“Bruce Armstrong’s name is synonymous with current sculptural practice in Melbourne.” Boasts John Buckley Gallery’s website. There is good reason for this boast Armstrong’s sculpture Eagle (aka “Bunjil”) erected in May 2002 at Bunjilway is now an iconic image of Melbourne. However, Bruce Armstrong is hardly a household name.
Bruce Armstrong was born in Melbourne in 1957 and studied painting and sculpture at the Royal Melbourne Institute of Technology (RMIT). He has sculptures in Melbourne, Sydney, Perth and Canberra. In the 2005 Armstrong was an Archibald Prize finalist with a self-portrait with eagle.
“Bunjil” is not an isolated work Armstrong’s sculptures have been around Melbourne for decades. There are two more of Armstrong’s eagles, “Guardians”, 2009 out the front of the Grand Hyatt Hotel on Russell Street. At Yarra Turning Basin there is a series of angled pillars, Armstrong’s “Constellation”, 1997, made in collaboration with Geoffrey Bartlett. His “Tiger” 1985 is out at Heide Museum of Modern Art.
lions beasts (Untitled 1986) once guarded the front of the National Gallery of Victoria but are now out the back in its sculpture garden. When Armstrong’s two lions untitled beasts were out the front I overheard a man and woman from the country who were looking at them. “I reckon I could do that with my chainsaw” the man remarked. I’m sure he could be I doubted that he would make the effort to move such enormous logs and do all the carving.
The muscular nature of the sculpture is part of what makes Armstrong’s work powerful, the monumental physical displays of power. There is an unrefined power to the statues of Bruce Armstrong, the large lumps of materials from which they are carved are still visible. His huge animals are usually carved from native red gum and cypress although the monumental 23-meter tall “Bunjil” is cast aluminium painted white.
Armstrong’s sculptures are totemic, in a Jungian collective unconscious way; it is serendipitous that his Eagle happens to correspond to the sea eagle creator, Bunjil, of the Kulin Nation. His public sculptures work as totemic features along paths or guarding gateways. And because of their monumentality they are treated with a kind of awe.