Boobook refers to the Australian Boobook owl. The form of the owl is stylised into a black still and silent figure. It maintains its position, watching as the world changes around it. To the artist (who often hears its call at night in suburban Perth) it suggests a being that has existed in this place long before any human ever arrived. it speaks of deep time and of the change that has happened.

The artwork is assembled to create a vertical mirrored pairing of white and black forms. The black is surfaced in the charcoal texture of burnt trees which is a common image in the surround bush of Perth. To the artist, this textures speaks of harsh experience through eons of time.

The artwork was commissioned by the Public Transport Authority of Western Australia and is sited outside the city train station. The mirrored white form above the black is inverted and simplified into facets and internally illuminated. It is pierced with a pattern that references an early work of the artist also associated with Perth railways.

The artwork forms a still and quiet point in space and time, around which live scurries in haste and self absorbed importance.

all images by Frances Andrijich Photographer

Commissioner - Public Transport Authority of Western Australia

Cultural advisor - Sandra Hill

Forming one slender trunk, two halves of the sculpture follow each other through an upward dance, closely bound with their detailed faces revealing and hiding in turn.

The artwork BLOOM is a welded all-aluminium form with highly detailed engraved surfaces taken from almond blossom that grows in the artist’s studio.

The artwork inhabits a very small floor space outside the residential complex Grandton which is designed for seniors. The artist wanted to create a work both masculine in form, but with a delicacy and fineness suggesting a world within. The changing visual scale of the artwork encourages both quick and more considered contemplation of the artwork.

All images by Frances Andrijich - Photographer

Like a handful of confetti thrown into the wind, the canopy flutters with exciting colour to create a new space between the Civic South Perth residential buildings and the historic South Perth former post office.

photo: Big Spoon Art Studio

The two cast and fabricated aluminium sculptures stand like guardian figures over the entry plaza for One The Esplanade. The works were created by artist Stuart Green, working with cultural advisor, Wardandi birdiya Sandra Hill. Stuart and Sandra formed an earlier friendship while collaborating on Sandra’s own powerful artwork acknowledging the Stolen Generation. This insight was pivotal in Stuart’s formation of these new artworks.

photo: Frances Andrijich

Within, Without grew out of a desire to speak of black and white relations in south west WA. By creating works that are made up of forms pushed together, they speak of contrast and forced accommodation, and by using the metaphor of contrasting burnt and bleached timber surfaces, speak of endurance and resilience. The artwork is in a sense made up of a collection of experiences – written in their surface- their skin

photo: Frances Andrijich

photo: Frances Andrijich

photo: Frances Andrijich

This significant commission was instigated by Brookfield Properties for One the Esplanade Perth Australia, and awarded to artist Stuart Green with Sandra Hill acting as Cultural advisor on the project. Apparatus acted as art consultants for the project. The artwork was created by Big Spoon Art Services in Perth WA with foundry services by Intercast Australia. Stuart Green acknowledges the tremendous work done by all the staff at Big Spoon Art Services through al the stages of creating this artwork, and OSE Riggers in its installation.

photo: Frances Andrijich

photo: Frances Andrijich

Photo: Ben Wrigley

Drawn from the once busy docklands railyard, this new work reintroduces sweeping parallel travel lines of the network. The sculpture is a vibrant counterpoint to the now refined urban setting and introduces a playful and colourful point of interest whilst maintaining the muscular and massive character of industry. Working with Creative Road the work was commissioned by Poly Global and fabricated by GP Composites WA

Fabrication progress Perth WA

Junction Crossing is a suite of two works; one external and the other internal. The internal work sweeps though the La Trobe Street entrance changing from metallic arcs through to flowing timber in unreal and gestural lines. The work is an intriguing puzzle of directions, materials and colours.

Swept is a bold and colour charged work located on a busy intersection/roundabout in Victoria Park Western Australia. Commissioned as part of a new apartment complex project, Swept provides both a landmark signature piece for the complex, and a prominent marker for the locality

The work is made from fabricated and welded steel plate to form organically swept and stretched tubes. These mark out a simple geometric shape but it is as if this simple form has undergone forces that have stretched or pulled one end out of symmetry. The colour also undergoes a similar stretching through a swept gradient of reds, oranges and yellows.

Swept is 5.5m tall.

It was commissioned by Celsius Property Group in 2020 as part of a commercial and apartment complex design by Hillam Architects

just installed and awaiting the surrounding garden

fabrication in the studio Nov 2020

fabrication in the studio Nov 2020

Detail - fabrication in the studio Nov 2020

Detail - fabrication in the studio Nov 2020

Detail - fabrication in the studio Nov 2020

all the fabrication team

cast aluminium slabs within fabricated Corten shell

6m tall

detail - installation day, showing aluminium cast rippling Corten

cast and polished aluminium for front artwork (suite of two pieces for project)

front artwork cast aluminium awaiting setting into fabricated shell

Stuart carving plasticine from which the plaster pattern for aluminium casting was obtained.

carving plasticine for pattern

Corten shell during fabrication

cast plaster pattern from plasticine prior to casting aluminium

Gone to Seed , Commissioned as part of City of Brisbane’s Mt Coot-tha Botanic Gardens ‘platform’ project, the work takes as its starting point seed forms and fruit structure as might be encountered at the site.

photo Courtesy Brisbane City Council & Joe Ruckli Photography

This work was a collaboration between Stuart Green and Ben Price, and developed as an investigation into the break up of radial shape into growth patterns or packing segmentation observed in fruit and seed pods.

photo Courtesy Brisbane City Council & Joe Ruckli Photography

High key colour was an important consideration for the fruit-like work

photo Courtesy Brisbane City Council & Joe Ruckli Photography

The materiality and fabrication of the sculpture is often a key part of its reason for being. Here the work was partly about the efficient way in which the parts packed together to make the whole. Structural efficiency is often seen in nature and this work picks up on that combination of simplicity and organic complexity

photo: Robert Frith

Enter Out is a threshold work, creating a heightened experience of travel and arrival; of moving through from one space of the University campus into another space. Made up of coloured aluminium blades, the work ripples in colour and three-dimensional form in anticipation and seeming sympathetic movement of the viewers own flow through the space

photo: Robert Frith

Enter Out was commissioned by Murdoch University Western Australia in 2018

photo: Robert Frith

The artwork is made up of over 700 individually shaped fins to form a continuous rippling flow from one side of the portal to the other

All Eyes on Us – The Commonwealth Star, embraces the idea of celebration. It captures the sense of beginning – an explosive, spontaneous quality. The title is slightly tongue in cheek, It plays on the brash, confident and youthful culture of the Gold Coast but also commemorates a moment in time when the Commonwealth, and the rest of the world does focus its gaze on us as Australians.

photo Callie Mashall

The sculpture reflects colours, bursting form and vitality of tropical flowers, along with surfboards as a symbol for a vibrant coastal culture.

This work was designed as a collaboration between Stuart Green and Ben Price

All Eyes on Us during test erection a Swarbrick Technologies Western Australia prior to shipping and final installation on site

final engineering checks before erection on site

All Eyes on Us was commissioned by Festival 2018 as part of the Gold Coast 2018 Commonwealth Games through the Queensland Government and City of Gold Coast

Object Gallery (Pattern Work, Repeat Work, Rolling Work, Hot Work, Window) is within the newly developed Railway Square precinct in Midland, the site of the old Midland Railway Workshops.

These artworks collectively evoke tasks undertaken in the Midland Railway Workshops and suggest the manipulation of materials as happened on the site.  Inversion and pairing are used as a way of reimagining actual site objects in new ways. All are aligned track-like in pairs, moving towards the end from which is based on the industrial windows of the site.

Tools used in the workshop were incorporated into the works, the relics of the past re-imagined in the new urban context.

Commissioned through the City of Cambridge for Wembley Public Golf Course, the artwork takes the form of a highly sculpted or articulated open screening gate. The interlocking 3D form of the surface plays with light and depth

The weathering steel surface calls to mind the texture of the surrounding vegetation, whilst creating a highly stylised architecturally patterned screen

Set within the weathering steel gate is a cast brass access hatch to the locking mechanism behind

The title Peering Through suggest something of the driver or idea for this work. This idea of looking through framed views to a space that is paradoxically both controlled and wild was a starting point for the work.

This sculpture is also about contrast. It purposely plays refinement and detail against modernist primary form. It brings together solid simple cubic forms; black and heavy, these simple cubic and folded forms are arranged into a bundle with a discernible inner core; creating an inner space and an outer wall-like skin. It sets up an obscuring of the inner space. It is intended to be in some ways architectural with its flat planes supporting the play of sunlight and shadow and creating interesting relationships between planes.

The weight of the cubic form is contrasted with the refinement and beauty of inlaid brass, which is further etched with fine line-work. The brass turns the solid form into an illustrated page, with Australian foliage represented. It is reminiscent of the Japanese screens but quite different. The work takes the idea of black paint, and works it up into the refined combination of high gloss black void in which floats polished and sealed brass inlay. The introduction of figurative illustration and pattern is totally at odds with the modernist distribution of these forms.

illustration

Night Falling is one of two works that together are titled Tidal Horizon. Both use light to reinterpret the sunsets and large skies of the area and re-project these into the longer night. The lighting display of the sky and its moving horizon are programmed to mimic the huge tidal movement of the area, and in this way the whole artwork acts as a real time tide meter.

photo Miriam Sheridan

fabrication

The artwork at 248 – 262 Lord St East Perth is themed around the idea of sky and particularly the horizon. The light boxes reference the sky through the use of colour and the way in which the three dimensional surface of the skin of each box creates shadows and is in turn, lit by the sun. Each artwork differs slightly in layout and colour.  These colours  change over a period of time to give a slowly changing night time experience.
 

This Public Artwork in Perth titled Transpiration and is made up of thousands of aluminium squares that are arranged in an agitated assembly of chaotic energy. The artwork also acts as a visually permeable screen to the carpark behind and is enlivened by the run of headlights breaking through the deeply textured pure white mesh of reflective planes.

Fizz is a joyous field of colour and three-dimensional form sweeping across the New Children’s Hospital eastern façade and forms a major public art piece in Perth WA. Made up of almost 1600 aluminium discs, ranging in size from 450mm to 1m diameter, this facade is the bright and bubbling public face of the Hospital. Arranged in a carefully sequenced range of colours, sizes and orientation, the forms create a wave of movement that echoes Kings Park opposite. The public artwork is supported by the State Governments Percent for Art Scheme.

The Public Artwork Fizz also acts as sun shading for the glazing behind and is strategically aligned to offer summer shade without impeding views to Kings Park beyond.

In between and all around is designed to be a continuous loop of steel and timber running overhead and defying gravity. As a major public artwork for the Perth facility, it creates the central way-finding attraction for the newly built Fiona Stanley Hospital. Two complementary public artwork pieces are placed adjacent to the large loop. Reminiscent of felled tree trunks, these artworks act both as a visual link to, and extending the main work, as well as providing practical seating.

In between and all around under fabrication in the artist's studio.

In between and all around under fabrication in the artist's studio.

installation

During installation of the Perth public artwork In between and all around. The seating forms evoke felled tree trunks. Image prior to installation of main loop.

Cumulus forms the major visual marker for the axis of, and the central Artwork for the newly completed Town Square of Rhodes, Sydney. Cumulus is a large scale work sitting on key sight lines of Rhodes. The work playfully imagines clouds as large massive and angular forms that bump and coalesce into each other. 

Large facetted lightweight slabs float, bump into one another, and coalesce to form a towering crisp formation that is a reimagining of the spaces between clouds. The work suggests a strange unitised modelling of cloud formation with towering blocks suspended overhead in seeming weightlessness.

As an artist, Stuart Green has always been interested in clouds, and often painted them as massive weighty structures rather than vapour-like wisps. Here the work becomes a structure in actuality, across which light plays across to reveal its facetted surfaces and larger tectonic moves.

The work is made primarily made from light weight fibre reinforced foam and resin, which allows the large forms to be cantilevered out into space with very little support. Specialised engineering and fabrication methods were key to the sculpture’s success.

Crossing is two artworks; horizontal and vertical. Each is made up of an interlaced surface of stainless steel plates that connect only at points on their edges. At night each reveals a mesh of visible lit gaps. By day the facetted skin creates a highly active and reflective surface that is animated by the passing colours and movement of the surrounding environment. Both sculptures form a muscular and complex semi triangular continuous motion or sweep through space.

Flux is a façade based public artwork for the Soleil building in Brisbane and forms a visually dynamic screen allowing ventilation to the building behind. The work evokes the dynamics of water flow and eddies with references to the shadows of tall riverside buildings cast on the flowing Brisbane River.

China Green Subiaco, a new inner-city centre situated on the site of an historic ceramics factory, where Stuart Green was commissioned to create various sculptures. The public artworks relate to the processes of the former factory of the Subiaco site. 

photo Robert Frith

Spun (three identical works) help to link the site together and form a visual motif easily read across the site. They evoke the circular movement of manufactured items of the former ceramics factory. The artworks take an idea of history and reconfigure it into an energetic, new and legible form scaled to the new landscape.

photo Robert Frith

Quadrant Scatter White reforms chaotic repeated forms found in ceramics manufacture.

Artist Stuart Green created a suite of public artworks in the landscape that link across the new site, forming sight lines and references from piece to piece.

Butterfly Ring plays on the idea of decal decoration applied to ceramics.

The public artwork during fabrication in the artist's studio.

Droplet is a major public artwork for Canberra and was commissioned for a busy street corner in the town centre of Woden in ACT. Droplet acts as both a day time and a night time beacon for the site which is inhabited by thousands of office workers and city users. 

The jewel-like Droplet sits at an angle to reinforce its precarious and weighty presence. Droplet is made of stainless steel pleats, each pierced to create a highly decorative, reflective and mesmeric surface pattern. Powerful internal LED lights illuminate the Public artworkfrom within and at night, give the sculpture a sense of transparency and weightlessness that contrasts with its daytime mass.

fabrication

fabrication

Bulb is both a simple and yet strikingly intricate double layered organic-like form made from 316 grade stainless steel and pierced with two layers of linked patterning. Inspired by both organic seed pods and bulbs, and the decorative onion domes of Orthodox Churches, this work is absolutely a singular ‘object’ and sits on its side, out of context, as if picked up, examined and dropped again.

photo Karen Castle

Produced as a limited edition for Sculptures by the Sea, the original example sits in the Perth Cultural Centre.

Please contact us if you wish to purchase one of the remaining 4 of 6

The work Driftwood was commissioned to provide seating elements within a shopping centre in Albany, Western Australia. The installation consists of a large sculptural seating element that was inspired by a weathered piece of driftwood, twisted and gnarled but worn smooth by the sand and sea.

Functional seating elements were designed to complement the sculptural work and provide practical dual sided seats to the mall concourse. The tricorn end plates of the seats are painted red at one end and sea green at the other, reminiscent of navigational markers and a nod to the maritime.

Each piece of timber in the work is precisely hand shaped and fitted onto the form.

Three works; Husk, Kernel and Returning tell the Queensland story of the vertical fall from canopy to ground through seed-like forms both suspended and ground based. Husk floats overhead and is formed as a tracery of aluminium patterning, with Kernel forming an enigmatic hermetic capsule seemingly waiting for time to pass. Returning dissolves back into the garden site in which it is based.

Husk aluminium suspended artwork 

photo - Aliaume Souchier

Husk

Kernel

Returning

Cone  Stuart Green was commissioned to lead an artists team to create a suite of artworks for Mount Lawley Senior High School. These artworks threaded together open air rooms within the spatial plan of the school and linked each space, revealing new desire points along the new spine of the school. Individual works created a strong node and point of character for each space. The works were based on the idea of objects carried by families to Australia by the large immigrant school population.

photo Acorn Photo

Cone    Corten steel with piercings and stainless steel outer banding connected with decorative cast iron button nodes

photo Acorn Photo

Libby's Ring   acrylic tiles with common school objects cast within, set in painted steel matrix

photo Acorn Photo

Stuart Green was Artist team leader, working with Michelle Theunissen and Minaxi May for this Western Australian Government Percent for Art Scheme project.

photo Acorn Photo

photo Acorn Photo

A Very Human Path is a work commissioned for Mindarie Senior College and embraces the idea of a student’s progress being not always straight, but always interesting. This work starts from within the school and springs from the lecture theatre to inhabit the main courtyard. This large work allows students to flow through its parts or sit or lean on the scything linear form. This red line forms a chaotic and playful illustration of the complexity (and ultimately positive) path for us all.

Exposure is a work about maturing. The protruding external wall of the lecture theatre was clad in a variety of sealed and unsealed metals including aluminium, pure zinc, galvanised steel, copper and Corten. Some of these metals are allowed to patina whilst others remained sealed. The artwork references the process of maturing (both the metals and the students) and the changing nature of surface attraction through this process.