As a sculptor working on large-scale compositions, Rae Bolotin is no ordinary client. Nor are her needs typical. “At first I simply wanted a series of display spaces at the front of my house where I could put my pieces and where people interested in commissioning my work could come and view them outside of the house,” she explains. The brief was for a public gallery for her work: flexible, unobtrusive and able to accommodate a changing display of varying scales and visual impacts. Her basic materials of concrete and stainless steel weren’t to be dominated by conspicuous landscaping. After coming from Uzbekistan 23 years ago with a background in engineering and painting, Rae developed a highly successful interior design business in Australia before sculpture took over her life completely. “After years of experimentation with other materials, I discovered my medium – concrete. I describe my practice as ‘BC’ (before concrete) and ‘AC’; it was such a dramatic discovery,” she says. It then became obvious she could no longer showcase her work inside her home. The front garden was to become a public space. “What makes this place so beautiful now,” Bolotin adds, “made it difficult.” Indeed. The site dropped down a grade of between 1:2 and 1:3; contained mature trees and dense shrubs, had outcropping sandstone buried under earlier construction, and was crossed by a major stormwater trunkline. Added to this was the design challenge, which for any gallery is to provide a subtle yet strong setting that is distinguished in its own right, while paradoxically allowing for the pieces to fully express themselves. While linking spatially and coherently, the design needed to isolate each ‘room’ so that the focus fell entirely on each work on show.

Bolotin selected Jon Shinkfield from the Sydney firm, Pittendrigh, Shinkfield, Bruce on merit. “His work is very architectural, which I wanted,” she says. “And we clicked. We are both always thinking, so it was an intellectual collaboration.” Much time was spent in gaining an understanding of Bolotin’s conceptual exploration in her work, how the forms and forces found in such complex objects as the human body can be expressed using ordinary building materials like concrete and steel cables. The design process became an ongoing dialogue, extending right through the construction phase. The project has become an expression of this particular client: her use of symbolism, and her fascination with line, form and colour.

Shinkfield was asked to create a gallery environment out of a response to Bolotin’s work and the somewhat degraded but still identifiable natural qualities of the site. The design is anchored by the massing of two white concrete stairways which provide access to the various platforms and display spaces, and which link and adhere to the site and its intrinsic dynamics. A kinetic response inspired by the massing and tensions of the sculptural pieces themselves. A clearly echoing pattern of steps and decks, aligned and alternated, creates a firm sense of progression and orientation, of being lead from space to space. Thus, by tracking down the slope, the path also suggests the illusion of a larger space like a maze or a labyrinth that paradoxically simplifies a complex site.

Working on such a steep site, in spaces small and therefore precisely defines, the landscape architect needed to be closely involved in negotiating and fine-tuning construction details as part of the realization of design intent. The character of each exhibition space is defined in many ways, and each is an echo of the natural qualities of the site. First by changes of surface (gravel/concrete/crushed stone/timber): materials sympathetic in texture and scale to the site. Second, by using retaining walls and screens of varying colours to reflect the colours of the site’s paperbarks and smooth-barked apple gums. Third, by changes in plantings clustered around the perimeters. And all grass, shrub and tree species used are indigenous to south-eastern Australia (eg: gymeas, treeferns, groundferns, angophoras and paperbarks), especially those suited to the rocky slopes of the Sydney basin. The existent trees have been retained and augmented to enhance the cooling effect of a pleasant canopy. Similar environmental care has been taken to reveal and feature the existing outcropping rock.

Viewing platforms further focus upon the works, including a ‘floating’ cantilevered boardwalk, contorted and extending skyward, and a balustrade platform overhead. Benches at an easy height showcase smaller pieces. Muted concrete or FC panel walls provide a humble foil to the sculptural works contained within. Screens were carefully positioned to not only frame sculptures, but to screen detracting adjacent land uses. And the waterwall created a broad sound screen for the entire site, as well as another backdrop to a sculptural piece. Attention to detail is evident in plantings and hard materials chosen within an overriding discipline of simplicity. The result is a highly structured landscape that ironically, by its qualities of colour, texture, vegetation and layout, creates a resonance with the wider landscape.

The experimental space of the Bolotin Garden now functions on many more levels than the client had originally envisaged. The streetscape function is very public, where pieces attract plenty of attention from the neighbours. “It’s a good test,” she says. “If I’m happy to put it on a street outside my front gate, then I’m happy with it.” Behind the gate, privacy is powerfully expressed; so much so that the family has been drawn to the waterwall area, taking tea when they can on the timber platform in the traditional Uzbekistani way. And consideration of the ephemeral nature of light in the landscape, both natural and artificial, has created countless ways for Bolotin to explore works in progress under the influence of shadow. Works can be literally seen in a new light, especially with movable lighting cables, revealing lines and textures that touch off new interpretations. Most surprising of all to Bolotin has been the effect of the new landscape on her work. “It had such a strong impact on me that now it’s become my sculpture lab,” she observes. “I’ve started to react back to the space. It’s an experimental place where I create work beyond what I’ve done before. You begin to see possibilities you hadn’t realized because of the variety of spaces, the larger scale, the shadows and unexpected angles. Even the effect of water sounds. This place motivates me to work, to create sculptures that respond to landscape.” Not just a sculpture garden. Client and landscape architect, as a team, have made a rich blend of laboratory, gallery and family room – three landscapes in one.

Landscape architects: pittendrigh Shinkfield
Bruce(PSB)
Client and artist: Rae Bolotin
Contractor: Owen Beach