Charge 2013 by Milne & Stonehouse Charge 2013 by Milne & Stonehouse Charge 2013 by Milne & Stonehouse Charge 2013 by Milne & Stonehouse Charge 2013 by Milne & Stonehouse Charge 2013 by Milne & Stonehouse Charge 2013 by Milne & Stonehouse Charge 2013 by Milne & Stonehouse Charge 2013 by Milne & Stonehouse
  • 2013
  • Charge

  • Graywaithe Rehabilitation Hospital, Ryde
  • NSW Health
  • Glass by Healevilles Glass Blowing Studio. Fabricator: M&D Engineering. Curator: Guppy & Associates. Photographer: Simon Hewson

This artwork explores neuron activity in the brain as part of the body’s rehabilitation process. The neuron lattice is magnified as a light artwork suspended in the hospital atrium.

The use of a programmed LED chain illuminates the lights. Sensor activated, the sculpture emulates the electric charge transmitted through the nervous system. The materials for this work are blown glass, plastic and metal.

 

 

Hydro 2013 By Milne & Stonehouse Hydro 2013 By Milne & Stonehouse
  • 2013
  • Hydro

  • Rehabilitation Pool, Graywaithe Rehabilitation Hospital, Ryde
  • NSW Health
Origami Horses 2013 by Milne & Stonehouse Origami Horses 2013 by Milne & Stonehouse Origami Horses 2013 by Milne & Stonehouse Origami Horses 2013 by Milne & Stonehouse Origami Horses by Milne & Stonehouse
  • 2013
  • Origami Horses

  • Coles

Origami Horses expresses the movement of a horse from a prancing position to the rearing up.

In response to the reliance upon horses along the northern side of the river in early colonial days and a number of stories about characters and their horses, these sculptures are different day and night experiences.

The patterns were designed by local primary school students from their sense of the local environment and their personal interests. Constructed from aluminium and using printed polycarbonate infills, the horses are transformed at night into vibrant light boxes.

 

 

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  • 2013
  • V for Victory

  • SEE Public Art Project with Kendal Henry

My uncle told me a story that when he was on leave from the war, a woman handed him an envelope with a white feather inside implying cowardice. Man and war from the sign explores notions of masculinity and the origin of Manly’s name.

Box Kite 2012 by Milne & Stonehouse Box Kite 2012 by Milne & Stonehouse Box Kite 2012 by Milne & Stonehouse Box Kite 2012 by Milne & Stonehouse Box Kite 2012 by Milne & Stonehouse Box Kite 2012 by Milne & Stonehouse
  • 2012
  • Box Kite

  • Thorton, North Penrith
  • UrbanGrowth
  • Photographer: Simon Hewson

The purchase of the Bristol Box Kite by W E Hart who made a number of single and passenger assisted flights from Belmore Park reflected a rising interest in the international airplane developments. Balloons had already ascended here from 1892 and Hon Sydney Smith welcomed the use of his land for Hart’s impedimenta and flights. At this time the promise of flight anticipated a commercial future as much as its enjoyment as a spectacle.

The ascent skyward gave an aerial perspective of the world and a buoyant spirit for human ingenuity. Aviation in Belmore Park was part of Smith’s overall vision for his land as a community gathering ground and entertainment centre.

For the Box Kite artwork the response to this notion is the skeletal nature of early biplane structure and the escape of the earthbound human into a bird’s domain. This artwork explores the lyricism of flight and the flimsy pilot prosthetic that propelled humans into the sky.


Social Fabric 2012 by Milne & Stonehouse Social Fabric 2012 by Milne & Stonehouse Social Fabric 2012 by Milne & Stonehouse Social Fabric 2012 by Milne & Stonehouse Social Fabric 2012 by Milne & Stonehouse Social Fabric 2012 by Milne & Stonehouse Social Fabric 2012 by Milne & Stonehouse Social Fabric 2012 by Milne & Stonehouse Social Fabric 2012 by Milne & Stonehouse
  • 2012
  • Social Fabric

  • Merrylands Shopping Centre
  • Stockland
  • Photographer: Simon Hewson

This idea responds to the diverse community which uses the Centre and responds to their sense of individual and cultural identity. The work cascades through the strata of two floors as a vertical light sculpture.

The use of shirts as a repeated element also plays with the retail presentation of commodity and its exchange with consumer desires. The use of patterns which are a common design resolution for the process from fabric to clothes will influence the size, fashion and gender of each shirt. By working with a few patterns, the inclusive nature of clothes design is reinforced across cultures. The empty shirts that are voluminous imply the visibility of the wearer.

 

Vitruvian Man 2012 by Milne & Stonehouse Vitruvian Man 2012 by Milne & Stonehouse Vitruvian Man 2012 by Milne & Stonehouse Vitruvian Man 2012 by Milne & Stonehouse
  • 2012
  • Vitruvian Man

  • 14th Street, New York
  • MODEL, AiOP
  • Materials: flour, powder, make up

This ephemeral intervention explores our preoccupation with the perfect body “Vitruvian Man” and the lengths we go to improve and change our skin and projection to the world.

Video of work here.

 

 

Snapper 2011 by Milne & Stonehouse Snapper 2011 by Milne & Stonehouse Snapper 2011 by Milne & Stonehouse Snapper 2011 by Milne & Stonehouse Snapper 2011 by Milne & Stonehouse Snapper 2011 by Milne & Stonehouse Snapper 2011 by Milne & Stonehouse
  • 2011
  • Snapper

  • Parramatta River
  • Ryde Council
  • In collaboration with Aboriginal Artist, Chris Tobin. Photographer: Simon Hewson

The Wallumai Wind Sculpture celebrates the importance of the snapper fish for local Aboriginal groups. Located along the Parramatta River, it refers to the rich natural environment once enjoyed by indigenous and early colonists before the river was exploited. The sculptures turn with the wind and the scales reflect the sky.

 

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  • 2009-2010
  • Floating Leaves

  • Top Ryde
  • Bovis Lend Lease

Floating above the heads of the piazza, the skeletal veins cast intricate shadows in the groundplane.The experience has the feel of the forest with the floating leaves nourishing as the canopy overlays and shelters the forest floor.

The differences in height reflect the cascading properties of the nasturtium and colour accents echo the vibrant blossom colours.

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  • 2009-2010
  • Insect wall

  • Fairfield Park
  • Fairfield City Council

Located in a young person’s play area, the cut outs referring to the cicadas and mayflies refer to their exotic annual life cycle and the nicknames for cicadas. With a diversity of cultures enjoying the park, this quintessential Sydney experience is made accessible to young children.


Tread 2010 by Milne & Stonehouse Tread 2010 by Milne & Stonehouse Tread 2010 by Milne & Stonehouse Tread 2010 by Milne & Stonehouse Tread 2010 by Milne & Stonehouse Tread 2010 by Milne & Stonehouse Tread 2010 by Milne & Stonehouse Tread 2010 by Milne & Stonehouse Tread 2010 by Milne & Stonehouse Tread 2010 by Milne & Stonehouse
  • 2009-2010
  • Tread

  • Rushcutters Bay
  • Lindsay Bennelong Developments

The imprint of tyre treads upon the earth echoes the stratified fossil prints of ancient plants and leaves compressed into stone and shale.  While the tyre tracks reveal the weight of travel and an impatience with speed, the leaf patterns stretch skeletally to trap the light and water.

The artwork is made up of a number of elements spatially separated and yet geometrically interlocked.  A  patterned perforation on the sides of each element renders them as transparent and hollow.  The imagery of these patterns explores the common threads of the treads, the plant veins and water marks.

As a starting point for sculptural forms, the tread patterns were individually sampled, scaled and reconfigured using metal.  The links between apparently disparate layers of water, leaf and tyre are reinforced by their repeated geometry and the rhythm of their patterns cut from sheet metal.

insp-nov09476 insp-nov09474 insp-nov09482 insp-nov09488
  • 2009
  • Eveleigh Market signage

  • Redfern
  • Redfern-Waterloo Authority

The sign announces a popular market enterprise below street level.

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  • 2008-2009
  • Out of Water

  • Moruya
  • Eurobodalla Shire

The artwork uses disparate materials combined as one sculpture.  The metal upright stretches over eight metres into the air and attaches to a granite stone wall.  Extending towards the river a granite line projects cleanly in the shadow of a vertebrae of seats in hardwood and metal.

It makes a number of references.  The granite wall alludes to its material use for the Harbour Bridge and the function of training walls to control sand deposition in the river.  The vertical fin is a figurative gesture while the seats follow its curve along the ground as the vertebra of a spinal keel.

It is neither a fish nor a boat but threads their differences into sculptural material.  Both are in the water, one rides on the Plimsoll line, the other below.  Both are stranded out of water.  The form and imprint of the sculpture’s stranding reminds its audience from where it has come.  The local text references respond to Aboriginal language, history and school students.

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  • 2008-2009
  • Sentry Box

  • Parramatta
  • Parramatta City Council

The sentry box represents the early role of Parramatta as a colonial outpost at the head of the harbour, set in a park-like landscape which seems surreal to the first Europeans who saw it in 1788, expecting a “wilderness”.

The landing place, wharf, military barracks and government store/granary were at one end of the power axis at the entry point to Parramatta, with Government House at the head of George Street commanding the opposite end.  Floggings of convicts and soldiers sometimes took place at the doorway of the Government Store.

The sentry outside the barracks watched over the river and George Street for Aboriginal guerillas and escaping convicts and stood at the first gateway through which immigrants flowed to inland Australia.”

Story Walls 2009 Milne and Stonehouse Story Walls 2009 Milne and Stonehouse Story Walls 2009 Milne and Stonehouse Story Walls 2009 Milne and Stonehouse Story Walls 2009 Milne and Stonehouse Story Walls 2009 Milne and Stonehouse
  • 2008-2009
  • Story Walls

  • Parramatta
  • Parramatta City Council

The direct use of quotations brings the speech and characters alive within archaic language forms while the current shorthand of the text message and computer code dominate.  It is a kind of oral history that cuts through the SMS of language rhythms with timeless preoccupations and emotions.  Framed within the wake of countless boats that have moved upstream, the walls quietly remind.


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  • 2007-2009
  • Honeysuckle

  • Newcastle
  • Hunter Development Corporation with Zenscapes Landscape Architects

From a distance the ripple of wave motion disrupts the monotony of shoreline and the organic landmass responds rhythmically in sculptural form and material.  From here the combination of organic and made elements blur function and artwork.  The sense of equilibrium is jolted by the perception of the solid form of land rolling and shifting as liquid.

The conceptual framework and contrasting elements of natural and made materials define the palette for the park.  These materials contrast conceptually and aesthetically, for example, with the patina of metal referencing the industrial heritage as well as its clean slice through the heavier mass of concrete.  These material contrasts reinforce the notion of fractures, as interventions in site and as sculptural elements that shape movement and sightlines.  The concrete wall and paths explores all three themes, fractures, fingers, and connectors in its slice, in its fragmentation and the artwork texture of its surface.

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  • 2007-2009
  • Waterwall

  • Baulkam Hills
  • The Hills Shire Council with artist Marie Stucci

The idea for the wall plays with the notion of “illuminated manuscript,” exploring these issues in the imagery and text of the light box. This takes the medieval relationship between image and text and reinvents its form within a contemporary “illuminated” panel for the wall section.  While the style of the panel is derived from the formal set out with initials and miniatures, the text and imagery of the panel explores contemporary notions, such as text as a digital bit or part of a binary code, layered with pictorial and symbolic language.  The local history is the source of text.

Bower
  • 2007-2008
  • Bower

  • Redfern
  • Sydney City

The transformation of a timeless courtship ritual by the bowerbird into a contemporary public artwork borrows the essence of his installation: its avenue; entrance; precious objects and two enfolding stick constructions. The passage of people through animates its presence through performance.           

Float Float Float Float
  • 2007-2008
  • Float

  • The Ponds
  • Landcom

With the awareness of climate change, the element of water has been transformed from an anticipated resource to a precious spring. As a colony of sculptures in the roundabout, their inverted form changes them from sunshade and rain shelter to light receptor and water collector. 

Ryde War Memorial Ryde War Memorial Ryde War Memorial
  • 2007-2008
  • Ryde War Memorial

  • Ryde
  • Ryde City Council

This cenotaph cradles a metal obelisk in a granite saddle pointing towards eleven o’clock. This physically connects the two elements of the memorial and compels the passer by to walk within the formal, sacred space.


Spine Spine Spine Spine
  • 2007-2008
  • Spine

  • Ropes Crossing
  • Delfin Lend Lease

The Entry Statement arcs the existing rail tracks as a geometric progression into the air, retaining the sleeper staccato rhythm of carriage sway.

Tiers Tiers Tiers Tiers
  • 2007-2008
  • Tiers

  • Brisbane CBD
  • Department of Public Works

Tiers projects away from the shelter of its host and in direct attitude to the sky and these primal elements. The geometric progression of materials, including a magnified glass image of trees reflected in water, ascends in sympathy with the axis of the former building.

Waterlines Waterlines
  • 2007-2008
  • Waterlines

  • The Ponds
  • Landcom & Australand

A rhythm of perforated panels sways as it meanders through the landscape. This installation grew from collaboration with the Landscape Architecture team.

Markers Markers Markers Markers Markers Markers
  • 2006–2008
  • Markers

  • Ropes Crossing
  • Delfin Lend Lease

The markers have responded to the local natural environment as well as the prior history of the area as a munitions site. They function as orientation signs, reinforcing a cohesive language within the landscape.

Pedestrian Fence Pedestrian Fence
  • 2006-2008
  • Pedestrian Fence

  • Fairfield
  • Fairfield City Council

This fence was designed to frame the refurbished town square. The imagery of the panel was influenced by a thread pattern.


Orphan School Creek Cycleway Orphan School Creek Cycleway Orphan School Creek Cycleway
  • 2004-2005
  • Orphan School Creek Cycleway

  • Fairfield
  • Fairfield City Council

The sculptures reinforce the role of cycleways as community in motion with the parts of a bicycle deconstructed, distorted and reformed as sculptures. Students from Bossley Park High School designed one of the markers with us.

Beds Beds Beds
  • 2003-2005
  • Bed Ends

  • Windsor
  • Hawkesbury City, Council

The sculpture refers to the toppling of bed heads and includes mist within the hollow of the metal. Some of the nurses saw the artwork as acknowledging the hospital site as a traditional healing place for the community.

Fence
  • 2003
  • Fence

  • Harris Park
  • Parramatta City Council

The fence imagery responded to the signature figs and oak trees growing in the vicinity and was cast to reference the tradition of iron filigree in existing architectural flourishes.

Elizabeth Street Footbridge Elizabeth Street Footbridge Elizabeth Street Footbridge Elizabeth Street Footbridge Elizabeth Street Footbridge Elizabeth Street Footbridge
  • 2001-2003
  • Elizabeth Street Footbridge

  • Parramatta
  • Parramatta City Council & Sydney Water

This cycle and footbridge spans the Parramatta River and is part of the refocus upon the river. The seamless integration of artwork within the bridge infrastructure ensures the bridge is an artwork and the artwork spans the river.

Award of Excellence, 2003, Lighting Design, ies - Lighting Society Urban Design/Landscape, Design Excellence Award 2003, Parramatta Commendation for Design in Landscape Architecture 2004 Australian Institute for Landscape Architecture Award of Excellence, Category 1 Design & Construction 2004 Local Government/Public Works Project Institute of Public Works Engineering Australia
solander2
  • 1999-2001
  • Sound Sculpture & Pavement Art

  • Sydney
  • South Sydney Council

The sound sculptures as bronze horns amplify the sound of the old creek whose passage had been channelled into pipes. This artwork reveres prior surface water still flowing underneath the overlaid strata.

Won IPWEA Excellence Award 2002 for SQIRTS Solander Park