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Marcus Tatton

Keith Maxwell
Keith Maxwell

Habitation, 2014

I love drawing parallels in our contemporary world, with how humans have lived within landscapes over time.

Mediterranean lands contain cultural artefacts from several millennia of human Habitation. Today’s Indonesian societies are characterised by the amount of rubbish floating around their forest floors, and the high proportion of paper scraps with drawings, sketches and mark making by the locals... In African countries, the remains of steel mining equipment and European settlements are revalued by farmers and villagers into functional and ceremonial products daily.

In the Blue Mountains we scatter our colourful houses amongst hillsides of natural escarpments, outcrops and treescapes. These colourful cultural artefacts again describe how the people of the day inhabit and value their lands.

‘Habitation’ consists of numerous coloured sticks oriented within this rainforest. They’ve been used it would seem, to prepare the paint before coating the house, and have accumulated, secondary to the cause, discarded.

Looking up there is a crystallisation of the same such artefacts. Perhaps this is some cultural celebration of the abundance of life and the colour spectrum, or perhaps it is some other fruit borne of humans’ inevitable Habitation...

Marcus Tatton is a public space sculptor who brings inspiration from where he lives quietly in the forested landscapes of Tasmania. Tatton explores this relationship between the natural and non-natural environments as a political stance, narrating how we individual humans value nature, and the cumulative effect we have on place.


Wood, steel.