public art

1996 Nillumbik Art in Public Places Award (installed late 1997). A biennial program that ceased in 2007. The program commissioned artists to make and install public art in various sites around the Shire. Award judges that year were Tony Trembath and artist Peter D. Cole. Susie Kumar has a Bachelor of Landscape Architecture degree from RMIT and Naomi Kumar has a Bachelor of Fine Art in photography degree from VCA. The Kumar sisters designed the sixty meter gently curving bench in response to the topography of the site, Conventry Oval. The sculpture is designed to describe the boundary between the formal oval and the natural creek bank and a considered relationship to the bike track and the river. It forms a link between the activities and aesthetics of its environment. The work is a comical interpretation of the utilitarian public bench. From a distance the bright red runners (the colour of the local football team's stripe) appear to float about the surrounding green. One end of the work is straight and finished. The other remains 'unfinished' hence allowing for the concept of unlimited extension. The 'legs' (steel hurdles) are arranged with a sense of movement and rhythm in sympathy with the activities happening around the work and with the stands of trees in he background. 'Benchmark' also serves as a functional purpose; providing a choice of places to sit to watch action on the oval. Stainless steel, timber (Victorian Ash) and red enamel paint. Sixty meter long red bench that gently curves in response to Conventry Oval. Bolted on top of evenly spaced stainless steel hurdles, four rows of timber runners are joined to provide unbroken continuous lengths. The bench stands on a framed bed of crushed rock (Lilydale topping).N/Abench, sport, wood, victorian ash, stainless steel, public art, ekphrasis2017

The work was installed at the cnr of Bridgport St and the Midland Hwy, adjacent to the Daylesford Library, in 1999. The work was commissioned by the Friends of the Library, Daylesford and funded by Arts Victoria and the Australia Council. Poemscape: a physical anthology is a much loved site specific installation work commissioned by the Friends of the Library, funded by Arts Victoria and the Australia Council, made by Daylesford resident Patrick Jones in response to his interests in the provision of public food, the development of locavore sensibilities and the rethinking of economies of material accountability and regard. Patrick Jones is a poet and non-fiction writer, a visual artist and ecological thinker. In 2013 Patrick Jones was awarded the degree of Doctor in Creative Arts from the University of Western Sydney for his thesis, 'Walking for food. Regaining permapoesis.'Public Art Environmental installation work installed near the Daylesford Library. Poemscape: a physical anthology comprises of 19 apple trees (18 Fuji apple trees and 1 Granny Smith apple tree) planted on the corner of Bridgport St and the Midland Hwy, adjacent to the library. Adjacent to each tree is a hardwood plinth at topped with a laser engraved brass plate that has been screwed in place. The text of each plate is by 19 poets including the artist and Daylesford resident Patrick Jones, local poets Peter O'Mara, Toby Sime and Robert Campbell, Australian poets Geoff Page, Kath Walker, D T Sime, Judith Wright, Ramona Barry, Jack Davis, Robert Campbell, Christopher Brennan and International Poets Dylan Thomas - Welsh, Sylvia Plath - American, Choku Kanai - Japanese, William Blake - English, Duo Duo - Chinese (translated from the Chinese by John Rosenwald), Yannis Ritsos- Greek (translated from the Greek by Kimon Friar & Kostas Myrsiades), Michel Deguy - French (translated from the French by Clayton Eshleman), Seamus Heaney - Irish and Rainer Maria Rilke - German. The title plate adjacent to the Granny Smith apple tree is by the artist/poet - Patrick Jones. See photographs with images of each of the laser engraved brass plates. permapoesis, artist as family, patrick jones, william blake, kath walker, chaku kanai, peter o'mara, sylvia plath, dylan thomas, geoff page, duo duo, d.t. sime, judith wright, yannis ritsos, michel deguy, ramona barry, seamus heaney, jack davis, rainer maria rilke, robert campbell, christopher brennan, hepburn shire, daylesford library, public art, installation art, environmental art, hepburn shire public art collection

The first sculpture awarded the Shire of Eltham 'Art in Public Places' Award/Commission. The Judges were Inge King, Jenny Zimmer and Daryl Jackson. The work deals with the juxtaposition of suburban and rural surroundings. This scupture is a typical example of the artist's oevre of the period. This sculptre is site specific and refers to the nature of the environment. The colour - bushfire red / sienna - alludes to the history of fire in the urban/rural fringe and the title, as well as the sculpture's shapes, forms and material refer to the natural and local elements. Judges report noted: "The most vital and expressive work for the site...with a great sense of dynamic movement and vibrant colour. Its' abstract forms will enliven the surroundings and the urban and natural environment. This work is the most appropriate for the site and expressive of the dynamics of an evolving community in which artistic discourse and debate has always thrived." The work has acquired the status of a major landmark from the National Trust. The Breeze is an abstract work made out of welded steel and painted in enamel in bush fire red / sienna. It comprises a series of flat, cut-out shapes, interlocking at different angles, giving the impression of being hinged together rather than fixed. The work references nature and the built environment. Its geometric shapes suggest man-made structures within industry and suburban life, while rural areas can be identified by the organic flame-like shapes fanned by the wind. The circular cut-out in the eye mimics the sun, symbolising the intense heat of the Australian climate, while the colour red alludes to the history of bushfire within the urban and rural fringe. N/Apublic art, ginger, red, sienna, elements, steel, abstract, breeze, fire, sculpture

'Black Saturday' Bushfire Memorial Sculpture.Commissioned by the Hepburn Shire with funds provided by the Commonwealth and State Governments through the Bushfire Community Recovery Fund. Large scale tree-inspired steel and bronze sculpture incorporating two drinking fountains. Artist's name is laser cut onto the base of the 'trunk' of the tree.hepburn shire, hepburn shire public art collection, public art, bushfire memorial, sculpture, memorial, public art commissions, anton hassell, australian bell pty ltd, daylesford, art

Local Artist CV Artist StatementSignificant artwork by nationally renowned local artist Petrus Spronk.Large Scale Outdoor Sculpture made up of a bronze chair with an open book, a bronze shadow and 6 story rocksArtist signature - underneathlocal artist, petrus spronk, sculpture, public art, victoria, daylesford, mineral springs reserve, environmental art, hepburn shire public art collection, hepburn shire, hepburn springs, hepburn springs mineral reserve, bronze, granite, tourist attraction, art, clare gervasoni, joan mcewen, marie butler, laurie sullivan, bonnie howell, vera, lutea, merv keating, silent

This work was first commissioned by the Melbourne city council as part of a celebration of the opening of the Birrarung Marr park. 25 victorian sculptors were given $2,500.00 to create a work which would be part of the park for about 6 months. Date of manufacture and installation: 2002 'Silent/Listen' was gifted by the artist, Petrus Spronk, to the people of Hepburn Springs in July 2001.Two smooth rectangular engraved granite slabs placed directly on the ground. Each granite stone is engraved on its uppermost surface. The left hand work is engraved with the text - 'silent' and the right hand work is engraved with 'listen'. Unsigned. Dated July 2001 petrus spronk, public art, sculpture, environmental art, hepburn shire public art collection, hepburn shire, listen, silent, hepburn springs mineral reserve, granite

'Hepburn Pool is a forgotten treasure which many visitors to Hepburn Springs would never be aware of. The owners of the Bellinzona Grange hotel explained that it was once the hotel pool and was built in the 1930's. You can find it behind this hotel, downhill at a street called The Pool Way. Steps and a ramp continue down to the pool itself and the secluded park around it. It was built into Spring Creek and became a competition pool for state swimming championships. A concrete weir separates a shallow children's pool from the main pool. You can still see the numbers of each lane painted on the walls at the deep end. There are plenty of seats and a barbeque area. A sign says this is a sacred aboriginal spot and you can certainly feel something magical about the place. I wouldn't suggest swimming in the former pool, it looks rather murky now.' Review of Hepburn Pool by 'Jolyon67' on 'Tripadvisor', 3 June 2015'The Bunji: The Bunjil sculpture emerged from discussions with local indigneous Elders, as a dreamtime totem to the Sacred Pool at Hepburn Springs. The original idea was to create the 3 totems of the area...the Bunjil, The Crow and The Bat. Russell applied for, a council grant of $3,000 to design, create and install the Bunjil Sculpture to overlook the pool and reflect its powerful image in the water.' Information provided by Russell Petherbridge, December 2015Large scale steel sculpture depicting 'Bunjil', the dreamtime totem of the Hepburn Pool, an eagle in flight.art, public art, sculpture, installation art, aboriginal art, site specific art, hepburn shire, hepburn shire public art collection, russell petherbridge, bunjil, hepburn, hepburn pool, aboriginal significance, steel sculpture

The iconic bush surrounds of Lake Daylesford are now home to a new permanent artwork titled Cottage, by artist Jason Waterhouse. The artwork has been months in the making, thousands of S-shaped pieces have been hand crafted from three kilometres of wrought iron, then joined together to form a scaled-down miners cottage. ‘Cottage’ is a highly decorative wrought iron sculpture inspired by the gates at the Convent in Daylesford, “ said Waterhouse. “This work references the rich opulence of the Victorian gold rush and pre-war spa resort era in its patterning. In its form ‘cottage’ pays homage to the miners, workers and farmers on whose backs the riches of Daylesford were built.” Cottage is the first in a series of significant public artworks to be commissioned by Hepburn Shire Council. Cottage will enhance one of Victoria’s premier tourist destinations, Lake Daylesford. Large scale wrought iron public sculpture referencing the worker's cottage of the Goldrush period in Daylesford. 203cm (height) x 382cm (width) x 353cm (depth) verandah 159.5cm (height) wrought iron 32mm x 2.5mmpublic art, sculpture, jason waterhouse, stockroom, daylesford, hepburn shire, daylesford lake, cottage, site-specific art, art, wrought iron, hepburn, hepburn shire public art collection

The Moore Park and Taylors Lakes Commonwealth Games Public Art Project consisting of mosaic panels, concrete blocks and exercise equipment

Alan Marshall was an author of more than fifteen books, and lived much of his life in Eltham. He became a central figure in the area's arts community of writers, artists, sculptors, film makers, actors and musicians. He is shown stroking a book to his heart, perched on a crutch, which references his disability (contracted polio when he was young), and his status as one of Australia's most successful and loved authors. His most famous book, 'I Can Jump Puddles' is based on his life story and the obstacles he faced as a child in trying to overcome his disability. Marcus Skipper submitted the idea for the work to the first 'Art in Public Places' Awards in 1990. The selectors at the time recommended that the work would be more suitably placed near the Eltham Library. It was commissioned and installed for the new Eltham Library, which was designed by Greg Burgess in 1994. It was partially funded by the then Shire of Eltham's Art Development Fund (Eltham Arts Council) and the rest donated by the artist Marcus Skipper. This work has significance for its reference to two well known names associated with Eltham and its history. The sculpture is a realistic statue of the famous Australian author Alan Marshall who wrote "I Can Jump Puddles". He lived and worked in the Shire. The artist Marcus Skipper represents a highly recognised family of artists associated with Monsalvat. The sculpture 'Alan marshall' has been classified as of regional significance by the National Trust of Australia. A realistic depiction (almost life size) of Alan Marshall cast in bronze with green patination. Dressed in a jumper and slacks, Marshall is shown perched on a crutch, holding a book to his heart, gesturing to his audience to come and listen to his words. alan marshall, bronze, skipper, i can jump puddles, eltham library, novalist, ekphrasis2017, figure, public art

Commissioned by the Friends of Wombat Hill Botanical Gardens and gifted to the Hepburn Shire in 2012. Historical Significance - In 1848, Irish immigrant John Egan took up land on the future town site then known as Wombat Flat. He and a party of searchers found alluvial gold in 1851 on ground now covered by Lake Daylesford initiating the local gold rush. Other finds quickly followed. With the finding of alluvial gold a town site was surveyed and founded in 1852. Initially called Wombat, it was renamed Daylesford. Cultural and Artistic Significance - Miriam Porter's 'Wombat' is a symbol of the Wombat Hill Botanical Gardens where visitors and locals alike love being photographed. Large scale solid redgum wombat sculpture.Artist intends to sign the work with 'M' on one leg.daylesford, hepburn shire, public art, miriam porter, wombat, art, sculpture, red gum, australian wood, australia, tourist attraction

Boy with a Thorn Though the classical bronze that the figure was modeled has become known as Lo Spinario, both Stuart Rattle and Kevin O’Neill referred to it as The Boy with a Thorn. Information from the late Stuart Rattle and John Graham, the late Kevin O’Neill’s partner. The statue was bought by Kevin O’Neill from a South Yarra antique dealer in the 1980s. She had bought it in Europe. Stuart believed that it was cast in Berlin by Moritz Geiss who had pioneered the popular process of zinc casting of classical statues. Schinkel, the architect of early 19th Century Prussian public buildings used the process extensively. I assume that the decorations that can be seen in Berlin currently are copies of those copies, given the comprehensive destruction of the city in 1945. Unless there is a date stamped on the statue, and there might well be, there is no firm indication of its age, although Stuart and Kevin believed it was “turn of the century”. It was given to Stuart by John Graham after the death of Kevin O’Neill. Prior to its installation at Musk Farm, it was “by the dam” at Marnarnie, O’Neill’s property at Mt Macedon. It became a much photographed focal point in the sunken garden at Musk Farm. The statue is a gift from the Rattle family to The Friends of Wombat Hill Botanic Gardens who intend to give it, in turn, to Hepburn Shire to be placed in the Botanic Gardens. Both the family and the Friends see it as a memorial to Stuart’s tireless work to raise funds for the Gardens and to raise the profile of the Gardens so that their considerable significance could be more broadly acknowledged. The CMP notes that statuary has been a feature of most botanic gardens (and a notable feature of the Ballarat Botanical Gardens) and James Lowe, the head of Parks for the Shire has also commented that it is an area that could well be developed in the Gardens. This comes from his attendance at meetings of the BGANZ, the “peak professional body” for the development and maintenance of registered botanic gardens in Aus and NZ. Given the lack of funds that the Shire has been able to allocate to the Gardens, a donation of this calibre is a welcome addition to the cultural asset that the Gardens represent. A very large number of residents of the Shire are members of the Friends, have visited Musk Farm and are appreciative of the Gardens. There is a current feeling that the Gardens are undergoing a dynamic revival as a result of the success of the Café and also because of the extraordinary improvement and enhancement of the amenity that has been undertaken over the past two years by the Friends. The installation of the Boy with the Thorn is another move forward for the Gardens. The statue is cast zinc. It is sometimes referred to a white bronze. As can be seen in the photographs, it is in very good condition with no damage or apparent degeneration of the metal. The Smithsonian Institution has a lengthy document relating to the deterioration and repair of similar casts in the US where urban pollution has taken its toll but for the most part it deals with inappropriate repair rather than maintenance protocols. One of the properties of zinc that is appreciated in Australia is its ability to withstand the elements and given that the artwork has been either on Mt Macedon or at Musk for the last 30 years or more, its relocation to Wombat Hill seems to be an appropriate one. The Friends are prepared to organise and pay for the relocation of the statue. The issue of security from the point of view of theft, malicious damage and environmental impact will need to be addressed. The Ballarat Botanical Gardens have recently reinstalled statuary which has been damaged and which had been removed from the Gardens on account of this. They have used Rockworks Ballarat and Wilson’s Memorials to make plinths, secure artworks with steel pins and to provide especially robust fixings to ensure the safety of the various sculptures. The CMP (2007) makes a number of recommendations regarding security in the Gardens ranging from the installation of lighting to the locking of the gates overnight and the repair/reinstatement of appropriate fencing – not done as yet to my knowledge. Paul Bangay has also agreed to act as a consultant in the process of installing the Boy. John Graham estimates its value at $20,000 The preferred location for the work would be at the entrance to the Fernery from the lawn. The paths form an intersection at that point that could be modified to fit the statue. But this is currently a suggested location only. The statue is a gift from the Rattle family to The Friends of Wombat Hill Botanic Gardens who have gifted it to the Hepburn Shire to be placed in the Botanic Gardens. Both the family and the Friends of the Wombat Hill Botanical Gardens Daylesford see it as a memorial to Stuart’s tireless work to raise funds for the Gardens and to raise the profile of the Gardens so that their considerable significance could be more broadly acknowledged. Lo Spinario (Boy with a thorn) c. 1900 copy after the Greco-Roman Hellenistic antique bronze in Rome. c. 1900 copy after the Greco-Roman Hellenistic antique bronze in Rome (Palazzo dei Conservatori, Musei Capitolini, Rome) Manufacturer M. Geiss, Berlin Nonedaylesford, wombat hill botanical gardens, stuart rattle, kevin o'neill, john graham, boy with a thorn, lo spinario, classical sculpture, zinc, classical nude, hepburn shire, public art, sculpture, art

'Surveyor of Suburban Environs' was one of the acquisitions from the 1991 Eltham Art Awards (now known as the Nillumbik Prize - and formally the Nillumbik Art Awards). This was the first piece acquired from this award which was suitable for a public space. Nillumbik is referred to as the "Green Wedge" and the sculpture "Surveyor of Suburban Environs" suggests a watchful observer of the surrounding landscape. The sculpture's central motif represents an eye held up on a pedestal by a tail. Its form has been likened to the Eye of Horus, an ancient Egyptian symbol of protection, royal power and good health personified in the goddess Wadjet or 'green one'. This likeness would suggest that the observer or surveyor has a divine status and spiritual connection to its environment. Polished stainless steel sculpture comprising an eye reminiscent of ancient egyptian hieroglyphics, which is held up with a tappered and jaggered tail like pedestal. Concrete base. N/Apublic art, fries, spiritual, eye, stainless steel, goddess, surveyor, sculpture, environment

The site specific sculpture is located at the entry to the office of Nillumbik Shire Council. It was commissioned in 1994 by the Shire of Diamond Valley for their 20 year celebration. Baines was chosen from a short list of three artists. He is an internationally renowned artist, particularly in the field of gold and silver smithing. 'Transaction' takes on the visual and aesthetic vocabulary of its surroundings. It is a statement of the geometry and idiosyncrasy of its immediate site. The series of arcs are reinterpreted into longitudinal curves in the sculpture. It is a transaction between the place and the anticipated entry to the building. The title also suggests the flow of civil and administrative procedures that take place daily within the Shire's offices. A large cascading form in stainless steel. Multiple rows of concave dishes set on long steel stems, which progressively increase in size as they rise in height. The work plays elaborately with perspective, and its repeated shapes are arranged in a orderly mathematical series. It faces a wheelchair ramp lined with polished steel rails, and is integrated with the architectural features of its forecourt setting, for which it was designed. The piece is sited in a small garden area and can be viewed from within the building's foyer. In bright sunlight, its dish-shapes cast elliptical shadows across walkways and lawns. N/Apublic art, transaction, ekphrasis2017, stainless steel, disks, poles, council

nillumbik shire council public art

Commissioned by Nillumbik Shire Council - 1997 The selection panel in the commissioning process to this 'extraordinary acquisition' was Rhonda Noble, Director of La Trobe University Museum of Art, Jeph Neale, Eltham Roundabout Advisory Group, Chris Marks, NSC Curator of Collections, Geoff Glynn, NSC Manager of Infrastructure Development.'Nest' highlights the indigenous flora and fauna of the Shire. The stiff, coarse grass used to create the nest is indigenous to the area and the eggs are like those of the spotted quail thrush, a ground-nesting bird of the Shire. The circular flow or placement of the eggs recalls the revolution of the seasons and nesting cycles. There is a tall light pole above the eggs, shining down at night. The effect is of a giant incubator. Enrichment and nurturing of the larger environment can be associated with this sculpture. This work resembles a large bird's nest, with three egg-like forms of fibreglass covered in a pebble render, set on sand. The nest is positioned within the paved boundary of the roundabout. The nest shape has been created out of stiff, coarse indigenous grass, periodically trimmed so the view is not obstructed. The eggs are a brown-speckled, creamy yellow colour. The three eggs are arranged in a ring, with the narrow end of each pointing to the large end of the next, in a circle that mimics the flow of traffic. N/Apublic art, nest, eggs, eltham, ekphrasis2017, mosaic, pebbles, roundabout, spotted quail thrush

public art

public art

Wayne Alfred is a member of the Namgis Tribe of the Kwakwaka'wakw people. As a master carver he has an extremely high level of carving skill and knowledge about his peoples cultural objects, customs, tribal stories and legends. The Totem Poles of the North Pacific Coast in British Columbia and Alaska are traditionally carved out of red or yellow cedar, which has a spiritual and practical purpose. The wood was known for its durability, its resistance to rotting and the inner bark was utilised in ropemaking, clothing, hats, baskets and so forth. The Kwakitul People consider the cedar tree to be among the most sacred of all things provided by the Creator. They believed the Cedar tree to be the axis of the world and a pathway to the upper world. The wood is shaped using implements such as adzes, axes, chisels, carving knives, and chainsaws. Misinterpreted as Gods and idols to be worshipped, totems usually serve six purposes, such as a house pillar for support, a memorial or mortuary pole to commemorate (and house) the deceased, a potlatch pole (used for important traditional indigenous celebrations), a ridicule pole used to shame and a heraldic or family crest pole. Characters and symbols on these totem poles usually display family crests, history, wealth, social rank, inheritance, and privilege, as well as animalistic imagery derived from native animals and mythological creatures. Their sequence are indicative of past family events, ancestors, myths, and heraldic crests, with the bottom figure usually being the most prominent. In this work the 'thunderbird' is symbolic of power, strength and of ancestory. The Commonwealth Games Totem Pole was presented to the people of Nillumbik on behalf of the Canadian Government in recognition of Melbourne as the hosts of the Melbourne Commonwealth Games Team in 2006. Carved in cedar wood, this totem pole incorporates bold cuts and colours (such as red and green) offset by strong black. A relative degree of realism is used to depict the alligator located on the bottom of the pole, a man and a 'thunderbird'/eagle located on the top. With protuding element. No inscriptions. Bold cuts used to outline the characters and symbols as well as decorative and stylised features all over the pole. public art, kwakwaka'wakw, namgis, alfred, north pacific coast, british columbia, canada, totem pole, carved, commonwealth games, melbourne festival, cedar

Deborah Halpern was raised in Nth Warrandyte. Her connection to the area and the significant contribution that she and her family (founding members of Potters Cottage) have made to the artistic heritage and culture of the Shire is acknowledge with the commission of this piece. Deborah Halpern is a highly recognised and respected local artist with an acclaimed national reputation in the arts community. This work is a gateway piece, welcoming residents and visitors into the Shire from the southern end of the boundary. 'Queen of the Shire' reflects the creative spirit that flows endlessly in the Shire, inspired by the landscape. This work forms part of a series of sculptures that Halpern has created along the banks of the Yarra in Melbourne ('Angel' - Birrarung Marr and 'Ophelia' - Southgate). This sculpture is an excellent example of Halpern’s ouvere and 'tile construction' technique for which she is renowned. Materials: coloured glass tiles, fibreglass, aluminium, steel. A sweeping stylised (female) form covered in bright and colourful tiles held aloft by two steel poles. queen, sculpture, semi-abstract, stylised, glass, tiles, public art, halpern, ek prac 2015

Sanders was a well-known local potter who worked for a time with David Boyd at the Martin Boyd Pottery, before returning to Melbourne where he had some association with Arthur Boyd, at the pottery in Murrumbeena. Sanders set up a studio in Eltham in the early 1950s and made the first of a series of architectural ceramic murals with painter and print maker Lawrence Daws in 1956. In 1957 he left for Europe and while there was inspired by the Spanish artist Joan Miro’s unconventional painting style and large scale murals, in particular Wall of the Moon (1957). After returning from his travels in Europe to Australia in 1964, he began to work solely on creating ceramic murals, some of which were commissioned for Southland Shopping Centre in Cheltenham, Melbourne, 1968 (now demolished), the National Mutual Centre, Melbourne,1964-5 (now demolished), Dee Why Library, Sydney 1966, Woden Valley High School, ACT, 1967, Tullamarine Airport Melbourne, 1969-70 (now demolished), Perth Concert Hall, 1971 and The University of Melbourne,1975 (with John Olsen). This mural is one of only three remaining in the public realm by Tom Sanders (the others are at the Perth Concert Hall (1971) and at the University of Melbourne (1975). Ceramic mural (earthenware tiles) consisting of a playful/organic abstract design similar in style to the Spanish artist Joan Miro. Shades of blue, yellow and black glazes are layered onto matte black and shiny bronze tiles. N/Amural, public art, earthernware, pottery, ceramics, glaze, eltham, ekphrasis2017, eltham town square, joan miro

symbiogenesis, symbio, laughing waters, paul kalemba, aviva reed, community project, public art, eltham town square

Document includes discussion of impetus, preamble, policy context, objectives of the Art in Public Places Program, What is Public Art, Identification of sites and opportunities, funding, initiation the commissioning of works, selection of artists, project management, consultation, conservation and maintenance, de-accession guidelines, ownership, documnetation, and list of 11 pieces of Public Art Pieces in the Nillumbik Art Collection. Separated from Folder 73 from Harry Gilham Collection 8 pagesnillumbik art collection, public art

Public Art Commission located at Corner of Hampton Street and Thomas Street, Hampton, Victoria 3188.bronze Public Art Commission located at Corner of Hampton Street and Thomas Street, Hampton, Victoria 3188.sculpture, public art, newspaper, hampton, bayside, william eicholtz, bronze

Anderson Hunt vividly remembers the hard-core, hard-working supporters. "I see The Final Siren as a homage to those hard-working Collingwood fans who stood in the outer and barracked their hearts out. Without the hard-core supporters, the club would be nothing. I hope the sculpture gives Collingwood fans a sense of pride; pride that’s like wearing a tight footy jumper with big numbers on the back. I feel honoured to have had the chance to create this sculpture, knowing that what was there beforehand stood for so much.”Victoria Park, the former home of the Collingwood Football Club, was transformed into a major community recreation space in 2011. Yarra City Council and the Australian Government jointly funded the $7.2 million redevelopment of the Abbotsford ground. As part of the redevelopment, Council commissioned multiple works of public art. The intention of these artworks is to recognise the park’s important history and to provide interesting and educational focal points for park. visitors. This work by Anderson Hunt is in place of the original scoreboard which was demolished on 10 February 2011. Anderson Hunt remembers going to Collingwood games as a boy and wondering how the numbers on the scoreboard appeared and disappeared. He remembers being in awe of the size of the scoreboard. “It was like a huge monolith,” he recalls. He remembers a story of how the scoreboard operator, Bob Hill, would change the scores quick as a flash when the Magpies kicked a goal.Large black and white steel sculpture inspired by the form and imagery of the ground’s former scoreboards and clocks. Stylised wing and colours acknowledge the Collingwood Football Clubsport, collingwood football club, afl, history, victoria park, collingwood

Public Artpublic art, australian art

Clinton Naina’s earliest memory is attending Collingwood football matches at Victoria Park with his father and uncles. His dad was an avid Collingwood supporter and Naina proudly wore his football colours. Lining up to enter the grounds at the big old black-and-white painted wooden doors gave Naina the feeling of entering into another world. 'Rule 30' is a comment on race relations in sport. The artwork is made from the original doors located at the front entrance of the Collingwood Football Club’s grounds at Victoria Park. When the club was refurbished the door was gifted to Naina by a friend—an ex-Collingwood football player—for use in his art practice. The work depicts a big red target painted on the existing Black and white stripes—Collingwood colours—of the door. Naina placed a fabric number ‘30’ on top of the target—created from material used for numbers on the back of players’ football vests. This represents the individuals who have been racially vilified while playing football over many years. The red represents the colour of human blood, while the Blak and white Collingwood colours already painted on the wood are a very fitting comment on race relations. The door itself becomes a potent metaphor for “overcoming barriers, making change, breaking down doors and moving forth into a new era of respect for people”. Rule 30 in the AFL was the first racial vilification code in Australian sport. It prohibited conduct between players, clubs and other AFL officials, which threatened, disparaged, vilified or insulted another person on the basis of that person’s race, religion, colour, descent or ethnic origin. In 2013, ‘Rule 30’ was amended to ‘Rule 35’ to combat other forms of discrimination including disability, appearance and sexuality.The number '30' cut out of fabric placed on top of a painted red target at the centre of an existing black and white wooden door.Accompanying labelracism, sport, football, afl