Stories from the Archives

30 STORIES FROM THE ARCHIVES

THE SCULPTURE IN THE AMPHITHEATRE – “WOMEN IN SCIENCE” Have you ever wondered how the sculpture in the amphitheatre came to be? The thought of having a sculpture on the PLC campus was new in 1997. The idea evolved when the Science block was redeveloped to become the Freda Whitlam School of Science.

The sculpture would be a tangible link between the Arts and the

Sciences. It was funded by the PLC Sydney Foundation. Early in 1997 PLC students and their families were invited to contribute ideas for the work. The terms and conditions of “PLC’s first ever sculpture sensation”, called for ideas that would “guide and inspire the sculptor”. Proposals were to align with one of two themes: exploring the relationships between the sciences and the visual arts, or exploring the visual representation of a significant scientist and their work. Proposals were to include at least one A4 sketch, a short explanation of the proposal, a title for the sculpture, and, if desired, a model of the sculpture. Proposals were submitted to the Art Department by 31 July 1997. Following two rounds of a judging process, three proposals were chosen for the sculptor, Clara Hali, to prepare a brief. The successful proposals were from Helen Scarlett, Year 11; Catherine Lyon, Year 10; and Caitlin Blaxland, Year 5. On 1 November 1997 Clara Hali finalised her proposal for the sculpture. This is how she explained her intention:

I have developed this sculpture using my own idea together with that of the students and to fit the brief of science in art.

A nude female figure (Cathy Lyon’s submission) is holding a large circle (reflecting the arc of the light bulb in Helen Scarlett’s submission). Within the circle is the spiral (Caitlin Blaxland’s submission) of the double helix which represents the molecular structure of DNA. This format of the spiral is only representative of the double helix and not a precise copy of the image as I needed to adapt it to the aesthetics of the sculpture. The female figure has a strong upward thrust as she holds the circle which reflects the strength of women in the field of science. This circle reflects the shape of the head (intellect) and the shape of the amphitheatre. She would be sitting on a raised box type shape which reflects the shape [of] the surrounding buildings. On a plate on the box names of female scientists could be etched.

The plinth would be made in sandstone which would be secured [to] the ground with stainless steel pins and cement. The sculpture would be secured to the plinth with a threaded stainless steel rod.

Catherine Lyon, whose idea of a nude female figure was adapted by the sculptor, recalled in 2022, “My mother, Kay Lyon, was actually the one who encouraged our entrance into the sculpture competition. She’s a visual artist herself, and she thought it would

Catherine Lyon’s proposal drawing Caitlin Blaxland’s proposal drawing Helen Scarlett’s proposal drawing

be a good project for us to work on and submit an entry together. The entry we decided on was inspired by Alberto Giacometti’s works in bronze – who we are both fans of”.

Caitlin Blaxland (married name Borham) and her father, Sid Williams, collaborated on her proposal. The spiral of the double helix in the finished sculpture is taken from this proposal. In 2022 Caitlin’s father Sid said that, “DNA is a superb symbol of the miracle of life, which does link it to reverence and respect for women – particularly for their roles as child bearers and mothers. These roles have been referenced and adored in art and in many religions over the course of human history and prehistory”. The three contributors – Helen Scarlett, Catherine Lyon and Caitlin Blaxland – visited Clara Hali’s studio to view the process of creating the bronze sculpture. Catherine recalls that “Once the process started with Clara it was fascinating seeing how each of the elements were developed, created and the various stages of production. Clara was very generous with her time and in sharing this process with three students; and the day we spent at the [National Art School] Foundry when it was being cast was a true highlight”.

One of sculptor Clara Hali’s drawings for “Women in Science”

The sculpture, named “Women in Science”, was installed in early 1998 and was seen at the official opening of the Freda Whitlam School of Science on 6 February 1998. Ms Debby Cramer, Archivist Clara Hali installing “Women in Science”, 1998

Clara Hali is a figurative sculptor based in the Blue Mountains. She works primarily in bronze casting, often using the “lostwax” method of casting. Her works are held by Macquarie University, the University of Sydney, and in private collections in Australia and overseas. As well as exhibiting, Hali has taught and lectured for many years in the Sydney area. In 2012 she was on the curatorial panel of Sculpture by the Sea, Bondi. She is the creator of the “Dreams that embrace us” sculpture, commissioned in 2006, near the McKeith Performing Arts Centre.

These images, taken by the sculptor, show some of the steps in the creation process:

Start of wax modelling Mother mould complete Final wax mould with marquette Patina added, then waxed

Sources: PLC Sydney Archives is fortunate to hold drawings and images made by Clara Hali during the creation of the work as well as the original submissions made by the students. Students and staff may peruse these by going to the PLC Sydney Archives tile in the Portal, Topic 12.