This page includes information about the City of Hobart's permanent collection of public art pieces currently on display in various locations around Hobart.
If you have any questions about the City of Hobart Public Art program, you can contact us at 03 6238 2494 or email@example.com
Image: The Battery Point Sculpture Trail
Artist team: Futago in collaboration with Judith Abell and Chris Viney.
Artist team: Futago in collaboration with Judith Abell and Chris Viney.
No part of Hobart has more significant cultural heritage than the Battery Point precinct. It is the location of some of the city's oldest surviving residences, the site of Hobart's largest suite of historic buildings, and the place where many of Tasmania's first industries and commercial enterprises were established.
The Battery Point Sculpture Trail celebrates this heritage and reinforces the link to the shoreline through installations of public artwork. The project's concept ‘sculpture by numbers’ evolved from the multitude of stories about Battery Point that are articulated by measures of time, date, weight and amount.
The sculpture trail takes about an hour to walk in one direction. If you start at the 1833 sculpture at the southern end of Salamanca Place, you'll reach the end at the 1909 sculpture on Marieville Esplanade. On the return walk, detour through the Battery Point village precinct and return to Salamanca Place via Arthur Circus, passing some of the city's oldest houses.
Map of the trail
Get a map of the trail and the area by visiting the Hobart Council Centre or the Hobart Travel and Information Centre. You can also call 03 6238 2100 to arrange for a copy to be posted, or download a copy of the Battery Point Sculpture Trail brochure.(PDF, 1MB)
Awards for Battery Point Sculpture Trail Project
The design team has received numerous design awards for this project including:
2010 Australian Graphic Design Association National Awards, a Distinction in the Environmental Design category
2011 Interpretation Australia Bronze Award
2012 Society of Environmental Graphic Design (SEGD) awards, Global Merit Award
Artist: Ari Purhonen
Standing as a sentinel to park users and passing river traffic, Beacon forms a landmark on the promenade at Lower Sandy Bay. The large column of high-quality stainless steel rods over 10 metres high, located on the lawn to the southern side of Prossers Restaurant, is by Sydney artist Ari Purhonen.
When viewed from various locations and different times of the day, Beacon portrays quite interesting effects. As Purhonen said of the work, ‘optical illusions of striated patterns resulting from walking past the artwork on the promenade and a mirage-like shimmer when seen from afar, are akin to shifting patterns in sand and ripples in water produced by the breeze, which we can feel but not see'.
All fabrication work for the sculpture was carried out in Hobart. Walter Welding at Bridgewater undertook the steelwork, while the timber cladding around the base has been constructed by Oakdale Industries. The timber used is celery top pine, a Tasmanian timber known for its outstanding durability. While the artist is from interstate, everything else is made in Tasmania.
An integrated light illuminates the interior of the artwork producing a lantern-like appearance at night, visible from across the River Derwent and Mount Wellington.
Artist team: Wendy Edwards, Simon Pankhurst and Sue Small
Sue Small, Wendy Edwards and Simon Pankhurst created two sculptural works (Flora and Fauna) and five related waymarkers (Foray) as part of a project to create a series of sculptures throughout New Town Rivulet Linear Park (Lenah Valley). The artistic team titled the works to address the natural and cultural themes highlighted by Lenah Valley community members as being important to them.
Rivers flow down from the mountain and penetrate the built environment on their way to the estuary; human activity moves upstream toward the mountain. To define a 'beginning, middle and end' for the site seems contrived – better to celebrate the vitality of the whole; draw attention to the denizens of the stream through stylistic and representational sculptures; plus recognise cultural history – ancient and modern.
Each marker represents an aspect of the original themes suggested by the community: (1) people and their imprints, (2) threatened fauna, (3) geology, (4) river fauna and (5) vegetation. The waymarkers are a series which, when viewed together, form the silhouette of kunanyi/Mount Wellington. The meandering form through the markers reflects the rivulet flowing through the landscape. Words and images depicting the themes are inset into the panels. The markers are constructed of steel bar frame, plate steel, reinforced concrete and glazed ceramic panels.
This 4-metre sculpture conjures a posy of flowers and foliage such as might be collected during a day of botanising by Lady Jane Franklin with the botanist Ronald Campbell Gunn, as she explored the area seeking to locate her planned museum and gardens – Ancanthe. The sculpture references, rather than replicates, two local plant species, Bluebell (Wahlenbergia species) and Kangaroo grass (Themeda triandra). The sculpture is constructed of forged twisted steel rods, plate steel and glazed and unglazed ceramic for the flowers and seed heads.
The theme for this sculpture explores the Rivulet and the life it sustains, in particular the local native fish, a species of Galaxias, still thriving despite many years of intervention and sometimes damage to their environment. Nowadays the fauna includes some feral animals, domestic pets, introduced birds and insects, even fish and of course people which alter the environment by building tracks and huts, by walking and riding through the forest on the mountain, exercising dogs, looking for birdlife, sometimes leaving rubbish, sometimes noisy. Locals and visitors describe the experience of searching for 'rare creatures', an inducement to explore as others have before … The fish are in bas relief, a construction of wire and cement welded to original decorative work, additional wrought iron work and various hand-wrought ceramic tiles.
The first Foray waymarker is at the halfway point of the New Town Rivulet Linear Park, at the intersection of Rangeview Crescent and Lenah Valley Road (just below the Lady Franklin Museum) and the sculptures are installed at irregular intervals between this point and the boundary of Wellington Park.
Artist: Justy Phillips
This artwork embeds a subtle, yet powerful message in the pavement at Salamanca Place. The Yellow Line, by Justy Phillips, commemorates the City of Hobart’s public apology for a number of arrests that occurred at Salamanca Market in 1988, when the City banned the Tasmanian Gay Law Reform Group’s (TGLRG) stall. Phillips' work, The Yellow Line, involves two light boxes placed across the footpath, near the entrance to Parliament House and very close to where the original arrests took place.
The TGLRG’s stall was set up at Salamanca Market to gather signatures in support of decriminalising homosexuality. There were 130 arrests in 1988, making it the biggest act of gay civil rights disobedience in Australian history. To be arrested, activists had to cross a yellow line set up by the City at the Market.
The TGLRG stall has been a fixture of the Market ever since. On 9 December 2008, twenty years after the arrests, the City of Hobart apologised for its actions and acknowledged the prejudice that was fostered against gay, lesbian, bisexual, transgender, queer and intersex (LGBTQI) people.
Over an extensive period, we worked closely with the project group involving representatives from Rainbow Communities Tasmania and the Tasmanian Gay and Lesbian Rights Group and other members of the GLBTI community to develop the project.
During the development period Rainbow Communities Tasmania's Rainbow Art Exhibition raised $7000 as a contribution to the project. These funds, in combination with the City’s $15,000 contribution to the project, ensured the engagement of a significant artist to undertake the commission.
The Yellow Line symbolises the line around the Market that supporters of the stall would face arrest for crossing, as well as the other lines that LGBTQI people and their supporters had been forbidden by law and prejudice to cross.
The Artbikes BIKE HUBS Project was launched at the Tasmanian Museum and Art Gallery (TMAG) in January 2011.
The project called for iconic bike parking facilities to be located outside six cultural institutions in Hobart. Ken Betlehem, a Tasmanian-based architect and urban designer, was selected to undertake the commission.
Ken's ‘cast of characters’ are a quirky bunch. They are a unique and innovative combination of art and good design that enhances Hobart's strategy for sustainable transport. The figures were manufactured at Incat by cutting 'people' from solid 32 mm marine-grade plate aluminium.
Street furniture for bicycles has over the years taken a default position of benign bent tubes crudely cast into the pavement. With or without bikes, such furniture clashes with the elegance and technical refinement of the bicycle in both scale and form. Seldom does such furniture elevate either the bicycle or the rack to a place of wonder.
With this work, my proposition is that as bicycles were designed for people, the 'bicycle rack' could be rendered in the form of a person or 'character'.