Plants, Gardens, and Landscapes
Entangled Garden of Plant Memory
Yu-Hsiu Museum of Art, Taiwan, 2020
Curated by Wan-Chen Cheng, dried plants and organic material provided by NTU
Spells for weather
Performed at Bundanon Art Gallery, 2023
Choreographed by Lizzie Thomson, performed by Dirt Witches and Tree Venerators, and disrupted by tempestarius Dimitri Kleioris
Photographs by Karina Pires
Spelling Seeds
Performed at Powerhouse MAAS as part of Eucalyptusdom, 2023
Choreographed by Lizzie Thomson and performed by Dirt Witches and Tree Venerators
Photographs by Anna Hay
Hear the plant song
exhibition view The Natural World, Mosman Art Gallery, 2020
tapestry 150 x 270 cm
link to the video of the piece being woven
H20 Water Bar
Paddington Water Reservoir, 2016
H2O: Water Bar is a reflective, glassy glistening installation by Janet Laurence that allows you to sample a variety of water sourced from diverse regions of Australia. Outfitted like an apothecary or laboratory, H2O: WaterBar is set amongst the heritage industrial space of the Paddington Reservoir Gardens’ inner chamber, opened to the public especially for this installation.
Australia’s identity is forever tied to our relationship with water, from the waterholes used as weapons during the colonial era, to the long droughts that affect our regional communities, and the environmental threats to the future of Australia’s ground water.
By inviting you to experience the qualities of different Australian waters, H2O: Water Bar helps us to better understand the complexity and fragility of this vital resource.
Mixed media installation
Photographs by Brett Boardman
Heartshock
Museum of Contemporary Art, Sydney, 2019
Australian eucalypt, latex tubing, glass vials containing organic substances
(Forest) Theatre of Trees
Museum of Contemporary Art, Sydney, 2019
Dye sublimation print on voile, aluminum extrusion, mesh, tulle, painted leaves, archival scientific images
Curated by Rachel Kent; film editing, Gary Werner; production assistant, Anna Ewald-Rice; photographs, Jacquie Manning
Elixir Lab-Museum Of Contemporary Art
Sydney, 2019
Mixed media installation
Photograph by Jacquie Manning
Inside the flower
Views of a Landscape, International Garden Exposition (IGA) Berlin, 2017
Psychotropic and medicinal plants, laboratory glass, stainless steel, polycarbonate tubing mesh, 3D prints, duraclear
Produced in collaboration with LAVA Berlin and Cityplot, assistant Leslie Ranzoni, photography by Frank Sperling
Novartis: A medicinal maze inveiling glass
Sculpture and Medicinal Garden, Novartis Campus, Sydney, 2016
Printed glass panels, medicinal plants
Photographs by Richard Mordaunt
The lives of Plants
13th Cuenca Biennale, Ecuador, 2016
Paper, acetate, duraclear prints, mesh, laboratory glass, plastic tubes, locally sourced herbs
Photographs by Alan Luckie
ELixir Bar-Inhotim Institute
Minas Gerais, Brazil, 2018
Laboratory glass, tubes, plants, liquids, elixirs, timber
Photographs by William Gomes
Anthropocene
Fine Art Society, London, 2016
Duraclears, acrylic
The Treelines Track
Arthur Boyd Estate, Bundanon, New South Wales, 2014-ongoing
Various indigenous tree species, stones
The underlying
56th October Salon, “The Pleasure of Love”, Belgrade City Museum and Cultural Centre, 2016
Herbal plants, bandages, laboratory glass, plastic tubes, Elm tree, tule vails, two-channel video, sound
Curated by David Elliot, photographs by Nikola Marinkovic
Blood and Chlorophyll
Lake Macquarie Gallery, 2014
Australian eucalypt, mirror, laboratory glass, oil glaze, video projection, bones, dried plants
Residues
Hugo Michell Gallery, Adelaide, 2014
Australian eucalypt, latex tubing, glass vials containing organic substances
The Alchemical Garden of Desire
McClelland Sculpture Park + Gallery, Langwarrin, Victoria, 2012
Fragments of plants, laboratory and hand blown glass, photographs, acrylic silicon, tubes, resin, pigments, mirror, tulle, frost cloth, video projection
Photographs by John Gollings
Tarkine (For a World in Need of Wilderness)
Macquarie Bank Collection, London, 2012
In the central area of the new large foyer of Macquarie Bank is a floating verdant wilderness, this new artwork is in stark contrast to the built up urban context of the city of London. Made up from a series of images drawn from the precious and threatened wilderness of the Tarkine region in Tasmania, Australia. Transparent and layered images hang from the ceiling with mirror panels creating a semi spiral sculptural formation. It is an experiential piece that transforms in changing light as one moves along and around it (there being no fixed viewing point). The work expresses the beauty and wonder of nature, amplified through reflection and transparency. Visible from both inside and outside through windows along Ropemaker street the work is able to have a public presence and illuminated at night the work forms a vast lantern experience. The images shift between fluid abstracted painterliness and amplified botanical details and passages of the verdant landscape.
The artwork makes visible an almost secret place. The Tarkine is an Antipodean Eden at the other end of the world from London, however their histories are so totally entwined. Identified by WWF as one of the most threatened natural environments, still ecologically in tact, it is the second most important temperate rainforest in the world under threat from mining and forestry interests. It is imperative that such a rare and special place is protected and preserved for our world in need of wilderness.
Photograph by Patrick Gorman
In your verdant view
Private commission for JPW Architects, Sydney, 2009
What can a garden be
BREENSPACE, Sydney, 2010
Acrylic, scientific glass, plastic tubes, duraclear, dried plants, seeds, specimens, tulle, wood, mirrors
Transient in Light
Private commission for literary gatherings, Melbourne, 2008
Olive trees, screen printed glass
Waiting-A medicinal garden for ailing plants
Kunsthalle Rønnebæksholm, Copenhagen, Denmark, 2017
17th Biennale of Sydney, 2010
Acrylic, scientific glass, plastic tubes, 3D prints, duraclear, dried plants, seeds, tulle, wood, mirrors
Photographs by David Stjernholm and Jamie North
Ferment
view from installation at Sherman Contemporary Art Foundation, 2010
Hand blown glass, plant specimens
Ghost
Lake Macquarie Gallery, 2009
Seraphic-fired screen printed glass, stainless steel
Heartshock
Adelaide Biennial of Australian Art, 2008
Australian eucalypt, latex tubing, glass vials containing organic substances
Curated by Felicity Fenner
Cellular Gardens (Where Breathing Begins)
Museum of Contemporary Art collection, Sydney, 2005
Stainless steel, acrylic, blown glass, plastic tubing, rainforest plants
Ghost Glasshouse for Lost Botanical Species
Private collection, 2003
The breath we share
Sidney Myer Commemorative Sculpture, Bendigo Art Gallery, 2003
In the Shadow
Olympic Park, Sydney, 2000
Fog, casuarina forest, bulrushes, resin, stainless steel, text, wands
Photographs by Patrick Bingham Hall
Elixir
Echigo-Tsumari Art Triennale, Japan, 2003
Wooden traditional house, screen-printed glass panels, paints, vials, plants extract, shochu, hand-blown glass
Photographs by Shigeo Anzal
The Edge of the Trees
Museum of Sydney, 1995
Both an exhibit of the museum and a public sculpture, on the site of first Government House
there is the memory of the site
the botanical memory
the Eora memory
the colonial memory
through a language of
materials
naming
mapping
Sandstone, wood, steel, oxides, shells, honey, bones, zinc, glass, sound, 29 pillars
created in collaboration with Fiona Foley, curated by Peter Emmett