SELECTED PUBLIC COMMISSIONS
“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.”
LAND UNDER SUN & MOON OVER OCEAN, 2024 Glass, steel and aluminum. 3m diameter each.
This public artwork was commissioned for the Alkimos Train Station Bulkheads, as part of the Perth Metronet Yanchep Rail Extension national project.
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, a kin to the natural cycles influence by our solar system.
the artworks are located with orientational reference: West closest to the ocean, East closest to the land.
LIBERATION, 2019 Projection mapping. The Cloisters Building, Perth
LIBERATION is an exploration of dichotomies, a conceptual merging of the old and new, the material and the digital, the past and present. The work engages digital photography of macro-details of Christie-Coxon paintings. At its core, the work is a response to Australia’s colonial history - a contemporary digital intervention masking an historic, colonial structure, The Cloisters.
Cloisters is one a small number of remaining convict built colonial buildings of the mid 19th century, in the central area of Perth designed by Richard Roach Jewell.
Projection mapping technology uses light to bring images onto objects and structures. The images from Christie-Coxon’s Paint Behaviour Art Series morph and move across the finely textured brick work, receded across the cavity’s of the formal façade of the building. The intention of the artist is to play with perception and paradox.
ENVIROSPHERE, 2022. (In Production) Glass and steel, 8m x 3m x 0.5m
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.
PROCESSING PAINT, 2019 Compilation of 15 digital artworks. Cloisters Square Activation. 2.5m x 6m
PROCESSING PAINT delves into the micro-workings of paint, engaging digital technology to reveal more. This ongoing body of work is acutely concerned with process and materiality, underpinned by the thematic considerations of CIRCLE CULTURE, referencing infinity, oneness and duality.
The focus is set on the magnification and recording of the visual revelations of painterly events subject to chemical reaction and natural forces. Duality fundamentally underpins the works. The images create ‘macro-micro ambiguities’, i.e. simultaneously perceiving the impression of an aerial landscape and one of a microscopic representation.
These works are based on macro-details within Christie Coxon’s process driven paintings, with fluidity as the artist’s core focus; the art mirroring varying states of being and processes based on flow patterns.
UNIFY, 2022 PVC, Polypropelene, stainless steel. 8m Diameter
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 public artwork at Coogee Early Learning Center
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 tyre 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.
