"Karla Dickens was born in Sydney in 1967. She is a Wiradjuri woman and an award-winning contemporary artist whose work draws on her Indigenous heritage, sexuality and experiences as a single mother on welfare. She has more than twenty years of artmaking practice, first graduating with a Diploma of Fine Arts in 1993, then a Bachelor of Fine Arts in 2000, both from the National Art School, Sydney."

"Katherine Hattam’s exuberant work, Powerlines Merri Creek equalises the natural environment with man-made constructions as she explores the hybrid landscape of local waterways and their locations. Hattam’s art practice comprises drawing, collage, printmaking and sculpture. She employs a contemplative process in revealing the relationships and tensions between objects, space and placement."Hattam has exhibited widely as a solo artist as well as in group shows for over five decades. She has won the Robert Jacks Drawing Prize (2006), Banyule Works on Paper Art Award (2005) and has been short-listed in the Dobell Drawing Prize, the National Works on Paper Prize and the Arthur Guy Memorial Painting Prize. Her work is represented in public, corporate, educational and private collections such as the National Gallery of Australia, state and regional art galleries, The Darling Foundation, Smorgen Collection, Artbank, Queen Victoria Hospital, National Australia Bank and La Trobe University Museum of Art.Painting

Six white sculptural components: a tall bud-like form, a reclining form that refers to various kinds of animals (possum, dugong), a round form that visitors to the park can sit on to view the artwork and three squarish forms that define the space the art is placed in and that park visitors can also sit on. The work relates to the themes outlined in the artists brief, particularly to the “Present” and “Future” with an emphasis on the natural environment. The colour and the reclining form, which appears embryonic, bring to mind birth and new beginnings and the bud, the flowering of life

Through the use of sensors and digital controls, FIDO talks to passers-by, wags its tail, wiggles its ears and lights up at night. The materials used, the form and the interactive nature of this monumental work were chosen specifically to respond to the friendliness and vitality of Fairfield Village and enhance the sense of community for this dog-loving precinct.

This work is a large structure of stones, a cairn. It is constructed using volcanic rock from the area and has a number of metal plaques set into the sides of the rock structure. On one plaque the wording reads “Remnant Bush”, another says “Urban Push” and the third plaque reads “Machine Axe & Fire”.

The work consists of a sculpture and seat. The sculpture is a tree form and the seat is based on a leaf shape. History is evoked through the flora and fauna imagery, from Indigenous plants to those of the farms, back-yards and kitchen gardens of the area, and diversity is evoked primarily through figures holding hands. Both pieces are fabricated from powdercoated mild steel.

Two petal-shaped forms made of galvanised steel. The petals represent voyage, destination and arrival to a new place.

Galvanised steel structures shaped like doors or windows with etched copper panels with images on them and patinated surface colour. The designs express and reflect Darebin’s cultural diversity and the history of the site, from the land of which the Wurundjeri are the traditional custodians, to brick works (Northcote Brick Company) and then finally as the Northcote Landfill.

This is a sculpture made from bands of steel formed into tall “crown-like or inverted “v” shapes”. The work has panels of etched copper with text in different languages riveted onto areas of the steel that overlap. The design expresses and reflects Darebin’s cultural diversity and the history of the site.

"Three Follies are a series of three follies made from recycled brick and concrete. The proposed artwork reconnects residents to the isolated island oasis of Ray Bramham Gardens by providing an interactive work which honours the botanical theme of the park while subtly referencing both the site’s industrial history and the local vernacular suburban architecture. The artworks form a series of sunken, suburban garden follies, located at three key points within the space. The structures create a visual link as a sequence of landmarks that lead passers-by into and through the park, the first folly being visible from the street, while from each folly another can be occasionally glimpsed, inviting further exploration of the park."

"This work is a snake that is constructed with a skeletal framework of thin strip steel and fencing wire. The framework is covered with Hessian which is then covered with three layers of fibreglass blanket and resin. The entire snake is painted with acrylic artist’s paints and acrylic house paint. The snake is approximately six metres long by one metre wide. This work represents “Mindi” the Red-Bellied Black Snake. The Wurundjeri people of the Kulin Nation regard “Mindi” as a spirit of good fortune. (Objective code A1571518)"

The symbolic egg form at the heart of this design echoes the hope for recovery and new life, and for the rebirth of the land. The piece also references the conservation role of the park and in particular the role this park plays for the many birds that live and nest within. The 4 metre high egg form is made from recycled timbers and is designed to be tactile, organic and peaceful within the environment. (Objective A1455462)

Installed in the Westgarth Shopping Strip, the artworks include aerial, street level and inlaid pieces. The aerial installations consist of eight pairs of steel dragonfly wings. The street level series feature ten sculptural pieces of welded steel depicting enlarged body/skeletal parts of fauna that are indigenous to the area. The inlaid artworks are a series of stainless steel mosaic in the pavement.Five pairs of steel dragonfly wings mounted on eight painted PTC power poles. Ten sculptures of welded steel depicting enlarged body / skeletal parts of fauna that are indigenous to the area. These also function as bicycle racks. A series of stainless steel, ceramic and glass mosaic inlays.

This work consists of three “piles of rock-like forms” set in vertical formations. The work is made from clay and cement. The clay used in these pieces reflects the history of the site by referring to the earth and to the brick manufacturing that took place in the area. The formations of the rocks represent the strength of the community and the building blocks of our multicultural heritage.

This work consists of three figures (each approximately one metre high) made from cement, and painted three different shades of a Red Iron Oxide colour. The works were made with the intention of celebrating community and the importance of diverse cultures to the identity of Darebin. Uniqueness and individuality are reflected while creating an overall sense of unity and belonging.

The Koori Mural was designed by artist Megan Evans in consultation with a committee from the Aborigines Advancement League consisting of the late Lin Onus, the late Molly Dyer, the late Ron Johnson and the late Elizabeth Hoffman. It was painted by Evans and renowned Aboriginal artist Ray Thomas along with Ian Johnson, Millie Yarram, Les Griggs, Elaine Trott and a number of volunteers. The mural has considerable historical and cultural significance and refers to the experiences of the the Aboriginal and Torres Strait Islander communities, from early colonial history to the more recent struggle for social justice. In 2014 the mural was replicated onto a vinyl banner and installed at its current site. The Northcote Koori Mural was originally located on Council land in High Street, Northcote, opposite the Northcote Town Hall. A huge, free-standing wall was built specifically to accommodate the mural which was painted on site. The land on which the mural was housed was later sold, however, and the mural was relocated to the Aborigines Advancement League in St. Georges Road, Thornbury. Conservation work in 2014 and original panels decommissioned and vinyl banner hung in its place (with Total Outdoor Media). In 2015 solar lights were installed along with landscaping to the front of the mural and a plaque depicting the history on the mural.

A curving stainless steel sculpture of linked human figures, 4 metres wide, 2 metres deep and 2.5 metres high. The Connection depicts many people coming together in an animated, alive way, the separate components becoming one. It refers to the meaningful links between different groups in the community and the connections which contribute to harmony in Darebin.

A solar-powered sound and light installation inspired by the dynamics of bird calls, in particular the call of the bell bird prevalent along Darebin’s creeks. The installation holds several audio speakers which, together with the lights, play out a complex choreography of audio samples from Darebin’s various native fauna responses. The result is a dynamic light experience driven by naturally ambient sounds that celebrates the gateway to the municipality of Darebin.

A large, vibrant painted bas relief mural. The mural was created by local indigenous artist, Ray Thomas (born Melbourne 1960, Gunnai, Brabrawooloong), and is an iconographic recognition of ancient lineage and celebrates a respect for people and country. Located at Northcote Civic Square, 189 High St, Northcote VIC 3070.

The sculpture is of welded 3mm oxidised mild steel fabricated into six rectangular blocks of unequal size, joined along the edges by welding and juxtaposition at various angles. The work is classified by The National Trust of Australia (Victoria) and was funded by the Visual Arts Board of the Australia Council for the Arts. The sculpture is an example of a classic formalist work by one of the early practitioners of the style in Australia.The sculpture is of welded 3mm oxidized mild steel fabricated into six rectangular blocks of unequal size, joined along edges by welding and juxtaposition at various angles. It is supported by one angle bracket, and several short lengths of reinforcing steel sunk into the pavement and tack welded to the sculpture. It has an overall length of 3.25 metres, a height of 2 metres and width of 1.45 metres.

Rec Art is a public art project that utilised only materials discovered at the Resource Recovery Centre.5 metre long x 1.8 metre high collage made of cut & assembled recycled metal signage.

This artwork consists of a large work formed like a sign outside the Stuzzi Restaurant. A large, stylised eye, with steel eyelashes, the work is constructed from steel and fibreglass.

Two large boat forms with mosaic inlays. The mosaic inlays have been crafted by local primary school students. The “Sunken” boat represents the Merri Creek and some of its important elements as if seen through a magnifying glass