Client: Leighton Properties and Grosvenor, Cox Rayner Architects, Thiess Pty Ltd

Overview

Curator Jacqueline Armistead provided the brief to each of the artists, which called for the artworks to reflect the process and formation of patterns in nature, and to draw on the concept of the Cartesian Grid – the 3D grid system named after French philosopher and mathematician Rene Descartes – which inspired 400 George Street’s cube-like contemporary architecture.

Goals

“The artists’ brief was to explore the relationship between the natural environment and human culture. They were asked to consider the development site’s rich history, particularly the absence and presence of water over time, and to create a sense of community,” Ms Armistead said. Donna Marcus is an established artist well-known for her striking public work – a series of 15 spherical sculptures – in the forecourt of Brisbane Square. She is working on a large-scale installation, titled Trickle, to feature in the foyer of 400 George Street.
“With a reputation for trawling through scrap yards, garage sales, church fetes and opportunity shops for materials, Donna is creating a huge, imposing work. Trickle will comprise a series of stylised stalactites and stalagmites made from thousands of recyclable aluminium objects,”

Process

Trickle is an installation of 14 'stalactites' and 'stalagmites' made by layering more than 3,000 found aluminium saucepans, saucepan lids, biscuit tins and pudding bowls.

The joint-venture developers of 400 George-Grosvenor Australia and Leighton Properties – commissioned Jacqueline Armitstead to curate the development's public artwork under the Brisbane City Council's 'Art in Public Places 2005–1010' program.

Additional Information

400 GEORGE STREET: COX RAYNER The spatial manipulation of the foyer demonstrates a cohesive union of art and architecture, and responds to the curatorial brief. 2010 STATE ARCHITECTURE AWARDS CITATIONS Saturday, 19 June 2010‘Trickle’ by Donna Marcus is particularly noteworthy for its play on depth and height within the void and its use of ‘found’ domestic objects. Together with the other artworks the installation adds depth and detail to the experience.