From Inception to Installation

The Wurrunggi Biik: Law of the Land public artwork was commissioned in 2017. Dr Vicki Couzens conceptualised the piece with co-collaborators Jeph Neale and Hilary Jackman.

The public artwork combines two important cultural markers: A Possum Skin Cloak sitting on a base that evokes the Spirit Memory Imprint Shadow of a wedgetailed eagle’s tail. Dr Couzens articulates the intent of the artwork:

‘These two significant elements embody the spiritual, conceptual, intellectual, and emotional values of Aboriginal Creation Law. Their physical realisation in place is a revealing, a bringing forth and making visible the intangible presence of our Creator Ancestor Beings: Sovereign sentinels and guardians of place—custodial stewards of Country. Our Creator Ancestor Spirits from time immemorial observe, guide and direct the continuous, never-ending cycle of creation.’

The Materials and Process

Wurrunggi Biik: Law of the Land is made out of spheroidal (grey) cast iron which was chosen because of its physical properties such as high strength, durability, low maintenance and the capacity to endure in the environment without need of protection. Sandcasting was the process used as sand is able to withstand the significant heat of molten iron.

Developmental Stage

The early stages of the project were all about creating a model of the artwork: making the Possum Skin Cloak plus a life-size model and the base on which it would stand. The next phase involved scaling up the life-size model, creating a plaster master that had both the form and texture of the final artwork. The procedure of turning the plaster master into the finished cast-iron public artwork is a series of processes (The Casting).

Casting

The process of casting requires 3 steps (continually going from a positive form to a negative form and repeating) to get from the plaster master to the final form. Due to the material and size of the finished artwork it was necessary to work in panels, making an already complex process even more difficult.

Step 1: The silicon-rubber moulds: From the plaster master (positive form) silicon rubber moulds are created (negative form) of both the inside and outside of the plaster master.

Step 2: Sand-casting patterns: Cast into the silicon-rubber moulds are the sand-casting patterns (positive form). These were then cut up into numbered panels in preparation for the final process.

Step 3: Iron castings: The sand-casting patterns were used to form a negative shape into the sand into which cast iron is poured to finish up with the final pieces (positive form).

Assembly and Installation

Once the cast-iron panels were returned to the studio from the foundry, the next stage was assembly of the panels to form the cloak, the attachment of the Cloak onto the base and then the treatment of the cast iron to give it its finish (patina) and then the installation in at Bowen Street at RMIT’s city campus

Wurrunggi Biik: Law of the Land is 2.3 metres in height and weighs over 2.5 tonnes

‘The intention was to change the conversation. Wurrunggi Biik: Law of the Land is an insertion in the built space. It is an expression and assertion of Sovereignty and Aboriginal ever-presence. I was very comfortable with changing the conversation and wanted to make sure we did with a very strong message in a very open space.’