Preliminary voluntary research is under way for a solo exhibition to open on 24th July at Murray Bridge Regional gallery SA,with the results of a residency which is part of "This Is A River"- a series of artist residencies along the river between April and September 2015.
Its autumn and the collection of swards of coloured leaves to dry ready for work beginning in June, reminds me of how the muddy autumn waters look, with the river in spate and the surface troubled.
Here Old Mans Beard from near Milang has been twisted into rope.
I am studying, photographing and recording movement and sound from the Riparian zone of the river's edge with a view to creating an immersive work.
One of the challenges for me as an outdoor site specific artist is to work with the arid sensory nature of the gallery.
Celebrating extensive revegetation work along Lake Alexandrina by volunteers, the event included a residency to create a sculpture trail.
An evocative trail, or series, of 3 environmental sculpture installations to last for one year, made in collaboration with Mike Tye.
Created at three closely linked, highly visible and well frequented sites between the lakeside information bay and foreshore near the jetty.
Natural materials indigenous to the Milang lake area, such as privately sourced paperbark prunings, or aged recycled materials such as weathered fencing wire from the Milang Environment Centre.
Tucked into the reedy beach corner of the 2nd sandbag bank to left of jetty.
“Wet” – three, person-sized anthropomorphic and sinuous fishlike forms resting together on the sand and made of fine paper bark branches wired together. The water washed through them and storms finally buried them at water’s edge- one was carried out on tides into...
The Cedars Biennale is one of SA’s most popular outdoor sculpture events for artists and visitors alike. Selected artists are invited to choose their site out in the beautiful landscape of the Hans Heysen historic property in Hahndorf SA. Some elect to install works made off-site and others may work directly in the environment.
Returning to my first and favourite site within a copse of giant white Eucalyptus Rubida, the remains of a previous work of bracken fern and bark were included into a much larger theatrical and mysterious setting.
Bracken fern, silvery Cootamundra wattle and pale grey windfall branches collected on-site and close by were woven and cotton-bound together. 20m long and up to 3m high.
Anthropomorphic, creature or shelter-like forms were integrated with the trees and had the placement and feel of a village, a family or herd.
I received several texts and emailed photos from visitors long after the summer event, telling me how their childr...
A honey farm was one of four sites worked for one week each during Art Feast on the island.
The bees favourite food flowers from close by were bound into around 100 fragrant and richly coloured forms, dipped in honey scented beeswax, and then suspended inside the cavernous bee skep shaped hollow made by the interlacing branches of two cypress pines.
The slowly spinning and trembling forms were lit up by the rising and setting sun, recalling the life of bees within their colony.
An abstract floor patterning emerged at different times of day – bright yellow Canola flowers (bee favourites), Bulloak needles and constantly moving shadows created a secondary level to the work- a 2D artwork in happenstance, a bonus.
A circle of aerial “colour gardens” formed of six simultaneously flowering trees (in the three primary and three secondary colours) planted in the Adelaide Parklands. At the centre, three play walls each expressing a primary colour gesture, with swards of indigenous grasses beneath of russet, lime gold and blue grey (20m W x 6m H at maturity).
A few years later this is how The Living Colour Wheel grasses and surrounding circle of trees had grown. It had weathered continual fun climbing by children and had minimal maintenance.
A few years later this is how The Living Colour Wheel grasses and surrounding circle of trees had grown. It had weathered continual fun climbing by children and had minimal maintenance. In 2015 Adelaide City Council decided to upgrade it for the long term by replacing the grasses with crushed red brick, blue dolomite and ochre pebbles in each of the three colour sections.
“ROVING STREET ARTIST”- 10 day PROSPECTUS RESIDENCY
A stack of bound bundles and cotton formed sinuous shapes from locally sourced natural materials, became the “props” for a type of “hit and run”, rapid series of art interventions. Anything and everything became a plinth, a stage, a frame, a hanging device, a backdrop or textural field- the graffiti on a garbage bin side, a clipped shrub, a windowsill, council pipe work markings on the asphalt.......The bundles and shapes were altered or reconfigured in response to over 20 sites in 10 days of wintry weather in a dreary suburb that could do with a dose of quirky humour and unexpected beauty.
The artist as roving opportunistic partner with the forces of nature- spotlighting these elemental moments of guerrilla activity by spontaneously interrupting, using or extending them.
The public participating in this short lived series of creative games started by the artist to reconceive beauty and delight in found...
In winter, on the range above Willunga SA,flocks of Ibis gather during the rains. Seven forms suggesting a family/herd/flock drift accross the roadside entrance area to a small farm- a spot highly visible to passing motorists and creating a destination marker for visitors.
The family there helped to harvest and cut Tassie blue gum from their woodlot and the work was made in exchange for pergola poles for my garden.
Bound Tassie blue gum leaf "heads"- the trimmings from the woodlot- aged to beautiful russet colours.
Fruit wood and Eucalypt screens backed the stages for an Adelaide Festival Writers Week. As part of a collaborative artists team I collected wood and used concrete footing ties for the binding onto steel frames, which were made for five years recycled use.
Working in partnership with the sea foam and the pulse of a marginal shallow tide. Using brushes made from chewed or beaten sticks to make swift calligraphic marks between water surges, or allowing a "once wash" and remarking or photographing opportunistically.
Built of found timber and cotton-bound red stemmed eucalypt leaves at Hanson Bay Sanctuary on Kangaroo Island. The mossy floor was in flower and delicately recorded the moving shadow tracery of the anthropomorphic forms, during the changing light and moods of the day (30m W X 3m H). The site was full of wildlife which influenced my creative response to the place. A lot of the work was done from the top of a ladder in and out of showers.