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Emily Floyd
Painted aluminium sculpture, 2004
Waterview Walk, Docklands (Melway ref. 2E, H6)
Melbourne artist Emily Floyd’s Signature Work is a playful addition to the public art collection at Docklands. Resembling an abstracted toy rabbit, it is intended to amuse and confound passers-by. Standing nearly four metres high and coated in black Polyurethane paint, the aluminium-plate sculpture is also reminiscent of futuristic creations such as Darth Vader, or the menacing rabbit figure in the film Donny Darko. Planted in the urban landscape of Docklands, the presence of this giant rabbit is both cute and unsettling as it looms over the viewer.
Photograph by Louis Porter
Τhis work I have created is inspired by a song that speaks to my heart. the song is called “finale cut” and tells the story of a child who wonders if he can show his dark-weak side, fearing that someone will not be there to hold him. I feel many times this fear and I prefer to put up defenses or lean on myself.
Composited mock-up showing our proposal to install the Emergence rhomboids at 3 significant locations in New Haven, CT where the town and Yale University intersect.
This is the INTERIOR of Phelps Gate: the intersection of the old town green and the oldest college quad.
I got 2nd place, but tied for best lap time at 33.84 secs. For those of you getting 31 and below, my hat goes off to you.
cudnt help but laughing when i saw this one. hopefully the ericsson staff get the message loud n clear moby.to/wb9gxr
On Monday I hiked Grandeur Peak. On Tuesday I went to work for the first time in 15 months. It was something different.
St Andrew, Norwich.
Memorial Window to Agatha & Elizabeth Simpson Stone, 1870.
By Ward & Hughes - detail.
The firm of Ward & Hughes spans the history of Victorian stained glass from the Gothic revival to the Aesthetic Movement. Despite having worked in so many styles, their windows are easily recognisable since, unlike those of many artists, they are always signed “Ward & Hughes, London” with the date of manufacture. The partnership of Thomas Ward (1808-1870) and Henry Hughes (1822-1883) began in the early 1850s. Thomas Ward had been a stained glass designer for almost twenty years by this time, in partnership with JH Nixon. When Nixon retired Henry Hughes, one of his pupils and a talented designer, took his place. After Ward’s death in 1870 Hughes was free to run things as he wanted. There was clearly a change of direction in the 1870s away from the now stale Gothic style towards a style influenced by the Aesthetic Movement. Henry Hughes died in 1883 and the firm was taken over by a relative of his, Thomas Figgis Curtis (1845-1924). Soon after, the firm’s output was signed “TF Curtis, Ward & Hughes”. The firm remained operational until the late 1920s, but most of the company’s archives have been lost, so little is known about this remarkable and enduring firm.