Ecological functioning installation, finalist in UWS Sculpture Award 2010. Macarthur Campus.
UWS Landcom Peoples Choice Award Winner 2010. photostory - following the installation with update inspections.
Artist Statement: "FALLING_FOWL #1" is a floating chemical bond graphic with purifying functions and built in hides - a "mai-mai" - for water birds instead of hunters. Crisp hexagonal geometry of black water-level polyethylene pipes support a double combed line of upright wetland sedge (Schoenoplectus validus and Juncus usitasis, et al) and private nesting ante-rooms. Whilst not ephemeral the work has growing cycles and multiple readings physically and metaphorically: as nutrient filter; carbon trap; pontoon; organic compound and secret formula. The plants are a fringe texture, quietly reflected yet with active root-zones, welcoming to water fowl who in turn bring delight to the viewer
Exhibition Catalogue Essay:- "... Perhaps the most direct response to the complexities - and the fragilities - of the natural world is seen in the work of Simon Cook, whose work Falling Fowl # 1 addresses issues of sustainability in a multitude of levels; of sculpture, landscape design, aqua science, flora, fauna and conservation. This work, perhaps surprisingly given the site, is the only one to combine these elements of landscape eco-design in the exhibition..." Dr Pamela James Lecturer in Art History School of Humanities and Languages University of Western Sydney
Collaborative sculpture installations by Simon Alexander Cook and Geoff Sellman.
Finalist in the 2014 HIDDEN Rookwood Necropolis sculpture-walk.
Bungarribee_dreaming #2+3 installation is a Collaborative project with Geoff Sellman Artist remnant Ironbark and Stringybark at Rookwood ARTISTS STATEMENT Acknowledging ancestors past. Portals frame a dreaming-space to transcend the fragmentation of an Aboriginal tribe’s idyllic life beside the Blacktown Lagoon (Prospect Dam) as folklore depicts a ‘deathbird’ circling camp after the triple death of Wandah, lover Bomerre and their murderer. Post-industrial vascular zigzags map the tragedy, while reflecting upon an unimagined fame for Chief Boongaree who circumnavigated Australia with Matthew Flinders (1798) and received a ‘kingplate’ from Governor Macquarie (1815). Austrian artist Hundertwasser noted “When we dream alone it is only a dream, but when many dream together it is the beginning of a new reality.”
PERFORATED TEXT DETAILS #3 In Spanish (on black leg): “La Austrialia del Espiritu Santo. 1606 Capt. Pedro F de Quiros” Meaning attributed – The Great South-East land of the Holy Spirit – (yes the Austria part is Spanish for east) In ‘Darug’ (side1): “Naala ni nin marl nawi garragarang-wa, nin birrung-wa gili-bu” Meaning attributed – Look, see the big canoe on the sea under the shinning stars. (side 2) “Burawa nin djirramba gunyalungalung buruwan. barrabuwari” Meaning attributed – Above the sacred kingfisher dreaming island. The day after tomorrow.
Terms of Trade (farm-gate), 2015
Terms of Trade (farmgate), 2015 Simon Alexander Cook re-purposed polyethylene + upvc pipe, paint, s/steel in Sculpture at Scenic World, Katoomba 15April–10May 2015
"Our vulnerable Australian vernacular farmgate is swung open, recalculated through traditional Asian landscape and geopolitical references, as kinetic symbols of concern at selling the farm."
STATEMENT In contemplating the rainforest’s rarefied atmosphere my work references Asian landscape traditions illustrated as a 3d re-exploration of compressed space through a contemporary geopolitical lens. The normally flattened perspective and script is animated within a living depth of field, further to the ‘6 principles’ such as: ‘spirit resonance’ of engagement; the ‘bone method’ regarding the calligraphic personality; and ‘transmission by copying’ models from life or antiquity. Kinetic movement enables a reflective re-reading while hovering in the natural moss garden. Monochrome (Kanji and Katakana) characters intersect in a cross-cultural barter, a colloquial ‘Pax é Punch’ take on the dilemma of ‘selling the farm’, of unsustainable resource consumption and lifestyle demands. In a caveat venditor test of character references we read ‘buy the black sheep, the car and the village’ with a wry smile of colonial picturesque meta-fiscal concerns.
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