The future of Sculptures at Scratchley, a popular free outdoor arts exhibition that attracted over 50,000 visitors to Fort Scratchley across two successful years, appears increasingly uncertain following a recent funding setback. The showcase, which became famous for installing a massive breaching driftwood whale sculpture atop the historic fort's peak in 2023, has been dealt a significant blow after failing to secure essential grant funding.
Grahame Wilson, the Teralba-based sculptor who founded the exhibition, announced on Saturday, October 4, that organizers were unsuccessful in their bid to secure a special business rates grant that would have enabled them to stage the showcase again in 2026. This latest rejection follows the cancellation of the planned 2025 exhibition in December of last year due to mounting financial challenges that proved insurmountable for the organizers.
Wilson, who describes himself with characteristic humor as a "pig-headed old bastard," initially approached Newcastle Council in 2022 with an ambitious proposal to create a local version of social entrepreneur David Handley's renowned Sculptures by the Sea exhibition. When his initial pitch was rejected by council officials, the determined artist decided to take matters into his own hands and demonstrate the concept's viability independently.
"I sort of said, well, OK - I'll show you how it's done," Wilson told the Newcastle Herald, reflecting on his decision to proceed despite the initial setback. His original plans called for hosting the event in the park area beneath the historic fort, but productive discussions with the Fort Scratchley Historical Society led to a more spectacular arrangement that would showcase the artworks against the city's stunning panoramic views.
The collaboration with the historical society proved serendipitous, creating a striking and memorable contrast between the fort's distinctive brutalist architecture and the whimsical, creative nature of the sculptural works on display. This unique setting became one of the exhibition's defining characteristics, setting it apart from other outdoor art showcases and contributing significantly to its visual impact and public appeal.
The exhibition's most iconic piece, "Bleaching," became the defining symbol of the entire event and captured public imagination across the city. This massive whale sculpture, expertly crafted from a 400-year-old fallen red gum tree by talented Speers Point artist Michael Greve, was strategically positioned at the fort's highest point where it remained visible from numerous vantage points throughout Newcastle, serving as a powerful landmark and conversation starter.
"It was my belief that a big, iconic sculpture outguns a lot of money spent on advertising," Wilson explained, highlighting his strategic thinking behind the placement of such a prominent centerpiece. He emphasized his conviction that Fort Scratchley provided an unparalleled setting, declaring it "the best place in Australia for an art exhibition" due to its commanding views and historical significance.
Despite achieving remarkable public engagement, with Wilson estimating that approximately 25,000 visitors attended the inaugural exhibition, the event struggled to achieve financial sustainability. Wilson worked closely with his creative partner and wife, Rebecca Murray, who brought professional curatorial expertise to the project, designing exhibition catalogues and coordinating with participating artists to ensure high-quality presentations.
Financial pressures mounted significantly as the event approached its second year. Wilson revealed that just four days before the 2024 exhibition was scheduled to open, organizers faced a deficit of at least $20,000, even as he and Murray continued to personally underwrite the venture. Their financial support included guaranteeing prize money for participating artists, largely funded through sales of the meticulously designed exhibition catalogues that Murray produced.
The 2024 exhibition was ultimately saved through the extraordinary efforts of a dedicated volunteer network that rallied to support the cause. This grassroots mobilization enabled what would become the second and, to date, final iteration of Sculptures at Scratchley to proceed as planned, though the financial strain on the organizers remained substantial.
Despite his disappointment over the recent grant rejection, Wilson maintains a philosophical and grateful perspective on the exhibition's impact and legacy. He expressed sincere appreciation for the city of Newcastle, the volunteers who contributed countless hours, supportive council officials who believed in the vision, and particularly the Fort Scratchley Historical Society for taking a significant risk on his ambitious concept.
"We were doing it for the artists and for Newcastle," Wilson emphasized, highlighting the community-focused mission that drove the project from its inception. "We had good sculptures that people could relate to. That was the beauty of it, and the idea of the whole thing. It was art for the people, by the people." His vision centered on accessibility and community engagement rather than exclusive or elite artistic presentations.
Wilson particularly championed the "people's choice award" category, which he positioned as the exhibition's primary recognition. "I think the artists should have a bit of a say who they think is great, and the public should have a bit of a say," he explained, reflecting his democratic approach to art appreciation and his belief in the value of both professional and popular opinion in evaluating artistic merit.
The exhibition's influence extends beyond its original setting, with numerous pieces from both 2023 and 2024 finding permanent homes throughout Newcastle. Various businesses and private collectors have acquired sculptures, including prominent local establishments such as the Out of the Square media company and the upscale QT hotel, ensuring the event's artistic legacy continues to enrich the city's cultural landscape.
The iconic whale sculpture that arguably launched the entire phenomenon found a new home through a poignant acquisition. The late Jeff McCloy, Newcastle's former lord mayor, respected property developer, and well-known public art collector, purchased "Bleaching" shortly after the 2023 exhibition concluded and relocated the magnificent piece to his Tuross Head development project.
"It's a marvellous piece of natural art. How these artists see the shape in those things and do it I'll never know," McCloy told the Herald at the time of the purchase, expressing his admiration for the artistic vision and craftsmanship that transformed ancient timber into a powerful contemporary sculpture.
Looking toward the future, Wilson remains characteristically optimistic and resourceful despite the current setbacks. He indicates that he has "a few irons in the fire" as he explores potential projects and submits grant applications to organizations in other states, suggesting that his commitment to large-scale public art remains undaunted by recent disappointments.
Wilson maintains a pragmatic attitude about the funding rejection, stating that he would not "cry poor" over the missed opportunity and accepting the possibility that Sculptures at Scratchley may have reached its conclusion. However, he remains cautiously hopeful that future opportunities might arise, either in Newcastle or elsewhere, that could revive the concept in some form.
"We won't say never," Wilson concluded with characteristic resilience. "I don't know. Whether I send Tony Burke, the Minister for the Arts, a message?" When pressed about specific plans on the horizon, he responded with his typical understated humor: "Some silly pipe dreams ... you've got to try," embodying the entrepreneurial spirit and artistic determination that brought Sculptures at Scratchley to life in the first place.
