PUBLIC ARTWORK

 

 
 
 
 

2017
Seahorse Hippocampus
Sarich Neuroscience Research Institute

This sculpture, which explores the vital hippocampal connections in the brain, borrows from the poetry of light and botany to animate these charged experiences. Resembling coral or a luminous nebula, it magnifies the hippocampus as a chandelier.  Made of hand blown glass by Healesville Glass Blowing Studio with stainless steel branches, the sculpture suspends in the void.

2016
Phoenix
Thornton North Penrith
The sculpture emerges from the waterway within the precinct.  Constructed of sequins and aluminium, the artwork reflects the sunlight during the day and is illuminated at night.

 2016
Manning Hub Glass Canopy
South Perth Western Australia
The glass canopies combine old maps with images to refer to the landform, the wind rippling on plant and water surfaces, the tidal ebb and flow and the sky’s projection of colour and cloud upon the environment of Manning. 
 2016
Manning Hub Imprint
South Perth Western Australia
The sculpture using mirrored stainless steel and mesh, reflects the sky and responds to the wind.  In response to the elemental nature of the locale with the shift of light, air and water, the sculpture interacts with its environment.

2013
Charge

Graywaithe Rehabilitation Hospital, Ryde
NSW Health
Glass by Healevilles Glass Blowing Studio. Fabricator: M&D Engineering. Curator: Guppy & Associates. Photographer: Simon Hewson

This artwork explores neuron activity in the brain as part of the body’s rehabilitation process. The neuron lattice is magnified as a light artwork suspended in the hospital atrium.

The use of a programmed LED chain illuminates the lights. Sensor activated, the sculpture emulates the electric charge transmitted through the nervous system. The materials for this work are blown glass, plastic and metal.

2013
Hydro
Rehabilitation Pool, Graywaithe Rehabilitation Hospital, Ryde
NSW Health

Origami Horses

2013
Origami Horses
Coles
Origami Horses expresses the movement of a horse from a prancing position to the rearing up.

In response to the reliance upon horses along the northern side of the river in early colonial days and a number of stories about characters and their horses, these sculptures are different day and night experiences.

The patterns were designed by local primary school students from their sense of the local environment and their personal interests. Constructed from aluminium and using printed polycarbonate infills, the horses are transformed at night into vibrant light boxes.

2013
V for Victory
SEE Public Art Project with Kendal Henry
My uncle told me a story that when he was on leave from the war, a woman handed him an envelope with a white feather inside implying cowardice. Man and war from the sign explores notions of masculinity and the origin of Manly’s name.

Box Kite

2012
Box Kite
Thorton, North Penrith
UrbanGrowth
Photographer: Simon Hewson
The purchase of the Bristol Box Kite by W E Hart who made a number of single and passenger assisted flights from Belmore Park reflected a rising interest in the international airplane developments. Balloons had already ascended here from 1892 and Hon Sydney Smith welcomed the use of his land for Hart’s impedimenta and flights. At this time the promise of flight anticipated a commercial future as much as its enjoyment as a spectacle.

The ascent skyward gave an aerial perspective of the world and a buoyant spirit for human ingenuity. Aviation in Belmore Park was part of Smith’s overall vision for his land as a community gathering ground and entertainment centre.

For the Box Kite artwork the response to this notion is the skeletal nature of early biplane structure and the escape of the earthbound human into a bird’s domain. This artwork explores the lyricism of flight and the flimsy pilot prosthetic that propelled humans into the sky.

2012
Social Fabric
Stockland Centre Merrylands

Photographer: Simon Hewson

This idea responds to the diverse community which uses the Centre and responds to their sense of individual and cultural identity. The work cascades through the strata of two floors as a vertical light sculpture.

The use of shirts as a repeated element also plays with the retail presentation of commodity and its exchange with consumer desires. The use of patterns which are a common design resolution for the process from fabric to clothes will influence the size, fashion and gender of each shirt. By working with a few patterns, the inclusive nature of clothes design is reinforced across cultures. The empty shirts that are voluminous imply the visibility of the wearer.

2013
Snapper

  • Parramatta River
  • Ryde Council
  • In collaboration with Aboriginal Artist, Chris Tobin. Photographer: Simon Hewson

The Wallumai Wind Sculpture celebrates the importance of the snapper fish for local Aboriginal groups. Located along the Parramatta River, it refers to the rich natural environment once enjoyed by indigenous and early colonists before the river was exploited. The sculptures turn with the wind and the scales reflect the sky.

    • 2013
      Floating Leaves
    • Top Ryde
    • Bovis Lend Lease
     

Floating above the heads of the piazza, the skeletal veins cast intricate shadows in the groundplane.The experience has the feel of the forest with the floating leaves nourishing as the canopy overlays and shelters the forest floor.

 

The differences in height reflect the cascading properties of the nasturtium and colour accents echo the vibrant blossom colours.

2009-2010
Tread
Rushcutters Bay Lindsay Bennelong Developments

 The imprint of tyre treads upon the earth echoes the stratified fossil prints of ancient plants and leaves compressed into stone and shale.  While the tyre tracks reveal the weight of travel and an impatience with speed, the leaf patterns stretch skeletally to trap the light and water.

 The artwork is made up of a number of elements spatially separated and yet geometrically interlocked.  A  patterned perforation on the sides of each element renders them as transparent and hollow.  The imagery of these patterns explores the common threads of the treads, the plant veins and water marks.

 As a starting point for sculptural forms, the tread patterns were individually sampled, scaled and reconfigured using metal.  The links between apparently disparate layers of water, leaf and tyre are reinforced by their repeated geometry and the rhythm of their patterns cut from sheet metal.

208-2009
Out of Water
Moruya Eurobodalla Shire

The artwork uses disparate materials combined as one sculpture.  The metal upright stretches over eight metres into the air and attaches to a granite stone wall.  Extending towards the river a granite line projects cleanly in the shadow of a vertebrae of seats in hardwood and metal.

 It makes a number of references.  The granite wall alludes to its material use for the Harbour Bridge and the function of training walls to control sand deposition in the river.  The vertical fin is a figurative gesture while the seats follow its curve along the ground as the vertebra of a spinal keel.

 It is neither a fish nor a boat but threads their differences into sculptural material.  Both are in the water, one rides on the Plimsoll line, the other below.  Both are stranded out of water.  The form and imprint of the sculpture’s stranding reminds its audience from where it has come.  The local text references respond to Aboriginal language, history and school students.

2008-2009
Sentry Box
Parramatta 
Parramatta City Council

The sentry box represents the early role of Parramatta as a colonial outpost at the head of the harbour, set in a park-like landscape which seems surreal to the first Europeans who saw it in 1788, expecting a “wilderness”.

The landing place, wharf, military barracks and government store/granary were at one end of the power axis at the entry point to Parramatta, with Government House at the head of George Street commanding the opposite end.  Floggings of convicts and soldiers sometimes took place at the doorway of the Government Store.

The sentry outside the barracks watched over the river and George Street for Aboriginal guerillas and escaping convicts and stood at the first gateway through which immigrants flowed to inland Australia.”

2008-2009
Story Walls
Parramatta 
Parramatta City Council

The direct use of quotations brings the speech and characters alive within archaic language forms while the current shorthand of the text message and computer code dominate.  It is a kind of oral history that cuts through the SMS of language rhythms with timeless preoccupations and emotions.  Framed within the wake of countless boats that have moved upstream, the walls quietly remind.

2007-2009
Honeysuckle
Newcastle 
Hunter Development Corporation with Zenscapes Landscape Architects

From a distance the ripple of wave motion disrupts the monotony of shoreline and the organic landmass responds rhythmically in sculptural form and material. From here the combination of organic and made elements blur function and artwork. The sense of equilibrium is jolted by the perception of the solid form of land rolling and shifting as liquid.

The conceptual framework and contrasting elements of natural and made materials define the palette for the park. These materials contrast conceptually and aesthetically, for example, with the patina of metal referencing the industrial heritage as well as its clean slice through the heavier mass of concrete. These material contrasts reinforce the notion of fractures, as interventions in site and as sculptural elements that shape movement and sightlines. The concrete wall and paths explores all three themes, fractures, fingers, and connectors in its slice, in its fragmentation and the artwork texture of its surface.

2007-2009
Waterwall
Baulkam Hills
The Hills Shire Council with artist Marie Stucci

The idea for the wall plays with the notion of “illuminated manuscript,” exploring these issues in the imagery and text of the light box. This takes the medieval relationship between image and text and reinvents its form within a contemporary “illuminated” panel for the wall section.  While the style of the panel is derived from the formal set out with initials and miniatures, the text and imagery of the panel explores contemporary notions, such as text as a digital bit or part of a binary code, layered with pictorial and symbolic language.  The local history is the source of text.

2007-2008
Bower
Redfern 
Sydney City

The transformation of a timeless courtship ritual by the bowerbird into a contemporary public artwork borrows the essence of his installation: its avenue; entrance; precious objects and two enfolding stick constructions. The passage of people through animates its presence through performance. 

2007-2008
Float
The Ponds
Landcom

With the awareness of climate change, the element of water has been transformed from an anticipated resource to a precious spring. As a colony of sculptures in the roundabout, their inverted form changes them from sunshade and rain shelter to light receptor and water collector. 

2007-2008
Ryde War Memorial
Ryde
Ryde City Council

This cenotaph cradles a metal obelisk in a granite saddle pointing towards eleven o’clock. This physically connects the two elements of the memorial and compels the passer by to walk within the formal, sacred space.

2007-2008
Spine
Ropes Crossing 
Delfin Lend Lease

The Entry Statement arcs the existing rail tracks as a geometric progression into the air, retaining the sleeper staccato rhythm of carriage sway.

2007-2008
Tiers
Brisbane CBD 
Department of Public Works

Tiers projects away from the shelter of its host and in direct attitude to the sky and these primal elements. The geometric progression of materials, including a magnified glass image of trees reflected in water, ascends in sympathy with the axis of the former building.

2007-2008
Waterlines
The Ponds
Landcom & Australand

A rhythm of perforated panels sways as it meanders through the landscape. This installation grew from collaboration with the Landscape Architecture team.

2006-2008
Markers
Ropes Crossing
Parramatta City Council

The markers have responded to the local natural environment as well as the prior history of the area as a munitions site. They function as orientation signs, reinforcing a cohesive language within the landscape.

2006-2008
Pedestrian Fence
Fairfield
Fairfield City Council

This fence was designed to frame the refurbished town square. The imagery of the panel was influenced by a thread pattern.

2004-2005
Orphan School Creek Cycleway
Fairfield
Fairfield City Council

The sculptures reinforce the role of cycleways as community in motion with the parts of a bicycle deconstructed, distorted and reformed as sculptures. Students from Bossley Park High School designed one of the markers with us.

2003-2005
Bed Ends
Windsor
Hawkesbury City Council

The sculpture refers to the toppling of bed heads and includes mist within the hollow of the metal. Some of the nurses saw the artwork as acknowledging the hospital site as a traditional healing place for the community.

2003
Fence
Harris Park 
Parramatta City Council

The fence imagery responded to the signature figs and oak trees growing in the vicinity and was cast to reference the tradition of iron filigree in existing architectural flourishes.

2001-2003
Elizabeth Street Footbridge
Parramatta 
Parramatta City Council & Sydney Water

This cycle and footbridge spans the Parramatta River and is part of the refocus upon the river. The seamless integration of artwork within the bridge infrastructure ensures the bridge is an artwork and the artwork spans the river.

Award of Excellence, 2003, Lighting Design, ies - Lighting Society Urban Design/Landscape, Design Excellence Award 2003, Parramatta Commendation for Design in Landscape Architecture 2004 Australian Institute for Landscape Architecture Award of Excellence, Category 1 Design & Construction 2004 Local Government/Public Works Project Institute of Public Works Engineering Australia

1999-2001
Sound Sculpture & Pavement Art
Sydney
South Sydney Council

The sound sculptures as bronze horns amplify the sound of the old creek whose passage had been channelled into pipes. This artwork reveres prior surface water still flowing underneath the overlaid strata.

Won IPWEA Excellence Award 2002 for SQIRTS Solander Park