The Rainbow
Image source
Artist: Marcus Canning
Asset Type: Sculpture
Year of Work: 2016
Location: Beach reserve adjacent to Canning Highway, Fremantle, WA, 6160.
Provenance: City of Fremantle
Description: Sometimes called ‘The Containbow’, Marcus Canning’s ‘Rainbow’ was installed between the bridges at Beach Reserve overlooking the Fremantle port in 2016. At nine-metres high and 19-metres long, and tipping the scales at 66 tonnes Rainbow is not your average public art piece.
The sculpture by prominent Perth artist Marcus Canning is constructed from nine recycled sea containers joined to form an arch.
Canning’s artwork now welcomes visitors to Fremantle whether they’re arriving by train, car or boat. It overlooks the Swan River as well as the container port from which it draws part of its inspiration as a universal symbol of hope and acknowledgement of Fremantle’s artistic as well as maritime heritage.
Ascalon
Image source St. George’s Cathedral
Artist: Marcus Canning, Christian de Vietri
Asset Type: Sculpture
Year of Work: 2011
Location: St George’s Cathedral, Cathedral Square Precinct, Perth, WA.
Provenance: City of Perth
Description: Ascalon seeks to create a space of contemplation, exhilaration, and inspiration. It distils the essence of St George mythology in a contemporary, abstracted rendition that is timeless in its relevance, evoking the greater archetypal truths that permeate from his story and how these truths pertain to the individual and to society, now and for centuries to come.
In Medieval Romance, ‘Ascalon’ is the name of the lance used by St George to slay the dragon. Here, the lance is rendered as a monumental tube that emits a single beam of light into the heavens at night. It is set into a large fragmented landscape of black epoxy coated steel plate. An abstracted representation of the slain body of the dragon, this highly detailed and complexly faceted terrain has a crack running along its central axis that emanates from the point where the lance has entered the petrified, fossilised, and fragmented form of the dragon.
At night, light shines up through the crack, illuminating the luminous white form suspended above it.
The third element to the work is a billowing white cloak form that wraps and warps in a single undulating plane around the lance. It is cast in white epoxy coated hybrid composite, and despite its large dimensions, holds an ethereal lightness alongside its elemental power.
The form is an abstraction of St George on his steed and also references the recurring cloak form that features in many depictions of St George across Western art history, usually operating as a field similar to a halo or angel’s wings. The form aims to evoke a sense of righteous power and victory over a force of darkness and oppression.
The form of Ascalon has been developed and modelled in a digital environment in collaboration with New York-based architect Eldad Lev, allowing for a seamless ‘press play’ transition to fabrication using the latest in 3D printing and digitally controlled sculpting machinery.
Perth-based structural engineering firm Capital House, who were behind the Kings Park Suspension Bridge, are the project managers of the Ascalon fabrication and site build, and they have, amongst other things, designed a customised dampening system to tune the form to the specific wind conditions of the site.
Spanda
Image source Jarrad Seng
Artist: Christian de Vietri, ShapeShift
Asset Type: Sculpture
Year of Work: 2016
Location: Geoffrey Bolton Avenue, Perth, WA.
Provenance: City of Perth
Description: Spanda is a 9 story-high sculpture made of carbon fiber located in Perth, Western Australia. It was commissioned for fabrication by the Metropolitan Redevelopment Authority of Western Australia and installed at Elizabeth Quay in 2016.
Intended as an icon to uplift the city and its inhabitants, the idea of human identity being constituted of layers or sheaths was a starting point for the sculpture’s design. These layers represent the contours and constituents of the human experience, proceeding from gross to subtle as one moves from the periphery to the core. The exponential repetition of the arch form creates the impression of an infinite vibration, a pattern of self-similarity that is intended to trigger the viewer's inner experience of wholeness, the recognition of themselves as individual expressions of the universal, intimately interconnected, and one with their total environment.
The sculpture was designed to have a strong sense of presence without being imposing nor obscuring any building or vantage point. It is aligned with the site such that the curvature of the form contrasts with gridded square buildings behind it. The arch-like quality of the form is mysteriously functionless as it is neither an entrance nor an exit, but stands alone, declaring its own liminal space for the viewer to merge with. The structure was built by a team of expert digital fabricators and engineers who re-purposed carbon fibre manufacturing technology from the aerospace industry to enable a truly unique civil structure that would not have been possible in traditional materials.
The title of the work is a Sanskrit word meaning “divine cosmic vibration”. This term is used to describe how Consciousness generates and resorbs the manifest world by expanding and contracting in waves of its own expressive capacity. The sculpture is intended to be both a formal representation of this ‘spanda’ principle, and a tool, or means, to stimulate its experience.
“We praise that Śankara who is the source of the power of the wheel of energies by whose expansion (unmeśa) and contraction (nimeśa) the universe is absorbed and comes into being.” Kallaṭa, Spanda-kārikās (trans. Mark Dyczkowski)
Co-existence
Image source Eugene Scrivener (Museum of Perth)
Artist: Peter Lowe
Asset Type: Sculpture
Year of Work: 1997
Location: Council House Gardens, South Western side of elliptical grassed terrace behind Council House
Provenance: City of Perth
Description: Do you know anything more about this artwork? Please comment below or contact us on:
Don’t Look at the Islands
Image source Shire of Carnarvon
Artist: Smith Sculptors (Charles Smith, Joan Walsh-Smith)
Asset Type: Sculpture
Year of Work: 2019
Location: 3 Silver City Rd, Babbage Island WA 6701
Provenance: Shire of Carnarvon
Description: This statue acknowledges the heartache and pain that the Lock Hospitals of Dorre and Bernier Island's hold.
Don't Look At The Islands is a healing memorial or the families of those lost to the islands.
The Pastoralist
Image source Shire of Carnarvon
Artist: Unknown
Asset Type: Sculpture
Year of Work: 2017
Location: Traffic Island near 32 Robinson St, Carnarvon, WA
Provenance: Shire of Carnarvon
Description: This iron silhouette of a postoralist is a reflection on the beginnings of this regions establishment by Europeans. Sitting in the shade with the circles representing the water and crops.
GARLA - Welcome to Country
Image source Shire of Carnarvon
Artist: Unknown
Asset Type: Sculpture
Year of Work: 2017
Location: Roundabout at Cr Robinson St and Olivia Terrace, Carnarvon, WA
Provenance: Shire of Carnarvon
Description: The five fire sticks, recognises the 5 language groups, the Yinggarda, Baiyungu, Malgana, Thadgari and Thalanyji of the Gascoyne region.
Embodying the spirit of welcome from the timeless tradition of gathering around a campfire, this piece embodies a sense of friendliness representing the community's welcoming spirit.
Do you know anything more about this artwork? Please comment below or contact us on:
Fascine Fishing
Image source Shire of Carnarvon
Artist: Unknown
Asset Type: Sculpture
Year of Work: 2017
Location: Olivia Terrace, Carnarvon, WA
Provenance: Shire of Carnarvon
Description: Elevated over the Fascine Town Beach this abstract representation of a fish suspended from massive fishing rod, casts a delicate light by night while lending itself for the perfect photo and reminiscence of the 'one that got away'
Solar Eclipse
Image source Shire of Carnarvon
Artist: Margaret Seaton
Asset Type: Sculpture
Year of Work: 2023
Location: Crn of Robinson Street and Olivia Terrace, Carnarvon, WA
Provenance: Shire of Carnarvon
Description: The Eclipse Sculpture depicts the vermilion glow around the shadow of the moon during totality in an eclipse. Installed in 2023. This sculpture is a remembrance of the 2023 Total Solar Eclipse.
Town Clock
Image source Shire of Carnarvon
Artist: Unknown
Asset Type: Public amenity
Year of Work: 2017
Location: 1 Camel Lane, Carnarvon, WA
Provenance: Shire of Carnarvon
Description: The Shire and the Carnarvon Lions Club commissioned the Town Clock to be constructed in the form of a windmill to honour our pastoralists.
The commemorative plaque from the 1967 clock was gifted by the Lions Club and is now positioned by the Town Clock.
Do you know anything more about this artwork? Please comment below or contact us on:
Paths of Many
Image source City of Belmont
Artist: Stuart Green
Asset Type: Sculpture
Year of Work: 2020
Location: Belmont Community Hub – Library and Museum, 213 Wright Street
Provenance: City of Belmont
Description: Welded and Powder Coated aluminium
Group Settlers Horse & Carriage Sculpture
Image source Margaret River Art Trails
Artist: Unknown
Asset Type: Sculpture, Metalwork
Year of Work: Unknown
Location: Pioneer Park
Provenance: Shire of Augusta Margaret River
Description: The Group Settlers’ story is one of extraordinary hard work and hardship.
In the years following World War I, Western Australia’s population centred largely around Perth and the Goldfields, and the state was in dire need of farmers. Meanwhile in England, post-war unemployment was sky high.
The two governments created the Group Settlement Scheme – a promise of farmland and opportunity in sunny Western Australia.
Nearly 6000 Brits arrived, full of hope but few with farming experience. Their task was to clear forests, fence off farms and build homes on their allotted plots. It was backbreaking work, and women toiled just as hard as the men.
A decade later and nearly half the settlers had abandoned their blocks, starving and in poverty.
This artwork commemorates the Group Settlers, their hardships and heartbreak.
Do you know anything more about this artwork? Please comment below or contact us on:
Free as a Cow
Image source Margaret River Art Trails
Artist: Ron Roozen
Asset Type: Sculpture
Year of Work: 2010
Location: Pioneer Park
Provenance: Shire of Augusta Margaret River
Description: The gleaming gold statue, nicknamed Rump on a Stump, is a tongue in cheek take on Free as a Bird, the once controversial sculpture at Laurance Wines (now Frui Momento at Cherubino).
It was created for the 2010 Cow Parade and skilfully erected in Pioneer Park, Cowaramup.
Cow Parade is the world’s largest public art event. Started in 1999 in Chicago, it has been held in all major cities around the world. It is a fundraising project whereby local artists buy a cow and paint or decorate it and display it in the city. The cows are auctioned after the event and all proceeds go to local charities.
Note: contrary to popular belief, Cowaramup is named after the purple crowned lorikeet – or Cowara in local Wadandi dialect – and not cows.
Funded by the Shire of Augusta Margaret River
Banksia Sculpture
Image source Margaret River Art Trails
Artist: Alan Meyburgh
Asset Type: Sculpture
Year of Work: 2017
Location: Pioneer Park
Provenance: Shire of Augusta Margaret River
Description: Every component has a story, and the banksia nuts are sculpted from an old car bonnet supplied by Nocker in the local wrecking yard.
Inspired by the artist’s love of the environment, especially the walk trails that meander through bushland around Margaret River.
It’s a timely reminder to leave no trace and only take photos as you admire the native flora and fauna of the region.
Cowara Bird
Image source Margaret River Art Trails
Artist: Alan Meyburgh
Asset Type: Sculpture
Year of Work: 2018
Location: Cowaramup Main Street
Provenance: Shire of Augusta Margaret River
Description: This sculpture celebrates the town of Cowaramup and its namesake, the cowara bird.
The idea was conceived by Nicola from the Black Sheep Deli (now closed) and sculptor Alan Meyburgh who wanted visitors to be aware that the town was named after a beautiful bird and not a cow.
Cowara is the name given by the Wadandi people for the purple-crowned lorikeet, a small bird found high in the crowns of trees in nearby forest.
Amphitheatre Wall
Image source Margaret River Art Trails
Artist: Ian Dowling
Asset Type: Sculpture, Mosaic
Year of Work: 2001
Location: Margaret River Library, Fearn Avenue
Provenance: Shire of Augusta Margaret River
Description: The blue tiled wall curves through the Heritage Garden, marking the space between the Margaret River Community Centre and Library.
The tiles are ceramic, cast in moulds made from the original hand sculpted models.
The artist brought the patterns, colours and gentle wave of the ocean to the centre of town with this sculpted wall.
Life-sized Wedge-tailed Eagle
Image source Margaret River Art Trails
Artist: Alan Meyburgh
Asset Type: Sculpture
Year of Work: Unknown
Location: Margaret River Main Street
Provenance: Shire of Augusta Margaret River
Description: The wedge tailed eagle is Australia’s largest bird of prey, and is often seen soaring high overhead, its diamond shaped tail and sheer size giving it away.
Once hunted to near extinction by farmers fearful of losing stock, this eagle is now protected and the population is flourishing.
Sculpted in recycled wood, steel, reo bar and wire, this eagle is swooping back to its nest and egg. An old clawfoot bath and electricity pole are reminiscent of rustic farms of yesteryear, maybe referencing the dangers once faced by large birds.
Do you know anything more about this artwork? Please comment below or contact us on:
Wave Wall
Image source Margaret River Art Trails
Artist: Kashmir Rouw
Asset Type: Sculpture
Year of Work: 2004
Location: Surfers Point, Prevelly
Provenance: Shire of Augusta Margaret River
Description: Intersecting two iconic coastal spots – the River Mouth and Mainbreak – Wave Wall symbolises a place of community, where many seek to connect, conquer and achieve their surfing nirvana, or to simply soak up the natural beauty of the region.
Inspired by the ocean and carved from local limestone, this bold piece marks the entry to Surfers Point.
It explores the concept of cantilevered stones protruding in three directions to form the fluid curves of a wave or perhaps the bow of a boat.
Funded by the Shire of Augusta Margaret River
Layla
Image source Margaret River Art Trails
Artist: Russell Sheridan
Asset Type: Sculpture
Year of Work: 2013
Location: River Mouth, Prevelly
Provenance: Shire of Augusta Margaret River
Description: Layla the great granddaughter of surf god Huey cares for all sea creatures and watches over those who enter the water.
Layla swims the seas of the world and from time to time redirects lost surfers who have been pummelled into the depths below by large waves.
Surfers finding themselves alone, helpless, lost in bubbles and turbulence have been steered to the surface by Layla for one more breath of life.
Dandelions
Image source Margaret River Art Trails
Artist: Paula Cristoffanini, Nigel Lullfitz
Asset Type: Sculpture
Year of Work: 2017
Location: Reuther Park
Provenance: Shire of Augusta Margaret River
Description: It’s easy to imagine the breeze catching this dandelion, launching hundreds of tiny seeds into the wind.
Sculpted by two local artists as part of the Shire of Augusta Margaret River’s Plinth program which created artworks to be displayed in parklands throughout the shire.
It was conceived to provide a series of strong formal vertical lines and organic shapes to complement the local environment. The sculptures reference a signifier, balloons, alliums and dandelions in an abstract way. These were chosen as symbols of a gathering point, of celebration, of the joy of gardening and food growing, of survival and even of magic.
The work consists of three elements of varying sizes placed in a group. Each puff ball is slightly different and the poles are bent to add to the naturalistic feel of the dandelions.