for both the path and sculptures.<\/p>\n
![](\"https:\/\/static.ffx.io\/images\/$zoom_0.16%2C$multiply_0.7725%2C$ratio_1.5%2C$width_756%2C$x_0%2C$y_29\/t_crop_custom\/q_86%2Cf_auto\/fb6e56bc4b53478aea8320db8566b2f342369165\")
<\/p>\n
The Ruin by Marcus Tatton.<\/span>Credit: <\/span>Samantha Burns<\/cite><\/p>\nThen, in 2020 and 2021, COVID shut the trail down.<\/p>\n
The lowest point for Handley over 25 years has been the year-on-year scramble for government funding.<\/p>\n
Federal COVID support money of $1 million shared between Sculpture by the Sea Bondi and Cottesloe Beach in Perth runs out at year\u2019s end, and then there is no more. Handley introduced entry by voluntary contribution for the first time last year, with the public contributing $60,000 to artists\u2019 costs.<\/p>\n
\u201cNo other major free-to-the-public cultural event in Australia, indeed in the world, has as little secure government funding as Sculpture by the Sea,\u201d he says.<\/p>\n
![](\"https:\/\/static.ffx.io\/images\/$zoom_0.136%2C$multiply_0.7725%2C$ratio_1.5%2C$width_756%2C$x_0%2C$y_0\/t_crop_custom\/q_86%2Cf_auto\/8e415cfa9bade839efbd9e32c5c7c37e6f4aa32a\")
<\/p>\n
Damien Hirst Looking For Sharks by Cool Shit at Sculpture by the Sea, Cottesloe.<\/span>Credit: <\/span>AAP<\/cite><\/p>\nDive thanks Sculpture by the Sea for the kick-start it gave him. \u201cIf I go to any barbecue and someone wants to know what you\u2019ve done, and you say the melting ice-cream truck, everyone knows it. Sculpture by the Sea did put a stick of dynamite under my career.\u201d<\/p>\n
Dive has since ventured out on his own from the Glue Society and now co-owns a creative production company to bring bold creative projects to life.<\/p>\n
In 2017, he returned to Sculpture by the Sea with What A Tasty Looking Burger<\/em>, a giant hamburger anchored to the rocks near the Icebergs.<\/p>\n\u201cEveryone appreciates different types of creativity but what I always love is the type of creativity that interrupts someone\u2019s day,\u201d says Dive. \u201cAs a kid, I vividly remember coming to the city and seeing Jeff Koon\u2019s Puppy,<\/em> made of flowers.<\/p>\n\u201cWe didn\u2019t come into the city to see art or creativity. We were there for something else entirely. I like the kind of creativity that pounces on you.\u201d<\/p>\n
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