Our Public Art Projects
landart>watersculpture>stone>installation>concrete
Public art is essentially an extension of our individual private practices. The largesse of scale and budget that is normally out of reach enables the exploration of ideas that might otherwise never be realised. We view our collaborative partnership as a means to explore new and mutually beneficial conceptual outcomes.
There are certain conceptual conventions we both agree with, amongst which are; truth of materials, no unnecessary or pasted decoration and a hands on approach from sketch stage to installation of the finished work. We believe our intimacy with all stages of the creation of an artwork allows us to recognise and capitalise on the possibilities for better outcomes, be they aesthetic decisions or the unforeseen vagaries of production.
The projects we have designed and manufactured til now have ranged from simple iconic sculptures to complex works that involve the use of water, sculptural installations and landart.
Hew Chee Fong + L.M.Noonan
Following is a list of installed public art projects--in chronological order.
We have been shorlisted and designed for many other projects along the way.
'Smarteez' © Hew Chee Fong + L.M.Noonan 2005
Riverway Lagoon, Thuringowa Queensland. Australia.
Commissioned by The Thuringowa City Council
Materials: Various Australian Granites ' 
Smarteez' is a series of pure sculptural forms carved from Australian granites. Seven smooth disks resembling lollies or board game pieces lay scattered across the beach and lagoon as though accidentally dropped. One gleaming black disk appears about to topple in the ‘freeze-frame’ composition imbuing the work with kinetic drama, the tactile surfaces and channels created between the forms inviting interaction from swimmers. A ‘pop art’ installation designed with fun and a sense of play, for children and the child within. Both the architecture and the function of the site have impacted directly upon our design processes and direction. We have chosen to work with rather than against or in contrast with, the vision of the architect, whilst at the same time pursuing our own artistic interests and paths. Our response to the lagoon design was immediate and mutual. What particularly interests both of us is the ‘formal’, ‘informal’ interplay of spaces such as the upper and lower lagoon areas. It is an innovative and fun idea to envisage a rather posh gathering of people sipping wine and exchanging witticisms whilst gazing down on children and their parents swimming, splashing and laying around in the lower lagoon below. Our design has sprung spontaneously through the exploration of the kinds of activities that children usually pursue in waterside environments. Activities that are invariably simple, time honoured and fun.
33 Charlotte Street,Brisbane. Queensland. Australia.
Commissioned by The State of Queensland acting through Project Services
As the title suggests the work is conceptually inspired by the architectural forms that surround the site and by those found in buildings throughout the world, both ancient and new. The viewer is compelled to walk around or through the granite blocks as they collectively work as a structure, or at least their broken down quality resonates a structure that once was, encouraging the viewer to put together the pieces. Placed within a larger completed structure in the city's heart the monolithic granite fragments may be interpreted as ghostly remnants of previous buildings serving to remind one of the processes of what seems to be an endless renewal of the urban landscape. The cityscape is analogous to the humans who inhabit it, constantly sloughing off dead skin to reveal a newer brighter facade.
Ruthven Street, Toowoomba, Queensland. Australia.
Commissioned by The Toowoomba City Council
Materials: Grandee Grey Granite,Water + boulders
This monolithic granite block symbolically represents the community of Toowoomba. The message that this single element conveys to the viewer is simple and direct, that strength lies in unity, solidarity and purposeful focus on mutual goals. All members of a community have joint ownership and consequently liability for its direction and shape. Under this umbrella of purpose, the disparate factions and individuals will more or less form a cohesive whole. Each however has the power to bring about change within that whole that causes ripples or consequences. The monumental grey granite block is intended to symbolically represent Toowoomba as a whole. The split or opening in its face reveals to the viewer its composition or layers. These smaller and variously shaded stones/boulders represent the different ethnic groups who have lived harmoniously in and contributed to the city's wellbeing and prosperity as well as the varied products, activities and geographical marvels of the area.
Oxley Central Business District, Queensland. Australia.
Commissioned by The Brisbane City Council
The three main sculptures and accompanying markers all have in common an overt reference to the spiral forms found in most shells of both marine and land creatures. They are designed to be conceptually accessible to all, to invite tactile interaction and to reinforce the importance of the town centre. They also playfully suggest that these giant shells and shell fragments have in eons past been caught and lodged in this catchment area. The boulders from which these fossilized forms emerge are amongst other things meant to act as a direct reference to Seventeen Mile rocks. The markers to be scattered throughout the centre are designed to be initially mysterious and puzzled over. The viewer is expected to work a little for the outcome; much like an archaeologist. When the whole object is eventually known, there is the conceptual ‘ah ha!’ and the attendant pleasure of that discovery.
'Wavelength' © Hew Chee Fong + L.M.Noonan 2003
Kelvin Grove Urban Village, Queensland. Australia.
Commissioned by The Queensland University of Technology + The Department of Housing Materials: Keperra Granite + Turf 
‘Wavelength’ is a dynamic disruption of the ground plane that intentionally refers to a pre-existent watercourse. Undulating ripples meet resistance in embedded boulders before dissipating into a calm grassy expanse. The element of surprise provokes a playful interaction between the viewer and the work whilst conferring significance to the site.
'Herd' © Hew Chee Fong + L.M.Noonan 2003
Lagoon Entrance, Cairns Esplanade. Queensland. Commissioned by The Cairns City Council
Materials: Keperra Granite
‘The herd’ is directly inspired by the visual drama of the natural landscape of Cairns. The leviathans like forms appear to be heading out to sea; the spines of each are carved and polished with patterns reminiscent of the mudflats found on the foreshore. The work seeks to engage the viewer’s imagination and encourage physical interaction.
'Wellspring' © Hew Chee Fong + L.M.Noonan 2003
Bell Street Mall, Toowoomba, Queensland. Australia.
Commissioned by The Toowoomba City Council
Materials: Keperra + Grandee Grey Granite + Water
‘Wellspring’ is both a contemplative and interactive installation. It commemorates the original waterhole around which Toowoomba began. The spiral symbolises the continuum from the past to the present, funnelling inwards as purposeful symbolism of how the city is the epicentre of the multifarious activities and products of a bountiful area.The viewer is invited to gaze into the heart of a spiral which is carved into a naturally formed granite boulder. The quilted pillow like form suggests that this is a place to rest awhile. A smooth granite bench is positioned to allow the viewer to contemplate the meaning of the work and to watch the water that bubbles up, flow smoothly over its sides.
Commissioned by The Australian Capital Territory, Chief Minister's Department
Materials: Grandee Grey Granite
Glebe Park has had an association with the church for more than a hundred years. The role of the church in the white settlement of Australia and the subsequent waxing and waning of its power in western society made it the logical reference point for the design of any sculpture for the site. The house form arouses strong spontaneous associations for most people. Clearly understood as a symbol, the viewer is easily brought into dialogue with the work. The simple form of monolithic proportions appears to be broken into three pieces, these breaks appear to be a natural consequence of historical changes. There are a number of possible readings; the first and simplest concerns the use of the now demolished building, referred to as the rectory. In its first incarnation it was most closely tied to the church, therefore the front face and first third of the house has carved into it the cross, which from early times Christians have used both as a reminder of their faith and as a marker to others (non Christians). The second piece refers to the period when the building was used as a schoolhouse and the last piece refers to its final role as boarding house. The second layer of meaning refers to the Jungian interpretation of the house symbol that it can at different times house the spirit, the intellect and the flesh. Hence, the church = the spiritual, the school = the intellect, the boarding-house = the flesh. The third layer of meaning relates to the changing boundaries and perception…historically and culturally speaking. White settlement of Australia imposed new boundaries; the continent was formally broken up into states and territories, cities and towns, suburbs and streets, quarter acre blocks. The town planner’s grid work neatly divided and divided the land again. The original parcel of land was reduced to its present size successively over the years. This pattern continues even now throughout Australia as formerly rural areas are parcelled up into suburban allotments. The work also alludes to the diminished role of the church in modern times; a hundred years ago it was the bedrock of Australian society wielding great political and cultural clout
'Chung Fu : The truth within' © Hew Chee Fong + L.M.Noonan 2002
Roof Garden, Royal Brisbane Hospital, Herston. Queensland.
Commissioned by The State of Queensland acting through Qld Dept Health
Materials: Calca + Grandee Grey Granite + boulders
Human beings although aware of their mortality, non the less behave and live their lives as though immortal, illness brings everyone back to the stark reality of that finite equation. Most of us have forgotten or simply ignore what is truly important, instead rush about in the headlong pursuit of the trivial and mundane. Faced with death and illness, we are forced to reflect upon our lives and relationships. Our sudden frailty makes us aware of our interdependence on others and theirs on us. It is not just our physical self that has changed and is challenged, our physic and spiritual selves and called into the fray. The rooftop garden is open to the sky and can with help actively encourage the unfettered meditation and contemplation of our place in the scheme of things. This installation is composed of five granite elements placed in a formal relationship with each other. The central piece acts as a kind of lens around which the other elements focus on and seem to be in dialogue with. Three of these four red elements have perfectly and particularly placed ovoid rocks resting on them. These rocks are intended to symbolise the thought and attention of those in closest relationship with the unwell fourth. The impression of the stones weight and disruption or wrinkling of the polished surface is meticulously carved in a tromp l'oeil manner. The fourth seems almost to be awaiting occupation and or participation in this process. The central grey granite slab appears to float above the ground on which it rests. The never-ending spiral, subtly funnels inwards. The surface has a slightly soft or quilted and undulating appearance. It is pleasingly tactile and visually engaging with the marks of the maker etching its surface.
Woolworths wall, Sunshine Plaza, Maroochydore. Queensland.
Commissioned by Lendlease Property Management (Aust) Pty Ltd (Bovis Lendlease)Materials:Concrete + Granite
This precast concrete feature ‘tidal wall’ is part of the new plaza parade shopping complex adjacent to the sunshine plaza. The design replicates the rippling sand seen on the riverbank at low tide, and thus blends the building into the adjoining landscape of Cornmeal Creek. All panels were cast using a single mould made from a full sized concrete panel that was hand carved by the artists / designers. A mixture of special aggregates and coloured concrete was used, with each panel individually modified with a combination of polishing, blasting and acid etching, the wall provides a secure, low maintenance cladding system. It was our intention to avoid any overtly literal interpretations of natural phenomena in surface patterns for walls, rather a depiction of nature’s influences on our coastal environment, water, wind and tidal rhythms.
William McCormack Place, Cairns. Queensland. Australia.
Commissioned by The State of Qld acting through Project Services far North Qld. Australia.
Thematically exploring the cyclic nature of the weather patterns of Cairns, the new government building forecourt is an integrated artwork and landscape scheme. What would otherwise be a long narrow space has instead been transformed into a series of outdoor rooms. The vista seeks to engage the viewer in a succession of dramatic events symbolically portrayed at various staging points throughout the area. Four walls act as the thresholds into each ‘wet’ or ‘dry’ space. Inserted into each are large granite sculptures. Grey granite is carved and polished liquiform. Red granite is sandblasted, hammered and generally exposed into a desiccated state. These are abstract depictions of the sort of physical outcomes found in extreme climate conditions. The waterfalls and flash floods of the wet season, the parched and cracked extremes of the dry.
Caboolture Central Trail of Reflections. Queensland
Commissioned by The Caboolture Shire Council
Materials: Grandee Grey Granite and basalt boulders
Southern Atrium Courtyard, Royal Brisbane Hospital, Herston. Queensland.
Commissioned by The Queensland Depart of Health Capital Works Branch
Materials: Grandee, Calca + Keperra Granite
The ambience of the space is that of quiet contemplation and relaxation for the hospital staff. The new sculpture 'reflection' is designed to collaborate not only with its architectural surroundings but to also act as a focus point for the large shade tree behind the installation whilst providing a logical juxtaposition with the pre existent work known as ‘The Bathers’, by Philip Piperides. The two sculptures are not integrated to the degree that the uninformed viewer cannot read them as two separate sculptures. This would compromise the works and their respective creators. The Keperra boulders that form parts of 'reflection' naturalise the sculpture into its surroundings and invite the viewer to physically interact. The entire work can be sat on. The tromp l’oeil carving of the slab's top surfaces into a mysterious water like appearance further focuses the viewers attention. ‘The Bathers’ has been sited in such a way as to suggest that they are sitting near to and contemplating the other sculpture. The resultant relationship between the two refers to the affinity human beings have for bodies of water, due in part to the calming effect it usually provokes.
Albert Street Entry, Roma Street Parklands, Brisbane. Queensland. Australia.
Commissioned by The State of Queensland Department of Public Works
Materials: Imperial Black Granite
THE EXPERIENCE OF PLACE… THRESHOLD-ENCLOSURE-HORIZON
A hydrological cycle is revealed as one moves through the space, at each significant point the physical and psychological relationship between the viewer and the work changes. Through spatial and tactile senses the work endeavours to communicate the nature of its being. The commanding, totemic presence of the monumental threshold block, demands a certain respect, and denotes the beginning of an important experience. Block two is midstream, physically confined by both the width of the stairs/passageway, and by the proximity of the bus shelter and the planter box. In this enclosed space, the tactility of the work engages and draws the viewer to the experience of place. The work has a material intimacy of surface contrasts. The rougher quarried verticals and the seductive smoothness of the top surface now within reach. At the horizon level, the work assumes a new posture that seeks to be both intelligent and inventive. The work becomes paradoxically both more mysterious and easier to decipher. It is at one level an observation on the properties of water, a frozen moment in time. It is also a philosophical symbol of the nature of time…past, present and future and it is a new interpretation, a modern symbol for a modern world that values and celebrates difference, non-conformity and indeterminism.
THE EXPERIENCE OF PLACE… THRESHOLD-ENCLOSURE-HORIZON
A hydrological cycle is revealed as one moves through the space, at each significant point the physical and psychological relationship between the viewer and the work changes. Through spatial and tactile senses the work endeavours to communicate the nature of its being. The commanding, totemic presence of the monumental threshold block, demands a certain respect, and denotes the beginning of an important experience. Block two is midstream, physically confined by both the width of the stairs/passageway, and by the proximity of the bus shelter and the planter box. In this enclosed space, the tactility of the work engages and draws the viewer to the experience of place. The work has a material intimacy of surface contrasts. The rougher quarried verticals and the seductive smoothness of the top surface now within reach. At the horizon level, the work assumes a new posture that seeks to be both intelligent and inventive. The work becomes paradoxically both more mysterious and easier to decipher. It is at one level an observation on the properties of water, a frozen moment in time. It is also a philosophical symbol of the nature of time…past, present and future and it is a new interpretation, a modern symbol for a modern world that values and celebrates difference, non-conformity and indeterminism.
'Undercurrent' © Hew Chee Fong + L.M.Noonan 2001
Gardens Point, Brisbane. Queensland
Commissioned by The Brisbane City Council
Materials: Keperra Granite + Turf
Gardens Point, Brisbane. Queensland
Commissioned by The Brisbane City Council
Materials: Keperra Granite + Turf
"Undercurrent" is a site generated land art installation. It operates on several levels, so that it is both simple to read and understand, yet mysterious and multilayered in cryptic meaning and metaphor. Initially the work seeks to enter the viewer's consciousness through a symbolic mimicry of the river beyond. The instantly recognisable effects created by stones or boulders in a current, such as eddies; are simplified and giganticised into an arresting abstraction. The work subtly coerces the park user into an interaction of the physical + intellectual kind. While easily read as stoic objects holding ground against an almost irresistible flow, they can just as easily appear to be 'voyagers' in the lawns…proactively ploughing through and disrupting an otherwise manicured surface. The work demonstrates the inherent differences between nature and civilization and mans' desire to conquer and control the natural processes. The water element is also intentionally used as a reference to the rites of passage, pointing obliquely to an undercurrent of change in our previously dismissive and violent attitude towards indigenous culture and history. Key park-like qualities are retained through a transformative design that includes particular symbolic elements that indirectly allude to other meanings. This process has been achieved via a collaborative approach to the site and its designers, in an adaptation of borrowings or hybridisation of initial schemas.
Redcliffe City Art Gallery and Library. Queensland.
Commissioned by The Redcliffe City Council
Materials: Imperial Black Granite
The three slabs represent a captured moment in time where it appears that a stone has just skipped over the surface of water. On a deeper level though, the work is intended to represent the Zen notion that still water (the mind) reflects reality purely; but as soon as a stone (thought) makes ripples, reality becomes distorted.
Tesch Park, Maleny. Queensland
Commissioned by Caloundra City Council
Materials: Keperra Granite + Turf
‘Coracle’ is simultaneously an installation and an earth sculpture. There is a deliberate collusion with its proposed surrounding landscape design. It will provoke or suggest in the mind of the viewer a vignette of a journey.A large, granite boulder is carved to the point that suggests rather than literally stating, that it is a boat. As with any object in water, there is a simulated resistance or wake effect carved into the surrounding grassed area. A question is posed, has this craft come ashore here or is it still plying its way? Another large boulder sits in splendid and compelling isolation. The top of this monolith is polished to provoke a sense of the passage of time and the ceaseless smoothing action of water. The earth surrounding it sculpted to imply yet another reaction caused by an object in water. This is in the form of rings, such as those produced when something such as a stone is dropped into a still or unmoving liquid body.The installation invites physical interaction, the viewer wants to touch and sit upon the sculptures. The work also invites intellectual interaction.The metaphoric references to the journey are powerful. It could be a simple narrative, it could be concerning the journey each of us is making and it could be an appropriate reference to the journey we make when we begin our quest for knowledge. The work is designed to both evolve out of its surroundings and devolve or merge back into them. It is not designed to be a memorial or function as an object based sculpture.
Grosvenor Apartments, Edward Street, Brisbane
Commissioned by Mirvac Constructions
"Crucible" pays tribute to the important contribution made by the Smellies company to the colony and is directly inspired by the principle implement of all foundries. Most people while not familiar with the processes and tools used in this business will none the less understand what a crucible is, and the role it plays in the workings of a foundry. The work seeks to harmonize rather than compete with its surroundings. The site is a busy one; there is both vehicular and pedestrian traffic and various architectural aspects such as a mix of eras and strong horizontals in the new building additions. These factors amongst others, determined a simple and elegant approach.
Carindale Town Square. Queensland.
Commissioned by Suncorp General Insurance Ltd + Perpetual Trustee Co Ltd
Rock Sack' and ‘Still Water' form a Sculpture Installation that speaks directly of the experience of the world of creeks and rivers. The joy of jumping from one rock to another, of finding a 'special' rock, one like no other, of countless hours lost to the rhythm of nature. These works aim to provoke an association in the mind of the viewer with certain aspects of the Bulimba Creek, specifically the thrill of exploration and the beauty of the natural world. 'Rock Sack' appears to be filled to bursting point with smaller rocks, its satisfying tactile qualities reminding us of other stone treasures embedded in creek banks and crevices. ‘Still Water' is an analogous work concerning the descriptive qualities of water and its universal appeal.
Main Street, Monteville, Queensland.
Commissioned by The Maroochy Shire Council
Materials: Grandee grey granite + basalt
'Pitsaws' is a work about subtlety and contrast, rough and smooth, manmade and natural, turbulent times and prosperous ones. The work is both refined and graceful. Not so much a homage, but rather a simple statement of fact about the important role played by the timber industry in the ‘white’ history of Monteville.
'Dialogue' © Hew Chee Fong + L.M.Noonan 1997
Coolum Esplanade. Queensland.
Commissioned by The Maroochy Shire Council
Materials: Blackbutt, Grey Granite + boulders
'Dialogue' is meant to act as a focal point of welcome and to denote some of the 'special 'qualities of Coolum. It is a work intentionally designed to reflect Coolum’s' relaxed, fun loving and informal atmosphere. The sculpture invites the touch and exploration by young and old alike. Children especially like the interactive elements, such as the peepholes and monkey puzzle. Coolums' dramatic coastline and the power of nature provided the primary source of inspiration. The distinctive "egg rocks" created through ceaseless tumbling on the beach over eons and entrapped in crevices by the same pounding nature of the waves are expressed in a variety of ways in this large gateway installation. The spirit of the beachcomber is there as well, in the eroded sandcastle shapes and marine patterning in parts of the work
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