public artists

Public Art Projects

2017-02-20T12:52:00.004+10:00

LANDART>WATERFEATURE>SITESPECIFIC>INSTALLATION>ICONIC>LANDART>WATERFEATURE>SITESPECIFIC>INSTALLATION>LANDART

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 until 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

‘Ripple Effect’ © hew chee fong + l.m.noonan 2011

2011-07-11T09:08:00.005+10:00

Chatswood Mall, New South Wales. Australia.

Commissioned by The Willoughby City Council

●Materials: Granite

Water is a precious commodity, a basic condition for life and symbol of prosperity.
It is the determining factor of human settlement and advancement and it is the only element in the world that has no substitute at any price.
By 2020 water use is expected to increase by 40 per cent and by 2025, two out of three people could be living under conditions of water stress.
“Peak ecological water” — is the point where, like the concept of “peak oil”; the world has to confront a natural limit on something once considered virtually infinite.
Within 20 years water will become a bigger theme for investors than oil because of our expanding “water footprint” spelling the end of the cheap water era.
A key element to tackling this crisis is to increase public awareness.
Increasing the price—hence the perceived value of water— coupled with changes in attitude and behaviour, through education that promotes and rewards responsible usage; and social pressure, are some of the ways to change habits quickly.
The application of new water wise technologies to urban design and industrial water use can potentially revolutionise water management in the future.
All the evidence shows that once habits change, even if water control is eased, there is not necessarily a reversion to previous levels of consumption.
A future vision integrating all the different aspects of water is a drop by drop affair in which every small action has a flow on effect.

‘Ripple Effect’ is designed to act on a subtle, subconscious level as both a message bearer of Willoughby Councils’ WSUD implementation policies and as a reminder of the importance of water to our global community, celebrating the small measures that will ultimately account for a renaissance of public understanding.
It has also been designed to be iconic, engaging, tactile and intellectually both stimulating and transparent.
‘Ripple Effect’ is a quiet, somewhat mysterious and contemplative installation designed to act as an oasis of calm or foil in an otherwise busy environment.
Despite the works’ obvious water-like appearance and symbolism, some effort is required on the part of the viewers who by using their imagination to fill in the missing parts initialise a dialogue between themselves and the work.
The informal positioning and horizontal nature of the sculpture encourages further interaction as each component of the installation may be sat on and the contrasting tactile qualities: of smooth and textured, sculpted and natural; explored. Changing light conditions on the artworks’ reflective surfaces and undulating ripples add a kinetic aspect.
The centre of the main installation is a form generated by a giganticised water drop.
It and the ensuing ripple function as both a zen-like focal point and as a non-political statement that all larger actions are composed of many smaller actions.
A drop of rain will not only make its mark but create ripples and a flow on effect as can every member of a community large or small affect and direct the course of a desired outcome.

contact hew chee fong + l.m.noonan

2009-11-16T11:45:00.000+10:00

contact hew chee fong + l.m.noonan

2009-07-06T13:56:00.001+10:00

Please use the anti spam bot form to email either one of us.
Thanks

‘Open Door’ © Hew Chee Fong + L.M.Noonan

2009-02-18T18:17:00.006+10:00

Banyo CBD, Queensland. Australia.
Commissioned by The Brisbane City Council
●Materials: Granite

“…they don’t ever want to move. It’s a little community that you feel you’re involved with, different to being in the city suburbs”
“…we feel safe when everyone knows each other”

The ‘Open Door’ installation symbolizes the close knit, welcoming community of Banyo; past and present. The history of the Banyo area since ‘white ‘settlement is rich and at times turbulent. Much has changed yet despite the areas’ close proximity to the Brisbane CBD; Banyo remains a quiet family oriented suburb.

Personal histories and recollections of the area paint a picture of a community that places great stock in friendship and support, a community that has always been tolerant, laid back and safe, that maintains a long tradition of neighbourliness and welcome. ‘Open Door’ symbolizes passage and safe harbor, welcome and support, tolerance and openness. An abstracted yet recognizable archetypal symbol, an open door allows a glimpse into the lives of others and acts as a threshold between the past and the future. It represents opportunity to actually make a difference in the world and embodies notions of safety and home.

Our artistic abstraction of this potent symbol is intentional. It prevents the installation from being too static, one dimensional and fixed in meaning.
The viewer is compelled to fill in the missing pieces, pieces that now have a contained energy, a possibility of change; the resultant negative spaces providing visual interest from many angles. More importantly—and we hope intriguingly so; the separated components infer a dialogue, a coming together, a consensus.

'Smarteez' © Hew Chee Fong + L.M.Noonan 2005

2008-12-30T16:13:00.000+10:00

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.

'What lies beneath' © hew chee fong + l.m.noonan 2003

2008-11-29T16:27:00.000+10:00

Oxley Central Business District, Queensland. Australia.
Commissioned by The Brisbane City Council
●Materials: Keperra Granite

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.

'Resonance' © Hew Chee Fong + L.M.Noonan. 2004

2008-11-29T16:14:00.001+10:00

33 Charlotte Street,Brisbane. Queensland. Australia Commissioned by The State of Queensland acting through Project Services
Materials: Grandee Grey Granite

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.
[PDF] QUEENSLAND GOVERNMENT OFFICE BUILDING 33 CHARLOTTE STREET

The photo below was taken by Martha Liew at the recent International Exhibition and Symposium on Public Art. It was held from 21-24 September, 2006 at the China World Trade Center Exhibition Hall in Beijing, China. Maquettes of two of our recent public art commissions went on display."Resonance" situated at 33 Charlotte Street, Brisbane, Australia recently received an Art & Architecture Award from The Royal Institute of Architects.

'Wellspring' © hew chee fong + l.m.noonan 2003

2008-11-28T16:34:00.000+10:00

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.

'Unity' © Hew Chee Fong + L.M.Noonan 2003

2008-11-27T16:40:00.000+10:00

Ruthven Street, Toowoomba, Queensland. Australia.
Commissioned by The Toowoomba City Council ●Materials: Grandee

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.

'Wavelength' © Hew Chee Fong + L.M.Noonan 2003

2008-11-26T16:46:00.000+10:00

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

2008-11-25T17:38:00.000+10:00

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.

'Tidalwall' © Hew Chee Fong + L.M.Noonan 2002

2008-11-24T17:43:00.000+10:00

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.

'Chung Fu : The truth within' © Hew Chee Fong + L.M.Noonan 2002

2008-11-23T17:49:00.000+10:00

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.

'Glebe' © Hew Chee Fong + L.M.Noonan. 2002

2008-11-22T17:56:00.000+10:00

Glebe Park, Canberra Central Business District. Australian Capital Territory.
Commissioned by The Australian Capital Territory, Chief Minster'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

'Water +Earth' © Hew Chee Fong + L.M.Noonan in collaboration with Michael Rayner 2002 .

2008-11-20T17:59:00.000+10:00

William McCormack Place, Cairns. Queensland. Australia.
Commissioned by The State of Qld acting through Project Services far North Queensland. Australia. ●Materials:ConcretePanels,Granite

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.

'Reflection' © Hew Chee Fong + L.M.Noonan 2002

2008-11-19T18:09:00.000+10:00

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.

‘Puzzle’ © Hew Chee Fong + L.M.Noonan 2009

2008-11-01T19:32:00.000+10:00

Hospitals are places that symbolise security for the greater community. They are perceived as places where puzzles are solved, where people are put back together, where illnesses and their causes are worked out. We have produced this work in recognition of all who work within the health system. A hospital isn’t about bricks and mortar; it’s about the individuals that work together as a team. This concept acknowledges the importance of every individual who is part of the bigger picture. ‘Puzzle’ has been designed to be instantly recognisable and therefore intellectually accessible to all. Puzzles generally have cheerful and positive symbolic associations. We have endeavoured to design a work that is user friendly and highly interactive, one that seeks to collaborate with both the architecture and landscape design of the precinct.

‘waterblocks’ © hew chee fong + l.m.noonan 2001

2008-10-25T10:16:00.004+10:00

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.

Maroochydore Sculpture Symposium

2008-07-17T12:01:00.004+10:00

The Symposium was held between March 17th and April 4th, 2007.
The original posts have been combined…so the last post is at the top and the first post is at the bottom.

Invisible mending

Fong's work is situated at the start of Cottontree Park, not far from the bridge.

The works have been placed quite close to each other.

The new landscaping will take a while to establish itself and soften site.

Almost finished

It was sunny in the Hinterland, here it was overcast. The sculpture was very carefully prepared for hoisting into position, when it began to rain. The risks involved in moving such objects increased alarmingly.

This time everything went smoothly.

Of course a bit of subsequent jiggling was required. Sculpture can't simply be plopped into position. Once a work is 'down', it's usually there for good- barring some random act of vandalism or natural disaster; so levels must be checked and rechecked.

A couple of hours later...

The landscapers will be on site soon to gussy things up and Fong will be on hand to make any further aesthetic decisions.

I'll be back as well- as official girl friday and amateur photographer.

One slip is all it takes

At last the new site for Fong's work was ready. On Tuesday morning we headed back out to the coast in high spirits looking forward to the final and most important phase of any artwork, but in particular... large scale site specific sculpture, installation. We've installed a lot of Public Art and never had any major dramas-until now.

Here you can see the 2 components ready to leave the compound where the sculptors worked under public scrutiny for 16 days. The white slab was loaded without a hitch.

The black 'mountain' piece likewise was loaded without mishap.

Both arrived at their new home. It's very important that everything has been prepared correctly before placing works that are difficult to move afterwards. Fong left the site for 5 minutes to get a spirit level expecting that the council team would wait for him before attempting to move anything.

They didn't wait and started to lift the large black sculpture.

From the 'safe' distance that I was required to watch from I saw the slings shift and heard the sickening thud of the work dropping back onto the truck tray.

Moments later Fong returned and with a heavy heart inspected the damage.

I hoped that the damage if any was to heavily textured, organic looking parts. Unfortunately it was to perhaps, the key element of the piece.

The 'male' jigsaw lug was completely shattered. Fong had spent days of precision carving and polishing...for nothing it seemed.

He didn't say much...what could be said? There was no hooray, no feeling of a job well done as the second component was unloaded.

The damaged work remained on the truck and has been taken away to see how- and if it can be repaired.

The site the council has chosen is beautiful. The various grasses and natural textures of the surrounding enhancing and extending the contemporary feeling of the installation.

^Fong leaving the site with the spirit level.

This sculpture is not only made of stone but of the blood, sweat and tears of an artist.

I will keep you posted as events unfold

Finito

Officially, the Maroochydore International Sculpture Symposium is finished.

On the last day (Saturday March 31st) , the sculptors really applied the elbow grease to get their respective works finished. Simona barely stopped for lunch, by the end of the day she had a bad case of sunburn.

Fong was well on schedule with only some last minute application of tennex to apply. This helps to repel the paints that graffiti artists use to 'tag' their art!

Simona flitted around her work smoothing out any imperfections, becoming a little light headed at times under our fierce autumn sun.

Probably the hardest task each day was the cleanup. Marble shards are very sharp and so it was the responsibility of each sculptor to clean up around their respective works. All these guys are thinking about at this stage is a cold beer, something to eat and bed.

At last, Simona De Lorenzo accepts a small chisel from Hutcho with which to inscribe her work with her signature.

Joe Natoli, mayor of Maroochydore officiates at an informal closing ceremony. He's an enthusiastic supporter of the arts and is seen above discussing Fong's finished sculpture.

Raffaelle Mallucci, the producer of 'Anita' -a film based on the life of Italian patriot Giuseppe Garibaldi, who fought for a unified Italy in the 1800s, and his wife, the actress Solvi Stubing were amongst the delegation of Italian business people attending.

They asked a lot of questions and spent time discussing the work with each sculptor.

Simona's work proved very popular with the audience. It seemed everyone wanted to pose for a picture with her. She certainly looks different without her overalls or 'tutti' and the scarf she always wears to keep the marble dust out of her luxuriant curly black hair.

Cameras were busy all afternoon. Hutcho and his son looked completely unfazed by all the hoo ha.

Fiona McCarron, the Project Manager considered herself still on the job. She explained the concepts and working process behind each work to interested members of the public and invited guests.

The Symposium was extremely popular with everyone, appealing to people of all ages as seen by this charming retiree.

I snapped these unsuspecting teenagers who are obviously 'over' the event. I shouldn't bag the younger generation, to be fair -two of them are Fong and my sons, the fellow standing in the middle is their friend. They've seen enough of the 'process' to last a lifetime.

Down to the wire

Officially for the sculptors, the Maroochy Sculpture Symposium comes to an end on Sunday April 1st.

However,the real ‘down tools time’ is late Saturday because of the closing ceremony with the Mayor, Joe Natoli and Symposium sponsors, The Reed Property Group and CKG.

Fong and Simona are on schedule,

but Hutcho has a lot of ground to cover. This is not because he’s slacking off, rather it’s because the marble block he was given was a lot bigger than he required, so he scaled his work up accordingly.

He may stay on a little longer to complete the work to his satisfaction.

It has been a very long week

It's been a week fraught with difficulties. The weather has continued to be very hot, sapping the energy of even the seasoned Australian sculptors. Simona has been unwell and earlier in the week Luca Marovino left the symposium for good. What happens to his half finished sculpture is unknown at this point in time. Despite these problems, Fong and Hutcho have continued to put in the long hours required to meet the looming deadline.

For onlookers the progress seems much slower.Now that the works have been 'roughed out', the many stages of finishing which includes the laborious process of polishing must follow.

Displayed in front of each sculptors site are the maquettes they submitted to the Maroochy Shire Council. These are usually indicative only, particularly in Fong's case as he prefers to use 'floaters' rather than quarried slabs whenever possible.

When viewed from this angle the negative spaces of the white marble slab seem soft and billowing, more like drapery than stone.

When the dust is sluiced off the works; for a moment or two we get a hint of what the final product will look like. The reds and blacks in the monolith make for a rich foil against the gleaming grey veined white slab.

Hutcho has had to work very hard to get to this point. Very soon the crane will stand 'Henry'- his figure, up.

Before that happens the hole for the locating pin has to be drilled into the base, and while Fiona and Simona discuss the finer points, Hutcho aided by Fong attack Henry's bottom.

The hot days continue

As usual the sculptors were on site early to make the most of the cooler part of the day. A crane came to turn, raise or lower the individual blocks.

Everyone involved in the symposium is working up quite a tan. Europeans usually have a hard time figuring out how old Australians are. Being a white man in a brown mans land is tough, and we've got the skin cancers to prove it. Sculptors are a weathered lot, they have to cope with all the vagaries of the weather, hot, cold, wet, dry: stone dust in every orifice and dire health warnings.

Fong is getting close to removing all the 'big bits', the negative spaces and is starting to reconcile the front horizontal saw cut back to the natural surface on the black floater block. This block will represent the hinterland region -and in particular the world famous Glasshouse Mountains, that hug the Sunshine Coast.

Hutcho's work from this angle almost looks like a sleeping 'Easter Island' figure. Like Fong, he's been concentrating on the all important voids.

All the sculptors produced sketches, concepts and scaled maquettes as part of the submission process, however, each sculptor has a different approach and relationship to the material.

Luca has a lot of material to remove from his complex design and is acutely aware of the short time frame in which to complete the project.
I have become aware of how much the individual designs reflect the artist.
Luca's is contained, complex and technically demanding.

Fong's work reveals his eastern aesthetics and reverence for nature.

And Hutcho's exudes a dynamic vitality, a generous spirit and an 'in yer face' irreverence for the pomposity of traditional sculpture.

And so it begins

First thing Saturday morning as scheduled, the sculptors began 'roughing' out their individual blocks. The quick cut tool as seen above being used by Fong, is heavy and hard going but gets rid of a lot of material quickly. It's not surprising that there's hardly a sculptor alive that does not suffer from some form of RSI.

Simona has had to make some radical changes to her planned sculpture.The marble block brought from Far North Queensland had a flaw that could not be worked around. This is a common occurrence because stone is an organic material and it 's very difficult to spot internal fractures and flaws until the blocks are cut. Fong will also have to work around some flaws in the black marble floater which is integral to his initial concept.

Ken or 'hutcho' as he is fondly known has also been using the quick cut, his abstract figurative work has a lot of complicated negative spaces ... so there'll be no shilly shallying if he's to complete it on time. Ken's only just finished a symposium in Mount Gambier, South Australia.

Luca meanwhile has been powering along. He's an old hand at this type of event, born in Carrara; marble is literally in his blood. Like Ken, he's come directly from another symposium, in Tehran. He was one of twenty sculptors shortlisted from nearly 400 entrants. His work 'Mistery' was awarded a major prize.

The weather all weekend was very hot and the clouds of white dust billowing up from the site attracted a lot of attention . There was a steady stream of curious onlookers, many staying for long periods. When you live with a sculptor you take a lot for granted, there's very little mystery, mostly bad backs, cranky shoulders and painful elbows. They're always coated in dust...as seen in the photo above and then there's the noise of the hammers, chisels and grinders. As I sat and watched the passing parade of inquisitive surfers, skaters, fishermen, holiday makers and locals out for a stroll, I realised that what they do is in fact mysterious and more worrying, a dying art form. Perhaps they are dinosaurs. The sculpture departments of art schools everywhere are to all intents and purposes defunct. We creatures of the twenty first century have short attention spans, we pace up and down in front of our microwaves, grumble about our ISP speed and we want quick art not slow art. Still I have they feeling that during the next two weeks these dinosaurs are going to lay a couple of eggs. Somewhere in the crowds of children watching there is one or two thinking 'when I grow up... I want to be just like them'.

The blocks arrive at the seaside

Today the Chillagoe marble blocks arrived at Cotton Tree Park, Maroochydore. Fiona McCarron --the Project manager, expertly oversaw the positioning of each block as required by Council's health and safety regulations.

Luca Marovino arrives this evening from Italy, Simona de Lorenza arrives tomorrow as is Ken Hutchinson who is driving. First thing this Saturday morning (March 17th) the four sculptors will begin their 'performance' art behind the wire mesh enclosures...so bring your bags of peanuts --they're bound to get hungry.

The enclosures are there for everybody's safety, stone chips can travel a long distance. This is a unique opportunity to see a time honoured skill practised by sculptors who have decades of experience under their belts. Let's hope the rain stays away and it's not too humid.

Getting to the core of the matter

The Chillagoe blocks have undergone some radical changes since arriving last week at T Wrafter and Sons' Nerangbah Stone Plant. The large black marble free floater has some flaws that have required some deeper cutting than initially visualised. However, stone is a natural material and most times the sculptor has to work with it rather than try and beat it into submission. Fong will have to listen to this piece and decipher the best course. Fong has spent a lot time over the years in quarries scrambling from boulder to boulder waiting for one of them to speak. The only self portrait he has ever sculpted was aptly titled "rocks in my head", and a large one man exhibition was called "the paradoxical thinking of stone". I rest my case.

The white Chillagoe marble slab is 'behaving' itself. But it's a slow process core drilling the 500mm thick slabs.

The marble has arrived from Chillagoe

This morning Fong and I went to T. Wrafter and Sons' stone plant to inspect the newly arrived blocks from Chillagoe. Fong's blocks and those requested by the other sculptors were chosen by Craig Medson and Fiona McCarron, a sculptor herself and Project Manager of the Symposium. She flew to to Chillagoe which is located 215 kilometres West of Cairns, North Queensland. Chillagoe has become synonymous with high quality marble... even exporting to Italy.
Fong's design requires a large piece of black marble and an equally large slab of white marble. He was very happy with the choice and can't wait to release the form sleeping within the black floater.
I was fascinated with skin of the boulder which seemed to have barnacles or some sort of marine-like growth attached to it. Fiona explained that the area was once an inland sea and this was a remnant of a coral reef formed 400 million years ago - she has been sculpting Chillagoe marbles for many years.
Next week Fong will begin to drill some large core holes in readiness for the symposium.

Fiona McCarron and Hew Chee Fong standing on some of the other sculptors' blocks.

Maroochydore Sculpture Symposium

Fong has been exhibiting since the early 80’s and has several Public Art Projects under his belt…but he has never participated in a Sculpture Symposium. He, another Australian and two Italian sculptors will take part in the Maroochydore Sculpture Symposium that will coincide with the
inaugural Sunshine Coast Italian Film Festival. The legendary screen diva Sophia Loren is expected to attend, so I’m really hoping for a glimpse as I’ll be documenting this exciting event. There will also be a business expo, fashion parade, automotive displays, property showcase, soccer and of course, Italian and local food. The artists will produce their sculptures in Cotton Tree Park…let’s hope it’s neither too hot nor too wet.
The Symposium will start on March 17th, 2007 and finish on April 4th.

'unity'

2007-02-20T12:51:00.002+10:00

'Unity' © Hew Chee Fong + L.M.Noonan 2003

Ruthven Street, Toowoomba, Queensland. Australia.

Commissioned by The Toowoomba City Council

Materials: Grandee Grey Granite,Water + boulders

'resonance'

2007-02-20T12:51:00.001+10:00

'Resonance' © Hew Chee Fong + L.M.Noonan. 2004

33 Charlotte Street,Brisbane. Queensland. Australia.

Commissioned by The State of Queensland acting through Project Services

Materials: Grandee Grey Granite

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.

'what lies beneath'

2007-02-20T12:51:00.000+10:00

'What lies beneath' © Hew Chee Fong + L.M.Noonan 2003

Oxley Central Business District, Queensland. Australia.

Commissioned by The Brisbane City Council

Materials: Keperra Granite

'wavelength'

2007-02-20T12:50:00.002+10:00

'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

2007-02-20T12:50:00.001+10:00

Lagoon Entrance, Cairns Esplanade. Queensland. Commissioned by The Cairns City Council
Materials: Keperra Granite

'wellspring'

2007-02-20T12:50:00.000+10:00

'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

'glebe'

2007-02-20T12:49:00.002+10:00

'Glebe' © Hew Chee Fong + L.M.Noonan. 2002
Commissioned by The Australian Capital Territory, Chief Minister's Department
Materials: Grandee Grey Granite

'chung fu : the truth within'

2007-02-20T12:49:00.001+10:00

'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.

'Tidalwall' © Hew Chee Fong + L.M.Noonan 2002

2007-02-20T12:49:00.000+10:00

Woolworths wall, Sunshine Plaza, Maroochydore. Queensland.

Commissioned by Lendlease Property Management (Aust) Pty Ltd (Bovis Lendlease)Materials:Concrete + Granite

2007-02-20T12:48:00.000+10:00

William McCormack Place, Cairns. Queensland. Australia.

Commissioned by The State of Qld acting through Project Services far North Qld. Australia.

Materials:ConcretePanels, Sculpted Granite Inserts

'penjing'

2007-02-20T12:47:00.001+10:00

Caboolture Central Trail of Reflections. Queensland

Commissioned by The Caboolture Shire Council

Materials: Grandee Grey Granite and basalt boulders

2007-02-20T12:47:00.000+10:00

Southern Atrium Courtyard, Royal Brisbane Hospital, Herston. Queensland.
Commissioned by The Queensland Depart of Health Capital Works Branch
Materials: Grandee, Calca + Keperra Granite

2007-02-20T12:45:00.002+10:00

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.

'waterblocks'

2007-02-20T12:45:00.001+10:00

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.

2007-02-20T12:44:00.003+10:00

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.

2007-02-20T12:44:00.002+10:00

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.

2007-02-20T12:43:00.003+10:00

Grosvenor Apartments, Edward Street, Brisbane

Commissioned by Mirvac Constructions

Materials:Grandee Grey Granite, boulders + water

"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.

2007-02-20T12:43:00.002+10:00

Carindale Town Square. Queensland.

Commissioned by Suncorp General Insurance Ltd + Perpetual Trustee Co Ltd

Materials : Granite

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.

2007-02-20T12:42:00.000+10:00

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.

2007-02-20T12:39:00.000+10:00

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

2007-02-20T12:37:00.000+10:00

2006
Art & Architecture Award, Royal Institute of Architects, for 'Resonance' 33 Charlotte Street, Brisbane.

2004
Art & Architecture Award, Royal Institute of Architects, for 'Herd' Cairns Esplanade Redevelopment.

2003
C&CAA Public Domain Awards - Highly Commended for 'Tidalwall', Sunshine Plaza, Maroochydore. Read what the judges had to say

1999
The Maroochydore Excellence in Planning and Building Awards- Winner for 'Dialogue', Coolum Esplanade.)

1999
The Maroochydore Excellence in Planning and Building Awards-Highly Commended for 'Pitsaws', Montville Main Street.

2007-02-20T12:33:00.000+10:00

BOOKS/CATALOGUES/REVIEWS

2004

'33 Charlotte St'- catalogue by Arts Built-In.

2004

'Public Aesthetic, Public Art + Practice: East + West', compiled by Martha Liew, Book published by IS Publishing ISBN 7-5323-7194-82004

'Creating Better Public Places' Policy and Guidelines by Art Built-In.

2002

Muse, Canberra's Art Monthly. Page 18, No 219.2002 Arts in the City- A Walking Guide- ARTS ACT Publication.

2002

'Roma Street Parklands-Works of Art'- catalogue published by the Queensland Department of Public Works.

2000

'East Meets West', Article by Alison Cotes about the nature of our collaboration , Art Section, The Courier Mail, Brisbane.

1998

'Going Public' ARTLINK Australian Contemporary Art Quarterly Magazine - Page 58, Volume 18 no 2

public artists

Public Art Projects

‘Ripple Effect’ © hew chee fong + l.m.noonan 2011

contact hew chee fong + l.m.noonan

contact hew chee fong + l.m.noonan

‘Open Door’ © Hew Chee Fong + L.M.Noonan

'Smarteez' © Hew Chee Fong + L.M.Noonan 2005

'What lies beneath' © hew chee fong + l.m.noonan 2003

'Resonance' © Hew Chee Fong + L.M.Noonan. 2004

'Wellspring' © hew chee fong + l.m.noonan 2003

'Unity' © Hew Chee Fong + L.M.Noonan 2003

'Wavelength' © Hew Chee Fong + L.M.Noonan 2003

'Herd' © Hew Chee Fong + L.M.Noonan 2003

'Tidalwall' © Hew Chee Fong + L.M.Noonan 2002

'Chung Fu : The truth within' © Hew Chee Fong + L.M.Noonan 2002

'Glebe' © Hew Chee Fong + L.M.Noonan. 2002

'Water +Earth' © Hew Chee Fong + L.M.Noonan in collaboration with Michael Rayner 2002 .

'Reflection' © Hew Chee Fong + L.M.Noonan 2002

‘Puzzle’ © Hew Chee Fong + L.M.Noonan 2009

‘waterblocks’ © hew chee fong + l.m.noonan 2001

Maroochydore Sculpture Symposium

'unity'

'resonance'

'what lies beneath'

'wavelength'

herd © hew chee fong + l.m.noonan 2003

'wellspring'

'glebe'

'chung fu : the truth within'

'Tidalwall' © Hew Chee Fong + L.M.Noonan 2002

'Water +Earth' © Hew Chee Fong + L.M.Noonan in collaboration with Michael Rayner 2002

'penjing'

'Reflection' © Hew Chee Fong + L.M.Noonan 2002

undercurrent © hew chee fong + l.m.noonan

'waterblocks'

skipping stone © hew chee fong + l.m.noonan

coracle © hew chee fong + l.m.noonan

'crucible' © Hew Chee Fong + L.M.Noonan. 1998

'stillwater + rocksack' © hew chee fong + l.m.noonan 1999

pitsaws © Hew Chee Fong + L.M.Noonan 1997

dialogue © hew chee fong + l.m.noonan 1997

2006 Art & Architecture Award, Royal Institute of Architects, for 'Resonance' 33 Charlotte Street, Brisbane.

2004 Art & Architecture Award, Royal Institute of Architects, for 'Herd' Cairns Esplanade Redevelopment.

2003 C&CAA Public Domain Awards - Highly Commended for 'Tidalwall', Sunshine Plaza, Maroochydore. Read what the judges had to say

1999 The Maroochydore Excellence in Planning and Building Awards- Winner for 'Dialogue', Coolum Esplanade.)

1999 The Maroochydore Excellence in Planning and Building Awards-Highly Commended for 'Pitsaws', Montville Main Street.

2006
Art & Architecture Award, Royal Institute of Architects, for 'Resonance' 33 Charlotte Street, Brisbane.

2004
Art & Architecture Award, Royal Institute of Architects, for 'Herd' Cairns Esplanade Redevelopment.

2003
C&CAA Public Domain Awards - Highly Commended for 'Tidalwall', Sunshine Plaza, Maroochydore. Read what the judges had to say

1999
The Maroochydore Excellence in Planning and Building Awards- Winner for 'Dialogue', Coolum Esplanade.)

1999
The Maroochydore Excellence in Planning and Building Awards-Highly Commended for 'Pitsaws', Montville Main Street.