{"title":"Still Lives","description":"\u003cp class=\"p1\"\u003eStill life has been a recurring strand throughout Stephanie Fuller’s sculptural practice. Flowers, fruit and familiar objects are transformed through carving, modelling, casting and assemblage, ranging from exuberant coloured works to bronze sculpture.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe tradition of still life provides a means of exploring form, structure and balance, but also carries its older associations with time, mortality and renewal. Flowers in particular recur throughout Fuller’s work, appearing in different materials and at different scales across several decades.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eRather than reproducing objects literally, Fuller uses still life to reconsider the familiar, allowing changes of scale, material and colour to alter the way an ordinary object is perceived.\u003c\/p\u003e","products":[{"product_id":"lolablack","title":"Lola Black","description":"\u003ch1\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eLola (Black)\u003c\/b\u003e\u003c\/span\u003e\u003c\/h1\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1999\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eBronze\u003cbr\u003e110 × 100 × 30 cm\u003cbr\u003eSigned \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eBurns\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cb\u003eCollection\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eCanberra Museum and Gallery, acquired through the Australian Government’s Cultural Gifts Program, 2012–2013.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eConservation\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eIn 2025, Canberra Museum and Gallery undertook a review of the patinas on \u003cspan class=\"s1\"\u003e\u003ci\u003eLola (Black)\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e and \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eLola (Pink)\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e as part of the ongoing care of the sculptures in the museum’s collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eProvenance\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003eFirst exhibited as a painted wax and plaster wall sculpture in \u003cspan class=\"s1\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, Annandale Galleries, Sydney, 16 March to 10 April 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eFollowing the exhibition, the sculptures were cast in bronze in Sydney.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eExhibited at Floriade, Canberra, September 2000.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eInstalled at Orion Sculpture Park, Yass, New South Wales, 2007.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAcquired by Canberra Museum and Gallery through the Australian Government’s Cultural Gifts Program, 2012–2013.\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eDescription\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eLola (Black)\u003c\/i\u003e\u003cspan class=\"s2\"\u003e is one of four monumental bronze sculptures in the \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eLola\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e series. Standing 110 cm high, it balances on one of its taller petals, creating a poised, vertical form that appears both rooted and weightless. Of the four bronzes, the black patina has remained closest to its original appearance, while the others have matured naturally over time.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe series began after my first visit to the Chelsea Flower Show in London in the early 1990s. Inspired by the extraordinary displays, I planted tulips in my London garden. After cutting the flowers and bringing them indoors, I became fascinated by the way they continued to change over many days. They opened, twisted towards the light and gradually revealed distinct personalities. Their forms became increasingly expressive, providing the foundation for a body of work that has occupied me for more than three decades.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe title \u003cspan class=\"s1\"\u003e\u003ci\u003eLola\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e comes from the Kinks’ song of the same name. While studying the tulip, I became fascinated by the relationship between the central stamen and the surrounding petals. The flower suggested ideas of female friendship, identity and the coexistence of masculine and feminine characteristics within a single natural form. These themes remained largely unspoken when the sculptures were first exhibited.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAlthough the \u003cspan class=\"s1\"\u003e\u003ci\u003eLola\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e series celebrates beauty, growth and transformation, each sculpture possesses its own emotional character. \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eLola (Black)\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e became associated with mourning, acknowledging that joy and loss often exist together. As I remarked at the time, these were “the happiest sculptures I had ever made”, yet even they contained a darker side.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eExhibition History\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1999\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, Annandale Galleries, Sydney.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cb\u003eSeptember 2000\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — Floriade, Canberra.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cb\u003e2000\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — Campbelltown City Bicentennial Art Gallery, Campbelltown, New South Wales.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cb\u003e2000–2007\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — Displayed in the New Japanese Garden, Campbelltown City Bicentennial Art Gallery, on loan from the artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e2007–2012 — \u003c\/b\u003eOrion Sculpture Park, Yass, NSW.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e2012–present\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — Canberra Museum and Gallery, Canberra, Australian Capital Territory (permanent public display).\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eCollections\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003eCanberra Museum and Gallery, Canberra, Australia.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAcquired through the Australian Government’s Cultural Gifts Program, 2012–2013.\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003cspan class=\"s2\"\u003e. Exhibition catalogue. Annandale Galleries, Sydney, 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBruce James, “Toto, I’ve a Feeling We’re Not on Canvas Any More,” \u003cspan class=\"s1\"\u003e\u003ci\u003eThe Sydney Morning Herald\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 3 April 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cmeta charset=\"utf-8\"\u003eCassie Proudfoot, \u003cem\u003eA Sculptor Succumbs to Tulip Mania\u003c\/em\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, September 2000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eWith the Arts Relax\u003c\/i\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 24 September 2000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003ci\u003eWorks Situated in the Japanese Garden\u003c\/i\u003e\u003cspan class=\"s2\"\u003e. Campbelltown City Bicentennial Art Gallery brochure, Campbelltown, New South Wales, c. 2000. Featuring \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eLola Black\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e on loan from the artist.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eHelen Musa, article on the theft and recovery of \u003cspan class=\"s1\"\u003e\u003ci\u003eLola (White)\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 2004.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e© Stephanie Fuller (Burns)\u003c\/p\u003e","brand":"Stephanie Fuller Gallery","offers":[{"title":"Default Title","offer_id":41241953796168,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0277\/9312\/9577\/files\/IMG_5721.jpg?v=1785417155"},{"product_id":"lola-white","title":"Lola White","description":"\u003ch1\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eLola (White)\u003c\/b\u003e\u003c\/span\u003e\u003c\/h1\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1999\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eBronze\u003cbr\u003e110 × 100 × 30 cm\u003cbr\u003eSigned \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eBurns\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eProvenance\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003eFirst exhibited as a painted wax and plaster wall sculpture in \u003cspan class=\"s1\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, Annandale Galleries, Sydney, 16 March to 10 April 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eFollowing the exhibition, the sculptures were cast in bronze in Sydney.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eExhibited at Floriade, Canberra, September 2000.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eStolen from the artist’s gallery in Canberra in 2004 and subsequently recovered following a public appeal after being recognised in the front garden of the person responsible.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eSold through Donnelly’s Auctioneers, Perth, 2025.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003ePrivate Collection.\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eDescription\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eLola (White)\u003c\/i\u003e\u003cspan class=\"s2\"\u003e is one of four monumental bronze sculptures in the \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eLola\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e series. Standing 110 cm high, it balances on one of its taller petals, creating a graceful vertical form. Originally finished with a white patina, the sculpture has mellowed naturally over time, developing warmer bronze tones while retaining the luminous quality that distinguished it from the other works in the series.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe series grew from my fascination with tulips after visiting the Chelsea Flower Show in London in the early 1990s. After planting tulips in my London garden, I discovered that once cut they continued to change dramatically over many days, twisting towards the light and developing individual personalities. These constantly changing forms became the inspiration for a body of work that has continued for more than three decades.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe title \u003cspan class=\"s1\"\u003e\u003ci\u003eLola\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e comes from the Kinks’ song of the same name. While studying the flower, I became fascinated by the relationship between the central stamen and the surrounding petals. The tulip suggested ideas of identity, female friendship and the coexistence of masculine and feminine characteristics within a single natural form. Although these ideas informed the series from the outset, they were rarely discussed publicly when the sculptures were first exhibited.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eUnlike the other bronzes in the series, \u003cspan class=\"s1\"\u003e\u003ci\u003eLola (White)\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e has become known for its remarkable history. In 2004 it was stolen from my Canberra gallery but was later recovered after a member of the public recognised the sculpture and alerted police. This unusual episode forms part of the documented history of the work.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eExhibition History\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1999\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, Annandale Galleries, Sydney.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cb\u003eSeptember 2000\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — Floriade, Canberra.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s2\"\u003e\u003cstrong\u003e2004\u003c\/strong\u003e \u003cmeta charset=\"utf-8\"\u003e— Stephanie Burns Fine Art, Deakin ACT.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cspan class=\"s2\"\u003e\u003cstrong\u003e2007-2012\u003c\/strong\u003e \u003cmeta charset=\"utf-8\"\u003e— Orion Sculpture Park, Yass NSW.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eCollections\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003ePrivate collection.\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003cspan class=\"s2\"\u003e. Exhibition catalogue. Annandale Galleries, Sydney, 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBruce James, “Toto, I’ve a Feeling We’re Not on Canvas Any More,” \u003cspan class=\"s1\"\u003e\u003ci\u003eThe Sydney Morning Herald\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 3 April 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cmeta charset=\"utf-8\"\u003eCassie Proudfoot, \u003cem\u003eA Sculptor Succumbs to Tulip Mania\u003c\/em\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, September 2000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eWith the Arts Relax\u003c\/i\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 24 September 2000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eHelen Musa, article on the theft and recovery of \u003cspan class=\"s1\"\u003e\u003ci\u003eLola (White)\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 2004.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eDonnelly’s Auctioneers, Perth. Auction catalogue listing for \u003cspan class=\"s1\"\u003e\u003ci\u003eLola (White)\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e© Stephanie Fuller (Burns)\u003c\/span\u003e\u003c\/p\u003e","brand":"Stephanie Fuller Gallery","offers":[{"title":"Default Title","offer_id":41242021265480,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0277\/9312\/9577\/files\/IMG_5691.jpg?v=1785418542"},{"product_id":"lola-pink","title":"Lola Pink","description":"\u003ch1\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eLola (Pink)\u003c\/b\u003e\u003c\/span\u003e\u003c\/h1\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1999\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eBronze\u003cbr\u003e100 × 110 x 30 cm\u003cbr\u003eSigned \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eBurns\u003c\/i\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cb\u003eCollection\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eCanberra Museum and Gallery, acquired through the Australian Government’s Cultural Gifts Program, 2012–2013.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eConservation\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eIn 2025, Canberra Museum and Gallery undertook a review of the patinas on \u003cspan class=\"s1\"\u003e\u003ci\u003eLola (Black)\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e and \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eLola (Pink)\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e as part of the ongoing care of the sculptures in the museum’s collection.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eProvenance\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003eFirst exhibited as a painted wax and plaster wall sculpture in \u003cspan class=\"s1\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, Annandale Galleries, Sydney, 16 March to 10 April 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eFollowing the exhibition, the sculptures were cast in bronze in Sydney.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eExhibited at Floriade, Canberra, September 2000.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eInstalled at Orion Sculpture Park, Yass, New South Wales, 2007.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAcquired by Canberra Museum and Gallery through the Australian Government’s Cultural Gifts Program, 2012–2013.\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eDescription\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p1\"\u003eThe \u003cspan class=\"s2\"\u003e\u003ci\u003eLola\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e series began with a visit to the Chelsea Flower Show in London in the early 1990s. Inspired by the extraordinary displays, I planted tulips in my London garden. After cutting the flowers and bringing them indoors, I became fascinated by the way they continued to transform over many days. They opened wider, twisted towards the light and gradually revealed distinct personalities. What had first appeared to be a simple flower became expressive, animated and almost human. Those observations became the starting point for a body of work that has continued for more than three decades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe title \u003cspan class=\"s2\"\u003e\u003ci\u003eLola\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e was inspired by the Kinks’ song of the same name. As I studied the tulip more closely, I became fascinated by the relationship between the central stamen and the surrounding petals. The flower suggested ideas of identity, female friendship and the coexistence of masculine and feminine characteristics within a single natural form. These ideas informed the series from the outset, although they remained largely unspoken when the sculptures were first exhibited.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eLola (Pink)\u003c\/i\u003e\u003cspan class=\"s1\"\u003e was originally finished with a light pink patina. During its years on public display, the surface has matured naturally into rich bronze tones, reflecting the continuing process of transformation that first inspired the series. Like the tulips that continued to change long after they had been cut, the sculpture itself has evolved through time and exposure, becoming part of its own history.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eExhibition History\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1999\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, Annandale Galleries, Sydney.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cb\u003eSeptember 2000\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — Floriade, Canberra.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e2004\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e— Stephanie Burns Fine Art, Deakin ACT.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e2007–2012 — \u003c\/b\u003eOrion Sculpture Park, Yass, NSW.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e2012–present\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — Canberra Museum and Gallery, Canberra, Australian Capital Territory (permanent public display).\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eCollections\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003eCanberra Museum and Gallery, Canberra, Australia.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eAcquired through the Australian Government’s Cultural Gifts Program, 2012–2013.\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003cspan class=\"s2\"\u003e. Exhibition catalogue. Annandale Galleries, Sydney, 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBruce James, “Toto, I’ve a Feeling We’re Not on Canvas Any More,” \u003cspan class=\"s1\"\u003e\u003ci\u003eThe Sydney Morning Herald\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 3 April 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCassie Proudfoot, \u003cem\u003eA Sculptor Succumbs to Tulip Mania\u003c\/em\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, September 2000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eWith the Arts Relax\u003c\/i\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 24 September 2000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eHelen Musa, article on the theft and recovery of \u003cspan class=\"s1\"\u003e\u003ci\u003eLola (White)\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 2004.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e© Stephanie Fuller (Burns)\u003c\/p\u003e","brand":"Stephanie Fuller Gallery","offers":[{"title":"Default Title","offer_id":41242028048456,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0277\/9312\/9577\/files\/IMG_5717.jpg?v=1785419609"},{"product_id":"lola-green","title":"Lola Green","description":"\u003ch1\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eLola (Green)\u003c\/b\u003e\u003c\/span\u003e\u003c\/h1\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1999\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003eBronze\u003cbr\u003e100 × 110 x 30 cm\u003cbr\u003eSigned \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eBurns\u003c\/i\u003e\u003c\/span\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eProvenance\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003eFirst exhibited as a painted wax and plaster wall sculpture in \u003cspan class=\"s1\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, Annandale Galleries, Sydney, 16 March to 10 April 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eFollowing the exhibition, the sculptures were cast in bronze in Sydney.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eExhibited at Floriade, Canberra, September 2000.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eInstalled at Orion Sculpture Park, Yass, New South Wales, 2007.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eSold through Donnelly’s Auctioneers, Perth, 2025. \u003cbr\u003ePrivate Collection.\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eDescription\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p1\"\u003eThe \u003cspan class=\"s2\"\u003e\u003ci\u003eLola\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e series began with a visit to the Chelsea Flower Show in London in the early 1990s. Inspired by the extraordinary displays, I planted tulips in my London garden. After cutting the flowers and bringing them indoors, I became fascinated by the way they continued to transform over many days. They opened wider, twisted towards the light and gradually revealed distinct personalities. What had first appeared to be a simple flower became expressive, animated and almost human. Those observations became the starting point for a body of work that has continued for more than three decades.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eThe title \u003cspan class=\"s2\"\u003e\u003ci\u003eLola\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e was inspired by the Kinks’ song of the same name. As I studied the tulip more closely, I became fascinated by the relationship between the central stamen and the surrounding petals. The flower suggested ideas of identity, female friendship and the coexistence of masculine and feminine characteristics within a single natural form. These ideas informed the series from the outset, although they remained largely unspoken when the sculptures were first exhibited.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003eLola (Green)\u003cspan class=\"s2\"\u003e was originally finished with a soft green patina that has matured naturally over time. Exposure to the elements has enriched the surface with subtle variations of verdigris, bronze and pale green, giving the sculpture an appearance reminiscent of ancient bronze. This gradual transformation has become part of the work itself, echoing the central idea behind the \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eLola\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e series: that living forms continue to change long after their initial creation. Like the tulips that inspired the sculptures, the bronze has acquired its own history through time and exposure.\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eExhibition History\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003e1999\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, Annandale Galleries, Sydney.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cb\u003eSeptember 2000\u003c\/b\u003e\u003cspan class=\"s2\"\u003e — Floriade, Canberra.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cstrong\u003e2004\u003c\/strong\u003e\u003cspan\u003e \u003c\/span\u003e\u003cspan\u003e— Stephanie Burns Fine Art, Deakin ACT.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003e2007–2012 — \u003c\/b\u003eOrion Sculpture Park, Yass, NSW.\u003cspan class=\"s1\"\u003e\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003ch2\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eBibliography\u003c\/b\u003e\u003c\/span\u003e\u003c\/h2\u003e\n\u003cp class=\"p3\"\u003e\u003ci\u003eTowards the Baroque\u003c\/i\u003e\u003cspan class=\"s2\"\u003e. Exhibition catalogue. Annandale Galleries, Sydney, 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eBruce James, “Toto, I’ve a Feeling We’re Not on Canvas Any More,” \u003cspan class=\"s1\"\u003e\u003ci\u003eThe Sydney Morning Herald\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 3 April 1999.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eCassie Proudfoot, \u003cem\u003eA Sculptor Succumbs to Tulip Mania\u003c\/em\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, September 2000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003e\u003ci\u003eWith the Arts Relax\u003c\/i\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 24 September 2000.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p4\"\u003eHelen Musa, article on the theft and recovery of \u003cspan class=\"s1\"\u003e\u003ci\u003eLola (White)\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, \u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003ci\u003eCanberra Times\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e, 2004.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e© Stephanie Fuller (Burns)\u003c\/p\u003e","brand":"Stephanie Fuller Gallery","offers":[{"title":"Default Title","offer_id":41242036011080,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0277\/9312\/9577\/files\/IMG_5731.jpg?v=1785421149"},{"product_id":"after-chardin","title":"After Chardin","description":"\u003ch3\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003eAfter Chardin\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003ch3\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003e, 1993\u003c\/b\u003e\u003c\/span\u003e\u003c\/h3\u003e\n\u003cp class=\"p2\"\u003e\u003cb\u003eBronze, edition of VI\u003c\/b\u003e\u003cspan class=\"s2\"\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan class=\"s1\"\u003e\u003cb\u003e27 × 33 × 33 cm\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eInspired by the still-life paintings of Jean-Siméon Chardin in the Louvre, \u003cspan class=\"s1\"\u003e\u003ci\u003eAfter Chardin\u003c\/i\u003e\u003c\/span\u003e\u003cspan class=\"s2\"\u003e transforms the painted tabletop into a three-dimensional sculptural arrangement. Bread, cured ham, a bottle, drinking vessel and knife are brought together on a patterned circular table, retaining the intimacy of Chardin’s domestic still lifes while giving the objects an independent physical presence.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eWriting about the sculpture in 1994, David Matthews noted the work’s “disquieting realism”, particularly the knife poised between the bread and the plate of ham, whose implied downward movement disturbs the stillness of the composition.\u003c\/p\u003e\n\u003cp class=\"p3\"\u003eThe patterned tabletop introduces a more personal history. Its geometric design derives from a traditional pattern associated with Fuller’s family, originally rendered in red, black and white. The sculpture consequently brings two forms of inheritance together: the European tradition of still-life painting and Fuller’s own family memory.\u003c\/p\u003e\n\u003cp class=\"p1\"\u003e\u003cb\u003eReferences\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eDavid Matthews, catalogue essay, Coventry Gallery exhibition catalogue, 1994.\u003c\/p\u003e\n\u003cp class=\"p2\"\u003eJean-Siméon Chardin, still-life paintings, Musée du Louvre, Paris.\u003c\/p\u003e","brand":"Stephanie Fuller Gallery","offers":[{"title":"Default Title","offer_id":41269262549064,"sku":null,"price":0.0,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0277\/9312\/9577\/files\/SBAfterChardin.jpg?v=1786102508"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0277\/9312\/9577\/collections\/IMG_5690.jpg?v=1786100640","url":"https:\/\/stephaniefullergallery.com\/collections\/still-lives.oembed","provider":"Stephanie Fuller Gallery","version":"1.0","type":"link"}