SculptureSCAPE

Title of work: Mother. Earth. 2022

Materials: ephemeral sand text.

Kate’s work will be appearing across the entire beachfront of Lorne – from the rivermouth to the Point. 

Her guerrilla acts of sand text appear at random and disappear with the tide.

The invisible contributions of women throughout history.

Acts expected, rather than valued.

Mother Nature herself.

Her treasures discarded.

Title of work: Aster, 2022

Materials: Wood, perspex, dichroic film, bolts, paint, rope

As one of the building blocks of life and all things, it is invisible to the eye yet it forms the basis for some of the strongest materials on earth such as diamonds and graphite. 

In Aster, Lauren has chosen to replicate the simple yet consequential atomic structure of the carbon atom into a minimalist sculptural form, making visible its presence in our world and providing a symbolic message about the destruction of carbon in its coal form on our oceans.

Title of work: Nature’s Signal, 2022

Materials: Sea water, secondhand hard covered books.

Lesley’s installation explores the connection of the rising seas around Lorne and cultural markers in the form of books. The artwork provides a visual signal for the rising seas and the inevitable change to our cultural heritage.

Nature’s Signal connects the stories of people spending time on this historic beach, enjoying their beach activities or a quiet book in the sun, largely unaware of the rising seas taking place around them. 

Title of work: Free Falling, 2022

Materials: recycled cotton, bamboo.

This Sculpture is imagining the life under the sea. 

Free falling, flowing like water with water, with the winds, the shapes, free forms, so abstract, and still unknown.

Floating in the ocean and with the winds. 

The idea for this project comes from commercial fishing and its massive side effects on our ecosystem. Through this art experience, the audience is invited to consider the danger commercial fishing poses to the ocean and sea life.

How does it feel to be caught on one of those nets when you are trying to move under water?

The work’s construction has been inspired by the open-air laundries (or Dhobi-ghats) in India and sustainable bamboo fishing nets of Fujian China. 

Title of work: Exoskeleton, 2022

Materials: sand, toughened glass panels, glass domes

Exoskeleton reflects on Lorne’s coastal identity, its marine life biodiversity and preservation. The work reflects on our interaction with nature, the issue of global warming and its adverse impact on marine ecosystems. 

Carbon Dioxide emissions are making the oceans more acidic thus impeding the ability of calcifying organisms to form their skeletons. Shells are prone to dissolution and sea creatures will find themselves without protection. At this rate, molluscs will progressively disappear and shells will be relics only to be seen at museums.

Utilising glass and sand as mediums, the work’s power remains not in its materiality, but in what is absent. Acting as an invisible memorial, Exoskeleton immortalises these shells in an attempt to resist their potential disappearance.

Title of work: Waterhaul, 2022

Materials: Found objects

A whimsical notion of mythical sea creatures gleaning human refuse from their watery world in the darkness of night under the full moon then vanishing by morning.

Peter’s ephemeral sea-creature and vessel uses foraged woven marine ropes and ocean washed debris collected by the artist along our coast.

This installation is talking story of our seas, rivers and wetlands from the perspective of the fauna and habitat. The Anthropocene is being subverted in the web of life as the spirits of this land take action to restore balance to the ecology.  

Title of work: Signal. Play. Pattern. 2022

Materials: customised found street signage.

A constellation of signs on a hill becomes a semi-permanent habitat. 

Walk through and under, play music on three chimes together or apart. A place to look up at the sky framed by an artificial cosmology of coastal weather symbols from the future, names from the past, and symbols of the present. 

The audience is invited to reflect on place and speculate on the future.

Title of work: Deadline 2022

LED digital countdown, driftwood, projection

A countdown tells us something is coming, arousing tension and nervous excitement. In The Deadline the countdown is literally alarming: it shows us the seconds, minutes and hours remaining until the year 2030—the earliest date predicted by the IPCC when our planet could reach 1.5oC of global warming above pre–industrial levels. 2030 is not far away, eleven years, just over a decade.

Yandell has shown this work several times since its creation in 2019. And sadly, little has changed in relation to the mitigation of increasing warming.