Site: RMIT Public Art
Site RMIT Public Art, in collaboration with Mariana Hardwick, has developed a series of temporary public artworks in the ground floor shop windows of the Hardwick Building.
The works at the Hardwick Building use the building materials and form of a building under reconstruction. Principally using the planes of the false wall and the windows in the Sydney Road frontage, the works are essentially relief. Starting in the north east corner of the building.
Tashidawa has taken two, kitsch fabric patterns and treated the stud plaster wall as a layering devise to juxtapose these in relief. The floral and batik patterns have been found in local op shops.
Julie Shiels introduces street and industrial detritus to a home renovation and wedding gift theme. The wall as loom, a lampshade and rug from plastic and steel strapping would not be found in Ikea or the glory box.
Isabel O’brien’s work on the glass is revealed by observing that the idiosyncratic drawing of historic buildings from Sydney Road actually align with the reflections of these buildings in the glass itself.
Timothy Ryan’s work is a contrast of order and chaos, low tech and high relief organic forms. Constructed from electrical cable found on site, the luminous blue extrusions appear in the corner of one’s field of vision as woven pattern and biological growth.
Jane Sinnamon works in a lyrical fashion with whimsical characters perpetually rotating on a mobile cycle. Inspired by the Moreland bicycle path, the characters are as diverse as Sydney Road itself.
Claire Watson’s approach takes the pedestrian from the street to the inside of building. Perforating the false walls with ducting she has created another world for the every person. Viewing holes are placed for all walks and heights of life.
Moving to the South east corner of the building and the works take on a decidedly three dimensional form.
Paul Kuek’s humorous mice have taken over the Hardwick building in a playful invasion. A closer look and these cuddly cartoon characters have a sinister side. Made from cardboard packaging, twine and found metal.
Aslam Akram and Rebecca Odgers have worked collaboratively creating a dialogue between each other’s works. Their starting point was a piece of cut out metal of Islam’s design, which was found on site. Rebecca has used the patterning to create a field of flowers from recycled ceiling tiles whilst Aslam has produced a huge, abstract calligraphic stencil based on Arabic script. In response to the stencil, Rebecca has designed a filed of colour dots. The works aim to draw attention to the site and the colourful nature of the district in which it exists.
Ceri Hann’s three-dimensional construction utilises on site construction methods to transform street signage into sculpture. Ceri’s interest in spontaneous construction has created a method of portable assemblage with pop rivet and found object.
