Public art at Campbelltown brightens up the Queen Street precinct

May 16, 2023May 21, 2023 camdenhistorynotes

Murals brighten up dull spaces around town

Keep your eyes open in central Campbelltown for inspiring public art installations that brighten up dull spaces around the town.

The Campbelltown Arts Centre, in conjunction with Campbelltown City Council and the NSW Government, have a program to re-invigorate the city centre using public art.

A screenshot of the public art webpage on the website of the Campbelltown Arts Centre. Each of the seven public art projects has a dedicated webpage with detailed descriptions of the artworks, what the artist was trying to achieve and the installation specifications. (CAC, 2023)

Public art positively affects the community and people’s self-esteem, self-confidence and well-being. Campbelltown Arts Centre has created a public art website to assist people in this process and shows several murals around the Queens Street precinct.

This blog has promoted the benefits of public art in and around the Macarthur region for some time now. There are lots of interesting public artworks around the area that are hidden in plain sight. This blog has highlighted the artworks and other artefacts, memorials and monuments that promote the Cowpastures region.

An exciting local example is the Campbelltown Campus of Western Sydney University is a vibrant sculpture space.

The public art program of the Campbelltown Arts Centre and Campbelltown City Council is creative, innovative and inspirational. It is playful yet takes a serious approach to a contemporary problem, urban blight.

Urban blight hits a once-vibrant retail precinct

Campbelltown’s urban blight originates in the 1973 New Cities of Campbelltown Camden Appin Structure Plan and the creation of the Macarthur Growth Centre.

The cover of the New Cities of Campbelltown Camden Appin Structure Plan (State Planning Authority of NSW, 1973)

These urban planning decisions came from the 1968 Sydney Regional Outline Plan of the NSW Askin Coalition Government.

Sydney-based planning decision created tensions between Campbelltown City Council and the Macarthur Development Board around what constituted the city centre. The Queen Street precinct, supported by the council, gradually declined in importance as a retail area as newer facilities opened up.

Queen Street could not compete with the new shopping mall Macarthur Square opened in 1979 by the Hon. Paul Landa, Minister for Planning and Environment in the Wran Labor Government.

High-value-added retailing deserted the Queen Street precinct and became populated by $2-shops and op-shops.

Campbelltown’s sense of place and community identity has taken a battering in the following decades.

Reinvigoration of the Queen Street precinct

The public art program at the Campbelltown Arts Centre is trying to ameliorate the problems of the past through community engagement in art installations.

In 2022 Mayor George Griess said

The murals would enhance the local streetscape and make the area more welcoming to residents and visitors.

“The first mural is located at one of the entrances to the CBD and will add a new element to our public domain,” Cr Greiss said.

“It’s important that works to the Queen Street precinct enhance the current amenity to build pride among residents and make the area more attractive to people visiting our city,” he said.
https://www.campbelltown.nsw.gov.au/News/CBDmurals

The mayor referred to an art installation created by Campbelltown street artist Danielle Mate ‘Raw Doings’ in Carberry Lane. The Arts Centre website states:

This vibrant and bold artwork comprises many shades of blue and purple, and is inspired by aerial views of Country and the Australian landscape.
https://c-a-c.com.au/raw-undoings/

The mural ‘Raw Doings’ by street artists Danielle Mate was commissioned by Campbelltown City Council in 2022 (Document Photography/CAC 2022)

In 2022 the Campbeltown City Council commissioned ‘Breathing Life / Bula ni Cegu / Paghinga ng Buhay’ by artists and designers Victoria Garcia and Bayvick Lawrance.

The Arts Centre website states:

‘Breathing Life’ is a celebration of Campbelltown’s thriving Pacific community, and the extensive connections between people, plants, animals and all living things.
https://c-a-c.com.au/breathing-life/

The mural ‘Breathing Life’ by artists Victoria Garcia and Bayvick Lawrance in 2022 and was commissioned by Campbelltown City Council (Document Photography/CAC 2022)

In 2012 Campbelltown City Council commissioned a mural board across the bus shelters at Campbelltown Railway Station supervised by Blak Douglas in Lithgow Street called ‘The Standout’. The art installation is the work of 28 artists across 70 panels with a full length of 175 metres.

The Arts Centre website states:

The Standout pays homage to the Dharawal Dreamtime Story of the ‘Seven Eucalypts’, and Douglas’ previous photographic series of deceased gums standing alone within landscapes and casting shadows within urban facades.
https://c-a-c.com.au/the-standout-by-blak-douglas/

The ‘Stand Out’ mural by Blak Douglas is located in Lithgow Street Campbelltown along the bus shelters outside Campbelltown Railway Station. The work was commissioned by Campbelltown City Council in 2012. (Black Douglas/CAC 2012)

The public art installation ‘Three Mobs’ by Chinese-Aboriginal artist Jason Wing was commissioned by Campbelltown City Council in 2022. The mural is located on Dumersq Street and Queen Street, the south side of the 7Eleven wall, and features a rainbow serpent as an intersection of cultures.

The Arts Centre public art website states:

Aboriginal culture reveres the rainbow serpent as the creator of all things on Earth. Chinese culture understands serpents to be a symbol for luck and abundance, and a highly desired zodiac sign.
https://c-a-c.com.au/three-mobs/

Three Mobs mural by artist Jason Wing in 2022 commissioned by Campbelltown City Council (Document Photography 2022)

So what is public art?

Camden Council defines public art as:

Defined as any artistic work or activity designed and created by professional arts practitioners for the public domain, Public Art may be of a temporary or permanent nature and located in or part of a public open space, building or facility, including façade elements provided by either the public or private sector (not including memorials or plaques).

Public art can….

make art an everyday experience for residents and visitors

take many forms in many different materials and styles, such as lighting, sculpture, performance and artwork

be free-standing work or integrated into the fabric of buildings, streetscapes and outdoor spaces

draw its meaning from or add to the meaning of a particular site or place.

https://yourvoice.camden.nsw.gov.au/public-art-strategy

Why does public art matter?

On the website Americans for the Arts (2021) it states:

Public art humanizes the built environment and invigorates public spaces. It provides an intersection between past, present and future, between disciplines, and between ideas.
https://www.americansforthearts.org/sites/default/files/PublicArtNetwork_GreenPaper.pdf

The paper maintains that public art has the potential to reinvigorate public spaces and add to their vibrancy. It states:

Throughout history, public art can be an essential element when a municipality wishes to progress economically and to be viable to its current and prospective citizens. Data strongly indicates that cities with an active and dynamic cultural scene are more attractive to individuals and business.
https://www.americansforthearts.org/sites/default/files/PublicArtNetwork_GreenPaper.pdf

The statue of Elizabeth Macquarie by artist Tom Bass in Mawson Park in the Campbelltown CBD on Queen Street. The statue was commissioned by Campbelltown & Airds Historical Society in 2006 and cost $75,000. (Wikimedia)

What is the purpose of public art?

The Association for Public Art (2023) website says:

Public art can express community values, enhance our environment, transform a landscape, heighten our awareness, or question our assumptions. Placed in public sites, this art is there for everyone, a form of collective community expression. Public art is a reflection of how we see the world – the artist’s response to our time and place combined with our own sense of who we are.
associationforpublicart.org/what-is-public-art/

Public art can be found in the most unusual places. In this case, this is a statue of a boy at Emerald Hills Shopping Centre Leppington. The statue memorialises the St Andrews Boys Home that once was located on the Emerald Hills land release site. (I Willis 2021)

To continue the story of Campbelltown, this is an excellent overview by local author Jeff McGill with many fascinating images of past and present times. (Kingsclear Publication, 2017)

Updated 17 May 2023. Originally posted on 16 May 2023 as ‘Public art at Campbellton brightens up a dull space’.

https://doi.org/10.17613/546c-t984

Art · Artists · Australian Botanic Gardens Mount Annan · Belonging · Community identity · Cowpastures · Crafts · Cultural Heritage · Cultural icon · Cumberland Plain · Cumberland Plain Woodland · Dharawal · Heritage · History · Indigenous Heritage · Living History · Local History · Local Studies · Memorial · Memory · Place making · Public art · Sense of place · Storytelling · Trees · Uncategorized · Wayfinding

Life Blood, public art at the Australia Botanic Gardens

May 5, 2023May 5, 2023 camdenhistorynotes1 Comment

Artwork at the Herbarium

On the forecourt of the Herbarium at the Australian Botanic Garden is an artwork celebrating the heritage of Indigenous culture.

Artists Susan Grant, Natalie Valiente and Codie Leed Evans developed artwork installed in 2023 after the conceptualisation and design work. The images were sandblasted into the concrete on the Herbarium forecourt. The work was supported by the New South Wales Government.

The artwork Life Blood has been sandblasted into the concrete forecourt of the Herbarium at the Australian Botanic Gardens, Mount Annan, NSW (I Willis, 2023)

The artwork celebrates the Cumberland Plains Woodland that once covered the Cowpastures. The work directly connects science, the natural world, and the heritage of the local Indigenous peoples, the Dharawal, Darug, and Gundungurra.

The central concept and motif in the artwork is the eucalyptus tree, which becomes the Life Blood of the Indigenous peoples.

The artists were inspired by looking at a eucalyptus tree under a microscope and viewing the veins in the leaves.

In the work’s development stages, the artists held workshops and information sessions seeking input.

The site of the Australian Botanic Garden was a meeting place for the Indigenous peoples and was considered an appropriate location for the artwork.

Susan Grant writes:

We have a spiritual connection whenever we are in the botanical gardens, which influences our design and artwork, connecting us back to the land.

Reference

Susan Grant and Natalie Valiente 2023, ‘Artwork ‘Life Blood’ at The Australian Botanic Gardens’. Camden History, the Journal of the Camden Historical Society, Vol. 5 no. 5, March, pp. 225-233.

Youtube: Life Blood

Aesthetics · Art · Artists · Belonging · Colonialism · Community identity · Community work · Crafts · Cultural Heritage · Design · Education · Elyard Reserve, Narellan · Heritage · History · Living History · Local History · Local Studies · Memorialisation · Memorials · Narellan · Parks · Place making · Public art · Sense of place · Settler colonialism · Settler Society · Storytelling · Tourism · Urban Planning · Urbanism

Narellan Community Mosaic Project: art in the park

April 17, 2023May 2, 2023 camdenhistorynotes1 Comment

Narellan Community Mosaic Project 2005

Walking from the Narellan Library carpark to Elyard Street along the paths next to the creek, you will pass one of Narellan’s public art installations – the Narellan Community Mosaic Project.

This image shows the extent of the Narellan Community Mosaic Project with its concentric rings of mosaic tiles creating a spectacle for the observer of the past and present in the Narellan area. (I Willis, 2023)

Public art installations in Narellan have received little attention and are hidden in plain sight. Other public art installations in the Narellan area include the Cowpastures Story, a mosaic bench, and a Goanna on the loose,

The Narellan Community Mosaic Project art installation is easy to miss as it blends in with the lawn and park landscape of Elyard Reserve. Maybe that was the intention of the artists. The work was commissioned by Camden Council through funding from the New South Wales Department of Planning.

The art installation uses mosaic tiles to represent the area’s past and present. The artwork adds to the character and placemaking of the Narellan Library Civic Space on Elyard Street, Narellan.

Mosaic Artwork

The installation is a series of concentric rings using storytelling to tell the Narellan story. The story starts at the centre with Indigenous Australians. As you move out from the centre, the artwork is a timeline through history, representing the present in the outer rings.

The centre of the artwork has stylised figures representing First Australian’s art, the oldest art on the continent, around a five-pointed star, possibly a metaphor for the Southern Cross from the southern skies. This section contains stylised stick figures representing activities from the past and present – a mother walking her dog, shopping, gardening, and mowing the grass, a BBQ, and more traditional Indigenous figures.

The centre circle of the Narellan Community Mosaic project with a five-pointed star perhaps represents the stars of the Southern Cross, with its stylised figure reminiscent of the traditional art of the First Australians. (I Willis, 2023)

Moving outwards from the centre, there are representations of European settlement patterns crisscrossed by roadways. Here the ring is divided into different periods from the colonial settler society past to the present.

These inner rings are encircled by a further round of local places of significance in the Narellan area. They include Harrington Park House, Narellan Railway Station, Struggletown, Burton Arms Inn (1830), St Thomas Church (1861), St Thomas Chapel, Ben Linden and Bullock teams.

The outer circle shown here illustrates the historic sites of the Narellan area. The Harrington Park house is in the centre of the image, with the 20th-century house Ben Linden on the left and Bullock teams on the right of the centre. The inner circle represents European settlement from the time of a settler society to the 21st century. (I Willis, 2023)

The outer ring of mosaic tiles is divided into segments celebrating agriculture, cultural activities, flora and fauna, and a wayfinding activity. The edge of the artwork is tiled with details of local children who contributed to its creation and design.

In the outer area of the artwork are three metal benches supported by metaphorical books representing the site as a place of learning for the community. The seating is a popular spot for some to have their lunch break during their busy day, have a break and take in the bookish environment.

A local worker enjoying the ambience of the Narellan Community Mosaic Project in their lunch break, taking in the bookish atmosphere of the environment provided by the adjacent Narellan Library building. (I Willis, 2023)

Contributing artists

The contributing artists to the installation all have a strong track record and are well respected in their fields.

This mosaic tile gives credit to the artists involved in creating the art installation and the details of the commissioning authorities. (I Willis, 2023)

Project Co-ordination -Marla Guppy from Guppy & Associates

Marla’s biography on her website states:

Marla Guppy is a cultural planner and public art strategist. Over the last twenty years she has worked on a range of projects that explore social environments and identity. She has a particular interest in fostering creative involvement in the design of local environments and public buildings. She has considerable experience in working with specific communities of interest and has worked collaboratively with corporate and community organisations and creative industries.

Project artist – Cynthia Turner

Turner’s biography on the Design & Art Australia website states that Cynthia started working on mosaics when Kids Activities Newtown asked her to work on a mosaic at the Enmore Swimming Pool after seeing a mosaic-covered seat in her garden.

This would turn out to be the start of a successful career as a public artist specialising in designing and making mosaic artworks for streetscapes, parks, community centres and schools. Turner’s artworks can be found in Sydney, Wollongong, Dubbo and Tasmania. Most are public artworks commissioned by local councils and can be seen in the form of public benches, mosaic walls and footpaths; they all feature mosaic surfaces. Turner has used a variety of materials in these mosaics, such as handmade tiles, broken ceramic tiles, sheeted glass tiles and cut stained glass.

Ceramic artist – Christine Yardley

Heritage artist – George Sayers

George Sayers worked as a commercial artist in Great Britain before he came to Australia in 1964. He works in most mediums: oil, watercolour, drawing, pastel and etching.

Sayers has taken an interest in the historic buildings and landscapes of the Cowpastures area and more contemporary scenes of the Camden area. He published Views of Camden and Surrounding Areas in 1996.

Henryk Topolnicki from Art is an Option

Working as a sculptor, Henryk created artworks based on his skills as an accomplished blacksmith, woodworker and welder.

The Art is an Option website states:

Private commissions and public artworks by Henryk have a distinctive level of delicate-often relating to natural forms such as insects or birds-requiring a very fine level of craftsmanship by the artist.

Art is an Option contributed to other artworks in the Narellan Library Civic Space in 2006 called the Cowpasture Story consisting of a ‘Sculptural Mobiles & Screen’ and jointly commissioned by Camden Council and Narellan Rotary Club.

Narellan Community Mosaic Project shortly after its installation in 2006. (Art is an Option)

Updated on 2 May 2023. Originally posted on 17 April 2023.

Art · Artists · Attachment to place · Camden High School · Community identity · Cultural Heritage · Dharawal · Education · Elyard Reserve, Narellan · Heritage · Monuments · Narellan · Place making · Public art · Storytelling

Mosaic bench: public artwork at Narellan

March 20, 2023May 5, 2023 camdenhistorynotes1 Comment

A mosaic wonder

I was wandering through Elyard Reserve at Narellan with my granddaughter and found a piece of public art hidden in plain sight.

The artwork is a bench covered in mosaic tiles and is all but forgotten in the corner of the park amongst the slides, swings and climbing equipment for the youngsters.

The front of the mosaic bench in Elyard Reserve at Narellan (I Willis, 2023)

The mosaic was commissioned in 2009 as The Community Harmony Mosaic Project, funded by the Australian Government Department of Immigration and Citizenship.

The artwork was a community collaboration between

Leppington Public School
Hope Christian School
Camden High School
Camden Youth Café.
And ceramic artists Selma Fida and Natalie Valiente.

The back of the mosaic bench in Elyard Reserve at Narellan (I Willis, 2023)

According to a bio on Facebook, Selma Fida is a local artist who presented an immersive exhibition of realistic hand-made porcelain flowers at the Casula Powerhouse in 2019. The show was the result of the 2018 Casula Powerhouse Scholarship Prize. Selma states that the exhibition explored how flowers speak a universal language of care and empathy through celebrations, anniversaries, births, wars, sickness and death. (Facebook)

Natalie Valiente is a self-employed ceramic artist from Eagle Vale, NSW, who has exhibited at the Casula Powerhouse Arts Centre.

Natalie’s recent collaboration with Susan Grant and Dharawal elders called Life Blood is permanently displayed at the National Herbarium of NSW forecourt at the Australian Botanic Garden Mount Annan. According to a report in the National Indigenous Times, the Life Blood artwork has the eucalyptus tree at its heart. A magnified gum leaf became the design which has been sandblasted onto the concrete forecourt. The artists drew their inspiration from being on Country and the grey gums, ironbark and forest red gums that covered the landscape. (NIT, 22 April 2022)

The end view of the mosaic bench in Elyard Reserve at Narellan (I Willis, 2023)

Updated on 2 May 2023. Originally posted on 20 March 2023.

Aesthetics · Architecture · Art · Artists · Attachment to place · Belonging · Community identity · Cultural icon · Design · Heritage · Living History · Local History · Memorial · Memorialisation · Memorials · Memory · Monuments · Oran Park · Oran Park Library · Oran Park Raceway · Place making · Placemaking · Sense of place · Storytelling · Urban Planning · Urbanism

Oran Park Library: public art celebrates the ghosts of motor racing

September 5, 2022May 2, 2023 camdenhistorynotes1 Comment

Artworks at the library

The Oran Park Library has several public artworks that commemorate the former Oran Park motorway on the site. These extraordinary public art installations celebrate the memories of the Oran Park Raceway, which closed in 2010.

Oran Park Library 2019 at night (I Willis)

The commissioning of the artworks was a collaboration between Guppy Art Management & Camden Council.

The Artworks

Moto Caelifera Eclectica by James Corbett

James Corbett describes himself as a car part sculptor and is based in Brisbane, Queensland.

James Corbett created these works in 2018, and he describes this installation as a ‘challenging commission’ on his blog. He writes:

to create two large racing grasshoppers in double quick time for the new Oran Park library near Camden in western Sydney. This used to be a rural area, but was known to me since I was a child for just one reason. It had a car racing track. All the big names raced there, and I used to rabidly read all about their exploits in my eagerly awaited, latest copy of ‘Racing Car News.’ I couldn’t get enough of that stuff when I was twelve years old.

The track is gone and the pastures are disappearing under houses, but there are still just enough paddocks of dry yellow grass about to give a feel for the history of the district. I wanted to pay tribute to both, that soon to be gone rural feel, and the rich racing history. Those dry grassy areas make me think of grasshoppers, flies, locusts and Hereford cattle. And Insects seem sort of mechanical, and built for a purpose. Form following function, like racing cars. Well the ones I like anyway.

Corbett created two works as part of the installation. He calls one ‘The Green Kawasaki Grasshopper’ and it is attached to the wall. In constructing the works, he writes:

The Formula cars of the era had riveted aluminium sheet chassis, and I wanted to reflect that. Hence the riveted abdomens. I wanted them to look like they could work like machines. I cut up a yellow Hyundai and found a green I liked on a Daihatsu. When I found a Kawasaki engine for the green one, it had to be given the late Greg Handsford’s race number 2.

‘The Green Kawasaki Grasshopper’ by James Corbett 2018 (I Willis, 2022)

The second hanging artwork Corbett calls ‘Beechy Grasshopper’ and it has a 4.8-metre wingspan with wings made of ‘glass car windows’. More information about the installation can be found on Corbett’s website.

‘Beechy Grasshopper’ by James Corbett 2018 (I Willis, 2022)

Tracks by Danielle Mate Sullivan

Sullivan is a Sydney-based Indigenous artist in large-scale mural design and public art.

Mr Rev Head The Local by Freya Jobbins

Freya Jobbins is a Sydney-based contemporary Australian multidisciplinary artist whose art practice includes assemblage, installation, video, collage and printmaking.

Speedster by Justin Sayarath

Sydney-based artist Justin Sayarath has several installations around the metropolitan area where he ‘combines both his technical skill of visual arts and graphic design to create and collaborate in the public and commercial domains’.

The official opening in 2018

The mingling crowd at the opening of the Oran Park Library on 30 June 2018 with the grasshopper on the wall above the visitors. (I Willis, 2018)

Updated on 2 May 2023. Originally posted 5 September 2022.

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WSU Sculpture Award and Exhibition Campbelltown

May 28, 2018May 16, 2023 camdenhistorynotes5 Comments

Sculptures by the lakes at Campbelltown

The CHN blogger was out and about recently at the 8^th Western Sydney University Sculpture Award and Exhibition on the Campbelltown Campus. There are 23 artworks from all over the world.

Campbelltown WSU Sculptures 2018[7] — Artist Denese Oates from Australia has created this work called Xerophyte Forest. It is a work in steel presenting the vision of the future. It illustrates peculiar plants living with very little water. This work is a ‘fantastical interpretation of plant form expressed in corten steel, used for its richly rusted colour which links it to the landscape’. Denese studied at the Alexander Mackie CAE. (I Willis, 2018)

The exhibition is in a beautiful setting around the lakes at the front of the Campbelltown WSU campus. The aesthetics of the sculpture landscape provided by the exhibition is simply stunning.

The exhibition literature states:

The exhibition showcases major works by significant Australian and international artists who have created sculptures especially for the site.

Looking at the sculpture garden created by the exhibition from the main roadway provides a pleasant enough vista. Once out of your car and on your feet walking the ground, the vistas are marvellous.

The layout placement of the sculpture exhibition has been done with a creative flair that creates a landscape of the imagination. Simply it all works.

Campbelltown WSU Sculptures 2018[4] — This work is called Environment IV and was created by artist Marcus Tatton. The work is ‘a space for reflection and play’. Marcus is described as a ‘public space sculptor who draws comment from where he lives’ in Tasmania. Tatton explores the interplay between natural and man-made environments. This work represents ‘the tendrils’ of ‘our journey through time’ or how man has manipulated the earth. (I Willis, 2018)

The site suits the exhibition. Its expansive space allows the sculptors to create an aesthetic that sets off their work.

Tour and walk guide Monica outlined the trials and tribulations of getting heavy equipment onto the site to set up the artwork was a feat in itself. To the viewers in our party, they were certainly impressed by it all.

Tour guide Monica said that the staff and students have started using the grounds around the lakes since the exhibition and sculpture park were created.

Public art and community well being

Public art positively affects the community and people’s self-esteem, self-confidence and well-being. An article in The Guardian examined the well-being effect of public art on communities and stated:

Alex Coulter, director of the arts advocacy organisation Arts & Health South West believes that: “Particularly when you look at smaller communities or communities within larger cities, [public art] can have a very powerful impact on people’s sense of identity and locality.

Apparently, the participatory side of getting community involvement brings out the positive effects on people.

Campbelltown WSU Sculptures 2018[3] — This is a 2012 work by sculptor Neil Laredo called Fence. Old railway sleepers are used to create an impressive work of art. This is part of the permanent collection of the Western Sydney University Campbelltown Campus. The work was donated to the WSU Art Collection via the Cultural Gift Program in 2012. (I Willis, 2018)

Maybe it is the walking around the picturesque landscape the WSU grounds staff and gardeners provided. Maybe it is the landscape gardening and native vegetation set off by the water features. Maybe it is the quiet and solitude of a busy Campbelltown.

Whatever it is in the sculpture garden, whether provided by the permanent WSU sculpture collection or the exhibition works, the site has a positive serenity that is hard to escape. It certainly attracts the staff and students.

The exhibition is part of the programme linked to the WSU Art Collection. Take yourself on a virtual tour of the WSU Art Collection.

Whatever it is, the WSU Sculpture Exhibition is well worth a visit.

Campbelltown WSU Sculptures 2018[2] — This is a piece by artist Michael Purdy called Gimme Shelter. The work uses radiata pine, wire, sandstone and found objects. This is a powerful work set by its location isolated at the lake’s edge. The sculpture ‘explores the individual’s loss of identity once they become part of the “refugee problem”. Purdy is a landscape architect who uses Sydney sandstone around the city. (I Willis, 2018)

The Eighth Western Sydney University Sculpture Award and Exhibition runs from 4 May to 3 June 2018 at the Campbelltown Campus.

Campbelltown WSU Sculptures & Grounds 2018[2] — The landscape of lakes at the Campbelltown campus of Western Sydney University is an inspiring setting for this learned institution.. This is the setting for the annual sculpture exhibition mounted by the university and the three prizes awarded each year. The campus provides a picturesque setting for the sculpture park in and around the lakes. (I Willis, 2018)

Updated on 16 May 2023. Originally posted on 28 May 2018 as ‘Sculptures by the Lakes’

Category: Artists