Our new website went live late last year and since then we’ve received some lovely feedback and interesting projects. If you haven’t checked it out yet please head on over to christinawaterson.com
There you’ll find featured a selection of our favourite projects and collaborations; beautiful photography; and a little background to our projects.
You’ll also find info about some of the great Clients we’ve worked with as well as some insight into the depth of our creative practice in Art, Design and Advocacy.
Thank you to Wes Davis (Founder of Netprophets and MoPad) for a great website and hosting, and being an awesome creative to collaborate with; and Craig Rochfort (Founder of Jane Fender, Co-founder of the brand Art Park and founder of Rochfort Design Management) for beautiful curation of content. A Dream Team!
In light of 2015 being a year of realising large scale public artworks I decided to dedicate the beginning of 2016 to getting back to creative origins and rekindling my creative spark by some intensive making in the studio and attending a series of Summer Tasters run by The Byron School of Art (BSA).
A highlight was Christine Willcocks’ intimate printmaking taster. She shared her experience, valuable insights and cross disciplinary approach to transfer and mono printing. Christine makes beautiful and meticulous work with a passion for drawing, photography and 3D. Printmaking is the backbone of her practise. See Christine’s work at her website.
What a lovely way to start the year! A big thank you to Christine Willcocks and The Byron School of Art.
In early 2014 I was shortlisted, along with three other Australian Artists, to competitively bid for The Milton Artwork Public Artwork Façade opportunity. Each artist had six weeks to develop a unique artwork concept and submit a detailed expression of interest that included their artwork concept, composition, buildability and fabrication methodology.
After visiting Milton and undertaking research into the site’s history I was intrigued by Milton’s development over time. Of particular interest were the patterns of early land use and how they mirrored the micro cellulose structures within native and crop species. I tested my initial concepts using a series of small handmade models. Some of the models just tested the individual elements’ form, while larger studies explored the overall composition and visual permeability of the artwork. These studies then directly informed the 3D computer models and renders. Flourish’s composition frames a field’s edge where native flora have re-grown and flourished.
My final EOI included the Flourish artwork concept; handmade models; facade elevations and sections; interior and exterior views; assembly methodology; as well as detailed quotations from three local manufacturers.
In late 2014 to my joy I’d successfully been selected as the preferred artist for the project.
After initial briefing with the Project Stakeholders I incorporated their great feedback to add colour and further develop the composition option that incorporated a central dimensional flourish design framed by flatter border panels. At the end of 2014 my revised composition was approved by the Client and submitted to the Brisbane City Council (BCC).
DESIGN DEVELOPMENT, FABRICATION AND INSTALLATION
Team meetings with the client, fabricators and documenters for design development, documentation and prototyping happened in the first half of 2015.
This was an intensive and rewarding process in which details of the artwork and its elements were streamlined for material properties and sheet efficiency; as well as for the fabrication process. The artwork’s overall layout was further developed during this time to accommodate weight and support requirements. The design of the fretwork was developed to meet the revised free air requirements in those areas while also concealing the artworks orthogonal support frame. I worked closely with Poppy Veerasawmy (Creative Facade) throughout this process.
The final colours (based on native flower species), artwork layout and details were signed off in May 2015 with the approved design being fabricated in June and July. It was really great that the artwork was made in Brisbane by local manufacturers who specialise in metal fabrication and coating. It meant I could visit each fabricator on a regular basis, stay in touch with progress and photograph the fabrication process.
Installation started in August and was completed in September 2015. I visited the site weekly to see how the artwork had grown. It was an affirming experience to witness it evolve to completion. The details that we’d worked through during design development/documentation contributed to the overall effect and success of the artwork.
Since Flourish’s completion I’ve received lovely feedback from visitors to Milton. People especially love the artwork elements, colour and the way the composition looks different from all angles.
Client: Commissioned by Aveo Group Ltd and Hutchinson Builders
Name: Flourish – thrive prosper bloom 2015
Medium: Painted steel
Location: The Milton Residences, 55 Railway Terrace Milton, Queensland, Australia.
Artwork Area: Over 440 sqm
Built locally in Brisbane by Hutchinson Builders through Auzmet, Creative Facade, GCI Group, and Peerless Painting and Sandblasting.
See these and all photos from 2015 at my instagram.
Flourish references the site context of Milton as a rich point of intensity in the development of Brisbane – from its natural pre-settlement geography of fresh water creeks feeding the Brisbane River, providing fertile hunting and fishing grounds for Aboriginal people, to the early township farms established on the rich alluvial flats. Inspired by the micro structure of plant cellulose, Flourish expresses concepts of growth, mimicking the natural processes of cell division and reproduction while referencing native flora for its colour palette.
The early settlement farms were quickly followed by industry and transport systems and today Milton continues to thrive as a key node for social and commercial exchange. Flourish thus attempts to capture and express the layers of these site relationships.
It’s bespoke composition frames a field’s edge where native flora have re-grown and flourished. The elements that form Flourish’s central composition are part of the family of forms used in the Stellar Collection with TAIT and artwork entitled Celestial Analogue 2014. Flourish’s elements are scaled to the city and have unique details that address the specific screening and ventilation requirements of The Milton building.
The interlocking forms gather themselves to intensity in the centre as the work knits and folds in upon itself and into the built form, circulating light, shade, and colour in ever repeating patterns.
Flourish uses dimensional thickness to create a mesmerising surface that responds to view, light and shadow and in this way gives different experiences throughout the day and from distinct vantage points. My fascination with three-dimensional surfaces and patterning is a constant thread that runs through my practice, artworks and product collections.
Flourish – thrive prosper bloom 2015, commissioned by Aveo Group Ltd and Hutchinson Builders for The Milton Residences, is my largest public work realised to date.
I’ve enjoyed a studio sojourn since moving from my beloved long term studio in Brisbane. The move and new rural surroundings (with a great community of creatives and passionate people) have guided my work to new levels while allowing me to better balance work and life. I’ve had a deeper connection to nature (wildlife; seasons and natural cycles that inform my work) and to my inner self through the time and experience.
Many of the projects I’ve worked on throughout 2015 have been large-scale high stake projects, so having a good base has been essential to keeping it real; staying relaxed and focused; and remembering why I am an artist.
Thank you to Darcy Clarke for sharing the most amazing studio in the hills with the sky and beautiful things all around!
Hello there! Yes it’s been a while since I’ve posted to Tracepattern. In 2015 I’ve been super-busy on a number of projects: especially in realising a large scale public artwork entitled Flourish – thrive prosper bloom for The Milton residences. It’s almost complete and I’m so happy to finally share the project with you. More details of what I’ve been up to and, of course, the process of realising such a large scale work.
PS. In the mean time check out all of my latest news and inspiration at my official instagram site. It’s been a big year!
The Stellar Collection was launched in Melbourne and Sydney during October and November 2014. I so enjoyed these events with TAIT because after all our hard work we shared Stellar with such lovely people. It’s a pleasure to post a transcript of the short speech I gave on the occasion of the launch of Stellar in Sydney, on 6 November 2014.
Thank you for sharing this special evening with us as we launch the Stellar Collection.
The Stellar Collection was inspired by the night sky. As a child I was in awe of the Milky Way’s beauty and would spend many a hot summer’s night out on the water tank star watching. My brothers and I would look for satellites and shooting stars, often making our own constellations using the stars we could see, and our different interests as a reference point. This playfulness is at the heart of the Stellar Collection as it encourages people to become modern-day astronomers, making their own constellations and patterns in the form of sculptural screens, ceilings, wall reliefs and objects.
While the names and patterns for our traditional constellations are inherited from Greek mythology, almost every culture on earth envisaged patterns in the stars that captured their unique culture and nature. For Stellar’s signature patterns I re-imagined the stars in the night sky to form a set of new constellations based on the patterns and lines of Australian flora and fauna.
Tonight we are launching three signature patterns in the Stellar Collection called Kingii, Banksia and Rosella. Kingii reflects the distinct form of the Frilled-neck lizard’s open mouth. Patterns within the Banksia’s flower spikes at different stages of growth and blooming are reflected in the Banksia pattern. And my favourite pattern in the collection, Rosella, captures the moment when a family of Rosellas (birdies) alight from feeding on grass seed and pine nuts.
My passion is to create large-scale intricate surfaces whose depth, detail, and effect on light and shadow transform and bring a finer grain to the spaces around us. Therefore it’ only natural that Stellar’s elements form sculptural screens, wall reliefs and ceilings. The elements also make both functional and sculptural objects and we have a few of our favourites on show tonight.
We are delighted to share the Stellar Collection with you and can’t wait to see the unique patterns, objects and colour combinations that you create with Stellar.
Thank you and enjoy the evening.
Stellar is a credit to all involved in the process. A massive thank you to Susan and Gordon Tait for your generosity of spirit and belief in realising the Stellar Collection. Thank you to TAIT’S fabulous team whose skill and expertise across all areas of streamlining, fabricating and sharing Stellar make it unique. To Max&You thank you for your amazing energy on all things marketing and publicity of Stellar for TAIT, and especially such enjoyable launch events. Thank you Mr Cameron Bruhn for MCing Stellar’s Melbourne Launch, and Gordon Tait for MCing the Stellar’s Sydney Launch – you both brought a personal touch through the insights you shared.
Thank you to all who attended the launch events – it was great meeting such lovely, enthusiastic and talented individuals.
I have had so many beautiful things make me smile and bring me joy over the last few months. A small selection is included here. You may notice that some of the images are in a square format. That’s because they are from my instagram account that I’ve been experimenting with. Check out more images and inspiration at my instagram.