Tag Archives: process

Christina Waterson Website 2015 homepage. For all project details and photography credits go to

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

CMWaterson About PLexa Project Page 2015

Project: Plexa #1 on the William Jolly Bridge, 2015. Photography Christina Waterson

There you’ll find featured a selection of our favourite projects and collaborations; beautiful photography; and a little background to our projects.

CMWaterson _Advocacy Page 2015

Advocacy highlight page at  For all project details and photography credits go to

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!





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).


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.


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.



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.


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


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.


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).


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.


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


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


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



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.



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


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


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


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


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.


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.

JANUARY – Oh Lorikeet 2015. Photography Christina Waterson.
FEBRUARY – Nomenclature 2015. Photography Christina Waterson.

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

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

MAY – Dream Lichen Tree 2015. Photography Christina Waterson.

JUNE – Yellow Tailed Black Cockatoo Descending 2015. Photography Christina Waterson.

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


AUGUST – Glass Light Shadow 2015. Photography Christina Waterson.


SEPTEMBER – Brisbane Silhouette 2015. Photography Christina Waterson.


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

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

See these and all photos from 2015 at my instagram.





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

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.


Imagery from my research into Milton’s history and it’s development over time. Of particular interest were the patterns of early land use and how they mirrored some of the micro structures within native and crop species.

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.


Detail of the top of the artwork screen. Photography Christina Waterson.

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.


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

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.

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.




Night Time Street View of Soft Cell (Domestic Bliss Exotic Dream) 2014.

Night Time Street View of Soft Cell (Domestic Bliss Exotic Dream) 2014.

During April and May 2014 I was privileged to display Soft Cell (Domestic Bliss Exotic Dream) 2014 Edition within artisan’s Ivory Street Window, Fortitude Valley. A small preliminary study of Soft Cell was first exhibited in 2012 as part of my solo exhibition Trace at Pinup Project Space, Melbourne. This study was made in cork rubber. By this time other studies and tests of Soft Cell at a small-scale had also been made in leather, felt and fabric.

Trace Exhibition Studies at Pinup 2012. Photography Tobias Titz.

Trace exhibition studies at Pinup Project Space in 2012. Study of Soft Cell 2012 top-far left. Photography Tobias Titz.

Soft Cell represented a deliberate desire to work with softer materials and forms. My Churchill Fellowship experience profoundly moved me to follow this softer approach, having predominantly worked with more linear and rectilinear geometric elements throughout my practice until that time. After my exhibition at Pinup Project Space I spent a busy year running around the countryside creative directing. There was not much time for making in the studio.

Soft Cell Ivory Street Window Installation prep.

Soft Cell Ivory Street Window Installation test layouts and preparation. April 2014.

In 2013 I committed to realising Soft Cell at a larger scale in more vibrant colours and everyday materials. A successful application in 2013 to display Soft Cell (Domestic Bliss Exotic Dream) 2014 Edition in artisan’s Ivory Street Window got the ball rolling.

After spending many years starting with hard materials and hard forms I found the result more often than not was “hard”. I set to making with soft materials and soft forms with a hope to relax and make softer works. Christina Waterson 2012

Soft undulating rhythmic forms make up the Soft Cell family. Each generation of form, while unique, originate from the same simple element combined in different ways. Making Soft Cell required me to move differently; using softer and less controlled movements than those used to make The Komodo Series and Bloom Series. These softer circular movements used different muscles in my body. Within the work the compression and tension imbued in each form’s surface did require my concentration and some good timing.

A sample of the layout options considered for the Ivory Street Edition of Soft Cell. Illustrations Christina Waterson.

A sample of the layout options considered for the Ivory Street Edition of Soft Cell. Illustrations Christina Waterson.

Soft Cell marked a shift from previous installations within the Ivory Street Window. My two previous installations within Ivory Street Window were more linear in nature. They were also made with a single material of predominantly one colour.  The Soft Cell 2014 installation could have taken an infinite number of layouts as shown above, in the preliminary sample options (L and C) for my original application. I decided on a geometric tartan layout (R).

Day time street view of Sequence 01 of Soft Cell.

Day time street view of Stage 02 of Soft Cell’s evolution. Photography Christina Waterson.

Soft Cell Sequence of Growth Showing (L >R) Stage 02, Stage 03 and Stage 05. Illustrations Christina Waterson.

Soft Cell Sequence of Growth (L >R) Stage 02, Stage 03 and Stage 05. Illustrations Christina Waterson.

The installation grew over time and evolved through a sequence of patterns. In doing this my hope was to draw people closer to inspect the work’s detail and form, and maybe ponder what the forms might remind them of, or how each colour might stir different memories and associations.

Vivid recollections and studies borne from a sense of rediscovering a distinctly Australian sense of nature and place are brought to light through this new collection. While the Domestic Bliss Exotic Dream Edition of Soft Cell uses everyday materials found in our homes, up close the materials’ colour, fluidity and overlay transport us to another place and suggest different flora, fauna and landscapes. One may see a hint of parrots, waves, jellyfish or a flourish of orchids in the overlapping arabesques. It’s these tactile curves and arabesques that form the essence of things – the soft cells. Christina Waterson Artist Statement 2014

Soft Cell Hues reminds me of orchids. Photography Christina Waterson.

Soft Cell Hues. Photography Christina Waterson.

Soft Cell Hues. Photography Christina Waterson.

Soft Cell Hues. Photography Christina Waterson.


Tweaking Soft Cell on the opening night of the exhibition. Stage 05 of Soft Cell’s evolution. Photography Richard Stride for artisan.

My work continues on the Soft Cell family of surfaces and forms. STAY TUNED as this new collection truly reaches its full potential!



Scale Screen 2012 by Christina Waterson (Detail). Photography by Tobias Titz 2012.

With the Stellar Collection of sculptural screens and wall reliefs etc. soon to be launched in Spring 2014 by the fabulous Australian furniture icon TAIT, let’s have a look back at a post from March 2012 showing the development of Scale Screen 2012. Here in full follows the original post – ENJOY! You can also see the original post here!

The development of Scale Screen occurred over many years. This project was assisted by the Australian Government through the Australia Council, its arts funding and advisory body (through a New Work – Established – Australia Council Grant)Scale Screen’s origins are linked to my Bloom Series Home-wares and furniture range, launched in 2009. Scale Screen’s origins are linked to my Bloom Series Home-wares and Furniture range, launched in 2009. From the outset of the development of The Bloom Series, I had always envisioned Pixel Screen (pictured below) to be realised in coated sheet metal.

Pixel Screen part of The Bloom Series 2009 by Christina Waterson. Photography by Jon Linkins 2009.

Through the Australian Council Grant I rationalised the design of Pixel Screen in coated sheet metal to ensure modularity, as well as fabrication and installation ease. Importantly throughout this process I maintained the essential qualities of the original artwork. The streamlining of Pixel Screen however meant the adaption was different enough to warrant a new name. The name Scale Screen comes from the form of the elements that make up the screen. They look like reptile scales (especially Brown Snakes or Frilly Necked Lizards, and also like the opened mouth of a Frilly Necked Lizard) so the name directly reflects this quality and also references my unique country Australian childhood;

The surface, colour and depth of the Scale Screen project is informed by the skin of Taipan and King Brown snakes. In my hometown of Sharon in Queensland, the remnants of shedded snakeskin on timber joists proves a reminder of the local reptilian residents – snakes rub on the rough joists to break their skin for the process of shedding. Amongst Australia’s most aggressive and poisonous snakes, the beauty of their skin belies their potential danger. I play with the duality of the notions of protective efficiency and deadly beauty as being inherent to Australian native flora and fauna.

In the foreground: Scale Screen 2012 Photography by Tobias Titz 2012.

A distant and more acute view of Scale Screen 2012 to the right. Photography by Tobias Titz 2012.

My works are intended to be experienced in space, time and light. This is particularly clear in the development of Scale Screen 2012. The patterns within its surface are 3-dimensional; they are patterns that exist in space – new patterns are revealed and continuously evolve as you walk around the work.

I applied the knowledge I gained through the Australia Council Grant Research and Development to other subsequent commissions. Taking Flight (pictured below) uses the same fabrication techniques as Scale Screen but has dramatic differences in form and concept.

Taking Flight 2011

Conceptual Photography of Scale Screen’s sister work Taking Flight 2011 (Folded Aluminium wall relief commissioned by Aurecon) directly used the skills and knowledge from developing Scale Screen. Photography by Jon Linkins 2010.

Taking Flight 2011 by Christina Waterson installed in Aurecon’s Brisbane Head Office Reception. This work aimed to capture a sense of action and growth; similar to birds alighting from a forest or the flourish of blooms in spring. Photography by Jon Linkins 2011.

Scale Screen 2012 Detail by Christina Waterson within Trace at Pin-up Architecture and Design Project Space. Photography by James Braund.

Scale Screen 2012 Detail by Christina Waterson within Trace at Pin-up Architecture and Design Project Space. Photography by James Braund 2012.

I would like to sincerely thank the Australian Government through the Australia Council, its arts funding and advisory body for assisting the Scale Screen project.

Go to TAIT’s Website and TAIT’s Blog for all news on the launch of the Stellar Collection in Spring 2014.