FRONSNOVA  - Judy Coverdale  

Sculptor, Photographer, Art & Management Consultant

B.A. ( Hons ), M.T.C.P. ( Syd ), AFAIM, Diploma & Advanced Diploma of  Fine Arts ( Sydney Gallery School, Meadowbank )  

FRONSNOVA , “new leaf” in Latin, signifies for me growth, potential and renewal...
I have always been fascinated by the range and variation in expressions of culture and social behaviour within the oneness of humanity, and the role that art and symbols play in creating a sense of meaning, place, inspiration, well being and belonging.

Sculpture in private and public spaces epitomises this potential for me, and I have always appreciated and longed to create meaningful works that speak to people at a deeper level.
I try to observe and describe the fundamental shapes, sacred geometry, poetic patterns and
essential elements of nature and humanity and then translate them through natural materials like stone, metal, glass and bronze into distilled thoughts, captured moments and tactile abstract sculpture to share with others in the environment.

My field and research work for my BA (Hons) (University of Sydney) thesis in Social Anthropology was on “Urbanism & the Search for Community – People & Plans”, focussing on the effects of poverty, class, status and power. My early work experience was as a fieldworker, then trainer in the provision of community services, particularly the welfare area of family casework and child abuse.

Trying to improve the functioning and amenity of built environments and public spaces for people led me to complete a Masters of Town & Country Planning (University of Sydney), while engaged in planning and policy work in the area of Family Support Services at national and state policy level. I then moved into management training and organisation development in the public sector, and lectured for five years from 1987 at the Australian Institute of Management NSW in the areas of management training and executive skills development.

After a national training & development role in the public sector, my work as an independent management consultant in the private and public sector was in strategic business planning and performance management, with a focus on improving teams and work environments by making them more positive, effective, “healthier“, highly productive and rewarding for both managers and individuals in the organisation.

As a Chapter co-ordinator and an International Board member of the World Business Academy –
a global network to explore the ethics, issues and examples of new paradigm business - I organised workshops on Organisational Form and Function, looking at the architecture, processes and systems of organisations from the practical perspective of different disciplines.

During these years I attended classes with John Turvey at the Potters Gallery in Darlinghurst, John Gardner at his Bronze Sculpture Workshop at Bondi Beach, Tom Bass at his Broadway Studio, and Helen Leete at the Kuring-gai Art Centre. I completed a full-time Diploma in 2004 and Advanced Diploma of Fine Arts at the Sydney Gallery School (Meadowbank) in 2005.

As well as private commissions, FRONSNOVA was commissioned to create three Ave Maria sculptures for St Gregory’s College at Campbelltown in 2008. FRONSNOVA exhibited at the Royal Easter Show 2006, Kangaroo Valley Arts Festivals 2007 & 2009, Bowral & District Art Gallery 2009/10, Bundanoon Sculpture in the Gardens 2010, and Sculptors Society exhibitions at the MLC Centre 2009, and Mosman Festival of Sculpture, MLC, Darling Park, and Australia Square in 2010, and the Gateway,Towers Phillip & Chifley Square and Darling Park exhibitions in 2011 and 2012 and in the Sculpture on the Edge exhibition, Bermagui 2012.

Expressing my ideas through sculpture and the visual arts is another way to develop, explore and share some key organisational principles of wholeness, unity, harmony, ‘the implicate order’ of quantum physicist David Bohm, and the integration of reality and nature in actual and material form.


 The Antikythera mechanism was an ancient Greek analogue computer and orrery used to predict astronomical positions and eclipses for calendar and astrological purposes.
Detailed imaging of the mechanism suggests that it dates back to 150-100 BC and had 37 gear wheels enabling it to follow the movements of the moon and the sun through the zodiac, to predict eclipses, and even to model the irregular orbit of the moon, where the moon’s velocity is higher in its perigee than in its apogee.
The knowledge of this technology was lost at some point in antiquity, and technological works approaching its complexity and workmanship did not appear again until the development of mechanical astronomical clocks in Europe in the fourteenth century.
All known fragments of the Antikythera mechanism are kept at the National Archaeological Museum in Athens, along with a number of artistic reconstructions of how the mechanism may have looked.
(see full Wikipedia web page article below for detail & diagrams



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