(with Peter Burke)

Wadding, cotton gauze, staples

Dimensions variable

This temporary intervention marked the demise of a mature street tree illegally poisoned in Melbourne's CBD. Wrapped in cottonwool and gauze bandages it became a ghostly roadside memorial in the midst of an otherwise flourishing avenue of plane trees.

Fellow artist Peter Burke maintained the Facebook page (Triage Melbourne) and supervised the accumulation of floral tributes and messages of sympathy around the trunk. In due course the timber from the lost tree will become a new work.

Temporary intervention commissioned by City of Melbourne

Corner of Elizabeth and Therry Street, Melbourne (July to September 2013)

photo: Louise Lavarack



Printed paper, waxed cotton thread

Dimensions variable

The printed score of Handel’s Hallelujah Chorus was ‘deconstructed’ into hundreds of curling paper strips and suspended from the ceiling on fine black threads. They delineated an insubstantial conical form suggestive of a Christmas tree hovering above the gallery floor. The flurry of falling notes and cascading chords constantly swayed and rustled in a delicate poetic evocation of this inspiring music.

Exhibited in ‘Tree’, a group show at Wyndham Art Gallery, Werribee, December 2012

Collection of the artist

photo: Megan Evans



Acrylic on linen over mini stretched canvas

4 x 6 x 1cm

The curator of ‘Pursuit’ supplied participating artists with mini stretched canvases. The finished works were displayed in the curator’s suit jacket as he roamed Singapore Art Stage. For my exhibit I reconfigured a scrap of painted canvas into a new warp/weft form. Was the outcome a painting or a sculptural object? Was ‘Pursuit’ a performance or an exhibition?

Exhibited in ‘Pursuit’ group show at Singapore Art Stage, January 2013


photo: Louise Lavarack



Artist pastels, wood, paper, acrylic

Dimensions variable (wall approximately 50 metres long)

Score is a temporary intervention made on site in the space of a few hours. The repetitive, cyclical action of the work’s making reiterates the ceaseless rhythm of the sea. Layers of circular markings are choreographically scribed on the weathered stone wall. These form ‘stave’ lines for propped wooden rods that delineate an undulating score for wave action and tidal movement. Much like music or a receding tide, the only traces that remain of this lyrical insculpturation are some faint marks on the wall and a documentary archive.

Exhibited in ‘Sculpturscape’, a category for temporary works at Lorne Sculpture, October 2011

Winner of the Helen Macpherson Smith Trust Sculpturscape Award 2011

Awarded a Janet Holmes á Court Artist Grant to assist with the cost of editing video documentation

Collection of the artist

photo: Louise Lavarack

Ebb Flow


Painted steel

Dimensions variable (overall area 4.8 x 52.8 metres, poles 9 x 9 cm by 400 cm high)

Ebb Flow is as an integral component of a new wetland park designed by Fitzgerald Frisby Landscape Architecture at Toomuc Creek Reserve in Pakenham. There stormwater is managed as a valued resource. Periodic flooding is essential to the health of a wetland, and this, along with seasonal cycles and other overlapping rhythms of the natural world, have inspired Ebb/Flow.

The repetition of form, the rhythmic variations in the spacing of poles, and the undulating patterns in the colours, all suggest a three-dimensional diagram that evokes those used to represent annual oscillations of temperature and rainfall, or the undulations of diurnal and lunar cycles.

Location: Edenbrook Estate, Pakenham

Collection: Cardinia Shire Council (gift of Devine Communities)

Awards: 2012 Award for Design in Landscape Architecture from Australian Institute of Landscape Architects

photo: Louise Lavarack

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