Studio Chris Fox navigates the complex constraints of the public domain with poetic sensibility, recalibrating our perception of place through material and architectural intervention.

With over twenty three years’ experience creating public art for Perth and beyond, Stuart Green has created an enviable portfolio of artworks in a range of scales and themes. Stuart has created works that range from architectural façade treatments through to monumental stand-alone artworks as well as more small scale intimate interpretive pieces

He has a keen interest in the changing phenomena of the natural world around him and this is often a key driver for his more outwardly abstract works. Pattern, rhythm and sculptural mass often weave together in the artworks, with each having an underlying reference back to natural distributions, forms and energies.

His work can be seen in the Australian cities of Perth, Sydney, Brisbane and Canberra, and internationally in Abu Dhabi.

Shireen Taweel (b. 1990-) is a multimedia installation artist based in Sydney, whose work broaches issues of the construction of cultural heritage, knowledge and identity through language and the constantly shifting public space of the social, political and religious axiom. Shireen's constant acquisition of traditional coppersmith artisan skills is a research vessel for community focused conceptual development and through a progressive application of the collected artisan techniques of making that leads to possibilities of cross-cultural discourse.

Her artistic practice draws from the personal experiences of being Lebanese Australian living between cultures, and how the physical spaces within her community reflect a complex cultural landscape of transformation expressed through hybridity and plurality. The project development of Shireen’s works are often site-specific, weaving local narratives and research with a focus on experimentation in material and sound through site.

Meagan Streader’s work pushes the limits of light within sculpture and installation. Streader manipulates, reinterprets and extends upon the boundaries of constructed spaces. Through site-specific interventions, her multidimensional use of light re-orientates the viewer’s relationship to the pre-existing architecture and scale of a given space. In this way, Streader’s work reveals the pervasive role of light in governing physical and social navigations of fabricated spaces.

Meagan Streader holds a BFA/Visual Arts from Queensland University of Technology (2010). She has exhibited both nationally and internationally including Arts House (Melbourne), Home of the Arts (Surfers Paradise), Casula Powerhouse Arts Centre (Sydney), and Metro Arts (Brisbane, 2016). She has exhibited major works for Dark Mofo (Hobart), Kyneton Contemporary Art Triennial (Kyneton), Soft Centre Festival (Sydney) and Amsterdam Light Festival (Netherlands). Her work has been selected as a finalist in Churchie National Emerging Art Prize and Footscray Art Prize.

Brendan Van Hek works across mediums, incorporating a range of materials in works spanning from small text-based neons to large-scale abstract installations. His research is driven by an interest in narratives located in personal history, fiction and cultural politics.

Brendan currently lives and works in Sydney and has exhibited widely nationally and internationally in Canada and the USA. He has been included in major surveys nationally, has undertaken a residency at the ISCP, NY, and in 2013 was awarded a mid-career fellowship. He recently developed significant permanent public installations – a large scale suspended neon artwork for Little Hay Street, Darling Square, Sydney; and a seven metre tower of LED lights, glass and stainless mirror for the Museum Station entry at 130 Elizabeth Street, Sydney. His work is held in institutions and private collections in Australia and internationally.

Georgia Hill is an Australian artist, specialising in contemporary, often site specific type based artworks that combine bold, monochromatic textures and lettering within experimental compositions.

Over the past five years, Hill’s large scale works have explored how structures and our natural environments are vital in allowing experiences to exist and develop from one context to another.  This meeting of architecture, natural spaces and the notion of self and identity allows viewers to recall their own personal experiences, creating dialogue and reflection.

Hill has proved herself to be one of Australia’s leading street artists with a contemporary and conscious touch to her materials, surrounds and conceptual approaches. Her works have spanned smaller inner-city walls to 400ft abandoned buildings, painting across the United States, Canada, Iceland, Spain, Japan, India and New Zealand, as well as working prolifically across Australia’s states.

Operating outside of conventional art institutions, Al Stark’s artistic practice ranges from folk architecture, spatial design, film, wall painting, drawing, and gypsy tattooing... We could go on. His canvas to date has included numerous public and private walls, a 60 meter lift shaft, intricately made masks, paper, leather, wood and bodies. His work forms a personal universe that explores gender, politics, religion and an exploration of the human psyche through text, the figurative and a heavy dose of abstract symbolism.

Al has been central figure in the progression of the Melbourne street art movement since its inception in the late 90s, his work, more recently forming abstract narratives in massive colour and symbolism that speaks to all people. It is work that serves as a spiritual offering and transcendence, addressing fundamental questions of what it means to be human and our relationship to nature.

Currently maintaining an exhibition and commission based practice, Al has an extensive list of collectors and clients including numerous works in the National Gallery of Australia.

Lara Merrett interrogates the relationship between painting and its surrounding architecture with site-specific work that invites us to enter and navigate its folds. Three-dimensional painting is a relatively new departure for Merrett’s practice, and she utilises a ubiquitous staple of the artist’s studio, the humble drop sheet or painter’s cloth, as material from which to create an immersive environment of colour. Merrett has used a variety of applications of paint — spraying, brushing and pouring — to create a vibrant palette from which to experiment and play.

Moving beyond the traditional format of the framed painting on a flat wall, Merrett transforms the surface of her painting into topographical contours, shaping and layering the loose cloths through the space from the ceiling to the floor. Hue and opacity, shape and volume map a haptic and organic landscape of emotion and romanticism, of consciousness and the unconscious. Her work draws upon abstractionism and colourist practice, expanding the parameters of the exhibition of painting through scale and form. The work gives shape to painterly gesture as Merrett worked in-situ, intuitively responding to the physicality of the space and the surrounding works within the exhibition.

Merrett has exhibited extensively internationally and nationally, including at the Museum of Contemporary Art, Sydney, Ian Potter Museum of Art, Melbourne; UQ Museum, Brisbane, Perth; Institute of Contemporary Arts (PICA); Cat Street Gallery, Hong Kong; and Swab Art Fair, Barcelona. She has been commissioned for various projects including the St Regis Hotel in Chengdu, China; the Victorian Tapestry Workshop for St Michaels Church, Melbourne; and the Sofitel Hotel, Melbourne.

Jade Oakley has been developing her craft for the past 25 years, mastering the mechanics and compositional perfection of Alexander Calder, the great 20th century artist and inventor of the mobile. The kinetic artworks she builds are infinitely flexible - adapting materials and their strength to the scale of the pieces and the size of the elements.

Oakley’s kinetic and static artworks are adaptable to many kinds of settings, indoor and outdoor, intimate spaces and especially large atria.  She has produced significant public art commissions for clients across Australia and internationally including Crown Casino, Westfield, Lend Lease and The Royal Children’s Hospital.

Wolfgang Buttress is an award winning artist who creates simple, elegant and contextual public artworks which seek to define and celebrate a sense of place. Through the use of materials, repetition of natural form and sensitive reference to history and location, each piece enriches its location in a holistic and sustainable manner.

Buttress explores and interprets scientific discoveries, collaborating with architects, landscape architects, scientists and musicians to create human-centred experiences.  He is well known for the UK Pavilion (Milan EXPO 2015) and The Hive, which is currently installed at Royal Botanic Gardens in London. The project has won over 25 awards including the gold medal for best in show at the 2015 Expo in Milan.

Daniel Templeman completed a Doctorate in Visual Arts in 2013. He has exhibited nationally and internationally and completed major public artworks for the Brisbane Magistrates Court, The Queensland/New South Wales border, 31 Queen Street Melbourne CBD, University of Western Sydney, Brisbane’s Southbank Educational Precinct, the entrance to North Sydney CBD and Gold Coast University Hospital.

His art practice explores notions of both, perception and connection. Perception, by engaging the viewer in a conceptual conflict through form, for example, what appears solid is hollow, what appears fluid is fixed, and; connection by creating objects that are contingent on anterior phenomenon such as light, movement, gravity, the site and the body.

Geoffrey Bartlett is regarded as one of Australia’s most important sculptors. He is widely known for both his studio-based sculptures and major public and corporate commissions, working predominately within the language of abstraction.

Bartlett has undertaken public sculpture commissions for the National Gallery of Victoria, the City of Auckland, the City of Melbourne, the City of Newcastle, the Australian National University and Melbourne Docklands. He is represented in the National Gallery of Australia, the National Gallery of Victoria, the Art Gallery of New South Wales, Parliament House Art Collection, Heide Museum of Modern Art and in many regional, university, corporate and private collections.

Locust Jones has a Bachelor and Master of Visual Arts from Sydney College of the Arts and has exhibited extensively in Australia, New Zealand and internationally for the past decade.  He has undertaken artist-in-residence programs in Beirut; Seoul, as an Asialink award recipient; and Hill End.

“There is a consistency to the work of Locust Jones that has a distinctly modernist ring to it. He's an artist who operates around the idea of a signature style. Take for instance his chosen mode of image making, the drawn line. The lines that have been extending themselves out across the surface of his drawings for many years now have remained stubbornly clumsy. Even after all this time they retain a signature rawness. As someone who's long admired his work I've often wondered at this; been curious about the pains he's taken to preserve this rudimentary look. It's as if one part of his identity as an artist has been forged by the scrupulous suppression of technical virtuosity; a deliberate blocking off of the skills that surreptitiously attach themselves to actions we perform on a daily basis. Because Locust is someone who has been making lines on an almost daily basis for many years.” Justine Trendall

Beat Zoderer predominantly uses everyday materials as a basis for his work. The artist sources his materials from general hardware stores. Rather than altering them, Zoderer makes use of these materials within what at first appears to be methodical structures based on repetition or mathematical systems.

During the largely spontaneous process of creating works, Zoderer is guided by an attempt to create order in chaos. To facilitate this he sometimes draws on the formal language of historic works of geometric abstraction. The complexity of each piece consciously allows for imperfections and mistakes. It is this self-contradicting and ambiguous quality of the works that gives them the playfulness that probably best characterizes the artist and his work.

Christina Waterson is an artist, designer and maker that employs a rich palette of materials to realize intricate three-dimensional surfaces and forms that extend our spatial perception and enrich public spaces. Waterson finds beauty in repetition. Her weavings, foldings and curving arabesques transport the viewer deep into the spatial and rhythmic qualities of her work; an aesthetic state of bliss that involves being lost in their delicate complexity.

Waterson’s public artworks are site-specific and respond to the scale and natural history of their locale. The materiality and form of Waterson’s surfaces subtly reflect changes in light and shadow, and beautifully frame their surrounding environment.

Sonia van de Haar first studied Painting at the Canberra Institute of the Arts, ANU, and Architecture at the University of NSW. She works under the title, Lymesmith, working between colour, architecture and art, creating inventive and architectural sensitive colour concepts and painted interventions for buildings, infrastructure, walls, street scapes, public places, landscapes and interiors.

A recent large scale artwork The Runnel, is a 150metre long road painting for ELYSIUM in Byron Bay. Through incorporating site specific material palettes, her ambition was to express and enhance onlookers understanding of the laneway.

Andrew Dennis is an artist living and working in Sydney.  Studio Dennis is the collective name for a practice which covers multiple outputs such as mural art, painting, design, textiles and street graphics. Drawing from a diverse range of influences including 20th century art, low-brow comics, skateboard culture and points in-between, he has developed a unique language that is complex and unique.

One of Sydney’s most prolific street artists, Dennis’ graphic, brightly coloured and geometrically patterned artworks conjure up curious scenes from abstract dreamscapes and kaleidoscopic natural environments. Working with a collection of characters and objects best described as a cabinet of curiosities, Dennis creates a decorative wallpaper that deals in subjects such as civilisation, future living, bio domes and animal behaviour.