(All photos Mark Holsworth 1. Melbourne Stencil Festival exhibition installation, 2. Sunfigo decorated deck, 3. *scape park, Singapore, 4. Trev on skateboard 1977, 5. Claudia Moondoonuthi, 36 flip on country, 6. Hyunjun Koo decks, Seoul, 7. unpainted decks in art supply shop 8. Jud Wimhurst Van Gogh and Francis Bacon, 9. Viki Murray and Mandy Lane street art, Melbourne 10. Viki Murray street art, 11. Viki Murray and others, 12. skateboards and rollerblades prohibited sign, Melb. 13. Joel Gailer printing skateboard wheels, 14. 15. 16. Performprint skateboarders)
The symbiotic relationship between graffiti and skateboards making each one is stronger from the relationship. The painted concrete of skateparks, the boards, the streets… (I don’t have the photos for this one.)
Moving through the city, thinking about the kinaesthetic relationship of architecture and public sculpture to the way that people move around in the city. A person was even seen swimming on Flinders St. during the early February downpour in 2010. Most of the time people in Melbourne are walking, driving cars, travelling by train or tram or riding bicycles.
Architecture suggests, proscribes and provides for different types of movement. To make clear the differences between suggest, proscribe and provide consider this: a door suggests an entrance but you may find that it is locked, a sign may proscribe the door to be used for the entrance, but an open window can still provide access. People climb buildings like Spiderman or in Parklour, young men walking over the red arc of the pedestrian bridges across the Yarra River.
The ways that skateboard riders use of public sculpture like “Architectural Fragment” 1992 by Petrus Spronk at the State Library or Inge King’s “Forward Surge” 1972-74 at the Art Centre. Is this a reverse readymade, like a Rembrandt painting used as an ironing board, or are the skateboard riders using these sculptures not just for their geometry but also their aesthetics. Skateboard riding is an aesthetic sport, with the objective to make spectacular use of the infrastructure and judged on degrees of difficulty.
Sculpture provides an easily identifiable meeting place in the city and while you are waiting you want to seat. People can sit on sculptures and climb on sculptures even if the sculptor does not intend it but the sculptures can be so much better if this natural desire is incorporated into the design. Simon Perry “The Public Purse” 1994 in the Bourke St. mall provides such an opportunity. Tom Bass designed his public sculptures to be sat on. He made sculptures for children; the hard bronze doesn’t suffer from their touch. “The Children’s Tree” 1963 in front of the CML Building on Elizabeth St in the city and “The Genie” 1973 in Queen Victoria Gardens can both be sat on. The plinth of “The Children’s Tree” is a favorite seat for buskers playing an instrument.
Busker playing "dagpipes", his own invention, on the plinth of "The Children's Tree"
(Thanks again, for the idea, to Shifty MacDougal, who writes these interesting comments on my entries about public sculpture.)