PROFILE - Public Art - Milne & Stonehouse
PROFILE - Public Art - Milne & Stonehouse
PROFILE - Public Art - Milne & Stonehouse
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MILNE & STONEHOUSE Pty Ltd<br />
PO Box 500 Avalon<br />
NSW Australia 2107<br />
mob 0429428813<br />
e milnestonehouse@bigpond.com<br />
www.milnestonehouse.com<br />
<strong>PROFILE</strong> - <strong>Public</strong> <strong>Art</strong><br />
milne and stonehouse<br />
2 0 1 1
EXECUTIVE SUMMARY<br />
Thoughts on our Approach<br />
The site specificity of artworks places them within the context of cultural milieux. It is<br />
the investment in a place rather than the purchase of a signature artwork. This holistic<br />
approach reveres the interaction between diverse communities and their places and<br />
predicts the ongoing flux of real space and cultural production. The signature of<br />
communities recognizes the integrity of place and ensures the longevity of its signifiers.<br />
One result of a fluent approach to the planning process of place making is the coauthorship<br />
of the space. This ownership of place celebrates collaboration and all<br />
contributions.<br />
The engagement of artwork within the public arena imprints its presence into the fabric<br />
as cultural memory and an integral part of the locale. The artwork’s intervention and<br />
exchange are both dissipated and yet nurtured by the repetitiveness of experience.<br />
<strong>Public</strong> <strong>Art</strong> Profile<br />
Susan <strong>Milne</strong> and Greg <strong>Stonehouse</strong> have been practising artists for 20 years, in both the<br />
public domain and galleries. Their interdisciplinary approach enables them to respond<br />
to diverse environs, to develop artworks, which are site specific, integrated and yet also<br />
intervene meaningfully to reinforce and build upon the cultural layers of the locale.<br />
They have extensive experience in the process of collaboration with communities,<br />
architects, Councils, engineers and fabricators, are highly committed, and have<br />
achieved a high quality outcome for all projects.<br />
Gallery Work<br />
using found materials<br />
Legge Gallery<br />
Performance Space<br />
Casula Powerhouse<br />
Auckland Museum<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists
This artwork responds to the sense of vulnerability of early colonial Parramatta where surveillance, harsh justice and a military rule was<br />
imposed. These notions are mirrored in contemporary society where a similar fear governs prejudices and reactions.<br />
Sentry Box<br />
with Michael Flynn Parramatta River<br />
Parramatta City Council September 2009<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists
This artwork both inside and outside responds to the changing identities of libraries from reserves of cultural knowledge to portals for<br />
accessing information. This glass work is overlaid with computer code, Aboriginal language, maps and old heritage buildings.<br />
Glass Water wall<br />
with Marie Stucci and Axolotl<br />
The Hills Shire library The Hills Shire Council<br />
October 2009<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists
The blue objects in the ground plane within the Bower were developed by extensive community consultation with the local residents.<br />
The sculpture explores the courtship drama of the bowerbird who attracts the female with the objects and a dance performance. The everyday<br />
drama of residents walking through the feathers is enacted here.<br />
“Bower” Regent & Redern Street, Redfern<br />
City of Sydney<br />
<strong>Art</strong>ist<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists
The artworks have developed from collaboration with the landscape architect as part of the design of a residential suburb. The Entry<br />
Statement arcs the existing rail tracks as a geometric progression into the air, retaining the sleeper staccato rhythm of carriage sway. This<br />
kinetic work is experienced by motorists, pedestrians and cyclists and integrates with the rhythm of plantings and sweep of pathways.<br />
Built from reuse materials, rails from the sites.<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists<br />
“Spine” Ropes Crossing<br />
Delfin Lend Lease<br />
<strong>Art</strong>ist
With the awareness of climate change, the element of water has been transformed from an anticipated resource to a precious spring. In this area creeks meandered<br />
between ponds, invigorating the land and nourishing life. In dry times, the ponds stored the remaining water and waited patiently for rain. This artwork focuses upon<br />
the archaic rhythms of season in contrast to an insatiable thirst for virtual speed and megapixels.<br />
The umbrellas open upside down like flowers to the sky. As a colony of sculptures in the roundabout, their inverted form transforms their function from sunshade and<br />
rain shelter to light receptor and water collector.<br />
At night the umbrella skins and skeletal frames are made transparent by internal LED lights, which are programmed to run a number of stories depending upon season,<br />
atmosphere, colour choice and timing. When it rains, the umbrellas respond with a light dance in celebration of the return of water flow and the swelling of the ponds.<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists<br />
“Float” The Ponds<br />
Landcom<br />
<strong>Art</strong>ist<br />
with Marla Guppy and Associates
Winter seasonal lighting program<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists
In a city air, light and water are mediated, subject to the removal of the sky. “Tiers” projects away from the shelter of its host and in direct attitude to the sky<br />
and these primal elements.<br />
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.<br />
As the sculpture captures the sun’s arc with varying reflections, absorptions, and projected shadows, perspectives alter throughout the day. From a distance,<br />
the sculpture’s scale and relationship with the building are apparent and each element is read as a segment of the whole.<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists<br />
“Tiers” Brisbane CBD, Department of <strong>Public</strong> Works<br />
<strong>Art</strong> Built - in, Queensland Government<br />
<strong>Art</strong>ist
This cenotaph cradles a metal obelisk in a granite saddle pointing towards eleven o’clock.. The contrast of materials is achieved through a finely<br />
honed black granite for the saddle and a polished finish for the stainless steel. Lest We Forget is inscribed on the top of the obelisk, which is<br />
internally lit at night transforming the sculpture into a light box.<br />
An amplified shadow of the sculpture using a darker tone of granite is projected on the ground plane up to the memorial wall. This physically<br />
connects the two elements of the memorial and compels the passer by to walk within the formal, sacred space.<br />
This wall contains the insignia of the five Defence Force arms allowing for the laying of wreaths.<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists<br />
Cenotaph<br />
Ryde Regional Park, Blaxland Road, Ryde<br />
Community consultation with Ryde RSL<br />
City of Ryde<br />
<strong>Art</strong>ist
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists<br />
Opening ceremony at Ryde War Memorial
A bridge is a fragment of a journey, a momentary crossing between worlds. To stand on a bridge is significant because the sense of stillness is a stretch into mid air joining disparate points,<br />
communities and pathways.This cycle and footbridge spans the Parramatta River and is part of the <strong>Public</strong> <strong>Art</strong> program for Parramatta City Council. The seamless integration of artwork within<br />
the bridge infrastructure ensures the bridge is an artwork and the artwork spans the river.The kinetic movement of elements transforms twenty-four pairs of oars into wings. The narrative of the<br />
artwork/bridge responds to the journey of each crossing offering diverse experiences depending upon time of day and the scale of the travel. On the bridge the traveller is inside the ribs of a boat<br />
or skeleton. On a bicycle the oars move as one gesture.<br />
There are two bridge crossings, one in daylight and the other a powerful interaction at night. The lighting of the oars from blue to purple alters each element dramatically and yet renders the<br />
sculpture as one rhythmic movement. At night the oar elements lighten and float the bridge through the air.<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists
Elizabeth St Foot/Cycle Bridge<br />
Parramatta City Council<br />
<strong>Art</strong>ist<br />
“Award of Excellence, 2003” Lighting Design, ies - Lighting Society<br />
“Urban Design/Landscape” Design Excellence Award 2003, Parramatta<br />
Commendation for Design in Landscape Architecture 2004<br />
Riverside South, Parramatta<br />
Australian Institute of Landscape Architecture<br />
Award of Excellence 2004<br />
Category 1 Design & Construction of Local Government / <strong>Public</strong> works Project<br />
Institute of <strong>Public</strong> Works Engineering Australia<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists
Prior history revealed a continuity of use of the heritage building and surrounds as a convict barracks and then hospital for over a hundred years. The heat of the courtyard<br />
area required the use of water as a cooling agent in the new environment.<br />
The sculpture refers to the toppling of bed heads and includes mist within the hollow of the metal. The geometric threading of wires added a third element to the sculpture<br />
referencing the beds as a symbol of nurturing and suspending the bed ends in a taut configuration. Some of the nurses saw the artwork as acknowledging the site as a<br />
traditional healing place for the community.<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists<br />
Digital<br />
models<br />
“hospital beds”<br />
Hawkesbury Cultural Precinct, Windsor<br />
Hawkesbury City Council 2005<br />
<strong>Art</strong>ist<br />
elements: mist, cables, lighting
The response to a linear space once underwater makes reference to geology, Aboriginal languages, mining and industrial tension. The sculptural walls are waves along the<br />
shore with the concrete pathways made turbulent by this action. The segmented blade wall which slices through the waves reveal the diverse cultural layers which have<br />
constructed this place. As a play space, the boundaries between play, function and art are difficult to separate.<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists<br />
Integrated <strong>Art</strong> Play Space<br />
with Zenscapes Landscape Architects<br />
Honeysuckle Development<br />
Newcastle
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists<br />
Kids imaginatively using the<br />
space.
This artwork combines tread fragments in reference to the old tyre factory with plant prints from the prior creekline. Both leave imprints, one as tyre treads and the other as<br />
fossil prints embedded in strata. At night the sculptural elements become light boxes with the internal volume stretching the patterned skin.<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists<br />
<strong>Art</strong>work<br />
with Place Design Landscape Architects<br />
Axolotl finish<br />
Lindsay Bennelong Developments<br />
Rushcutters Bay
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists<br />
<strong>Art</strong>work at night with internal lights and filters
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<br />
as the canopy overlays and shelters the forest floor.<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists<br />
<strong>Art</strong>work<br />
with Guppy and Associates<br />
Top Ryde<br />
Bovis Lend Lease
CURRICULUM VITAE<br />
ARTIST DETAILS<br />
Name: Susan <strong>Milne</strong> and Greg <strong>Stonehouse</strong><br />
Directors<br />
Company: <strong>Milne</strong> & <strong>Stonehouse</strong> Pty Ltd<br />
Postal Address: PO Box 500 Avalon 2107 NSW 2084<br />
Mobile: 0429428813<br />
Email milnestonehouse@bigpond.com<br />
Website: www.milnestonehouse.com<br />
ABN: 117 734 166<br />
ACN: 19 117 734 166<br />
GST: registration - yes<br />
Insurance: <strong>Public</strong> Liability Insurance up to $-10,000,000<br />
Local Community Insurance General <strong>Public</strong> and Products Liability<br />
<strong>Art</strong>workers Alliance<br />
Policy Number: 60 A202253 PLB<br />
Currency 07/08<br />
Workers Compensation Insurance GIO - 327389<br />
Education Susan <strong>Milne</strong><br />
Graduate Diploma of Visual <strong>Art</strong>s 1992 - 1993<br />
Sydney College of the <strong>Art</strong>s, University of Sydney<br />
Ceramics Certificate 1984 - 1986<br />
Southern Sydney Institute of TAFE<br />
Greg <strong>Stonehouse</strong><br />
Master of <strong>Art</strong>, College of Fine <strong>Art</strong>s, University of NSW 1992 - 1993<br />
Ceramics Certificate, National <strong>Art</strong> School, Institute of TAFE 1983 - 1984<br />
Diploma of Education, Sydney University 1977<br />
Bachelor of <strong>Art</strong>s, Sydney University 1974 - 1977<br />
PUBLIC ART PROJECTS<br />
• <strong>Art</strong>ist/<strong>Art</strong>ist Planner - Stage 1 & 2 North Penrith, Landcom 2010 - 2011<br />
• Shortlisted - Icehouse Project, Melbourne Docklands, ING Real Estate Development 2009<br />
• Foreshore Parramatta River Upgrade, Parramatta City Council 2008 - 2009<br />
• <strong>Art</strong>work, Top Ryde Redevelopment, Bovis Lend Lease & Guppy & Associates 2009<br />
• <strong>Art</strong>work, Susan Street Car Park, Auburn City Council 2009<br />
• Grand Castle <strong>Public</strong> <strong>Art</strong> Project, Baulkham Hills Library, Baulkham Hills Council 2007 - 2009<br />
• <strong>Art</strong>work, Advanx Project - Mixed Development, Rushcutters Bay with Place<br />
Planning & Design, lindsay bennelong developments 2008 - 2009<br />
• <strong>Art</strong>work, Mt Druitt & Blacktown, BP Solar, 2008 - 2009<br />
• Eveleigh Market, art signage & branding, Australiian Technology Park 2008 - 2009<br />
• <strong>Art</strong>work, Moruya Riverside Park, Moruya, Eurobodalla Shire Council, 2007 - 2009<br />
• Fiveways Upgrade, Ryde Council 2008 - 2009<br />
• Integrated Playspace, with Zenscapes, Honeysuckle Development 2006 - 2009<br />
• “Bower”, Redfern Sydney City Council 2008<br />
• “Tiers” sculpture, David Longland building Brisbane Project Services 2008<br />
• “Float” Entry Statement “The Ponds” Landcom with Guppy and Associates 2008<br />
• Cenotaph and memorial integrated design, Ryde City Council 2008<br />
• Entry Statement and <strong>Art</strong>works Ropes Crossing, Delfin Lend Lease 2006 - 2008<br />
• Entry Statement Ryde Regional Park, Ryde City Council 2006 - 2009<br />
• Tweed Town Centre and Jack Evans Boat Harbour <strong>Public</strong> <strong>Art</strong> Strategy, Tweed Shire Council 2006<br />
• Fairfield Parks Refurbishment Fairfield City Council 2005<br />
• Fairfield Town Centre, <strong>Art</strong>ist Planner Fairfield City Council 2004-2005<br />
• Winnererremy Bay – <strong>Art</strong> Plan, Pittwater Council 2003 – 2004<br />
• <strong>Art</strong> Plan - Ferndell Street, Granville Australand Holdings Limited 2004<br />
• Orphan School Creek Cycleway, Fairfield City Council 2003 – 2004<br />
• <strong>Art</strong> Plan - Campbell Street, Parramatta Jammal Holdings Pty Ltd 2004<br />
• Hawkesbury City Library & <strong>Art</strong> Gallery, Windsor, Hawkesbury City Council 2003 – 2004<br />
• <strong>Public</strong> <strong>Art</strong> Strategy, Avalon Village Centre Masterplan, Pittwater Council 2003<br />
• <strong>Public</strong> <strong>Art</strong> Strategy, Mona Vale Town Centre Masterplan, Pittwater Council 2003<br />
• Harris Park Neighbourhood Centre Improvement Program 2003<br />
• <strong>Public</strong> <strong>Art</strong> Strategy – <strong>Art</strong>ist / Planner, Parramatta City Council<br />
• <strong>Art</strong> Plan - Roxy Theatre, Parramatta 2003<br />
• Carrington Place, Katoomba Town Square, Katoomba 2002<br />
<strong>Art</strong>ist/Planner collaboration with Design Team<br />
Won Silver NSW Premier’s <strong>Public</strong> Sector Award for Community Development 2003<br />
• Elizabeth Street Foot/Cycle bridge, Parramatta City Council 2001 - 2003<br />
“Award of Excellence, 2003” Lighting Design, ies - Lighting Society<br />
“Urban Design/Landscape” Design Excellence Award 2003, Parramatta<br />
Commendation for Design in Landscape Architecture 2004<br />
Riverside South, Parramatta<br />
Australian Institute of Landscape Architecture<br />
Award of Excellence 2004<br />
Category 1 Design & Construction of Local Government / <strong>Public</strong> works Project<br />
Institute of <strong>Public</strong> Works Engineering Australia<br />
• “Pavement <strong>Art</strong>” Solander <strong>Art</strong> <strong>Public</strong> Project Erskineville 1999 – 2001<br />
Solander Park <strong>Public</strong> <strong>Art</strong> Projects, South Sydney City Council Budget: $150,000<br />
Won IPWEA Excellence Award 2002 for SQIRTS Solander Park<br />
• Tender - Concepts Designs Erskineville Urban Village 1999 – 2000<br />
<strong>Public</strong> <strong>Art</strong> Project, South Sydney City Council Initiative<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists
EXHIBITIONS<br />
Greg <strong>Stonehouse</strong><br />
May 2009 Exhibition Manly <strong>Art</strong> Gallery<br />
July 2005 Collaborative Installation Hawkesbury Regional gallery<br />
October 2001 Collaborative Installation, mixed media<br />
Legge Gallery, Redfern<br />
May 1999 Collaborative Installation, mixed media<br />
Legge Gallery, Redfern<br />
August 1998 Sydney Park Sculpture Symposium<br />
HIGHLY COMMENDED<br />
South Sydney City Council<br />
September 1997 Collaborative Installation<br />
Legge Gallery, Redfern<br />
August 1995 “Intervention Project”<br />
with Russell Dumas / SBS Television<br />
Video Installation / Performance<br />
Collaboration with Susan <strong>Milne</strong><br />
<strong>Art</strong> Space, Woolloomooloo<br />
October 1994 Collaborative Installation<br />
The Performance Space, Sydney<br />
June 1994 Invitation Group Exhibition<br />
Opening of the Powerhouse <strong>Art</strong> Centre Casula<br />
July 1993 Mid-year Post Graduate Student Exhibition<br />
College of Fine <strong>Art</strong>s, University of NSW<br />
September 1992 Selected for “National Ceramic Award” Exhibition<br />
Canberra ACT<br />
April 1992 Sculpture Exhibition<br />
Mura Gallery, Sydney<br />
February 1990 Solo Exhibition, Gallery 460, Gosford, NSW<br />
December 1989 Group Exhibition Breewood Gallery, Katoomba<br />
May 1989 Group Exhibition Breewood Gallery, Katoomba<br />
May 1988 Group Exhibition Breewood Gallery, Katoomba<br />
November 1987 Exhibition, Gallery 460, Gosford, NSW<br />
November 1984 Final Year Student Exhibition Cell Block, East Sydney TAFE<br />
October 1984 Installation MacMasters Beach, Central Coast NSW<br />
November 1983 Student Exhibition Cell Block, East Sydney TAFE<br />
May 1983 Exhibition at Gallery 460, Gosford, NSW<br />
Susan <strong>Milne</strong><br />
May 2009 Exhibition Manly <strong>Art</strong> Gallery<br />
July 2005 Collaborative Installation Hawkesbury Regional gallery<br />
November 2004 Installation, Legge Gallery, Redfern<br />
October 2001 Collaborative Installation, Legge Gallery, Redfern<br />
July 2000 Collaborative Installation, Legge Gallery, Redfern<br />
May 1999 Collaborative Installation, Legge Gallery, Redfern<br />
August 1998 Sydney Sculpture Symposium<br />
HIGHLY COMMENDED, SSCC<br />
September 1997 Installation, Legge Gallery, Redfern<br />
December 1996 Group Show, Legge Gallery, Redfern<br />
August 1995 ‘Intervention Project”<br />
with Russell Dumas / SBS Television<br />
Collaboration with Greg <strong>Stonehouse</strong><br />
Video Installation / performance,<br />
<strong>Art</strong>Space, Woolloomooloo<br />
October 1994 “I tell you . . they are inside”<br />
Collaborative Installation with Greg <strong>Stonehouse</strong><br />
The Performance Space Sydney<br />
February 1994 Installation, work represented<br />
Legge Gallery, Redfern<br />
December 1993 Post Graduate Exhibition<br />
Sydney College of the <strong>Art</strong>s,University of Sydney<br />
June 1993 Selected for “The Fletcher Challenge Award”<br />
Received Judges “Commendation”,<br />
Auckland Museum, New Zealand<br />
Sponsored by The Australia Council for the <strong>Art</strong>s<br />
April 1992 Group Exhibition, Mura Gallery<br />
March 1992 Group Exhibition, Breewood Galleries, Katoomba<br />
January 1992 Solo Exhibition, Breewood Galleries, Katoomba<br />
April 1991 Group Exhibition, Bridge Street Gallery, Sydney<br />
December 1991 Group Exhibition, Breewood Galleries, Katoomba<br />
December 1986 Walkers’ Ceramic Award Exhibition, Melbourne<br />
<strong>Public</strong> <strong>Art</strong> Practice 2010 MILNE & STONEHOUSE artists