Home' Scoop Homes and Art : Insite 25 Winter 2010 Contents ISSUE PUBLIC ART
"It makes the city more attractive and says... 'We care about
your experience here'... we need to do more in Perth on a
grand scale to make our built environments really exciting."
scale to make our built environments really
exciting," she adds.
"Works like the Angel of the North in
England (which cost about $1.6 million
in 1994) become a defining and memorable
part of the landscape," adds Jude van
der Merwe. "Now that's a major tourism
campaign right there."
Stuart Green says larger commissions not
only generate employment opportunities
for artists, but for engineers, fabricators and
material suppliers as well. "When you're
doing these big projects, you need a solid
team to make sure everything is well-
designed and structurally sound," he says.
" e other good thing is when you're
commissioned for works outside of the State.
I recently did a big job in Brisbane where
most of the money was spent here on wages,
materials and services. All that is giving
back to our economy."
e project for the new Forrest
Highway was one of WA's largest public
art collaborations to date, involving six
artists, two project managers, a structural
designer, a lighting technician and a group
of fabricators. e program was divided
into two parts: the paintings on the
bridge abutments and the 'cone and pole'
sculptures that would be placed on the side
of the road near Mandurah.
"We wanted art that integrated with
the new bridges and art that stood out on
its own -- something with a visual identity
that people would remember from the
journey," says Andra Kins, who directed the
highway's public art program for Southern
Gateway Alliance. "In effect, we coordinated
two separate projects."
e roadside art, titled e Water Dance,
is a series of eight cone sculptures and 16
poles leaning at different angles to express
the movement of rain hitting the earth.
Designed by local artist Anne Neil, the pieces
are made of marine-grade aluminium, with
a rippling effect through the cones that
light up internally at night. "It's very much
site-specific to the Peel region," says Andra.
"With water and earth as the main themes.
"When designing artwork for roads, the
artist is predominantly looking at scale and
colour. e reason for this is twofold: one,
it needs to catch the interest of motorists
who are driving at 100 kilometres per hour
plus. And, two, it has to act as a landmark,
so people know where they are on the road
and how far they have to go."
Andra's role as public art consultant (of
which there are only a handful in Western
Australia), is to mediate between the
government department or private developer
funding the work, and the artists interested
in designing it. While the process differs
depending on the job, it generally sees her
meeting with the client and project workers
(architects, landscapers, builders and so
on) to develop a brief that outlines certain
criteria for the artwork.
e committee will then advertise for
submissions of interest and shortlist three
or four artists to come up with model ideas.
Once the candidates have developed their
concept, they present it to a panel and the
final selection is made.
"In most instances, the art commission
process is treated separately from the rest
of the building development," says Perth
architect Ahmad Abas. "I would prefer that
the artist is involved in the design team from
The Water Dance, by Anne Neil on the Forrest
Highway (near Mandurah). BOTTOM Reflection Tree,
by Paul Caporn and Louise Josephs, at Atwell Senior College.
OPPOSITE Oushi Zokei, Mobius in Space, by Keizo Ushio,
in the Esplanade Station Forecourt.
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