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How did the decision arise to develop a design using
this new glass printing technology?
The client had commissioned Janet Laurence to do an
artwork in the main entry foyer called The Tree of Life
and then suggested that I do two more in the new wing,
the first being The Parting of the Seas and the last being
The Seven Species, so there was a religious narrative
which gave these art works meaning.
When the client asked me to do these artworks, it was a
great honour but it was also quite a challenge, not being
an artist and not having ever attempted something like
this or of this scale. At first I considered a drawing fritted
onto the glass but, in the end, the abstract composition
was more appropriate.
We approached Viridian, whose new PixaGraphic™
technology embeds colour into the glass. We used seven
colours which relate to the seven species of trees and
fruits found in the Promised Land. We worked with
graphic designers Deuce who were invaluable and helped
produce something meaningful and enduring.
How did you decide on Viridian’s PixaGraphic™ process?
When we started talking with Viridian, the technology just
became available but they hadn’t produce a PixaGraphic™
installation of this scale yet, so it was an experiment for
all of us. In the end it turned out very well and it’s become
an integral part of the experience of this precinct.