Candy Stevens
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    • Studio2 -Now Showing
    • Excavation
    • Under the same umbrella
    • Arts Open
    • Ongoing project - Sculpture Graveyard - Raising the dead
  • Exhibitions
    • 2024 That's Just Rubbish
    • 2023 Spring sculpture prize
    • 2023, Home
    • 2023, Womens' Liberation
    • 2020 Artist Residency
    • 2019 Spring Sculpture Prize
    • 2019 Feeling Sheepish
    • 2019 Walk of LIfe
    • 2018 Spring Sculpture Prize
    • 2017 Spring Sculpture Prize
    • 2017 To Market
    • 2017 More Than a Mammary
    • 2017 Artist Residency -How Now
    • 2017 Open Studio - Castlemaine State Festival 2019
    • 2014 Changing Landscapes
    • 2014 Lorne Sculpturescape
    • 2014 Greetings from Rainbow
    • 2013 Spring Sculpture Prize
    • 2013 Unicorn Lane Gallery
    • 2013 Artecycle - Environmental Art Award
    • 2013 Art Fields
    • 2013 Lambscape
    • 2013 Creature Comforts
    • 2013 SOLD
  • Portfolio
    • CV
    • Public Art
    • Sculpture
    • Ephemeral Grass Sculpture
  • Contact
Candy Stevens was raised and lives in Central Victoria where she has a studio at CASPA Gallery in Castlemaine.  STUDIO 2 is open Wednesdays and Fridays between 10-3pm

With a background in painting and photography, Candy’s work has always explored identity and spirituality.
Having a sense of fun and driven by challenge and discovery, Candy’s 3D work includes interactive, site specific and sensual experiences. After a decade or so e
xperimenting with grass mediums, welding constructions and working publicly, Candy’s methodology has expanded to include recycled plastics and other everyday materials to express her concerns.
Picture
Artist Statement

Working with organic and recycled materials connects my practice with processes of change. The ephemerality of the art objects produced reflects natural cycles, interconnectedness and temporality exemplifying living organisms
and natural processes. The work is a subtle yet intentional reminder of mortality and the connectedness of all that is living, and serves as a personal reminder of the inevitability and acceptance of change.

Using Australian icons to reflect upon post-colonial identity, recent work examines relations between economics and land use in Australia, drawing on horticulture, agriculture and the real estate market. In relation to cultural and national identity, current work critiques capitalist constructs in recognition of Australian and personal responsibility toward global environmental issues.

Although politically and environmentally inspired, organic artworks take on an endearing quality encompassing both beauty and wonder and an accompanying sense of irony, lightness and hope.

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