The 2008 summer edition of the annual Kiwi Sculpture Garden Project marks the 7th anniversary of the Perth based site-specific sculpture project. For the past six years artists have been invited by Edward Day Gallery owner, Mary Sue Rankin to create sculptural installations with the assistance and support of Paul Loiselle, owner of Kiwi Gardens.
Faculty of Art Instructor Christian Bernard Singer mounts his environmental intervention in the Kiwi Sculpture Garden Project.
The ongoing theme expressed by the artists for the 2008 Kiwi Project relates specifically to the natural environment within which they are created, but also speak to global concerns of the alteration of the earth’s natural condition. Reinhard Reitzenstein* states that his use of tree imagery through his work "has become a marker of the ravages upon, and attempts at reconciliation with the natural world". His installation of two conjoined bronze trees, Curl, represents the simple gesture of reaching for light and its sustaining energy. Ania Biczysko, represents the hope for a "clean and unpolluted atmosphere" through her 9’ x 13’ cloud of stainless steel strips and ribbons, suspended above our "radically changing environment".
Denise Atkinson looks to powerful totems relayed through the symbol of her wire crow’s head and wings, mounted on a 6’ high steel rod. Worn during major tribal ceremonies, the crow keeps an omnipotent eye on the world and the environmental rituals conducted throughout. Also looking to bird and sky motives, Christian Bernard Singer’s Nest Hotel, will nestle throughout the Kiwi foliage as an environmental intervention.
Co-curator, founder of the Tree Museum, Ann O’Callaghan installs a stainless steel box and glass rods in a Kiwi brook to investigate how the "natural surroundings soften and transform the hard static object into an active changing element" while Penelope Stewart suspends an image of a glass bell jar laminated to a transparent image of Kiwi trees in situ, overlooking the state of the planet. Known for his glass installations, Mark Thompson has constructed a glass Adirondack chair that reminds us of our Canadian cottage heritage and traditions, as well as the fragility of our environment inherent in both.