If you’re in Sydney this week, be sure to see the new exhibition by Sarah Robson, held at the Depot Gallery.

Sarah Robson / Corner Composition #4  2009 detail / powder coated aluminium / 15 parts / dimension variable

EXHIBITION Infinite in all Directions
ARTIST Sarah Robson
GALLERY Gitte Weise Gallery at the Depot Gallery, Sydney
2 Danks Street, Waterloo NSW 2017

DURATION 20 – 31 January 2010
Tuesday – Saturday 11 – 6pm, Sunday 11 – 4 pm, or by appointment

no beginning – no end

Our everyday experience of time is constantly measured and quantified, given a beginning and an end, reducing our existence to a series of moments that become past or future. The full complexity and depth of any given moment is less readily experienced. The works in this show aim to remove or obscure physical and conceptual boundaries to allow a glimpse of the infinite nature of both time and space.

The corner provides the perfect situation to examine and question these boundaries. It¹s co ordinates represent the point where planes converge, where the walls meet each other, or the floor and ceiling finish. As such it is a point of enclosure a dead end. In art, as in architecture, reconsideration of the corner and hence the cube has been a focus of thought during the last century. Visual artists from Malevich to Mondrian all paid homage to the corner as a magical and even mystical site. Artists working in the later part of the 20th century such as Robert Irwin, Donald Judd, Sol LeWitt, and Rachael Whiteread each shared associations with this fundamental form.

Corner Composition # IV and V in this show challenge the limits of the corner, changing our perception of space while seemingly defying gravity. Other wall sculptures and works on paper explore the ideas inherent in serial works with their ability to continue building and expanding without a defined beginning or end. The works on paper have been drawn using a sewn line, methodically forging tracks across the paper. These tracks reflect the journeys both personal and universal that we trace through time and across space, the traces that become a time line for our lives and maps for the limitless potential of our perceptions.

Sarah Robson’s range of abstract forms, coerce us to examine space from a variety of perspectives, ultimately questioning the finite relationships they establish within the gallery.

Sydney/Berlin 2010

Courtesy of Gitte Weise Gallery, Berlin
For more information please contact the gallery

Sarah Robson / Corner Composition #5 2009 / Powder coated aluminium / 15 parts / dimensions variable

Sarah Robson / No Beginning – No End #II & #I 2009 / Polyurethane on plywood / 17 parts / dimensions variable

PROJECT The Railway Hotel Cocktail Bar
LOCATION Melbourne, VIC, Australia
YEAR 2010

The refurbished interior of this Melbourne bar features a vertical garden and a lightbox with whimsical tattoo- and graffiti-inspired designs.

Read more:
indesignlive.com |
the railway hotel cocktail bar

PROJECT Chatswood Chase
CLIENT Colonial First State Property Management
LOCATION Sydney, NSW, Australia
ARTIST Belinda Smith
ART CONSULTANT Urban Art Projects
YEAR 2009

Chatswood Chase is a high-end retail precinct on Sydney’s Northshore. Belinda Smith’s integrated artwork was part of a redevelopment to enhance the contemporary style and elegance of the interior.

Reflecting the calibre of retailers within the centre, the artwork is an abstraction of the rare and celebrated Florentine Diamond, a precious stone whose history traverses the globe from India, Europe to the Americas.

Laser cut aluminium diamond shapes, each up to 1.5 metres in diameter, clad the interior architecture and exterior entranceway, seeming to gradually emerge from the walls into three-dimensional cast aluminium sculptural forms. A ground-based form greets shoppers as they approach the centre, giving the appearance of a diamond that has been only partially unearthed, and can be seen to represent the hidden treasures that are awaiting discovery inside.

Urban Art Projects was named Autodesk Inventor of the Month for July 2009, and is now nominated for the 2009 Inventor of the Year Award.

Using Inventor, UAP’s Construction Documentation Team has created the blueprint for each of a myriad of unique, large scale public artworks. These include the recently inaugurated Al-Fanar (Beacon) for King Abdullah University of Science and Technology (KAUST) in Saudi Arabia, constructed from unique pre-cast concrete blocks, and several site-specific art works for the site. Some examples of the team’s recent work are profiled below. An interview that Autodesk held with UAP is also available on YouTube.

Voting for the Autodesk Inventor of the Year is now taking place on the Autodesk Website.


Al-Fanar (Beacon) Interior View

Model by Stefan Purcell and Bruce Blundell

Model by Stefan Purcell

Model by Stefan Purcell

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Vote for the Autodesk Inventor of the Year

In an ingenious deployment of materials, LAN Architecture have designed a development of residential terraced houses, each differentiated by patterns in their brickwork.

Read more:
dezeen | 117 Housing Units by LAN Architecture

UAP’s Curatorial Team welcomes Simone Manwarring, an art consultant and curator with more than 10 years experience managing international artists and major exhibitions. Before joining UAP Simone was based in New York, where she was advisor and manager for such high profile artists as Cecily Brown, Vanessa Beecroft, Damian Loeb and Pat Steir, and initiated projects for them around the world. For three years she managed the exhibition schedule for Geneva’s Art for the World program in the US and Europe, and built alliances for the program with the United Nations and UNHCR. Simone also has extensive entrepreneurial experience and a keen awareness of commercial factors relating to art and design in the marketplace. She holds a Bachelor of Design from Sydney’s University of Technology.


Urban Art Projects’ Curatorial Team specialises in curating integrated, site-specific art programs to activate the public realm. A team of dedicated professionals from diverse backgrounds, they combine a wealth of training and experience to bridge the gap between the arts industry and the built environment. At the foundation of their ethos is a belief in the capacity of public art to build on the richness of a culture and connect people to place. They draw on local knowledge and global networks to create art strategies that consider the unique cultural, social and physical roles of a site while addressing practical commercial and urban requirements.

Backed by a larger team of in-house designers, project managers, engineers, craftspeople and fabricators, they are at the forefront of Urban Art Projects’ full service capability to deliver public art projects from visioning to installation.