Sight Line II


Patinated bronze, polished stainless steel, painted aluminium

Dimensions variable

First installed at Frankston Pier in 2004, Sight Line became a much-loved landmark for locals and visitors alike. Sight Line II addresses the conditions of an extreme coastal environment while remaining true to the original artistic concept.

In 2018/19 the work was completely rebuilt to include upgraded materials and modified design details that ensure its survival into the future. As if to prove the point, a few months after installation was completed, Sight Line II successfully survived a major storm that slammed into the pier.

Commissioned by Frankston City Council

image: Louise Lavarack

An Invisible Thread


(with Cobie Orger)

A durational performance

Duration 60 minutes

Presented during 'MAP Moreland' at Siteworks, Brunswick, VIC, February 2019

The sonic and sculptural elements of An Invisible Thread crosshatch and interlace an architectural space with traces and instances, images and memories. Two performers adjust, shift, disturb and arrange coloured wooden battens, gradually relocating them from a narrow upstairs landing out to an expansive courtyard.

Ephemeral structures expand and diminish in response to the shifting soundscape spun by two musicians. morphing forms coil through the space, moving away from and towards the force of sound that binds them.

At the conclusion of 'MAP Moreland' there was a courtyard finale with the full company of festival performers; the painted battens from An Invisible Thread became a unifying warp/weft device that allowed an infinite range of individual expression.

image: Roy Chu



(with Cobie Orger and Ellen Davies)

Painted wood, participants

Dimensions and duration variable

Mesmerising to watch; absorbing to do. Slippage is a simple performative framework that opens up adult audiences to the joys of play.

In a laneway or other public space, audience-participants prop, balance and orchestrate a collection of coloured wooden battens. The actions and inventiveness of participants create a morphing configuration that is also shaped by the physical conditions and unique forms of the space. Weblike structures evolve and engulf the space. Gravity plays its part. Collapses are inevitable. A breath of wind or accidental bump can change everything.

Slippage blurs the roles of maker and audience, merges real and imagined landscapes, and slips intriguingly between visual and performance practices.

Premiered at the 'Festival of Live Art' at Arts House, Melbourne, March 2018

Restaged at 'Spring Fling', a community event in North Melbourne, October 2018

image: Louise Lavarack




Dimensions variable

Projecting bricks form a subtle image of ripples undulating along the walls of a new community centre. My design for the brickwork is drawn from the landscape that surrounds this prizewinning building, a place where cloud shadows slide across windswept grasslands and bird-thronged wetlands.

For the inaugural community open day I ran a paper-folding workshop in which visitors created a flotilla of paper boats to sail the ripples on the walls.

Commissioned by Wyndham City Council

Located at Saltwater Community Centre, Point Cook, Victoria

Awarded the Melbourne Prize and the Prize for Sustainable Architecture at the 2016 Victorian Architecture Awards

photo: Louise Lavarack



(with Lynne Boyd)

Acrylic on paper, self-adhesive tape

Dimensions variable

Tidings is both painterly and sculptural. Its lyrically topographic surface is made from hundreds of handpainted squares that flicker with gestural marks and glow with luscious colour.

The superscript text echoes the pageantry of Renaissance paintings, but the words come from 20th Century painter, Agnes Martin:

And then sometimes there are moments of perfection and in these moments we wonder why we ever thought life was difficult.

Exhibited in the 2015 Dirty Dozen Xmas Show, Campbell Arcade, Melbourne

Collection of the artists

photo: Louise Lavarack

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