Remainders (Noosa) 2026 concept design · EXE25/0030

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SELECTED PROJECTS (examples of previous work)


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SELECTED PROJECTS (examples of previous work)

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• My practice generally takes very human
  geometries and erodes them, rendering
  the form conducive to biological
  occupation. My aim is to make sculpture
  that participates in the world as opposed
  to producing static forms.


• By melding hard materiality and soft
  biology, my forms reach an
  accommodation between the human and
  non human.

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Succession 2016, exhibited in the 20th Biennale of Sydney

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Succession 2016, exhibited in the 20th Biennale of Sydney


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NOOSA PROPOSAL (Remainders (Noosa) 2026)


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NOOSA PROPOSAL (Remainders (Noosa) 2026)

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PHYSICAL DESCRIPTION:


• Remainders (Noosa) 2026 consists of a formation of three concrete spheres, all exhibiting areas of complete smoothness contrasted with
  deep sculptural erosion. This erosion leads to large cavities within the spheres, that are occupied by native plant species found within the
  Noosa area.


• The eroded areas of sphere are defined by large aggregates of cast rock, that look both volcanic and coral-like. Blushes of sandy colour recall
  the beachside location of Remainders (Noosa).


• The spheres will be arranged in a dynamic formation and will vary in size, with the largest measuring 1.2 metres in diameter, followed by one
  at 90 centimetres, and the smallest at 80 centimetres.

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VIEWER EXPERIENCE:


• Viewers will identify with the universality of the spherical form, as it one that is both familiar and resonant. They will be intrigued by their
  deformation, and likely wonder as to the origins and processes that resulted in its creation. Additionally, viewers will experience the internal
  worlds of the spheres, with their caverns of lush, microcosmic habits.


• As time passes, viewers will notice changes in the plant communities, as they grow and adapt to the environment. The work will offer an
  evolving narrative that like the community around the work will develop over time. During the day, the work will feel like a natural extension
  of the environment, quietly belonging to the landscape.


• By night, the lighting will allow viewers to see the works glow from within and spark curiosity about the microcosms within.

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CONCEPTUAL FRAMEWORK:

• Remainders are an evolving series of spherical sculptures that I began exploring in 2015. The name refers to their composition, being made
  mostly of concrete and industrial by-products—the remainder of industrial processes. The name also refers to their inhabitants, plants that
  are native to the region where the works are sited. Remainders are consistent with my practice of taking geometries and sculpturally
  eroding them, resulting in sculpture that participates in the surrounding environment.

• The forms represent a continual evolution of my process as I respond to new discoveries in their making, often prompted by the localities
  into which they will be sited. These locations now span three continents, with Remainders present in Switzerland, the United States and
  Australia.

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PLANNING:


• My proposal involves making the works in my Sydney studio, where over time I have built the capability to undertake large scale projects,
  often simultaneously. This limits the inputs by others and ensures a reduction in the variables that can introduce risk into projects, and
  results in work where the hand of the artist is fully evident.


• As a sculptor, all of my works are made by hand in my Sydney studio. Over time, I have built the capability to undertake large-scale projects,
  often several at once, within this space. By keeping the making process in-house, I limit external inputs and reduce the variables that can
  introduce risk into a project. This approach ensures a high level of quality and results in works where the hand of the artist is not just
  present, but fully evident in every detail.

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Dece

 

DETAILED DESIGN PHASE

Notification, request to fund,
contract formation

May | June | July

|

Augu Sept Octol Nove

|

 

Resolving form and locations
Site survey

Determining installation
methodology

Drawings and models
Engineering feedback
Lighting design

Identifying and procuring plant
species

CREATION PHASE

Ordering and receipt of
spherical moulds

Ordering and receipt of casting
materials including any
reinforcements

Rubber mould making
Internal mould formation

Studio Inspection
Detailing

Wraping and crating

 

INSTALLATION PHASE
Sees
Freight from Jamie North Studio

Lighting installation
Irrigation installation
Planting

Engineering certification and
supply of maintenance manual

ADMINISTRATION

 

 

 

 

 

 

 

 

 

 

 

 

Janui

Febru

Marc April) May

PARTICIPANTS

NSC, Jamie North Studio
WINS)

NSC, JNS
NSC, JNS
JNS, NSC

JNS, Partridge Engineering
Partridge Engineering, INS

Architectural Lighting
Design Pty Ltd (ALD), JNS

 

 

 

 

 

 

 

 

 

 

 

   

JNS, Plastart IT

-JNS, Domerete, Port
Stephens Sheet Metal

JNS
JNS
JNS
‘NSC, JNS
JNS
JNS

 

 

JNS, The Renshaws’
(Danielle Renshaw)

 

 

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DETAILED DESIGN PHASE:


• Once the form and the locations have been determined in concert with Noosa Council, we will begin detailed in-studio modelling of the forms to
  be made in their chosen site. A thorough understanding of the site will be attained at this stage.


• The models will also be used to produce shop drawings for any internal reinforcements, or any necessary interfaces between the the forms and
  the site. It is likely that each sphere will require a base plate, in order to provide stability and to mitigate and unknowns as to the structural
  composition of the garden bed. Engineering feedbacks will be required throughout this stage. Lighting design will also be undertaken at this
  stage. Lighting scope for this proposal is limited to the sphere internals, though an analysis of existing ambient lighting may also be required.


• Risks:
I don’t foresee any risks during the design phase, once the suitability of the site has been determined.

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CREATION PHASE:


• The method I have developed for making spheres involves creating a negative of the sculpture within a large reinforced polycarbonate mould.
  Major aggregates are strategically placed within this mould, which largely determines the sculptural form of the finished sphere. Areas that are
  to become voids are blocked out with clay.


• A polymer concrete mix is poured into the finished polycarbonate mould, and allowed to cure. The cured form is then flipped from its inverted
  position and stripped of its mouldings, which involves the manual removal of clay and water blasting. Finally, the works are then detailed and
  sealed.
• Risks:
The nature of the casting process means there are potential risks in achieving the desired aesthetic outcome of the spheres. To mitigate this, I will
reserve spare polycarbonate moulds with my supplier in case they are needed.

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INSTALLATION PHASE:


• The installation site is prepared by clearing an area for the large circular base plates that will prevent movement of the spheres. Other site
  works would include preparation to connect irrigation and power to the spheres.


• The spheres will likely be transported from Sydney to Noosa via Hyab truck. Depending on site access, the same truck could lift the spheres
  directly into their final locations. An aperture within the spheres would receive a pin welded to their respective base plates, which could be
  nutted as a fixing.


• Irrigation and power are then connected to the spheres, before growing medium is added to their internals. This is followed by the final stage of
  landscaping the sphere internals and surrounds, and commissioning the irrigation and lighting.


• Risks:
Understanding site access relative to the required machinery will be essential, along with appropriate traffic (including pedestrian) control
measures.

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SITE
• The site that I have chosen is the grassed area separating The Woods forest area from Noosa Main Beach promenade. I have chosen this site for
  its prominence and passage, marking the transition between the busy entertainment and shopping strip at the beach and the relaxed nature of
  the forest. Both their form and tonality are evocative of the marine environment. This, coupled with their occupation by local plant life will
  emphasis the interface between land and ocean.


• I have always found that people engage positively with my spheres, bringing their own associations to their interpretation. There are often
  references to the spheres looking as if they have been dragged out of the sea, which is one of the reason I thought of this form when
  conceptualising this proposal. Whilst I have not conducted specific community consultation around Remainders (Noosa) as part of this proposal,
  I will be liaising with Kabi Kabi Corporation throughout the design, construction and installation process. .

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MAINTENANCE AND DURABILITY:


There are two main aspects to consider when considering the durability of Remainders (Noosa). Firstly, the hard materiality of the spheres
themselves, and secondly the plant life that inhabit the spheres.


• The spheres will be made of fibre reinforced concrete, with added reinforcement of either composite or stainless steel. This will ensure a
  lifespan beyond 10 years. The spheres will be sealed inside and out to prevent the ingress of moisture and assist in the removal of any graffiti.


• The plants chosen for Remainders (Noosa) will be hardy and mostly self-sustaining. Most likely, Platycerium bifurcatum and/or hillii will occupy
  the spheres, for these plants are growing without horticultural assistance in the immediate surrounding area, highlighting their durability to
  local conditions. It is proposed that the plants have supplementary irrigation, and that their care is undertaken as an extension of regular garden
  bed maintenance. This care would primarily be the removal of any spent fronds.

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SKILLS AND ABILITIES


• I have extensive experience in delivering commissions both in the public and private realms, and built capacity within my studio to wholly
  fabricate most of my work with only minor supplementary inputs. My studio undertakes all design work, under consultation with Partridge
  Engineering.


• In terms of lighting my works I have previously worked with Petra Kleegraefe of Architectural Lighting Design, on lighting Remainder projects,
  and Petra has confirmed her commitment to working with me on Remainders (Noosa). We would likely use her electrician contacts in the
  Noosa area to implement her design. In terms of transport specialists, I have freighted large work between my studio in Sydney and The Gallery
  of Modern Art, Queensland and will explore the possibility of working with the same transport team again.




FABRICATION


• Fabrication will take place in my Sydney studio, where I work alongside a small, highly skilled team made up of Fine Art (Masters) graduates
  and a Masters and Honours graduate in Architecture. We take pride in sourcing the best materials available: our casting blends are principally
  supplied by Domcrete, a trusted leader in premium concrete products.


• Any hot work, such as base plates and armatures, if required following engineering advice, is handled by the specialists at Port Stephens
  Sheet Metal. For the polycarbonate moulds, we rely on Dasco Lighting here in Sydney, as well as Plastart in Italy, both renowned for their
  precision and quality. I have long standing working relationships with all of these suppliers and can attest to their quality and reliability.

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CONSTRUCTION AND INSTALLATION BUDGET


   Cost Description                                   Budget allocation

   Administration, project management, coordination   $7,220

   Materials                                          $25,520

   Fabrication                                        $95,814

   Engineering and certification                      $3,349


   Transport                                          $3,584

   Installation allowance                             $5,950

   Lighting                                           $6,180

   Irrigation and horticulture                        $4,250

   Artist fee                                         $32,250

   Insurance                                          $2,883

   Contingency                                        $28,000

   TOTAL                                              $215,000

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