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CMWaterson-Flourish---Life-Size-Prototype-12-May-2015-s

An excited me next to the final full size prototype of one of the Flourishes. This was made for final sign-off of the central element details. Photograph by Poppy Veerasawmy (Creative Facade).

BACKGROUND

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.

CMWaterson---Flourish-Conceptual-Background-2014

Concept behind Flourish – Patterns of Milton’s early land use and how they mirrored some of the micro structures within native and crop species.

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.

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CMWaterson---Marquettes-of-Flourish-2015

Different from all angles – Flourish handmade artwork of a small portion of The Milton Artwork Facade for my Concept Proposal, February 2014 (Dimensions 550 x 375mm). Photography Christina Waterson.

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Concept render of view from within the spaces behind Flourish, prepared for my Milton Artwork Facade Concept Proposal, February 2014.

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Initial concept render of Flourish – thrive prosper bloom, February 2014. The artwork marks the Railway Terrace entrance to Milton Train Station.

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.

CMWaterson-Flourish-Final-Render-Revision-Issued-4-December-2014

Showing colour and how the work progressed throughout the process – here is the revised concept render of Flourish presented to the BCC.

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.

CMWaterson-Flourish Half Scale Prototype 2015

One of many prototypes made by Auzmet for Hutchinson Builders, during Design Development and Documentation. Pictured is a half scale prototype of a central Flourish element with the border design. Photography by Christina Waterson.

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.

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Just a few of the 200 or more Flourish parts awaiting finishing and transport to the painters. Photography by Christina Waterson.

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Labelling of parts that make up the central Flourish panels prior to coating. Photography by Christina Waterson.

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At the painters each element was painted prior to assembly. Photography by  Christina Waterson.

CMWaterson---Start-of-Installation-of-Flourish-2015

CMWaterson---Installation-of-Flourish-2015

During installation of the central Flourish area. Photography by Christina Waterson.

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.

CMWaterson-The-Milton-Artwork-Facade-23-July-2015

CMWaterson-The-Milton-Artwork-Facade-Railyway-Terrace-View

View to Flourish – thrive prosper bloom from Railway Terrace footpath. Photography by Christina Waterson.

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Different from different angles: An acute detailed view to Flourish – thrive prosper bloom north along Railway Terrace. Photography by Christina Waterson.

CMWaterson---Flourish-Detail-View-2-2015

An acute detailed view Flourish – thrive prosper bloom south along Railway Terrace. Photography by Christina Waterson.

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Flourish – thrive prosper bloom 2015 from Railway Terrace, Milton. Photography by Christina Waterson.

CMWaterson-Front-Flourish-Srtwork-Facade-2015

Long front view of Flourish from Manning Street approach. Photography by Christina Waterson.

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.

PROJECT DETAILS

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.

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CMWaterson-Lorikeet-2015
JANUARY – Oh Lorikeet 2015. Photography Christina Waterson.
CMWaterson-Nomenclature-2015
FEBRUARY – Nomenclature 2015. Photography Christina Waterson.
CMWaterson-Plexa#1-Detail-on-William-Jolly-Bridge-2015

MARCH – Plexa Projection (William Jolly Bridge) 2015. Photography Christina Waterson.

CMWaterson-Beach-Haze-Days-2015
APRIL – Beach haze days 2015. Photography Christina Waterson.
CMWaterson Usnea Tassels 2015

MAY – Dream Lichen Tree 2015. Photography Christina Waterson.

CMWaterson-Yellow-Crested-Black-Cockatoo-2015
JUNE – Yellow Tailed Black Cockatoo Descending 2015. Photography Christina Waterson.
Christina-Waterson-Flourish-Parts-2015

JULY – Flourish Parts Await Finishing 2015. Photography Christina Waterson.

CMWaterson-Glass-Light-Shadows-2015

AUGUST – Glass Light Shadow 2015. Photography Christina Waterson.

CMWaterson-Brisbane-Silhouette-2015

SEPTEMBER – Brisbane Silhouette 2015. Photography Christina Waterson.

CMWaterson-Palm-Memory-of-Growth-2015

OCTOBER – Palm Memory of Growth 2015. Photography Christina Waterson.

CMWaterson-Everlasting-2015
NOVEMBER – Delicate Yet Everlasting 2015. Photography Christina Waterson.
CMWaterson-Striated-Pardalote-2015
DECEMBER – Striated Pardalote 2015. Photography Christina Waterson.

See these and all photos from 2015 at my instagram.

 

 

 

View from the studio. Photography Christina Waterson.

View from the Studio in the hills with local wonder companion Benson who visits the studio daily. Photography Christina Waterson.

 

Textures and layering of surrounding. Photography 2015.

Textures and layering of beautiful landscape all around. Photography Christina Waterson.

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.

Studio in the Hills 2015s

View to great studio with focused work space fitted out with beautiful objects including Darcy Clarke’s Tuesday Collection (Construct work table and Hoopla feature pendant pictured). Photography Christina Waterson.

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!

 

The launch of the Stellar Collection at Tait's Sydney Showroom. Photography Fiona Susanto courtesy of Tait.

The launch of the Stellar Collection at TAIT’S Sydney Showroom. Photography Fiona Susanto courtesy of TAIT.

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.

In the moment welcoming guests

Christina Waterson in the moment welcoming guests. Photography Fiona Susanto courtesy of TAIT.

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.

Avid audience

Avid audience listens to Gordon Tait’s MCing for the Sydney Launch of Stellar. Photography Fiona Susanto courtesy of TAIT.

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.

What a wonderful evening. Thank you to all who attended for making it so special!

What a wonderful evening made special by the lovely guests. Photography Fiona Susanto courtesy of TAIT.

Gordon Tait and Susan Tait.

Gordon and Susan Tait sharing a special moment with Christina Waterson. Photography Fiona Susanto courtesy of TAIT.

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.

Visit TAIT for more information about the Stellar Collection.

My Torbreck Home and Studio of Seven Years. Photography Aidan Murphy.

My Torbreck Home and Studio of Seven Years. Photography Aidan Murphy 2008.

Maybe you’ve noticed I have been extremely quiet of late. I’ve been busy planning, packing and de-cluttering in preparation for moving from my precious Torbreck studio and home of seven years. It was a major undertaking, made more difficult by the success of my creative practice and a very busy 2014. A good problem to have – yes!

I launched my creative business from this studio in 2007. The unique light and outlook at Torbreck has been inspirational. Many of my collections including The Komodo Series 2008; The Bloom Series 2009; Scale Screen 2012; Shadow Set 2012 and Soft Cell 2012/14 were conceived or made as small tentative studies at this special address.

The Komodo Series 2008 by Christina Waterson including (L > R) Study, Solid X-Screen and Plexa Screen 2008. Photography Christina Waterson 2014.

The Komodo Series 2008 by Christina Waterson including (L > R) Poly Woven Study, X-Screen (Solid Edition) and Plexa Screen 2008. Photography Christina Waterson 2014.

Early morning in the studio, April 2014. Photography Christina Waterson 2014.

Early one morning in my Studio, April 2014. Photography Christina Waterson 2014.

2014 Portait Christina Waterson.

A special inspirational place. Me pictured with Fall 2002 and Taking Flight parts 2010. Portrait for 2014.

For me this place represents freedom and escape, light and openness, and I feel many of these aspects are part of the work I conceived and made while residing and working there in the sky. While I am deeply saddened to leave this special place I know an exciting new chapter is just beginning.

Home-in-Time-to-Catch-Sunset

Always home for sunset. Photography Christina Waterson 2014.

A special thank you to Linda, Ty, Alex and David from Torbreck who everyday go above and beyond to make Torbreck a special place to live and enjoy!

 

The Forbidden City

Dream Walking. At the heart of Beijing lies China’s Imperial Palace (from the Ming to the Qing Dynasties), now known as The Forbidden City; home to The Palace Museum. Photography Christina Waterson 2011.

I woke this morning to vivid memories of my visit to The Forbidden City in Beijing. My thoughts were settling on the entry courts and more intimate details all around in screens, soffits and artefacts. I was privileged to visit the Forbidden City as part of my Winston Churchill Fellowship in 2011.

Over the past few weeks I have had flashbacks from this life changing time and thoughts about each person I spent time with; visiting Keiji Ashizawa and his Tokyo studio; my friends at PolyU and SCAD in Hong Kong; Mr Ohashi San in Beppu; Arda in Istanbul… I spent time with such talented and passionate people.

It dawned on me that it’s three years this week since I embarked on my Winston Churchill Travelling Fellowship Research. It’s three years since I started TRACEPATTERN to record and share the experience. The Fellowship broadened my practice. It dared me to dream large and have more belief in my direction and work.  It encouraged me to open out and through this process connect with highly skilled, intellectual and generous practitioners across the globe. Three years on I draw on this experience and knowledge as it continues to resonate through my life and work.

How the time has flown! To celebrate Tracepattern’s Anniversary I’ll be sharing previously unseen photography of the experience and re-sharing a few special posts made during my Winston Churchill Travelling Fellowship.

Chrissy-on-Bike

HAPPY ANNIVERSARY TRACEPATTERN – THREE YEARS YOUNG!

 

Mastercut at Burleigh. Photography Christina Waterson.

Mastercut at Burleigh show me their intricate photo etching process applied to stainless steel shim for the electronics industry. Mastercut is pretty amazing! Photography Christina Waterson.

The past few weeks have been full of researching and sourcing a rich tapestry of beautiful materials. Many of my works respond directly to a material’s properties and nature. Sometimes it’s a material’s translucency, figure or friction that I am working with. At other times it may be weight, thinness, shadow, structure or simplicity that I am drawn to. A search for a natural rhythm coupled with a responsive intuition to materials means that my work is never finished and the process of understanding and exploring is never over.

I am always on the hunt for interesting materials, processes and passionate people with unique knowledge of the materials they work with. I travel to some far and distant places and form important relationships with craftsmen, stockists and suppliers. Here are a sample of a few of the places I have visited to source materials for upcoming projects.

Pottery Supplies Milton. Photography Christina Waterson.

Pottery Supplies Milton. Photography Christina Waterson.

Uncovering some of my ceramics vessels made while study Visual Arts at QUT back in 2001 spurred me to see if Pottery Suppliers Milton, the local shop I used to frequent, was still based in the same location. To my delight it was and still stocked a full range of clays, glazes, reference books, and tools while also offering firing services.

Maclace Leather. Photography christina Waterson.

At Mac-lace leather supplier. Photography Christina Waterson.

I have also been spending a lot of time at Mac-lace, a leather supplier. My Nanna used to visit Mac-lace and Jolly & Bachelor in the 1940s and 50s when they were based in South Brisbane. My mum (who taught me leather work) shopped there in the 60s and 70s. I was lucky enough to visit Mac-Lace in its South Brisbane home in the early 90s just before it moved to East Brisbane then Capalaba. Great to see it’s still going strong!

A visit to The Big Red shed's recycled timber Yard. Photography Christina Waterson.

A visit to The Big Red shed’s recycled timber yard, at Darra, to source timber for a client. Photography Christina Waterson.

The Big Red Shed’s been supplying recycled timber for as long as I can remember. On walking in to their timber yard I was transported by the scent of freshly sawn hardwood, the sight of each unique piece of timber and hearing provenance and previous life story.

Vinyl Signage ready to go at Brand Productions. Photography Christina Waterson.

Vinyl signage sheets waiting to be cut at Brand Productions, Brendale. Photography Christina Waterson.

In the process of designing an exhibition for a client I have been working with Brand Productions for the fabrication of the exhibition’s display devices, signage panels and custom vinyl signage. I have worked with Brand over the last ten years on projects for the Museum of Brisbane as well as for my own exhibition signage installations. Every time I visit they are making interesting things and are always on the go!

Staff at Brand Productions form custom signage letters in Acrylic. Photography Christina Waterson.

Staff at Brand Productions form custom signage letters in acrylic. Photography Christina Waterson.