PUBLIC ART COMMISSIONS
Public Art Projects
2010 Thunderbolt Permanent installation, South Broken Hill, initially for Desert Equinox, Australia’s first solar art exhibition. Organised by the Environmental Research Initiative for Art)ERIA), College of Fine Arts, University of New South Wales in collaboration with the Broken Hill Art Exchange.
2010 Thunderbolt Jacaranda Park, Sydney Olympic Park to celebrate the Tenth Anniversary of the beginning of the Sydney Olympics.
2006 Lake Thunder.
Public sculpture commission, 4th International Sculpture Symposium, Hue , Vietnam.
LOCATION Thuy Tien Lake, Thien An, Hue, Vietnam.
Tube steel, photovoltaic paint; 6 metres high.
The zig-zag graphics of the sculpture, Lake Thunder quotes the symbol for loud sound or pain in comics, danger and electricity, as well as thunder & lightning, its dynamic shape signifying energy and life. That it’s coming out of the Earth rather than the sky is integral to the meaning of the work.
The sculpture glows in the dark – a sceptre of the Earth’s energies at night.
The title, “Lake Thunder” brings the sculpture’s site into focus as an essential aspect of the work. The conjunction of lake and thunder also refers to traditional Taoist philosophical principals:
“THUNDER stands for our true essence, LAKE stands for our true sense, WATER stands for our real knowledge, and FIRE stands for our conscious knowledge. These four are the true ‘four forms’ inherent in us.”
[from the Inner Teachings of Taoism, Chang Po-Tuan, Shambala Books, 1986]
2002 Longevity: Scissors and Sickles
Public sculpture commission, 3rd International Sculpture Symposium: Hue, Vietnam. LOCATION: City Hall, Hue, Vietnam.
Sand caste bronze; 1.2M diam. X 2.2 M H.
This work is an interpretation of a Chinese character, dearly loved in Vietnam, that signifies longevity. It is made of scrap metal, including shrapnel recycled from the Vietnam War, to caste scissors sold in Hue’s market place, made by local blacksmiths. They are different shapes and sizes, from huge shears to tiny nail scissors and are associated with women’s work. The sickles are also made by local blacksmiths, and used by all to harvest rice.
The form’s structure is based on the tensile strength of a three dimensional lattice.
1998 Light House
Public sculpture commission, architectural folly. 1st International Sculpture Symposium: Hue, Vietnam.
LOCATION: Playground of the Children’s Cultural Centre, Le Loi Street, Hue.
Brick, reinforced concrete, ceramic, paint. Approx. 5.5 metres high, 1.5 metres diameter. Built using traditional Vietnamese building methods and materials.
The form is based on commonly seen hat stacks in the Hue district. Three one metre high arches open into a child size, “cubby” with a perforated, conical roof. The drum-like internal space acts as an acoustic chamber that collects sounds from the surrounding environment. Overhead, bands of ever changing, natural light and shadow create an unexpected light show in the cone’s interior.
Milani Gallery, Brisbane
Three Rivers, photography, drawing, performance documentation. Australian Experimental Art Foundation, Adelaide.
Murray River Punch, performance documentation (1980). National Gallery of Victoria
The Murray’s Edge, (solo), photographic series, Art Gallery of New South Wales.
The Murray’s Edge, (solo), photographic series, COFAspace gallery, College of Fine Arts, Sydney. PhD examination presentation.
The Murray’s Edge, (solo), Ocular Lab, Melbourne.
The Murray’s Edge, Milani Gallery, Brisbane. New photographs (2007. 2008), and historical material – works on paper, photography and performance documentation from the Murray River Project since 1977.
Wildlife Documentary, Bellas Milani Gallery, Brisbane, Queensland. Video, photographs, drawings, sculpture.
Wildlife Documentary, Sutton Gallery, Melbourne. Installation of works on paper and videos.
Bonsai Landscape Installation for the Australian exhibition, Outside Inside: fragments in place, Museum of Art, Brigham Young University, Salt Lake City, Utah, USA
Inside Mawson’s Sleeping Bag: the Poetics of Heroism. Photography and text.
Experimental Art Foundation, Adelaide
Bellas Gallery, Brisbane, Queensland
Stills Gallery, Sydney
Inside Mawson’s Sleeping Bag: the Poetics of Heroism, Sutton Gallery, Melbourne
Juggernaut Asian Biennale of Contemporary Art, Dhaka, Bangladesh
Customs House, Sydney, Juggernaut
Bellas Gallery, Brisbane, Juggernaut
Light House [see above] Public commission, 2nd International Sculpture Symposium, Hue, Vietnam.
Installation for, Artists In The House! Elizabeth Bay House Contemporary Art Installation Program, Elizabeth Bay House, Historic Houses Trust, Sydney
Melbourne Festival. Sutton Gallery, Melbourne. Juggernaut
Solo exhibition, Sutton Gallery, Melbourne.
“Sleeper’s Ties 111” – Highways Gallery, 2 part installation, Los Angeles, U.S.A.
“Sleeper’s Ties 11” – New Gallery, 2 part installation, Los Angeles, U.S.A.
One Person exhibition, Bellas Gallery, Brisbane.
“Sleepers/Ties 1″ Urban intervention near Olympic Boulevard and 17th Street, Santa Monica, Los Angeles, California, United States of America.
Histories, Sutton Gallery, Melbourne
Histories, Annandale Galleries, Sydney
“We Live To Be Surprised”, Performance Space, Sydney
1987, 88. 89, 90, 92,
Bellas Gallery, Brisbane, Queensland
Phototropic, Performance Space, Sydney
Lake Benanee paintings, Roslyn Oxley Gallery, Sydney
“Dogwoman Makes History”, performance, First Draft, Sydney
The Murray River Project, Performance Space, Sydney
Supreme Court Building, George Street, Sydney. Shop front installation of pinhole cameras
Avago, Sydney. 1984 surveillance piece
Controlled Atmosphere, performative installation, Artspace, Sydney
The Murray River Project, Adelaide Arts Centre
Solo exhibition, Praxis, Freemantle, WA
Jabiluka UO2, Praxis, Freemantle, WA
Mt Feathertop Project, Institute of Modern Art, Brisbane
Murray River Punch, performance, Rundle Street Mall, Adelaide. Experimental Art Foundation residency
1979, 80, 81
Art Projects, Melbourne: Mount Feathertop panoramic drawings; Mount Feathertop wall hanging, Autumn
(Funded by Australia Council) Mt Feathertop Project, Institute of Modern Art, Brisbane
(Funded by Australia Council) Mt Feathertop Project, Art Projects, Melbourne
At Home With The Locust People, installation, West Street Gallery, Sydney
Student solo exhibition, Prahran College of Fine Arts, Melbourne
On Return and What Remains, Artspace
From Interior Decoration
101 Contemporary Australian Artists, Ian Potter Centre, National Gallery of Victoria
Agent Orange Benefit, Mori Gallery, Sydney. Raised +$25,000. Ecology 101: Bottlebrush, photograph
Volume One: the MCA Collection, Museum of Contemporary Art, Sydney. Documentation of Murray River Punch, Dogman series, Controlled Atmosphure, Jabiluka UO2
Excavation, Armory Gallery, Sydney Olympic Park. Murray River Grids.
A Different Temporality, Monash University Museum of Art [MUMA], Melbourne. Photography, 1977; video of the 1980 Murray River Punch performance; etchings; publication, Murray/Murundi pub. EAF, 1981
Buffer Zone, Sydney Olympic Park Armory Gallery, Sydney. Reverb, Site specific sound installation. An Environmental Research Initiative for Art project (ERIA), COFA
Tell Me Tell Me: Australian and Korean Art 1976-2011. Museum of Contemporary Art satellite exhibition, the National Art School Gallery, Darlinghurst, Sydney. Artist’s box from Austauch/Exchange (collaboration with Marr Grounds, 1982)
Tell Me Tell Me: Australian and Korean Art 1976-2011. National Museum of Contemporary Art. Seoul, Korea
Perspectiktiva, COFAspace. Screening, Shock & Awe: Chookwoman’s Tour of the Georges River Headwaters. PowerPoint
In the Balance, Museum of Contemporary Art, Sydney. Printmaking, performance, book (Murray/Murundi), photography from 1977 to 2008, from the Murray River series
River, Cambelltown Arts Centre, Cambelltown, NSW. Commission. Photography and an edition of postcards
The Challenged Landscape, UTS Gallery. Photography and performance of Murray River Punch: the 21st Century. Curator, Sandy Edwards
Cry Me a River, Tin Sheds Gallery, Sydney University. Drawing and photography on a Chinese- style scroll regarding the proposed Tillegra Dam
To Give Time to Time, Australian Experimental Art Foundation, Adelaide. Murray River Punch and Murray River Punch: the 21st Century performance screenings
To Give Time to Time, Mildura Palimpsest, Mildura, Victoria. Murray River Punch and Murray River Punch: the 21st Century performance screenings
Artists’ Ink, Ararat Regional Art Gallery, Ararat, Victoria. Printmaking acquired for the Warrnambool Art Gallery collection through the Henri Warland Art Prize
When You Think About Art, Ewing and George Paton Galleries, Melbourne University. Image and text
Heat: Art and Climate Change, RMIT Gallery, Melbourne. Photography and performance documentation of Murray River Punch
Five by Five, Ivan Dougherty Gallery, Sydney. “Heinous Experiments”, Email Art , Collaboration with Peter Hill
Artists’ Ink, printmaking acquired for the Warrnambool Art Gallery collection through the Henri Warland Art Prize. Warrnambool Art Gallery, Warrnambool, Victoria
Christmas Show, Milani Gallery, Brisbane [formally Bellas Milani Gallery]
The Cleveland Street Project. A group exhibition to mark the passing of Cleveland Street as the location of Performance Space, funded by the Australia Council, and the NSW Ministry for the Arts
World Wild Life Documentary An installation of video, email art assemblage, bobby pin works and Chinese brush and ink paintings explores our nature as a species, rather than as a privileged human being. The installed works on paper are a graphic, temporal equivalent of the videos, describing in time and space a nuanced examination of our habitat
Procession, Mai’s Gallery, Ho Chi Minh City, Vietnam. Photographic assemblages
George Petelin Gallery, Southport. Works on paper
Concept presentation, Glebe Point Road Public Sculpture Project, Glebe Town Hall
National Sculpture Prize. National Gallery of Australia, Canberra
States of Transformation, COFA Gallery, UNSW
EveN, Mildura Arts Centre, Lake Benanee, painting
This was the Future: Australian Sculpture of the 1950s, 60s, 70s and Today, Heidi Museum of Modern Art, Melbourne.
Reverb, Mai’s Gallery, Ho Chi Minh City, Vietnam
Outside In, Ivan Dougherty Gallery, Sydney. Installation, Infrastructure 2620BR
Fieldwork Inaugural exhibition of Federation Square’s Ian Potter Centre for Australian art, National Gallery of Victoria, Melbourne
Hue An installation of works on paper, 4A Gallery, Sydney, with Glen Clark, Sue Peddley and Gail Kenny
Border Panic Performance Space and Museum Of Contemporary Art, Sydney. Installation, Bluey and Curley Conducts the Children’s Choir
3 Foot Square, COFA, with Marr Grounds, Tony Coleing, Shayne Higson. Sculpture. Bain Marie
Histories in the Making, Ivan Dougherty Gallery, Sydney. Photo assemblage
Spitting and Biting, Monash University Gallery, Melbourne. Assemblage of prints and drawing
We Are Australian, National Gallery of Victoria, Melbourne [travelling]. Artist’s book, Hold
Shifting Currents: College of Fine Arts Faculty, Ivan Dougherty Gallery, College of Fine Arts, the University of New South Wales. Sculpture
Co-Existence: Australian Artists Against Racism, Hogarth Galleries, Sydney
Collaboration with Pulpuru Davies. Assemblage
Private Parts, Monash University Gallery, Melbourne. Installation
The Acid Test, Project Space, Royal Melbourne Institute of Technology, (RMIT). Printmaking
Gift For India, Safdar Hashmi Memorial Trust, Lalit Kala Galleries, New Delhi; Gallery Chemould, Bombay. Sculpture
Parking, Casula Power House, Casula, Sydney. Paper sculpture, Lila and De Witt’s Patent Digestive System
“The River”, travelling (cont.), Gippsland Art Gallery, Sale
Salon des Refusés 1995, S.H.Irvine Gallery, Sydney
“Girls Girls Girls”, women’s show to mark the 20th Anniversary of the United Nations, Year of the Woman. Annandale Galleries, Sydney. Also Orange Regional Gallery
The Murray River Regional Art Gallery, Victoria. Travelling to the following regional galleries:
Mildura Arts Centre, Victoria
Riddoch Art Gallery, Mt. Gambier, S.A.
Shepperton Art Gallery, Victoria
Albury Regional Art Centre, Victoria
“Eveolution”, Group exhibition of Australian women artists from the permanent collection, Newcastle Regional Art Gallery, Newcastle, N.S W.
“Out Of The Box”, group sculpture exhibition travelling to the following regional galleries across Australia, 1994 - 1995:
Nolan Gallery, Canberra, A.C. T.
Dubbo Regional Art Gallery, N.S.W.
Mildura Arts Centre, Vic.
Benalla Art Gallery, Vic.
Geraldton Art Gallery, W.A.
Lawrence Wilson Art Gallery, W.A.
Bunbury Art Galleries, W.A. “Out of the Box”, -
Campbelltown City Art Gallery, N.S.W.
Bathurst Regional Art Gallery, N.S.W.
“”5 Women Artists from Bellas Gallery”, Umbrella Studio, Townsville, Queensland
The Women’s Show, Sutton Gallery, Melbourne
“25 Years of Performance Art in Australia”; an historical survey exhibition of performance art and documentation travelling to the following galleries:
Ivan Dougherty Gallery, Sydney.
Institute of Modern Art, Brisbane.
Australian Centre of Contemporary Art, Melbourne
Spirit Level. Fifth Australian Sculpture Triennial, Melbourne.
“Virtu”, Ivan Dougherty Gallery, Sydney
We Live to be Surprised, installation, “Unfamiliar Territory”, Adelaide Biennial of Australia, Art Gallery of South Australia
We Live to be Surprised, “Art Dock”, Noumea, New Caledonia
We Live to be Surprised, “In Transit”, Canterbury, UK
We Live to be Surprised, “In Transit”, Chisenhale Gallery, London, United Kingdom
Australian Prints, Australian National Gallery, Canberra
Bicentennial Print Portfolio, Australian National Gallery, Canberra
Fired Earthwork, Adelaide Arts Festival. Visual art curator, Louise Dauth
Dogwoman Makes History, Making Appearances, Charlottenberg Museum, Copenhagen, Denmark, curated by Gary Sangster, Artspace, for the 5th International Theatre Festival, Copenhagen, June 1985
Homage, Sculpture exhibition curated by Stephanie Britton. South Australian College of the Arts, Adelaide, South Australia
Untitled, Homage, artist’s book. Perspecta, Art Gallery of New South Wales, Sydney. Work on paper, sawdust fired ceramics, photocopies
Continuum, Survey of Australian Art, G Art Gallery, Tokyo, Japan
Controlled Atmosphere. Performance. Anzart, Hobart, Tasmania
AustachExchange (collaboration with Marr Grounds), installation. Ivan Dougherty Gallery, Sydney.
Birth of daughter, Marina Charlotte Grounds Ely
Dogwoman Communicates with the Younger Generation, .Performance Festival, Kunsterhaus Bethanien, West Berlin
Austach/Exchange (collaboration with Marr Grounds), installation. Kunstlerhaus Bethanien,
1st Australian Sculpture Triennial, Latrobe University, Melbourne. Shelter, outdoor installation, cloth, rope, tent pegs. Canada. Australia/Canada Artist Exchange
Harbourfront, Toronto, Canada. Australia/Canada Artist Exchange. Landscapes: Australia Canada. Outdoor installation, clay, sand, cloth.
Earthworks, Baja California, Mexico
Jabiluka UO2, Orange Regional Art Gallery, N.S.W.
Murray River Punch, performance, George Paton and Ewing Gallery, Melbourne University. Women at Work, a festival of women’s performance art
ACT 1: Performance and Participatory Art, Australian National University Arts Centre, Canberra; Jabiluka UO2
The Security Show, George Paton & Ewing Galleries, University of Melbourne. HQ, installation
15 Sculptors (travelling) The Murray River. Handmade paper, etchings, earth.
Work exhibited at:
National Gallery of Victoria
The Benalla Art Gallery
Warrnambool Art Gallery
Hamilton City Gallery
Wollongong Art Gallery
Mildura Art Gallery
Perspecta, Art Gallery of New South Wales, Sydney
3+3+9, Harbourfront Gallery, Toronto, Canada
Bread Line, Anzart, Christchurch, New Zealand. Performance
Jabiluka UO2, performance, Preston Institute of Technology, Melbourne Performance event
The Women’s Show, Experimental Art Foundation, Adelaide
The Map Show, George Paton & Ewing Galleries, University of Melbourne. Life Is Full of Situations, coloured etching
Seventh Sculpture Triennial, Mildura. Preserves, 1977. Floor piece with photographs and found objects. Mount Feathertop- A Wilderness Area: Part A, 1978. Papier mache model of Mount Feathertop, drawings, maps, photography (slide show)
Seventh Sculpture Triennial, Mildura. Profile of Australian Women Sculptors 1860 – 1960. Prepared for the Women’s Art Register Extension Project with Anna Havana. Slide show with publication
Jabaluka UO2, Act 1: Performance and Participatory Art, Australian National University Arts Centre, Canberra (Nov)
Women’s Postal Event; Institute of Contemporary Art, London, United Kingdom. Portrait of the Artist as a Young Woman, drawing for Lip magazine
The Money Show, George Paton & Ewing Galleries, University of Melbourne. Money Tree Seed (with Margaret Bell)
Three Statements on Environment, George Paton & Ewing Galleries, University of Melbourne. Installation, C20th Mythological Beasts: at Home with the Locust Family
Post Object Show, Experimental Art Foundation, Adelaide. Installation, C20th Mythological Beasts: at Home with the Locust Family
The Grid Show, George Paton & Ewing Galleries, University of Melbourne. 108 Reflections, quilt
Two person exhibition with Margaret Bell, Cylon Tea Centre Gallery, London. Installation
Group student exhibition, Prahran College of Fine Arts. Melbourne