vsw100 Art and Creativity Online Activities Portfolio 1 Part 1

Portfolio 1
Gaylene Duncan
Student No 17305747

VSW100 Art & Creativity

Project Two: Ex. 1: Investigation of Local Public Artwork (Visual Diary)
Project Two: EX. 2: Research and Respond (Visual Diary & Discussion Board)
Project Two: Ex. 3: The Maquette: Construction
Project Two: EX. 4: The Maquette: Placement
Visual Diary plus Web based and artist research
Online activities, evidence of discussion engagement online
Week 4: Project Two: Art + Public Space
iLecture 3: Curtin Bentley Campus Art Walk Joanne Richardson
Things to consider while viewing this lecture
How does relocation of artwork change its reading?
When an artist makes a piece of work they take into account where the work will be situated and what its surroundings will be. Often
the work will be represent its intended environment by its use of materials and/or size. Sometimes the work will be intended to stay
their for life but sometimes it will be ephemeral meaning sort term. The work tends to take on the culture of its intended
environment. When you move the piece of work out of its intended environment you compromise these things. By doing so you
change the meaning of the work intended by the artist.

Can a logo or a garden be a public artwork?
Both a logo and a garden can be considered a public artwork, but it really comes back to how the work come about and its intended
purpose. Did the art work have one or many designers? Is it an original piece or created based on another's work? Does it have a use
to the community it is part of or is it useless to them? All of these things need t be consider in order to determine if in fact the work
could be considered at art work.
What Key considerations are required when designing
public artwork
An artist should always take into consideration the
location of the work, the culture and history of its
soon to be surroundings, who its intended audience
is, weather or not its intended to be long term or
ephemeral, the type of maintenance it will require
and the intended maintenance of its surrounding
location, and the choice of materials being used.

It should also consider what it is it is trying to
communicate to its audience and of what use this is
to the audience.
http://echo.ilecture.curtin.edu.au:8080/ess/echo/pr
esentation/a0350852-b31e-412d-a93c-
ccabbf81895e
(Richardson 2013)
Week 4 Exercise 1: Investigation of Local Public Artwork (Visual Diary)
The Dandenong Pig
The Dandenong Pig is located on the roof of the Dandenong
Market and is facing out to the main street. He was dressed in
formal morning wear. This might be significant to the
operational times of the market.
The Dandenong Pig
He is neon and moves his top hat as though his waving or greeting
people.

To look at in the day he looks black and white. As night falls, he
lights up
and it
appears to
have several
colours in
his or her
design. They
included:
blue, pink,
white, red,
yellow, and
black.

I noted that
its been
located of to
the side of
the market,
rather than
the front.
The Dandenong Pig Continued
It appears to be
made from
Neon Lights for
sure and
possibly sheet
metal and clear
perspex.

He also faces
right which
points to the
main road, away
from the
market.
Vessels of Light
These Vessels of light I stumbled on as I moved around Dandenong. I
found two located around Dandenong. One was a single one the other
was two together, but both different in colour. The colours were red
and brown. They seem to be made of glass and metal.
Vessels of Light
The Vessels of light were hidden in lane ways and were located rather high up. I cant help but wonder why this was?
Vessels of Light
My Sketch of the Vessels of light and the land way its located in. They had a very interesting shape and reminded me of a lantern
but also the shape of a heater coil in a car.
Chaise Lounge
The Chaise Lounge was made from steal and what felt I think like hard plastic or fiberglass. I noticed that the framing matched the
walk way, but the bright red stood out like a sore thumb.
Chaise Lounge
I got the feeling that the artist
really wanted this couch to be
noted. It was located across the
road from the Drum theatre so I
feel sure this would be
connected. The shape reminded
me of Frauds famous couch to
some degree, but also those you
see in the movies.
Chaise Lounge
The first thing I
noted was that
the Chaise
Lounge was really
out of place from
the rest of its
surroundings.
Chaise Lounge
This is a different angle showing how out of place the Chaise
Lounge appears.
Chaise Lounge
The beauty of the
Chaise Lounge is
that the local
public or even
guest to the area
are able to interact
with the lounge by
taking a load of
and enjoying a
rest.

Ive used my
Daughter and dog
(Davidson) to
demonstrate this.
Chaise Lounge
My Sketch from the
back front of the Chaise
Lounge.
Chaise Lounge
My Sketch from the back view of the Chaise Lounge.
Gateway By David Sequira
Gateway looks like the prettiest thing in real life the way
it lights up the main drag of Dandenong (Otherwise
known as Lonsdale street) and It feels like it goes
forever.
During the day time the Gateway by David Sequira really doesnt look much at all to look at. I
remember when it was first built and I drove past thinking to myself what's with all the lights? But it
wasnt until doing this project that I learnt that these lights had great connection to the community
through its historical connections.
At night the Gateway by David Sequira comes to life, as
it lights up the main drag of Dandenong know as
Lonsdale Street. The bright colours are really beautiful
to stand and observe. Sadly it was very hard to capture
their true beauty through the lens of an iPhone.
The lights are placed in the center medium strip and goes the
whole length of the main drag (Lonsdale Street). As a car driver I
really didnt enjoy the lights I just found them very off putting as
they tend to glare the vision the driver experiences as can be seen
in the photos. For me it looks like Christmas all year long as this is
what the lights remind me off.
Each light is placed at equal distance apart
and runs in sets of colours. They stand nearly
as tall as the traffic light and are tall, thin and
fluoro in colour.
Totem Poles By Robert Tickner
These Totem Poles were located in a rather open space. They
are made in ceramics. They are all different heights and look
very tribal like.
I think they are very fitting for the Dandenong community as its an
extremely multicultural area and these poles seem to cover many
nationalities in its design. There also located right behind the local
gallery which I found a great place for them to be placed.
The art work on them strikes me as its
been done by many different people so its
possibly a community effort. I also found
the choice of colour interesting with these.
Some were on a brown scale whilst others
were in the blues.
When I sat later to look at the art on the Totem Poles , I began to sketch different parts of the art, which lead me to asking
myself what the art work symbolized. I looked up what the bat symbolized and learned that the bat symbolizes death and
rebirth. Sometimes, they are known as the "Guardian of the Night." (Allen 2008).

The peace sign on the other hand is the first ever peace sign which
dates back to 1950 and was originally designed for the British
Champaign for Nuclear Disarmament logo, which was also adopted
by anti-war and counterculture activists in the United States and
elsewhere. (Wikipedia, Peace Symbols n.d.)

These two symbols alone tell me that the art work was trying to get
an important message across to the audience. Given the nature of
Dandenong I cant help but think it was speaking of the violence in
the area and how peace is being called for.
St Johns could have been referring to the regional
college, however I feel it is more likely the artists or
group would be making reference to the St Johns
Ambulance Australia. The reason I feel this way is
the reference XTC located near a bottle of alcohol
with a question mark was also part of the art work
found on the Totem Poles and when I looked up
the acromion XTC, I found a few reference for it
and one of them was a band in England known as
XTC. Another was an energy drink and the last
was Ecstasy (band). XTC, Ecstacy (3,4-
Methylenedioxy Methamphetamine)
(TheFreeDictionary n.d.). But strangely Homer the
Simpsons character was also located near by. So I
kind of get the feeling that the artwork was talking
about the youth of today and the issues they are
faces with within the community. That the totem
pole as acting like a symbolic reminders of these
issues in the hope to remind the community how
we want our youth to get help and find freedom.
Paul D Johnson Reverie, 2005
Reverie
2005
Paul D Johnson
2 tonne galvanised steel

The Reverie is located on the corner of Lonsdale and Walker
Streets Dandenong. I am in two mind as to weather or not
this work is placed right.

It is a beautiful sculpture but appears too up beat for
Dandenong as it stands. But I feel once the upgrade of
Dandenong is complete the sculpture will be better suited
for the location.

The panels at the top remind me of a satellite dish bringing
information to the community.
One of the things I love about the Reverie is how the public can
interact with the work by walking through it or around it.

When I walked through it I found myself feeling very small once I
was between the polls and it wasnt until I looked up that I realised
just how tall the sculpture was.

I think visually the sculpture is very dynamic and eye catching. The
tall rounded polls remind me of the street lights and the traffic
lights. The panels toward the top gives me the impression of
togetherness.
At the base of the Reverie the box I cant help but feel was the artist idea of providing a place for people to sit. And interact with
the work. I was surprised when I touched it how cool the steel was as it was 35 degrees outside and I just assumed it would be
hot. I also found the design of the front with all the holes very interesting. I felt this gave it more of a contemporary look.
One of the most beautiful things I found with the Reverie was how it looked when the light court it. The steel seemed to blend in
with the ground but the red popped out and was really inviting. I felt it drew your attention; demanding you looked at it.
Sketching the Reverie allowed me to really see the
Reverie as it no longer had the background
interference. I was really taken by the curves in
the steel and how each one had its own curve. It
also made me realise that the panels at the top
were in fact connecting each poll. I didnt realise
that all of them were connected until I sketch it. It
just shows how the background surrounding can
really alter your view.
The Utilitarian Robbie Rowlands
The Utilitarian captivated me from the second I
seen it. I found myself drawn to its unusual shapes
and dimensions. It was located in a tiny park that
linked Lonsdale street and the Palm Plaza in
Dandenong.
Something that interested me was how closely they chose to situate
the work to the building. It was off to the side of the park and
seemed as though it had been put there to be put out of the way.
The park where the Utilitarian was located was set between a
couple of buildings which had a few trees in it and seating where
the public could sit and rest. I noted It was pale blue in colour,
which worked in well with the colour of the grass. The other
strange things was they had created a path to the work but placed
a chair at the other end of the path closing it off. I didnt like this
at all as I felt it gave the message not to go near the work, despite
the fact that you could walk on the grassed area.
It was interesting to look at the work from different angles as with each
angle more shapes were revealed.
A close up look revealed that the metal had been cut into at
equal distance along the entire sculpture. I figured this was
required so that the artist could bend the metal into the desired
shape, but found that it also added character to the work.
Looking down into one of the lights was interesting because of
the different shadows that were cast onto it and then onto the
ground from it.
An even closer look at the light revealed
how the light would capture the gravel
from the walk way. But I also found it gave
clues as to how the light had been put
together through the join and the three
little clips. All of these things added
interest to the work like the paint that had
pilled of leaving the raw metal shining
through.
Sketching The Utilitarian made me really
question what was with the lights? And what
there significance was with Dandenong. It turns
out that The Utilitarian alters a pale blue street
lamp decommissioned from service in Lonsdale
Street in 2010. (Hill 2013).

I think Robbie Rowlands was very cleaver when
he constructed The Utilitarian as he took a
once in use light from the area and then laid the
lights to the ground so they could rest.
Week 4 Exercise 2: Research and Response (Visual Diary & Discussion Board)
My Local Area - The Dandenong Pig The Artist Choice of Material
The animated advertising sign was made from neon
lighting and I think metal and possibly clear perspex ,
although I am unable to find any written material to
substantiate my thoughts. Due to its location I was
unable to get close enough to establish its materials for
sure.

The Dandenong Pigs top hat, tie and cutaway jacket,
were all black. This would be typical of the British
evening dress in 1850 or even the English evening dress
in 1869. The blue waistcoat could represent an alternate
to the traditional black which was sometimes alternated
with a pale colour. (Inc 2012) The red/brown face I feel
probably relates to the pig and how pigs are a form of
human food, i.e. bacon specially when we link it back to
Gippsland Co-operative Bacon Curing Company logo.
(Dandenong 2013)
These colours would
have been significant
back in the 1950s at
the time The
Dandenong Pig was
first created, as
although the formal
morning wear was no
longer being worn by
the men at this time,
the men's attire still
mimicked the cutaway
jacket in many ways
especially in terms of
its colour.

1850 British evening
dress. Note the
tailcoat's M collar,
sleeve cuffs and short
tails. (Dandenong
2013)

1869 English evening
dress. Note shawl
collar on left and
velvet collar and black
waistcoat on right.
(Dandenong 2013)
I think the colour was very important to the artist and what she/he was trying to say to their public. The colour links back to the
attire being worn back in the 1850s ,and at the time there was a definite dress code to follow, which was largely linked I believe
to the expectations of the men's behaviour. Respect played a large role in this behaviour and this is what I feel the artist was
trying to show in their work. They wanted the work to be respectful in the way it greeted people, but also in its attire.

The artist relied on the neon lights to convey their message. This made it easy for the artist to show the pig tilting the top hat
and therefore making the welcome idea clear of its intent.
(Victoria 1938)
All of these materials are commonly used within the industrial environment. So It
is quiet possible that the materials the artist used were sourced from the area, as
during the 1950s Dandenong had become one of the main metropolitan
manufacturing and commercial areas. (Wikipedia n.d.) No textiles were used in
the design, which is possibly due to the intent of the design and its intended
location, but also because the neon lights and textiles would not be safe used
together as the heat from the neon light could potentially cause the textiles when
heated to catch on fire. I think the artist uses the metal to visualise the structure
of the pig, whilst the perspex was intended to allow light to shine through the
design when the neon lights were turned on.

The neon lights would be to capture the attention of the by-passer and also to
bring life to the Dandenong Pig. I think the artist was concerned to remark on the
advertising aspect, through the use of the neon lights but also in terms of the pig,
being connected with the Gippsland Co-operative Bacon Curing Company logo
(Dandenong 2013). I also thinking that this concern also extends to the tilting of
the hat and the pig being welcoming.
The Dandenong Pig at the time it was made, carried an
association with the meat industry, and although its location has
changed, this still connected with the meat industry as the meat
industry is a big part of the Dandenong markets culture. It is
hard to know how my response would change if the artist had
use different materials as this would depend largely on their
chosen materials, but it could affect the way I understand the
Dandenong Pig and its connections to the municipality.
1950s Suits
(Schneider
2013)
The surface I believe would be very smooth to touch in parts, however under the surface I feel would be a metal framing which would
be cold to touch. The neon tubing would also be smooth to touch. To look at it reminds me of the neon signs used in shop windows for
advertising or letting customers know their open for business.
My Local Area - The Dandenong Pig The Artist Choice of Scale
The work is of large scale, but actual size is unknown. As I have not
been able to find it documented anywhere. The size does not
surprise me at all as it needs to be large enough to be seen from a
distance, but also so it can stand high enough to been seen on the
roof. If it were smaller this would make it near impossible to be seen
on the roof, or from a great distance away. If it were larger on the
other hand it would probably be to heavy for the roof making it
dangerous for those moving around below it.
(Unknown,
Dandy Pig sign
fully illuminated
2013)
My Local Area - The Dandenong Pig The Relationship of the Artwork to Its Location
The Dandenong Pig has been about since the
1950s, and was the first animated advertising
sign for the area, when it was erected as a
prominent local landmark. The pig was well
dressed in formal morning dress, taking on and
of his hat to welcome the people into
Dandenong. He started out as part of a bigger
sign which was part of the Gippsland Co-
operative Bacon Curing Company logo located
at the Dandy Bacon shop on Lonsdale Street
(Princes Highway). It was later placed into
storage when the shop closed down during
1983. He was then taken from storage and
erected again at the Dandenong Market in Clow
Street, only to be removed once more in 1996
where he stayed until being refurbished and
then re-instated at the updated Dandenong
Market on the 30 August 2013 where he was
recognised as a sign of social, cultural and
historical significance in Greater Dandenong.
(Dandenong 2013)
My Local Area - The Dandenong Pig
How The Public Space Influences The Reading of The Work
I think the artists intent was defiantly to welcome the people of
Dandenong into Dandenong originally, when it was first located above
the Gippsland Co-operative Bacon Curing Company on Lonsdale Street
(Princes Highway). However due to the change in location, had I not
known the history of The Dandenong Pig I would read this work as
welcoming people to the Dandenong Market given its new location. I
think the artist idea of welcoming the people into Dandenong was a
nice gesture.
(Unknown, Bacon Factory, Dandenong,
taken from Bennett Street end. Circa
1920. (Archive photograph of the
(Unknown, Lonsdale Street from the Park, oil by Dorothy
Souter, 1981. 1981)
My Local Area - The Dandenong Pig
Dandenong and
District
Historical
Society,
Dandenong).
1920)
Clearly as illustrated in my on the
previous slide The Dandenong Pig
could be interpreted differently, but only
if its location is changed as the way it
relates to its surrounding would alter
slightly but the initial intent to welcome
people would remain the same.
(Unknown, Dandy Pig being lowered into place by a crane,
August 2013 2013)
Horizon By Lucy Humphrey at the Sculpture By The Sea Exhibition at Bondi 2014
The Artist Choice of Material
The Horizon was made from a two-tonne, 1.5 meter, acrylic hollow sphere, which held 1,800 liters of tap water and was 40 millimetres
thick. This stood on a one-tone hollow pipe made from concrete and sanded and treated by Lucy herself (Low 2013) . No colours have
been used in the work, however when the hollow sphere is looked through the colours of the immediate surrounding are visible in the
sphere. The shape of the sculpture is a sphere, made from acrylic glass, which is used as a shatter-resistant alternative to glass. I noticed
that the material is often used for a variety of fields such as instrument clusters for vehicles, lenses for glasses and shatter resistant
panels for skylights (Wikipedia, Poly(methyl methacrylate) n.d.). The sphere acts as a giant lens, and when light passes through the
sphere it alters the direction of its natural path, known as refraction and because of its shape it results in the image appearing upside
down (Low 2013). The surface is very smooth and reminds me of a crystal ball or a snow globe. I think Lucy used the material to visualise
the world upside down. Lucy was very concerned with the phenomenon of physics. She remarked that "As an object it's a very
(Low 2013)
sophisticated piece of
engineering," she also remarked that
"It is its own little micro-
climate," (Low 2013). I feel that the
Horizon has an association with the
Four Spheres of Earth. The
Lithosphere, Hydrosphere, Biosphere
and Atmosphere as each of these
sphere are constantly interacting with
each other. I also feel that the acrylic
glass is associated to the eye and our
vision of both the sea and the sphere
as though it acts as a giant lens. If Lucy
had used different materials the
chances are that the reflections
would be altered and the images we
perceive would also alter taking away
from this amazing piece of work.
The Artist Choice of Scale
The Relationship of the Artwork to Its Location
The Horizon is an large scale work measuring 1.5 meters x 40 millimetres thick. I am not at all surprised by the actual size of the
Horizon as it needed to have a large enough circumference for the light to be able to bounce from the air into plastic, plastic
into water, water into plastic and then plastic back into air (Low 2013). The thickness was also required so it was strong enough
to hold 1,800 litres of tap water. Had the circumference been different it would have altered the physics; decreasing or
increasing the amount of light entering the sphere, which in turn would alter the amount bouncing back to the water, from the
water back to the sphere and into the air, resulting in possibly a different visual outcome.
The location of the Horizon, basically gives the Horizon its
name, when you consider that its because of the light
coming up from the bottom of the sphere to the top that
enables the ocean to end up at the horizon. So if the
Horizon was to be relocated to another location say in front
of a set of closed in shops, there would be no horizon, but
instead maybe a floor. So the location is vital to this
sculpture name. The beautiful seascapes and landscapes
visible through the sphere would be lost and taken over by
dim shops, which would be interesting in it own right, but
no where near as beautiful as in its original location. I say
dim as the lighting would have changed from natural light
to synthetic light being in a group of enclosed shops. So the
artworks surroundings basically complete the work of art as
with the wrong surrounds its true intent that Lucy had
intended would be forever lost.
(Low 2013)
Week 4:
Project Two: Art + Public Space
Week 4 Exercise 2:
Research and Response
(Visual Diary & Discussion Board)
Horizon By Lucy Humphrey at the
Sculpture By The Sea
Exhibition at Bondi 2014
How The Public Space Influences
The Reading of The Work
Public space plays a vital role in the way the
sculpture is interpret. If we look at the photos here
all taken at different times of the day, we can see
just how much its surroundings at the time have
altered the look of the sculpture. Also the angle at
which we look at the sculpture also changes the
way we read it.
(Connection 2013)
(Low 2013)
Also the angle at which we look at the sculpture also changes the way we read it. As mentioned under the relationship of
the artwork, its location if taken from the seaside and placed in an enclosed set of shops the way we interpret the
Horizon would alter greatly as we would no longer see the horizon, but rather a floor. The beautiful landscapes/seascapes
would become shops. So for Lucy's original intent of the Horizon to remain the same it is vital that the sculpture remains
in the same environment.
(Low 2013)

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