Public Art
Phosphorescence 2022
Victor Harbor, SA
A depiction of shapes and colours of phosphercent ocean creatures.
Stainless steel, Plexi Glass Computerised LED lighting
7m highest point
Phosphorescence 2022
Victor Harbor, SA
A depiction of shapes and colours of phosphercent ocean creatures.
Stainless steel, Plexi Glass Computerised LED lighting
7m highest point
Phosphorescence 2022
Victor Harbor, SA
A depiction of shapes and colours of phosphercent ocean creatures.
Stainless steel, Plexi Glass Computerised LED lighting
7m highest point
Phosphorescence 2022
Victor Harbor, SA
A depiction of shapes and colours of phosphercent ocean creatures.
Stainless steel, Plexi Glass Computerised LED lighting
7m highest point
Phosphorescence 2022
Victor Harbor, SA
A depiction of shapes and colours of phosphercent ocean creatures.
Stainless steel, Plexi Glass Computerised LED lighting
7m highest point
Photosynthesis 2019
Mount Barker Main Road Entry
Leaf colours suggest season
changes and importance of trees within our urban places.
Size 7 x 5 x 2 m
Stainless steel, brass, copper, lights
Photosynthesis 2019
Mount Barker Main Road Entry
Leaf colours suggest season
changes and importance of trees within our urban places.
Size 7 x 5 x 2 m
Stainless steel, brass, copper, lights
Photosynthesis 2019
Mount Barker Main Road Entry
Leaf colours suggest season
changes and importance of trees within our urban places.
Size 7 x 5 x 2 m
Stainless steel, brass, copper, lights
Dancing Ribbon 2017
160 Grote street, Adelaide
With Brown Falconer architects
Steel, paint
9 x 5 x 5 m
Water Feature, Gateway to Adelaide 2000
With Wall Design Team (Neil Cranney, Mark Butcher and Rob Williams)
precast concrete, stone, water, lights
30 m x 4 m
Water Feature, Gateway to Adelaide 2000
With Wall Design Team (Neil Cranney, Mark Butcher and Rob Williams)
precast concrete, stone, water, lights
30 m x 4 m
Gateway to Adelaide – Transition Wall 2000
With Wall Design Team (Neil Cranney, Mark Butcher and Rob Williams)
bluestone stone, pre – cast concrete, lights
300 x 4m
Gateway to Adelaide, Birksgate Wall, Transition Wall 2000
With Wall Design Team (Neil Cranney, Mark Butcher and Rob Williams)
precast concrete, reflective glass beads
80 m x 3 m
Whirling Stones Water Feature 2002
Goodwood Community Centre,
Goodwood, South Australia
stainless steel, glass and water
4.5 x 4 m
Tree Tops 2002
West wall frieze, Gawler Carpark,
Gawler, South Australia
with Flightpath Architects
laser cut galvanised metal panels
32m x 0.9m
Balancing Act 2004
Mobara Park, Mawson Lakes, South Australia
pre-cast polished concrete,
computerised sensor activated lighting
3 spheres; 1.5, 1.3 and 1.1m diameter
Balancing Act 2004
Mobara Park, Mawson Lakes, South Australia
pre-cast polished concrete,
computerised sensor activated lighting
3 spheres; 1.5, 1.3 and 1.1m diameter
Contemplation 2006
Marion Coastal Park, Marino
precast concrete, steel,
turpentine recycled timber, granite, text
rock boat 10 x 2.7 x 1.5 m
deck 8 x 2.4 m
mast 6 x 1m
Contemplation (Deck Detail) 2006
Marion Coastal Park, Marino
precast concrete, steel,
turpentine recycled timber, granite, text
rock boat 10 x 2.7 x 1.5m
deck 8 x 2.4 m
mast 6 x 1m
Contemplation 2006
Marion Coastal Park, Marino
precast concrete, steel,
turpentine recycled timber, granite, text
rock boat 10 x 2.7 x 1.5 m
deck 8 x 2.4 m
mast 6 x 1m
Reciprocity = Yerra (Installation) 2008
Port River Expressway, Port Adelaide, South Australia
precast concrete, granite, light
each element; 12 x 2.5 x 0.9 m
Emu tracks drawings by Mark Blackman
Reciprocity = Yerra 2008
Port River Expressway, Port Adelaide, South Australia
precast concrete, granite, light
each element; 12 x 2.5 x 0.9 m
Emu tracks drawings by Mark Blackman
Together Woven 2013
Kaurna Cultural Marker, Salisbury,
South Australia
welded steel, concrete, lights
12m x 6.7m
In consultation with Alexis West
Together Woven (Detail) 2013
Kaurna Cultural Marker, Salisbury,
South Australia
welded steel, concrete, lights
12m x 6.7m
In consultation with Alexis West
Together Woven 2013
Kaurna Cultural Marker, Salisbury,
South Australia
welded steel, concrete, lights
12m x 6.7m
In consultation with Alexis West
Together Woven 2013
Kaurna Cultural Marker, Salisbury,
South Australia
welded steel, concrete, lights
12m x 6.7m
In consultation with Alexis West
Encounter, Experiment, Interpret, Resolve 2013
Coriole Winery, McLaren Vale, South Australia
mild steel, laser cut, text
spheres 1m, 1.5m, 1.8, 2.2 m diameter
Eucalyptus Alive 2012
Narnungga, Urban Forest,
Adelaide Parklands, Adelaide, South Australia
laser cut, galvanised and painted steel with computerised LED lighting sequence
Installation: 30m, 18 columns sizes: 2.4 – 4m
Read about Marijana's Public Art
Marijana’s design approach to public art is inspired by her interest in exploring human relationships: between cultural groups or individuals and our surrounding environment, be that natural or urban.
She is particularly inspired by the notion that public art should be experienced as social capital, there initially for commissioner’s benefit but also for a wider public to participate in a new spatial experience. In her public art works, such as Together Woven at Salisbury (2013), Contemplation at Marino (2006), Balancing Act at Mawson Lakes (2004) and Gateway to Adelaide water feature and walls (2000), Marijana has developed a personal language and an aesthetic that invites us to experience these new spaces as a speculative/ exploratory path we travel in our daily journeys.
Her conceptually based studio practice supports exploration of new ideas and materials which are often integrated into the public art works.
Marijana believes that what makes an art work unique and interesting is not only its formal design, but the stories it tells. These may be based on the history, heritage and intercultural exchanges with our contemporary Australian culture and the unique natural environment. These expressions can be reflected through the choice of materials, texture, use of text and fabrication methods and the way the natural environment is integrated into the work.
Marijana embraces the richness of a multidisciplinary team approach for all public art design. She believes every project provides opportunities for innovation and value adding. In many cases these opportunities are born of the need to resolve site needs, which become a genuine reflection of local character, values and culture.