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PRESENTATION - Jade Oakley x CR - Noosa Concept Final 24-4-25_Optimized · EXE25/0029
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CREATIVE ROAD ACKNOWLEDGE THE KABI KABI / GUBBI GUBBI PEOPLE AS THE TRADITIONAL OWNERS
AND CUSTODIANS OF THE LAND ON WHICH THIS PROJECT IS BASED. WE RESPECT THEIR DEEP ENDURING
CONNECTION TO THEIR LANDS, WATERWAYS AND SURROUNDING CLAN GROUPS SINCE TIME IMMEMORIAL.
WE EXTEND THIS RESPECT TO ALL ABORIGINAL AND TORRES STRAIT ISLANDER PEOPLES.
WE CHERISH THE RICHNESS OF FIRST NATIONS PEOPLES’ ARTISTIC AND CULTURAL EXPRESSIONS.
Page 3
CONTENTS
I n t r o d u c t ion 4
A r t w o r k Conc ep t 5
S it e R es p o nse 12
Co mmu n it y Eng a g ement 16
Mater ia lit y, Tex ture + Col our 17
Landscape 19
Fa b r ic at io n M ethod ol og y 20
I n st a llat io n M ethod ol og y 21
Tec h n ic a l D rawi ng s 22
Ma in ten a nce + D ura b i l i ty 28
B u d g et + Ti mel i ne 29
A r t ist Tea m 30
A r t ist St atement + Prev i ous Proj ec ts 32
CV + B io s + C omp a ny Prof i l e 36
.
Scribby
Habitat
GumCubbies
. 2000. .2017
ACT . Law
City Court
of Ryde
. Canberra
. Sydney
Page 4
INTRODUCTION
We extend our sincere thanks to Noosa Shire Council for the opportunity to collaborate with
acclaimed artist Jade Oakley on a concept for this important public art commission. This
proposal presents a unique opportunity to create a landmark artwork that resonates with the
natural beauty, cultural identity, and community spirit of the Noosa region.
Jade Oakley is widely celebrated for her delicate, joyful sculptures that transform solid
materials into ethereal, poetic forms. Her work consistently invites moments of reflection, play,
and connection, drawing from the environment and stories of the places in which it is situated.
With a deep sensitivity to site, Jade creates sculptural works that are visually captivating and
conceptually layered—works that not only belong in the landscape but feel in dialogue with it.
Rooted in a deep respect for Noosa Shire’s distinct character, Jade’s concept for Crossing The
Bar responds directly to the site’s coastal ecologies, community histories, and everyday rituals,
particularly the local experience of navigating the Noosa Bar. Her approach draws on both
traditional craftsmanship and contemporary fabrication techniques, embedding meaning and
care into every step of the process.
This proposal is more than an artwork—it is an invitation to engage with place and memory,
and a chance to create something enduring for the Noosa community. Through collaboration,
creativity, and careful consideration of the site, Crossing The Bar aims to become a welcoming
landmark, sparking curiosity, storytelling, and a deepened sense of belonging for all who
encounter it.
.
Skipping
Scribby
Stones
Gum. .2019
2000. Greenland
. ACT Law Australia
Court . Canberra
. Sydney
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 4
Page 5
ARTWORK CONCEPT
When I make public artworks, I like them to be accessible—physically and conceptually. I want
people to touch them, sit on them, for children to climb on them. I want the forms to be open
and familiar, but also poetic—allowing room for interpretation and connection.
Crossing The Bar is inspired by a scene well known to Noosa locals: recreational fishing boats
navigating the Noosa River mouth and crossing the sand bar into the ocean. This passage is
both a rite of passage and a spectacle—a moment of tension, bravery, and often humour. It’s
a living symbol of Noosa’s laid-back grit, its coastal identity, and its deep relationship with the
sea.
This artwork pays tribute to that tradition and spirit. The sculptural boats are not literal
replicas, but poetic forms. They resemble boats, but also suggest shells, wave-worn boulders,
or the hydrodynamic shapes of fish. In this way, they hold space for viewers to bring their own
memories and interpretations. Some may see the coast; others may see journeys, risk, or play.
This gentle abstraction allows the artwork to speak to both locals and visitors—anchoring it in
Noosa’s culture, while remaining open and universal.
By inviting interaction—climbing, sitting, gathering—the work encourages social connection
and personal reflection. It is public art meant to be lived with, not just looked at.
In keeping with Noosa’s mission to be ‘Different by Nature’, Crossing The Bar:
• Embodies difference through its original, site-specific design that avoids generic or
decorative tropes
• Reflects the values of the Biosphere, using sustainable materials and fabrication methods
that consider environmental impact across the lifecycle of the work
• Responds directly and respectfully to the natural and built environment, taking visual
cues from the estuary and coastline
• Demonstrates artistic excellence through craftsmanship, conceptual integrity, and
meaningful engagement with place
Ultimately, art happens in the poetic space between recognition and imagination. Crossing Scribby Gum . 2000 . ACT Law Court . Canberra
The Bar invites that exchange—between land and sea, past and present, object and observer.
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 5
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ARTWORK INSPIRATION Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 6
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ARTWORK VISUALISATION - DAY Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 7
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ARTWORK VISUALISATION - NIGHT Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 8
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ARTWORK VISUALISATION - AERIAL Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 9
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ARTWORK MAQUETTE Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 10
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ARTWORK MAQUETTE Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 11
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SITE RESPONSE
Tewantin Park occupies a unique position along the Noosa River, situated between the
Noosa Regional Gallery and the Tewantin Boat Ramp, with a splash park and skate park just
downriver. This active recreational corridor is already a well-used space by families, locals, and
visitors—making it a fitting and vibrant location for Crossing The Bar.
The sculpture builds on the area’s atmosphere of play and public gathering, while introducing
a thoughtful artistic layer. As a playable, climbable artwork, Crossing The Bar creates a new
point of interaction that links leisure with cultural expression. Its proximity to the Noosa
Regional Gallery offers an opportunity for artistic extension beyond gallery walls—serving as a
sculptural invitation to pause, reflect, and explore.
Just upriver, the Noosa Marina provides a steady flow of foot traffic from its markets,
restaurants, and ferry terminal. Tewantin Park sits at the intersection of multiple audiences—
locals walking the river, families using the park, gallery visitors, and tourists arriving by water.
The site is already a space of movement and connection; the artwork will sit comfortably
within this flow, becoming a natural landmark and gathering point.
From a practical perspective, the site is ideal. Located adjacent to the boat ramp, installation
access will be straightforward. Power is already available at the ramp and may be used for
artwork lighting, keeping the sculpture visible and welcoming after dark. The flat, open terrain
also allows flexibility in siting the elements to encourage movement around and between
them.
In this way, Crossing The Bar becomes more than a sculpture—it becomes a vessel for
shared experience. It welcomes play, sparks memory, and celebrates the spirit of the Noosa
community.
Tewantin Park offers the right conditions—logistically and culturally—for this work to thrive.
It’s a site where an artwork can belong not just to the landscape, but to the people who move
through it every day.
Scribby Gum . 2000 . ACT Law Court . Canberra
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 12
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SITE CONTEXT
N
O
O
NOOSA
SA
REGIONAL
GALLERY
ET
N STRE
R
IV
PELICA
ER
PROPOSED SITE FOR
CROSSING THE BAR
TEWANTIN
PARK
DOON
ELLA
STREE
T
TEWANTIN
BOAT RAMP
ET
E STRE
Noosa Council CityDeal Public Art Initiative | April 2025 MARTIN Jade Oakley x Creative Road 13
PARK
Page 14
SITE LINES
NOOSA
EET
REGIONAL
N STR
GALLERY
PELICA
N
O
O
SA
PROPOSED SITE FOR
CROSSING THE BAR
R I
V E
TEWANTIN
R
BOAT RAMP
DOON
ELLA
STREE
T
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 14
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ARTWORK DIMENSIONS
2.
m
5m
1.4
10m
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 15
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COMMUNITY
ENGAGEMENT
The following outlines our approach to community engagement for the proposed Council Presentation
public artwork Crossing the Bar at Tewantin Park. The process is designed to inform the A final presentation to Noosa Council and relevant stakeholders will summarise the
development of the artwork, ensure local relevance, and encourage inclusive participation. engagement outcomes, community response, and anticipated impacts of the work.
Project Context Key Engagement Considerations
The proposed artwork will be a new permanent installation at Tewantin Park. The work will
aim to reflect the cultural and environmental character of the site and respond to community The engagement process is structured to address potential community concerns including:
values. The design phase will involve consultation with a broad range of stakeholders and
local residents. Cultural and environmental values of the site
Clarity around the artwork’s purpose and relevance
Community Storytelling: “Crossing the Bar” Accessibility and inclusive interaction
As part of the engagement, a local storytelling initiative titled Crossing the Bar will collect Visual integration with the landscape and heritage context
short community narratives related to experiences with the sea—such as moments of courage, Practical considerations relating to safety, maintenance, and durability
humour, or reflection. These stories will be recorded by local audio engineers, Creature
Creative, and excerpts will be made available via a QR code on the sculpture’s signage. This Stakeholder Groups
layer of interpretation is intended to add personal and local relevance to the work.
Engagement may involve consultation with:
Engagement Components
• Kabi Kabi Traditional Owners and organisations such as the Kabi Kabi Peoples Aboriginal
Stakeholder Briefings Corporation
Initial meetings with Traditional Owners, Noosa Council teams, Noosa Regional Gallery staff, • Noosa Regional Gallery and its visitors
and relevant local organisations to introduce the artist and outline the intent of the project. • Noosa Council departments (Arts & Culture, Parks & Planning)
• Local residents and schools of Tewantin and Noosa
Public Awareness Campaign • Local arts and cultural organisations (e.g. Noosa Shire Arts and Crafts Association Inc.)
Distribution of information through digital and print media to inform the broader community • Local businesses and tourism stakeholders, including the Noosa Visitor Information Centre
about the project timeline, process, and opportunities to participate.
This engagement plan supports a transparent, collaborative process to guide the development
Community Updates of the public artwork and ensure it responds meaningfully to its context.
A summary of how community input has been incorporated into the final design will be
shared publicly, along with rationale for key design decisions.
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 16
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MATERIALITY OYSTER SHELL
Crossing The Bar will be constructed from high-strength precast concrete (50 MPa), selected
for its exceptional durability, low maintenance, and long-term performance in coastal outdoor
environments. The sculptures will be internally reinforced with a custom-fabricated structural
armature, allowing the forms to cantilever above the ground as if they have lightly alighted on
the riverbank.
Natural ochres will be blended into the concrete mix during the pour to create an organic,
subtly varied surface. The hulls will feature a layered ombre finish, shifting from soft greys on
the upper decks to warm earth tones along the sides—recalling estuarine tidemarks along the
Noosa River. The decks and hulls will be bead-blasted to create a soft, sandstone-like texture
OYSTER SHELL AGGREGATE
that enhances the sculpture’s tactile quality.
HIGHLY POLISHED, SMOOTH
AND GLOSSY FINISH
Oyster shells collected from Noosa Marina and locally sourced stone will be embedded into
recessed areas of the sculptures. These elements will be revealed through grinding and
polishing to create refined focal points that shimmer in the sunlight—evoking the feeling of
discovering treasures on a beach walk. These embedded textures will also serve a functional
role, providing a non-slip surface.
All concrete surfaces will be sealed with a penetrative, dry-look anti-graffiti and UV-protective
coating to safeguard against weathering, dirt, vandalism, and public interaction.
Material Sourcing and Fabrication
All materials will be sourced locally. Moulds for both the boats and supporting structures will
be fabricated in-house at our Brisbane workshop, along with the internal steel armatures.
Concrete casting will be carried out by our Toowoomba-based precast team, who prioritise
PRECAST CONCRETE (50 MPa)
the use of recycled materials—including excess concrete from other regional projects. Final
DELICATELY BLENDED WITH
finishing will take place at the Parts Department workshop in Brisbane, before the completed OCHRES AND AN ORGANIC
sculptures are transported to Noosa for installation. Any required footings or anchor points TEXTURED FINISH
will be prepared and installed as part of this coordinated process.
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 17
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TEXTURE + COLOUR Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 18
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LANDSCAPE
Crossing The Bar will interact playfully with the surrounding landscape through the integration
of a gently sculpted grass mound beneath the sculptures. This contoured rise references the
Noosa Bar—a naturally formed sandbar at the river mouth—and becomes a key part of the
artwork’s spatial and symbolic composition.
The ground plane will be shaped into a fluvial mound, echoing the shifting forms of water
and sediment shaped by tidal flows. This subtle landform transforms the site into a dynamic,
layered setting that supports and enhances the sculptural intent.
Perched atop the mound, the boat-like concrete forms will appear as if they are in the midst
of crossing the bar—balancing momentarily, in a state of transition. This positioning gives the
artwork a sense of movement and tension, evoking the careful navigation required to pass
over shallow waters.
The rise also serves a practical function, improving visibility from a distance and encouraging
public interaction from all sides. Together, the sculptural forms and shaped landscape work in
harmony, grounding the artwork in its coastal setting and deepening its connection to local
stories and topography.
Scribby Gum . 2000 . ACT Law Court . Canberra
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 19
Page 20
FABRICATION
METHODOLOGY
The fabrication of Crossing The Bar is a carefully balanced collaboration between artist Jade Each boat will be constructed as a three-part assembly for ease of transport, installation, and
Oakley and the fabrication team at Parts Department, combining hand-crafted artistry with long-term performance: the boat form, an angled concrete plinth, and in-ground footings.
precision digital technologies.
The supporting plinths—cast at three different angles—will elevate the flat-bottomed boats
The process begins with the artist sculpting small-scale boat maquettes in clay, capturing in dynamic orientations that evoke the moment of “crossing the bar.” Footings will be
expressive surface details inspired by sea-worn shells and eroded rock. These tactile, organic poured on-site using pre-fabricated reinforcement cages manufactured in-house to suit each
forms are then 3D scanned to create editable digital models, which are further refined in CAD location.
through close collaboration between the artist and Parts Department.
Following de-moulding, every sculpture will undergo a detailed finishing process to ensure all
The final boat forms will be CNC-cut from polyurethane foam, ensuring precision and surfaces are smooth, safe for public interaction, and visually aligned with the artist’s vision.
consistency, before being once again refined by the artist’s hand. This hybrid approach Surfaces will be sealed with a penetrative, dry-look anti-graffiti coating to protect against UV
ensures that the visual language of the original clay forms is retained, while also meeting the exposure, weathering, and vandalism.
structural and technical requirements for durable public art.
All materials and methods have been selected to ensure structural integrity, low maintenance,
Each boat mould will be a bespoke, two-part split-case system made from fibreglass and and a minimum lifespan of 10 years in an outdoor environment. The sculptures are designed
aluminium, designed and fabricated at the Parts Department workshop in Brisbane. The to comply with all relevant Australian Standards and will meet or exceed all site-specific
casting process will take place in Toowoomba, where a high-strength 50 MPa precast requirements.
concrete mix will be used.
During casting, ochre pigments will be added to the concrete to create an organic gradation
of tone, while oyster shells sourced from the Noosa Marina and local stone aggregates will be
hand-placed into the moulds to produce a distinctive, place-based texture. These embedded
elements will be exposed post-casting through polishing and finishing, creating a smooth,
tactile surface with visual depth and meaning.
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 20
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INSTALLATION
METHODOLOGY
The installation process has been carefully developed to align with both the fabrication Equipment and Tools Required
methodology and the design intent of Crossing The Bar, ensuring a seamless, safe, and • Franna crane with licensed dogman for lifting and placement
structurally sound outcome. The steps below outline the general installation approach. • 1.5-tonne excavator for footing excavation and post-installation re-landscaping
General Installation Process On-Site Assembly
The installation has been designed to be efficient and low-risk, with simplicity and structural
The two installation locations will be accurately marked out on site. clarity guiding both the sculpture’s construction and its site assembly. This methodology
supports a safe and precise installation that respects both the technical demands and
• Landscaping preparation will include the use of clean fill and excavation of footings as aesthetic vision of the artwork.
required.
• If necessary, screw piles will be installed prior to reinforcement placement.
• Concrete footings will be poured in accordance with the engineering specifications.
• Once cured, the angled concrete plinths or pads will be fixed to the footings.
• The boats will then be positioned and secured on top of the plinths.
All mounting points will be pre-coordinated with the project engineer and builder to ensure
compatibility with site conditions and structural requirements. These mounting points,
embedded in the underside of each concrete boat, are designed to withstand environmental
factors such as wind loading. Lifting lugs will be integrated into the concrete to facilitate safe
and precise installation.
Each sculpture will be placed near its final location, inverted, slung with the crane, rolled
upright, and lowered onto the prepared plinths. Final positioning and fixing will be completed
on site.
Following installation, all surrounding landscape areas will be reinstated and turfed to council
standards where applicable.
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 21
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TECHNICAL DRAWINGS
1 2 3 4 5 6 7 8
A A
B B
C C
PRE-CAST CONCRETE BOAT
D D
PLINTH TO BE CAST
ONSITE AFTER BOATS
FIXED IN PLACE. THEN
COVERED IN SOIL.
E E
CONCRETE FOOTING TO
BE POURED ON-SITE.
ALL DRAWINGS AND CONCEPTS TITLE:
ARE PROPERTY OF PARTS
F
DEPARTMENT AND MAY NOT BE CROSSING THE BAR F
COPIED WITHOUT CONSENT.
NAME SIGNATURE DATE DRW NO REVISION
DRAWN DUGALD MONCRIEFF 20/04/25
TYP BOAT OVERVIEW V3
BUILT
A3
FINISH RAW MATERIAL MIXED SCALE 1:30 SHEET 1/6
PROJECT JADE OAKLEY - CROSSING THE BAR CONCRETE
1 2 3 4 5 6 7 8
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 22
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TECHNICAL DRAWINGS
1 2 3 4 5 6 7 8
A A
B B
C C
300
D 2500 1400 D
E E
ALL DRAWINGS AND CONCEPTS TITLE:
ARE PROPERTY OF PARTS
F
DEPARTMENT AND MAY NOT BE CROSSING THE BAR F
COPIED WITHOUT CONSENT.
NAME SIGNATURE DATE DRW NO REVISION
DRAWN DUGALD MONCRIEFF 20/04/25
TYP BOAT DIMENSIONS V3
BUILT
A3
FINISH RAW MATERIAL MIXED SCALE 1:20 SHEET 2/6
PROJECT JADE OAKLEY - CROSSING THE BAR CONCRETE
1 2 3 4 5 6 7 8
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 23
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TECHNICAL DRAWINGS
1 2 3 4 5 6 7 8
A BOAT REO TO BE M12 REOBAR A
B B
1050
4x JOINER BARS
TO BE M16
REOBAR
C C
2225
D D
125
10 10
5° 5°
510
E E
510
ALL DRAWINGS AND CONCEPTS TITLE:
ARE PROPERTY OF PARTS
F
DEPARTMENT AND MAY NOT BE CROSSING THE BAR F
COPIED WITHOUT CONSENT.
NAME SIGNATURE DATE DRW NO REVISION
DRAWN DUGALD MONCRIEFF 20/04/25
BOAT REO CAGE V3
BUILT
A3
FINISH GALVANISED MATERIAL STEEL SCALE 1:15 SHEET 3/6
PROJECT JADE OAKLEY - CROSSING THE BAR
1 2 3 4 5 6 7 8
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 24
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TECHNICAL DRAWINGS
1 2 3 4 5 6 7 8
A A
M16 REO TO EXTRUDE
OUT FOR ANCON
B MBT16C COUPLET B
100
510 510
C C
600
M12 REO BAR
D D
M16 REO BAR
1500
E E
1000
ALL DRAWINGS AND CONCEPTS TITLE:
ARE PROPERTY OF PARTS
F
DEPARTMENT AND MAY NOT BE CROSSING THE BAR F
COPIED WITHOUT CONSENT.
NAME SIGNATURE DATE DRW NO REVISION
DRAWN DUGALD MONCRIEFF 20/04/25
IN-GROUND FOOTING V3
BUILT
A3
FINISH RAW MATERIAL MIXED SCALE 1:15 SHEET 4/6
PROJECT JADE OAKLEY - CROSSING THE BAR CONCRETE
1 2 3 4 5 6 7 8
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 25
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TECHNICAL DRAWINGS
1 2 3 4 5 6 7 8
A A
B B
C BOAT REO CAGE C
D 4x ANCON D
MBT16C COUPLET
E E
IN-GOUND FOOTING
REO CAGE
ALL DRAWINGS AND CONCEPTS TITLE:
ARE PROPERTY OF PARTS
F
DEPARTMENT AND MAY NOT BE CROSSING THE BAR F
COPIED WITHOUT CONSENT.
NAME SIGNATURE DATE DRW NO REVISION
DRAWN DUGALD MONCRIEFF 20/04/25
REO MESH V3
BUILT
A3
FINISH GALVANISED MATERIAL STEEL SCALE 1:20 SHEET 5/6
PROJECT JADE OAKLEY - CROSSING THE BAR
1 2 3 4 5 6 7 8
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TECHNICAL DRAWINGS
1 2 3 4 5 6 7 8
A A
B B
C C
PLINTH TO BE CAST
ONSITE AFTER BOATS
FIXED IN PLACE. THEN
COVERED IN SOIL.
D D
M16 ANCON COUPLER
TO CONNECT BOAT TO
FOOTING
E E
CONCRETE FOOTING TO BE POURED ON-SITE
ALL DRAWINGS AND CONCEPTS TITLE:
ARE PROPERTY OF PARTS
F
DEPARTMENT AND MAY NOT BE CROSSING THE BAR F
COPIED WITHOUT CONSENT.
NAME SIGNATURE DATE DRW NO REVISION
DRAWN DUGALD MONCRIEFF 20/04/25
IN-GROUND FOOTING V3
BUILT
A3
FINISH RAW MATERIAL MIXED SCALE 1:15 SHEET 6/6
PROJECT JADE OAKLEY - CROSSING THE BAR CONCRETE
1 2 3 4 5 6 7 8
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MAINTENANCE +
DURABILITY
Crossing The Bar has been designed with longevity, safety, and ease of maintenance as key a secure and permanent installation. The budget allows for pile footings in addition to large
considerations from the outset. All materials, finishes, and construction methods have been concrete footings to be poured on site.
selected to withstand the coastal conditions of Noosa and to ensure the artwork remains
intact, presentable, and safe for a minimum lifespan of 10 years, in accordance with Council Lighting & Electrical Considerations
expectations. If lighting is used, it will utilise low-voltage, weatherproof LED fittings, sealed and rated for
outdoor use (minimum IP67). All components will be serviceable and sourced from reputable
Durable Materials & Finishes suppliers with parts available over the long term. Power will be drawn from the adjacent boat
The sculpture will be fabricated using marine-grade stainless steel and high-performance ramp infrastructure, minimising new installation costs and ensuring accessibility for future
concrete, both chosen for their strength, weather resistance, and proven performance in electrical maintenance.
coastal environments. These materials are non-corrosive and highly durable, requiring minimal
upkeep even in high-salinity, UV-exposed environments. Maintenance Requirements
The artwork is designed to be low maintenance. Recommended maintenance includes:
Where colour or texture is used, finishes will be achieved through integral pigments or
abrasion-resistant coatings, reducing the risk of peeling or fading over time. All materials • Annual inspection of surface condition and structure for signs of corrosion, structural
are selected to be graffiti-resistant and easily cleanable, with no small components, fragile stress, or damage.
features, or moving parts that could compromise the work’s safety or appearance over time. • Annual wash-down with freshwater and mild detergent to remove salt residue and
The sculptures will be sealed with dry-look Graffex anti graffiti coating by Cementaid. surface contaminants.
• Graffiti removal as required using non-abrasive, Council-approved cleaners.
Fabrication and Engineering Standards • Annual check of any integrated electrical components or lighting by a licensed
Fabrication will be overseen by Parts Department, whose background in delivering high- electrician.
quality public artworks ensures that all constructed elements will meet the highest standards
of durability and workmanship. The structure will be engineered and certified by Partridge These tasks can be completed within routine Council maintenance schedules and do not
Engineers to ensure compliance with all relevant load-bearing, safety, and public use require specialist knowledge or equipment beyond standard public asset care.
standards, including climbability and stability for interactive engagement.
Documentation
Footings & Installation A detailed Maintenance Manual will be provided at handover, including materials
Concrete footings and foundations, provided by Heritage Precast Toowoomba, will be specifications, cleaning instructions, recommended inspection intervals, and contact details
designed to accommodate shifting soil, weather events, and consistent public interaction. for all relevant contractors and suppliers.
Anchoring systems will be non-invasive to the surrounding natural environment while ensuring
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 28
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BUDGET TIMELINE
Fees Stage/Description Duration Completion
Jadel Oakley - Artist Fee + Community Engagement $40,000
Creative Road - Curatorial + Project Management $25,000 PROJECT INCEPTION
SUBTOTAL $65,000 Artist Agreement Executed Milestone August, 2025
Artwork Budget
Detailed Design DESIGN DEVELOPMENT
Detailed Design $24,000 Community Engagement 1 week September, 2025
Engineering Review + Certification $8,000 Developed Design Period 8 weeks November, 2025
Fabrication
Final Design Presentation + Approval Milestone November, 2025
Mould Fabrication $14,500
3D Model Development 2 weeks December, 2025
Boat Frame + Base Footing $10,000
Concrete Supply + Finishing $15,000
Allowance for Christmas NY Shutdown 4 weeks January, 2026
Packing + Transport $9,000
Installation
FABRICATION
Footings, Earthworks, Crane Hire + Labour $17,500
Mould Fabrication 4 weeks February, 2026
SWMS, Traffic Management + Artwork Installation $2,000
Steel Fabrication 3 week March, 2026
SUB-TOTAL $100,000
Concrete Supply + Finishing 4 weeks April, 2026
Project Costs
Artwork inspection (80%) Milestone April, 2026
Admin $4,000
Installation Plan + SWMS Milestone April, 2026
Travel + Accom $4,000
Audio Recording + Editing $1,100
INSTALLATION
Photography $2,250
Ground Treatment Prep + Concrete Footings 2 weeks May, 2026
Maintenance Manual $2,250
Artwork Installation 1 week May, 2026
Insurance $1,000
Practical Completion & Maintenance Manual Milestone May, 2026
SUB-TOTAL $14,600
Artwork Launch + Documentation 1 Week June, 2026
GRAND SUB-TOTAL $179,600
CONTINGENCY $15,850
TOTAL excl. GST $195,450
GST $19,545
TOTAL inc. GST $214,995
* Exclusions: Lighting Design + Supply, Attribution Signage
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 29
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ARTIST TEAM REBECCA TOWNSEND . CREATIVE ROAD ZOE ROBINSON-KENNEDY . CREATIVE ROAD SHARNI HODGE . CREATIVE ROAD PROJECT DIRECTOR SENIOR CURATOR + PROJECT MANAGER PROJECT COORDINATOR Rebecca Townsend has more than two decades of public art Zoe Robinson-Kennedy is an experienced curator and Sharni plays a critical role on Creative Road projects, planning, experience across public art, cultural tourism, community project manager with a special interest and knowledge of coordinating and supporting the curatorial and project engagement, placemaking and activation for urban renewal. contemporary Australian artists. Zoe has delivered major management team, as well as clients, artists and suppliers. She She has led public art programs and provided advice to major artworks for high profile locations across Australia, including expertly manages project timelines, budgets, expectations projects including Brisbane Airport and the Gold Coast Com- multiple artworks for projects across SEQLD. Committed and relationships. Drawing on her previous experience in monwealth Games. Rebecca is experienced at working in large to engaging artists in meaningful ways, Zoe fosters positive architectural studio management and studies in spatial design, design teams on complex projects and designing meaningful relationships with emerging artists through to those who are Sharni brings valuable expertise in quality assurance, document engagement processes for communities involved in the public world renowned. control, and supplier management. art commissioning process.
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ARTIST TEAM SAM STEWART + DUGALD MONCRIEFF . PARTS DEPT HERITAGE PRECAST TOOWOOMBA CREATURE CREATIVE SUNSHINE COAST LEAD FABRICATION + INSTALLATION CONCRETE WORKS AUDIO PRODUCTION Parts Department is a unique design and fabrication work- Heritage Precast are the leading Precast Concrete specialist on With over twenty five years of branding and content experience shop that delivers site-specific public art projects and bespoke the Darling Downs, specialising in a wide range of pre-cast con- between them, Creature Creative specialise in delivery audio and fabrication solutions. Their experience includes managing the crete products and solutions. Their work ranges from small DIY video production, editing, graphic design and photography. The fabrication and installation of artist Megan Cope’s artwork jobs, all the way through to large corporate and industrial con- mission of Creature Creative is to bring energy and flare to their Whispers which incorporated 85,000 oyster shells for the 50th struction projects. They deliver high quality, robust and attractive clients and their brands. They are creating content that engages Anniversary for the Sydney Opera House. Parts Department will precast solutions with the design and engineering to back it up. with its’ audience and achieve success. work closely with our team through all the stages of the project, including design development, documentation, engineering reviews, fabrication and installation.
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ARTIST STATEMENT
In a spirit of discovery and experimentation, my studio practice is driven by a desire to create
delicate, joyful artworks that invite reflection and wonder. I’m inspired by the transformation
of solid materials into something ethereal—whether it’s perforating metal by hand until it
becomes more air than matter, or sculpting hand-made forms that are later cast in concrete,
capturing fine detail in a medium built to last.
The challenge—and delight—of public art lies in scaling these intimate gestures into works
that are enduring, interactive, and site-responsive. I stay closely involved in every project,
collaborating with curators, architects, and fabricators to ensure the final piece retains the
magic and sensitivity of the original. I embrace the balance between traditional craftsmanship
and digital fabrication to achieve this.
Public art has also deepened my interest in how people experience space and engage with
sculpture—whether physically through play and gathering, or conceptually, by reflecting
stories or ideas back to the community. The most rewarding moments come when a local
narrative is recognised in the work.
I strive to create artworks that feel visually and thematically integrated with their setting—
sculptures that belong in the landscape and speak to its history and character.
The Crossing The Bar concept is an opportunity to tell a local story, one that honours Noosa’s
spirit of adventure, connection to the sea, and strong sense of community. I hope the work
becomes a site of memory, imagination, and shared experience for both locals and visitors.
Scribby Gum . 2000 . ACT Law Court . Canberra
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 32
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S K IPP ING STONES ( 2019 ) CUR ATION & P ROJE C T M A N AG EM EN T . C R EAT I V E R OA D Dimensions: 340mm x 1500mm Materials: Installation of 22 cast concrete stones, lighting, stainless steel and glass fittings Location: Lachlan’s Square, Sydney Client: Greenland Australia There is a strong tactile quality to Skipping Stones. The concrete is lovingly polished, so that it is smooth and delicious to touch, a joy to sit on when warmed by the sun. The arrangement of stones encourages interaction with the public; children use them as stepping stones, jump from one to the next or leap frog over them. People sit on them and use the artwork as a gathering place. Each stone is etched with drawings of a native plant that grows in the nearby bushland. CLICK HERE TO WATCH VIDEO
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H ABITAT CUBBIES ( 2017 ) CUR ATION & P ROJ EC T M A N AG EM EN T . C R EATI V E R OA D Dimensions: 1500mm h x 1200mm w x 1200mm deep Materials: Cast concrete and ochres Location: ELS Playground Sydney Client: City of Ryde Habitat Cubbies are climbable sculptures inspired by nature and by the way children interact with their environment. The artwork is both a place for adventurous play and a habitat for imaginative children, honeycombed with cocoon-like spaces to curl up in. The cubbies were developed with Ryde Council landscape architects, to work sympathetically with the landscaping and planting of native trees and grasses on site. Texture, colour and form give the artwork strong links back to the remnant Turpentine and Stringy Bark forest in ELS Park. Ochres have been added to the concrete as it was poured so that the concrete visually relates to the sandstone used extensively on the site. CLICK HERE TO WATCH VIDEO
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F UL L CIRCLE (2 023 ) CUR ATION & P ROJ EC T M A N AG EM EN T . C R EATI V E R OA D Dimensions: Three sculptures each 600mm h x 2800mm w x 500mm w Materials: Precast concret, ochre, brass inlays Location: Booring Recreational Reserve, Botanic Ridge, Victoria Client: City of Casey Full Circle is located in the City of Casey, which is part of the South Western Biosphere adjoining the wetlands of Port Phillip Bay. Many endangered migratory bird species stop at Westernport Bay on their long journey around the world. Full Circle was inspired by the heroic flights of two shorebirds - the Red Necked Stint and Eastern Curlew, that fly from Westernport Bay to Norh Korea and China - full circle - returning to this place. The footprints of the Red Necked Stint and Eastern Curlew are represented by brass inlays in the surface of the artworks. The sculptures are made from cast concrete with ochres hand mixed into it so that the surface is reminiscent of the tannin-coloured shoreline of the wetland. Drawings representing a bird’s eye view of wetlands in Westernport, China and Korea are etched into the concrete. The whimsical play-based artworks are reminiscent of ‘launching pads’ for migratory birds, and a sanctuary to welcome them home. The forms of the sculptures are inspired by delicate struts within bird bones which allow their wings to be both strong and light, to enable flight.
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JADE OAKLEY . CV
SELECTED PUBLIC ART EXPERIENCE 2015 Stella Del Mare, mobile for Otto Ristorante, Sydney, NSW
Looking Up, design for escalator cladding,
2025 Flutter, Suspended Atrium Artwork, Caloundra Library+ Westfield Parramatta, NSW
for Sunshine Coast Council, QLD (upcoming) Understorey, design for lift well, Westfield Parramatta, NSW
Wattle, mobiles for Ku-Ring Gai Hospital Sydney, NSW
2024 Lakeside, sculpture collaboration with Stephanie Mew, Wintergarden, mobile 1 O’Connel St Sydney, NSW
Tiny Towns Grant, Mallacoota, VIC Vine Mobile, Westfield Miranda, NSW
Yamuloong, collaboration with Saretta Fielding
for Windale Hub, Lake Macquarie City Council, NSW 2014 Seedpods, Royal North Shore Hospital
Bound, sculptures for Westfield Miranda, NSW
2023 Floating Cairn, Williamstown, VIC The Bay, Façade for Woolworths, Double Bay, NSW
River Wall, Otto, Brisbane, QLD Constellation, mobiles Westfield Miranda, NSW
2022 Second Nature, City of Melton, VIC 2013 Wintergarden II, Lee Jeans store, Chapel St, Melbourne, VIC
Full Circle, City of Casey, VIC Bottlebrush, Gypsy Point, VIC
Angophora, Mural Ku-Ring-gai Hospital, Sydney, NSW Autumn, the Cotswolds, UK
Aquifer, Brazil Arkaroola, Otto Ristorante,
2021 Marra-gu Waluwin, Western Cancer Center, Dubbo, NSW Woolloomooloo, Sydney, NSW
Syconium, Elizabeth Bay, Sydney, NSW Grove II, The Bridge Room Restaurant, Sydney, NSW
Waterline, Wickham, Newcastle, NSW Shore, Miami, USA
Shine, Nepean Hospital, Sydney, NSW
2012 Grove, The Bridge Room Restaurant Sydney, NSW
ARTIST BIO 2020 Figtree, Sydney Olympic Park Pavilions, for Mirvac, NSW Lily Pond, Southern Support School, Hobart, TAS
Niil Wilimar, Dubbo Hospital Redevelopment, NSW Wintergarden, Lee Jeans store, Wintergarden Shopping
Jade Oakley completed a Bachelor of Fine Arts with Honours at the College Badhang, Dubbo Hospital Redevelopment NSW Complex, Brisbane, QLD
of Fine Arts Sydney and has been working as a public artist for 15 years. Jade
collaborates closely with curators, architects and designers to create site specific 2019 Arrowanelli, Wentworth Point, Sydney for Landcom, NSW 2011 Sky Garden, Royal Children’s Hospital, Melbourne, VIC
public artworks that are integrated into their site, enhancing environments and Samphire, Kilora Family Community Center, Melbourne, VIC
Skipping Stones, Lachlans Line Macquarie Park, Sydney, NSW 2010 Ember, Galaxy Casino, Macau, China
making art accessible and meaningful to diverse audiences. Her experience
Goldengrove, Crown Casino, Melbourne, VIC
includes working with First Nations artists and communities in the development
2018 Kingdom of Butterflies, National Taiwan University Cancer
of her public artworks. Jade experiences includes major commissions for the
Center, Taiwan SOLO COLLECTIONS
Royal Children’s Hospital, Melbourne and the ACT Supreme Court, Canberra.
Scribbly Gum, Wall for the Supreme Court, Canberra, ACT
Mangrove, mobile for Coroners Court, Sydney, NSW 2016 Rain Shadow, Australian Galleries, Sydney, NSW
2011 Up Lands, Australian Galleries, Glemnore Road, Sydney, NSW
CLICK FOR WEBSITE 2017 Interplay, Waverley Council, NSW 2010 Headland, Australian Galleries, Smith St, Melbourne, VIC
Habitat Cubbies, Ryde Council, NSW 2009 Estuary, Australian Galleries, Glenmore Road, Sydney, VIC
Memorial, Harbord Diggers, Freshwater, NSW 2008 Colony, Kurnell, Sydney, NSW
2016 Mallee, mobiles for Bendigo Hospital, VIC
Mangrove, artwork for Otto Brisbane, QLD
Between Two Rivers, residential façade, Ryde, NSW
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CREATIVE ROAD
Creative Road work in partnership with artists to realise their vision. Since 2014 we have
delivered various public artworks with Jade Oakley of diverse mediums, scale, purpose and
contexts. We offer specialist skills as public art curators and project managers, overseeing
design and construction processes through to installation.
Creative Road has delivered public art projects for the following Queensland clients:
• Brisbane Airport Domestic Terminal Upgrade, Brisbane Airport QLD
• Burleigh First Nations Public Art Commission, City of Gold Coast QLD
• Robina Office Building First Nations Commission, QIC QLD
• Gordonvale First Nations Artwork Commission, Woolworths QLD
• Water Walls Artwork Commissions, Gold Coast Water + Waste QLD
• Brisbane River Art Framework, Brisbane City Council QLD
• Commonwealth Games Artwork Commission Surfers Paradise,
City of Gold Coast QLD
We understand the need for public art projects to be artist-led. Our approach is highly
collaborative and transparent with both artists and our clients. Artists have an ongoing role
throughout all stages of the project including approvals at key milestones.
Creative Road acts as the head contractor on behalf of Jade Oakley. In this role Creative Road
will be responsible for all aspects of artwork delivery, including budget, project management
and payment of all sub-contractors. We are committed to delivering the artwork on time and
on budget, will oversee approvals, engineering, fabrication and installation of the artwork. We
work with artists to source the most suitable materials with aesthetic, durability, budgetary, and
sustainability top of mind.
CLICK FOR WEBSITE
.
Watercloud night installation . Hickory Street Dorrigo
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 37
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CREATIVE ROAD ART PROJECTS . CV
S E L E C TE D P U B LI C A RT E X P E R I E N C E 2018 Commonwealth Games Artwork Commission Surfers Paradise,
Rebecca Townsend
DIRECTOR City of Gold Coast QLD
2025 Northshore 2032 Stadium Residential Precinct, Brisbane QLD ACT Law Courts Artwork Commission, ACT Government ACT
Client Relationships Water Walls Artwork Commissions, Gold Coast Water + Waste QLD
MQX4,Capitaland Macquarie Park NSW
Public Art Strategy
Stakeholder Presentations Nepean Hospital Redevelopment Stage 2, Health Infrastructure NSW The Tower Project Artwork Commission, Home of the Arts (HOTA) Gold
Community Engagement Design Brisbane Airport Domestic Terminal Upgrade, Brisbane Airport QLD Coast QLD
2024 Luddenham Station, Western Sydney Airport Metro, Transport NSW 2017 Creative Place Activation Strategy, National Capital Authority ACT
Temporary Art Commission, National Film and Sound Archive ACT Elysium Laneway Transformation, Byron Shire Council NSW
Natalie Bull Zoe Robinson-Kennedy Waverley Mall Artwork Commission, Waverley Council NSW
Front Dam Art Commission, The National Arboretum ACT
SENIOR CURATOR SENIOR CURATOR
Burwood Cultural Centre Public Art Strategy, Burwood Council NSW Lachlan’s Square Artwork Commission, Greenland NSW
Burleigh First Nations Public Art Commission, City of Gold Coast QLD
Curatorial Strategy + Artist Research
Anzac Park East Public Art Strategy, Amalgamated Properties, ACT 2016 North Sydney CBD Artwork Commission, North Sydney Council NSW
Artwork Concept Design + Development
Construction + Installation Project Management Canberra Hospital Expansion Arts + Culture Program, ACT Government Bendigo Hospital Artwork Commission, Victorian Health Building Authority
Budget and Timeline Management Juanita Neilson Community Centre, City of Sydney NSW
Artwork Inspections
2023 Subiaco Smoke Stack Artwork Commission, Development WA Brisbane River Art Framework, Brisbane City Council QLD
Gardeners Rd Alexandria Artwork Commission, Equinix Data Centres NSW
Robina Office Building First Nations Commission, QIC QLD 2015 Ban Chiao Sports Center Artwork Commission, Taipei Taiwan
Melanie Ryan Sharni Hodge Level Crossing Removal Project, Public Art Benchmarking Report, VIC North Sydney CBD Masterplan, North Sydney Council NSW
STUDIO MANAGER PROJECT COORDINATOR Airport Drive Artwork Commission, Melbourne Airport Corporation VI
Linear Park Artwork Commission, City of Melton VIC
Browns Road Reserve Artwork Commission, City of Casey VIC
Administration Artist + Supplier Liaison
2014 1 O’Connell St Sydney Artwork Commission, Lend Lease NSW
Project Marketing Construction + Installation Coordination
Graphic Design Budget + Timeline Preparation 2022 Brisbane Airport Domestic Terminal Upgrade, Brisbane Airport QLD Hornsby Ku-ring-gai Hospital Artwork Commission, Health NSW
IT Management Artwork Maintenance Manuals Splendour in the Grass Artwork Commission, Byron Bay NSW
Melton City Council Public Art Masterplan, City of Melton VIC
Canberra Hospital Expansion Arts + Culture Program, ACT Government Bellingen Shire Public Art Strategy, Bellingen Shire Council NSW
Central Offices First Nations Artwork, Department of Justice NSW
Brisbane City Council Public Art Strategy, QLD 2013 Australian National University Medical Science Precinct Artwork Commission,
ANU Canberra
2021 Gordonvale First Nations Artwork Commission, Woolworths QLD Digby Moran First Nations Artwork Commission, Woolworths NSW
Parramatta Road Urban Amenity Improvement Program, Create NSW + Creswick of the Lindsay’s Cultural Strategy, Hepburn Shire Council VIC
Dept. Planning, Industry + Environment Northwest Rail Link Public Art Strategy, MetOne Consortium NSW
Monaro Lanes Revitalisation, Queanbeyan-Palerang Council NSW
Pathway 144 Arts + Culture Program, Victoria Health + Human Services
2020 105 Miller St North Sydney Public Art Strategy, Investa NSW
Crows Nest Metro Artwork Commission, Transport for NSW
One Denison St North Sydney Artwork, Winten Property Group NSW
1000 La Trobe St Melbourne Artwork Commission, Poly Australia
Melbourne VIC
2019 Central Station Metro, Laing O’Rourke NSW
Nepean Hospital Redevelopment Stage 1 + 2, Health Infrastructure NSW
Dubbo Hospital Redevelopment, Health Infrastructure NSW
National University Cancer Centre Artwork Commission, Taipei Taiwan
Noosa Council CityDeal Public Art Initiative | April 2025 Jade Oakley x Creative Road 38
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JADE OAKLEY
x
[email protected] . 0438 761 841
@creativeroad . www.creativeroad.com.au
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