Thursday, June 18, 2015


Lands Tuesday 30 June 2015

Aluminium, Brass, Ceramic, Copper

References former Archbishop of Brisbane, James Duhig’s unfinished Holy Name Cathedral (1927-     ).
Sited on the corner of Gipps & Ann Streets, it was planned as the “largest to be built anywhere in the world since the seventeenth century”. Duhig worked with Sydney architectural firm Hennessy, Hennessy & Co on the project until The Great Depression, combined with claims of embezzlement, stalled construction through to Duhig’s death in 1965. It was to be capable of seating 4000.

A scale model of the buildings proposed dome appears to have moved throughout the city like a Spinning Top, finally resting at the corner of Turbot & Boundary Streets. All labour, material & plant life have been sourced from the city of Brisbane and state of Queensland.

The artist acknowledges the following for their assistance:
Precision Engineering & Manufacturing
Families Kennedy & Ryan
Garden Doctor Consulting
Rapid Concept Designs
United Make
T.P. Boland
Sahra Stolz

Friday, October 24, 2014


It all began with a message from my Sydney friend Vyvyan Hammond... Clover Moore had just announced her $9 million Public Art Plan for Sydney's Central Business District, "including a 50m high ‘cloud’ and a giant milk crate"

Moore had posted it on her Instagram account whereupon Vyvyan (@vyvyanhammond) tagged Yours truly (@instagramparsons)...

@fooshstagram Nailed it. Tacky indeed. How could City of Sydney's City Centre Public Art Evaluation panelist Janet Laurence *inhales* have overlooked my submission to the McClelland Sculpture Prize in 2005?
@rosalina__ Awful! Exactly how I felt Rosalina. Curatorial Advisor Barbara Flynn is quoted as saying ''[The panel] are all highly respected and renowned in their field''... OK. So, how could this Super Panel have missed my entry into Australia's richest prize for public sculpture?
@sforsunny Obvs...
@scucow My first thought too! "Robbed!" being the second (also my middle name).
@olivertannerart OH&S - Very Important. No one was hurt during the 18 months 'Court' was at McClelland Sculpture Park. Will there be a Beyond Blue volunteer at the base of Armanious' Cathedral.. *ahem* Pavilion?
@pidgeonfeather Why Thank You! Oh, hang on...

Sydney artist Hany Armanious' response to the similarities? ''I've never heard of him. I've never seen his work. End of story". He also posits that the works are "worlds apart" and that 'Court' is a ''plywood cubbyhouse; mine is a cathedral''...

Friday, November 22, 2013


22 November 2013 - 23 March 2014
National Gallery Of Victoria

My video work 'The Great Australian' (2001) will be shown as part of the MELBOURNE NOW exhibition at NGV

Monday, January 30, 2012


30 January - 19 February 2012
Rooftop Art Space

Monday, June 20, 2011


A film charting various histories of the World Heritage listed Royal Exhibition Building through symbolism.
Cyclists wheel through the site of Melbourne’s first velodrome / Passers-by gather around a salamander which survived the destruction by fire of Melbourne’s original Aquarium / Athletes pay homage to its use as an Olympic venue. Set to a soundtrack by ten local musicians including The Bowers, Jessica Says, Ben Mason, Evelyn Morris, Alex Nosek and Marc Regueiro-McKelvie.

A scaled reconstruction of the Harry Norris-designed Kodak Administration Building which stood at 173-199 Elizabeth Street, Coburg from April 1961 - June 2011.
Rendered from recycled cardboard and embedded within the existing architecture at Rancho Notorious, local faces peer from it’s broken windows and torn fa├žade in a nod to the work of graphic designer Peter Corriston.

Photos - David Boyd Smiley

Tuesday, June 7, 2011

Sam's Response

Jarrad often tells me music factoids when we work at the bar together.
Today I went and checked out his art and he gave me another factoid. Apparently the Led Zeppelin song ‘Houses of the Holy’ isn’t from the album Houses of the Holy, as I’d always assumed, but is actually from Physical Graffiti which was recorded two years after. Now this is hardly one of his most interesting factoids – like the time he mentioned he often plays basketball with one of the Architecture in Helsinki guys – but it’s a factoid nonetheless. I only mention it because ASHTRA YAHOUSE II pays homage to the Physical Graffiti album sleeve. It looks kind of like the sleeve, only it’s in the shape of a now demolished Kodak building and is constructed entirely from slab boxes discarded from the bar where we work. That and the pop culture images in the Led Zeppelin version have been replaced with images relevant to Jarrad’s memory. It got me thinking that if patrons create cardboard waste that is then repurposed for Jarrad’s art while listening to Led Zeppelin through the bar speakers then they’re kind of simultaneously drinking and hearing fractions of Jarrad’s art without even knowing it. That kind of circularity makes me happy. Like how for a moment in ASHTRA YAHOUSE I you can see the Architecture in Helsinki guy playing basketball. Or how Jarrad’s grandfather was a bricky for the original Kodak building and now Jarrad’s rebuilt it on a smaller scale. Or how one of the photos embedded in the piece happened to spark a happy memory of my own. I never got to see the original Kodak building; it existed in a public space that means nothing to me. But connections are everywhere if you look for them.

Sam West

Monday, March 1, 2010

Kodak Administration Building

© Wolfgang Sievers. Courtesy National Library Of Australia.

Saturday, October 24, 2009

Melbourne: Street Art Capital

I've developed some postcards, in that unauthorised-use-of-images style you may be familiar with, as a response to my Melbourne Studio class. I find it amusing how Melbourne has dubbed itself "Street Art Capital". It seems so un-Australian. Maybe that's what makes it so 'Melbourne'?