Made at Kangaroo Island Spirits, a basket distillery, for Art Feast- Islanders helped collect Wormwood and dam mud and sewed paperbark onto wire frames, to make the wind spinner leaf forms. Words like "Kindness","Amour","Humour",were written in handmade montbretia string accross the leaves,to be sent on the wind. The pale forms rose up like distilling vapours, throwing shadows accross each other as the sun traveled over(each form 2-3m H X 1-1.5m W.
With the help of two young masterclass students, a symbolic map of Hahndorf's significant historic trees and the old creek course was laid down next to the Hahndorf Academy, during The Heysen Festival. Each form is constructed of stacked newspaper bales, coated and shaped with moist compost, before laying on a covering of instant lawn. You can see where north is by the side which dried out first. Children were often seen climbing up to hug the tree forms (2-3m H).
For an early Palmer Sculpture Biennale, the old chimney site was chosen as a field on which to "draw" with white limestone and attached black resinous Wattle bark, integrating it with the road etched upon the rear hilside like an umbilicus to the womb of the sky.The chimney seems female.I slept in my own hollowed out body form at the base, and in the morning watched the sun light up the far hills silhouetted behind my raised body form in front.
During the refurbishment of the Flinders Medical Centre Central Courtyard, I worked with a tiler to mosaic three pillars in abstract water forms. Each was inscribed with a healing water word in five languages: an Aboriginal dialect, Hindi, African, English and Sanskrit (600mm W X 3m H).
This was a week long evolving installation at Adelaide University during an international conference on place and immigration- coloured sands/grapevine/dried herbs/bark with chalked text along the ground borders changing daily.On one side, indigenous plants and materials,on the other all kinds of exotic plant materials(12m W X 20m L).
Constructed at The Gorlitz Cemetery in Germany over three weeks, using all the binned dried flowers and leaves from gravesites, and trimmings from an ancient Yew hedge for the handmade Celtic rope knot mandala at center.Woven images trace the cycle of birth and evolution of the human soul in this world (8m X 8m).
Part of a large multiform installation made during a residency in The Adelaide Botanic Gardens, using woven Aloe stalks and veils of sewn Banana leaf. Visitors to the gardens could only come up with 72 words for water to write on them.Is this an indication of how little we value water? The work was a participatory sculptural dialogue about deforestation and the resultant half hydrological rain cycle (multiform setting 2.5m H x 10m W).
Part of an installation which grew over three weeks as a series of images about different aspects of agricultural practice- constructed around the Adelaide Botanic Gardens hothouse. The "sacks" were made of knotted Bismarck Palm leaves (each sack 600mm W X 1.5 H).The palm was growing into the hothouse glass and had to be severely cut back.
The poem hand written in pencil on Belgian linen at the centre of this sculpture, refers to the transitional cusp times between the four seasons. Rosewood and field Fennel were used to build sixteen tripods,standing between heaven and earth, which bear a cyclic series of woven bracken, chad bush and she oak forms (rain filled through to rain empty). On the floor are dried and ground materials arranged in the four quadrants of seasonally significant plants and earths (2m W X 1.5m W).
Three Lingam forms navigate the sphere of life- one within, another migrating through the veil between life and death, a third leaving the circle. The woven screen of russet dock stalks is flanked on one side by a floor of finely crushed red brick, and on the other side by ash.The Linghams were sprayed with white and red clay (2.8m H X 5m W).