SELECTED PUBLIC COMMISSIONS
IN THE WAKE OF BLOOM, 2026 (in production)
Sculptural grouping: Bloom 7m; Germination 4.6m; Return 6m
Glass and steel
City of Swan, 26 Central Av., Hazelmere, WA
In the Wake of Bloom is not merely a celebration of natural cycles but a sculptural meditation on the urgent relationship between humans and the more-than-human world. It asks not only to be seen, but to be felt —as a reminder, a witness, and a gesture toward what is still possible. The work invites the community to reclaim its role as steward, partner, and protector of local ecosystems —standing, as we all do, at the threshold of return.
In the Wake of Bloom is deeply embedded in Christie-Coxon’s ongoing conceptual framework of Circle Culture, which explores cyclical processes, fluidity, and humanity’s interconnected relationship with the natural world. Like much of her practice, this work moves beyond static form to engage with elemental forces —light, shadow, time, and weather —as active collaborators. It reflects the regenerative intelligence of ecological cycles, where life, death, and rebirth are not linear events but part of an ongoing, dynamic loop. Through material choices, process-driven gestures, and a sensitivity to place, the work embodies Christie-Coxon’s artistic style of creating audience-free, site-responsive interactions that function as quiet rituals of remembering — inviting viewers to reflect on balance, vulnerability, and the possibility of renewal within both land and self.
ENVIROSPHERE, 2026 (in production)
Glass, powder coated steel and concrete, 8m x 3m x 1m
City of Belmont, 137 Kewdale Road, Kewdale, WA
EnviroSphere is a site-specific work that stands in dialogue with its industrial surrounds adjacent to the Perth International Airport, linking the skies with the built environment. The work provides a space for reflection, mirroring the inverted version of the present. Taking the form of a kinetic sculpture, the artwork is an abstract interpretation of our human relationship with the environment – we can see ourselves as part of the environment. It is a passive reminder of our impact, responsibility, and connection to place.
The environment commands the work, literally in what it reflects and how the wind moves it. EnviroSphere is an abstract interpretation of our relationship with the environment – a passive reminder of our impact, responsibility, and connection to place.
Conceptually, the circle represents a universal symbol of unity, oneness, and cycles. The pivoting axis represents a potential tipping point linked to climate change. The sculpture reflects the importance of the water cycle and the delicate balance of ecological systems. The double-sided dark silver disc offers vignettes of the surrounding infrastructure, horizons, and ever-changing skies. These scenes shift as the viewer passes by, or the breeze changes its axis.
The artwork honours the group who chose to act to rehabilitate the local wetlands known as Tomato Lakes today. It is a celebration of accountability and healing.
SOLARSPHERE, 2026
Glass, powder coated steel and concrete, 8m x 3m x 1m
City of Belmont, 6 Ferguson Street, Kewdale, WA
SolarSphere is conceived as the industrial feminine counterpart to EnviroSphere, standing nearby in visual and conceptual dialogue. This pairing embodies a deliberate duality: the meeting point between technology and nature, structure and fluidity, sun and moon. EnviroSphere, in its upright geometry and reflective surface, echoes the rational, technological, and lunar—mirroring what is already there, passive yet illuminating. In contrast, SolarSphere brings forth solar energy—suggesting growth, warmth, and the internal dynamics of light and life. It is not simply a counterpart, but a necessary other: intuitive where the other is analytical, responsive where the other is observational.
Together, the sculptures operate as a visual metaphor for the reconciliation of divided systems: human and more-than-human, natural and constructed, masculine and feminine, reflective and radiant. They invite viewers to contemplate how opposites may coexist not in tension, but in dialogue—each dependent on the other to complete a greater whole.
In a setting marked by heavy industry and ongoing ecological rehabilitation, SolarSphere introduces softness and subtlety—a fluid solar voice rising alongside its firmer lunar twin. These two guardians of the landscape mark a space not only between past and future, but between polarities—offering a reminder that all things are connected through movement, energy, and exchange.
WATER’S WAY, 2024
Metal coated steel. 5.3m x 5m x 0.5m
City of Kalamunda, 80 Nardine Close, High Wycombe, WA
Water’s Way celebrates Western Australia’s deep connection to water. Crafted from glass and steel, its 4.4m circular form symbolises unity and cycles, honouring wetlands and the balance of local ecosystems. Curved linear gaps and shifting reflections and shadows respond to light, weather, and movement, inviting contemplation of our role in preserving the delicate harmony between nature and the built environment.
LAND UNDER SUN & MOON OVER OCEAN (Diptych), 2024
Glass, steel and aluminium, 3m in diameter x 0.2m each
Perth Transport Authority, Alkimos Train Station, WA
Commissioned in 2022 by Perth Transport Authority, as part of the Perth Metronet Yanchep Rail Extension national project - the Alkimos Train Station Bulkheads.
Land Under Sun & Moon Over Ocean are inspired by the nature of Western Australia. The works incorporate macro-details from within Christie-Coxon’s process-driven paintings, mirroring environmental processes based on flow patterns; an aesthetic dialogue between water, land and natural cycles of the region.
The inspiration behind this artwork is rooted in the themes of time, flow and interconnection of all things. In terms of design, the circular shape found in a train station is often associated with a traditional station clock. This became an opportunity to play with time as cosmic, represented by two large circular discs, offering a more primal or universal experience of time that reflects the cyclical patterns of day and night, changing seasons, akin to the natural cycles influenced by our solar system.
The artworks are located with orientational reference: West closest to the ocean, East closest to the land.
LIBERATION, 2019
Temporary Light Installation
Full building façade Mapping Projection of Paint Animations
The Cloisters, 200 St. Georges Terrace, Perth, WA
Liberation is the conceptual merging of the old and new. The work engages digital photography to reveal macro-details of Christie-Coxon’s paintings. It is an exploration of dichotomies; a conceptual merging of the old and new; of the material and the digital; of the past and present.
At its core, the work is a rejection of Australia’s colonial history - a contemporary digital intervention masking an historic, colonial structure.
PROCESSING PAINT, 2019
Temporary Light Installation
Digital animation of 15 paint studies. 2.6m x 6m.
Cloisters Square, Perth
Processing Paint is an ongoing body of work that explores the micro-workings of paint through digital magnification, revealing painterly events shaped by chemical reactions and natural forces. Rooted in process and materiality, the series reflects Circle Culture themes of infinity, oneness, and duality. Macro details from Christie-Coxon’s fluid, process-driven paintings create visual ambiguities — appearing at once as aerial landscapes and microscopic worlds. At its core, the work examines fluidity as a metaphor for shifting states of being and interconnected flow.
“Our eyes act as our translator from the external world into the internal world. The brain’s job is to make sense of what comes in from its sensory apparatus. Familiar shapes, tones, and textures are revealed in the paint, as seen in geography and biology. Crucially, it is the viewer’s assignment of personal meaning that remains key to the comprehension of these works.”
UNIFY, 2022
PVC, Polypropylene, stainless steel. 8m Diameter
Sculptures by the Sea, Perth, WA
Unify is a symbolic message of coming together as one. It advocates for peace, inclusivity, and positive change within our local and global communities.
The concept of this artwork is tethered to the idea of floating spheres joined in a circle, acting as a collective in the context of the ever-changing states of the ocean.
The symbolic elements in the artwork: Circle = community, oneness, inclusivity, connection Ocean = Life, change White = peace Spheres = groups or individuals
The materials are buoyant and flexible. The collective behaviour is subject to the environment. Smooth and rough times are a part of life. The circle of peace is both a whole and made up of individual units. At times, the viewer may observe rubbing and bumping of the spheres against one another while staying afloat and together during times of disruption. The intention behind the artwork is to suggest abstract concepts of adaptability, tolerance, and resilience.
PLAY, 2020 Aluminum and steel. 9m x 0.96m
Awarded artist for public artwork at Coogee Early Learning Centre
The intent of this artwork embodies a universal visual language that encourages expressive and imaginative interpretation. Its forms suggest creativity and spontaneity, symbolising the boundless potential of children and the joy of learning through play. Designed to spark conversations and invite diverse perspectives, the piece offers an open framework for personal reflection and engagement.
Positioned at an angle, the artwork breaks from traditional alignment, freeing it from the constraints of formal architecture. This orientation encourages “thinking outside the box” and serves as a visual prompt for curiosity and exploration.
The bright, bold painterly aesthetic resonates with the wonder and authenticity of children, reflecting themes of non-judgment and freedom of expression, celebrating independent and abstract thinking in the viewer. This core concept draws inspiration from The Hundred Languages, a philosophy that values the diverse ways children express themselves—an ideal central to the ethos of the centre.
TREAD LIGHTLY, 2024 (unrealised) Perspex, stainless steel and concrete. 92.7m diameter
Tread Lightly is a life-sized sculpture of a mining tyre tread, widely used in Western Australia’s Pilbara region. This artwork highlights the need for sustainable practices and economic circularity in industries like mining and agriculture, which are integral to the region.
The disposal of large Off-the-Road tyres, commonly replaced every 9 –12 months, has become a significant environmental issue. Approximately 134,000 tonnes of these tyres are used annually in Australia, with 90% of mining tyres currently buried on-site. This practice leaches toxins into the water table, presents fire hazards, and releases harmful compounds when burned.
By encouraging recycling over stockpiling, this artwork advocates for a future where tyre waste is viewed as a resource, not a burden, fostering a more circular economy.
