Rebecca Selleck

THANK YOU | Launch + Artist Talk | Fallen Leaves by Rebecca Selleck @becselleck ⁠ .⁠ Thank you to everyone who joined us for the launch of Fallen Leaves by Rebecca Selleck at Namadgi Visitor Centre on Saturday 6 December 2025.⁠ .⁠ ABOUT THE ARTWORK⁠ Fallen Leaves was commissioned by Craft + Design Canberra in partnership with ACT Parks and Conservation @actparks . This site-specific artwork by Canberra-based artists Rebecca Selleck, responds to the theme 'Fire in the Landscape’ and is a reflection on the evolving impact of climate change and the increasing severity of weather events in the ACT region. ⁠ .⁠ ARTWORK STATEMENT⁠ The Orroral Valley bushfire was so big and close we could see it from our backyard. I had my newborn in my arms. I could feel the thousands of choked breaths and splintering of great limbs as ecosystems collapsed. I was scared for my child’s future. For all our kids’ futures. ⁠ .⁠ The land wasn’t recognisable. The fires were so hot they destroyed too much. But still the charred eucalypts shot out their epicormic growth. Along with other devastating fires around Australia, the Orroral Valley fire was the catalyst for intensifying conversations across the country around climate change and human impact. ⁠ .⁠ For those of us who choose to remember, we go on with sorrow in our hearts and hope for the future. This artwork is a reminder. On a granite boulder, a child lays, tenderly touching the hand of a kangaroo joey. These figures are both at rest, facing towards Mount Tennent. Curved over them is the blackened bronze form of a burnt young eucalypt still in the act of sheltering, and below their young leaves form a glistening bed. ⁠ .⁠ Images | Launch + Artist talk of Rebecca Selleck Fallen Leaves 2025 | Photography by 5 Foot Photography⁠ .⁠ #canberraart #canberra #publicart #canberrapublicart #artsact #rebeccaselleck #namadgi #canberrapublicart

THIS SATURDAY | Launch + Artist Talk | Fallen Leaves by Rebecca Selleck @becselleck ⁠ .⁠ Please join us to celebrate the launch of Fallen Leaves by Rebecca Selleck at Namadgi Visitor Centre. ⁠ .⁠ About the Launch | Saturday 6 December 2025⁠ Artist Talk | From 11am ⁠ Official Launch | From 11.30am ⁠ Location | Namadgi Visitor Centre, Naas Rd, Tharwa ACT 2620 ⁠ RSVP | Free event. RSVP essential via the link in bio.⁠ .⁠ ABOUT THE ARTWORK⁠ Fallen Leaves was commissioned by Craft + Design Canberra in partnership with ACT Parks and Conservation @actparks . This site-specific artwork by Canberra-based artists Rebecca Selleck, responds to the theme 'Fire in the Landscape’ and is a reflection on the evolving impact of climate change and the increasing severity of weather events in the ACT region. ⁠ .⁠ ARTWORK STATEMENT⁠ The Orroral Valley bushfire was so big and close we could see it from our backyard. I had my newborn in my arms. I could feel the thousands of choked breaths and splintering of great limbs as ecosystems collapsed. I was scared for my child’s future. For all our kids’ futures. ⁠ .⁠ The land wasn’t recognisable. The fires were so hot they destroyed too much. But still the charred eucalypts shot out their epicormic growth. Along with other devastating fires around Australia, the Orroral Valley fire was the catalyst for intensifying conversations across the country around climate change and human impact. ⁠ .⁠ For those of us who choose to remember, we go on with sorrow in our hearts and hope for the future. This artwork is a reminder. On a granite boulder, a child lays, tenderly touching the hand of a kangaroo joey. These figures are both at rest, facing towards Mount Tennent. Curved over them is the blackened bronze form of a burnt young eucalypt still in the act of sheltering, and below their young leaves form a glistening bed. ⁠ .⁠ Images | Rebecca Selleck Fallen Leaves 2025 | Photography by Rebecca Selleck⁠ .⁠ #canberraart #canberra #publicart #canberrapublicart #artsact #rebeccaselleck #namadgi #canberrapublicart

Two days until the official opening of Fallen Leaves at Namadgi Visitor Centre, my first permanent public artwork. Saturday 6 December 2025⁠ Artist Talk | from 11am ⁠ Official Launch | from 11.30am ⁠ Location | Namadgi Visitor Centre, Naas Rd, Tharwa ACT 2620 RSVP link is in my bio. It was a long time in the making and definitely my longest ever install, with hundreds of bronze pieces secured into the granite. Thank you so much @craft_design_canberra and @actparks for trusting me with this. I'm so proud to have this work here. This installation means so much to me, and I hope will mean something to those that can be with it too. 'Fallen Leaves was commissioned by Craft + Design Canberra in partnership with ACT Parks and Conservation. This site-specific artwork by Canberra-based artists Rebecca Selleck, responds to the theme “Fire in the Landscape” and is a reflection on the evolving impact of climate change and the increasing severity of weather events in the ACT region.' 'The Orroral Valley bushfire was so big and close we could see it from our backyard. I had my newborn in my arms. I could feel the thousands of choked breaths and splintering of great limbs as ecosystems collapsed. I was scared for my child’s future. For all our kids’ futures.    The land wasn’t recognisable. The fires were so hot they destroyed too much. But still the charred eucalypts shot out their epicormic growth. Along with other devastating fires around Australia, the Orroral Valley fire was the catalyst for intensifying conversations across the country around climate change and human impact.    For those of us who choose to remember, we go on with sorrow in our hearts and hope for the future. This artwork is a reminder. On a granite boulder, a child lays, tenderly touching the hand of a kangaroo joey. These figures are both at rest, facing towards Mount Tennent. Curved over them is the blackened bronze form of a burnt young eucalypt still in the act of sheltering, and below their young leaves form a glistening bed. '

I hope you can join us for the official opening of Fallen Leaves at Namadgi Visitor Centre, my first permanent public artwork. Saturday 6 December 2025⁠ Artist Talk | from 11am ⁠ Official Launch | from 11.30am ⁠ Location | Namadgi Visitor Centre, Naas Rd, Tharwa ACT 2620 RSVP link is in my bio. It was a long time in the making and definitely my longest ever install, with hundreds of bronze pieces secured into the granite. Thank you so much @craft_design_canberra and @actparks for trusting me with this. I'm so proud to have this work here. This installation means so much to me, and I hope will mean something to those that can be with it too. 'Fallen Leaves was commissioned by Craft + Design Canberra in partnership with ACT Parks and Conservation. This site-specific artwork by Canberra-based artists Rebecca Selleck, responds to the theme “Fire in the Landscape” and is a reflection on the evolving impact of climate change and the increasing severity of weather events in the ACT region.' 'The Orroral Valley bushfire was so big and close we could see it from our backyard. I had my newborn in my arms. I could feel the thousands of choked breaths and splintering of great limbs as ecosystems collapsed. I was scared for my child’s future. For all our kids’ futures.    The land wasn’t recognisable. The fires were so hot they destroyed too much. But still the charred eucalypts shot out their epicormic growth. Along with other devastating fires around Australia, the Orroral Valley fire was the catalyst for intensifying conversations across the country around climate change and human impact.    For those of us who choose to remember, we go on with sorrow in our hearts and hope for the future. This artwork is a reminder. On a granite boulder, a child lays, tenderly touching the hand of a kangaroo joey. These figures are both at rest, facing towards Mount Tennent. Curved over them is the blackened bronze form of a burnt young eucalypt still in the act of sheltering, and below their young leaves form a glistening bed. '

This mirror and pin set are on display at the Australian Design Centre until the 17th May, as part of Profile: 2025 the JMGA-NSW Contemporary Jewellery and Object Award. 'eucalypt blossoms are my calm falling lightly from the ironbarks to make a bed of pink and blue-green were we can rest till one of us forgets or is forgotten', 2024-25 stainless steel, bronze, sealant 30 x 30 x 12cm & 7 x 7 x 4cm When the ironbarks blossom, my mind quiets. Their beauty holds the tension between permanence and loss, memory and forgetting—a sense of self between shifting perceptions. From silicone moulds, I cast the blossoms, leaves, and stems in bronze, translating what is fragile and fleeting into a new system of value. Polished, welded and sealed, they are transformed. The polished stainless-steel mirror reflects both the work and the viewer, dissolving boundaries between self, object, and organic form. The pin, worn against the body, carries this reflection, both shifting and anchoring as we move—like memory and perception itself. The more-than-human world is my guide. I’m drawn to how we shape, revere, and ultimately commodify it, transforming complexity into something seemingly more valuable. The title speaks to this longing and sadness—of presence and absence, remembering and forgetting—lingering like an anchor in the endless reflections of two mirrors. @jmga_nsw #australiandesigncentre

'Between atoms and galaxies' is on display at the @jervisbaymaritimemuseum until the 27th April as part of their magnificent Halloran Contemporary Art Prize. I couldn't resist the pull of this year's theme of Time, reflecting on the Halloran Collection Science and the Sea. It was also my first time in years tinkering with sensors and microcontrollers, a rabbit hole I'm looking forward to following further. 'Between atoms and galaxies is a meditation on humanity’s endless search for meaning, suspended between the scales of the infinitesimal and the infinite. Inspired by the Halloran Collection’s marine chronometers, it reflects our dual drive—curiosity to uncover the universe’s mysteries and the greed to control it. These instruments, with their perfect precision, once charted the seas and facilitated the colonisation of Australia, embodying both discovery and destruction. The work’s concentric structure echoes the layered mechanics of a chronometer, its movements responding to human presence. Slow rotations, accelerating and shifting with activity in the room, mirror the cycles of time: the imperceptible spin of atoms, the rhythms of natural ecosystems, and the vast orbits of galaxies. Polished bronze, brass, and stainless steel—materials historically tied to human ingenuity and value—contrast with cast forms, fragile and intricate, collected from the southeastern coastline. This interplay reflects humanity’s attempt to impose order on nature while exposing its irreducible beauty. But for all our precision, the universe remains unknowable. Each discovery unravels new questions, revealing our minuteness in the face of time and space. The mobile invites viewers to consider their place within these endless rotations, seeking balance between awe and responsibility, and offering a meditative moment in the endless dance of existence.'

So over the moon to have had @gretel.bull in the studio again making a busy mess with me last week. She came all the way from Mparntwe/Alice Springs for the second of three in our week long mentoring sessions in mold making, casting and general studio ingenuity. I've loved helping make her ideas come to life and can't wait for the final instalment. Such a brilliant thinker, artist and human being. There are definite collabs on the horizon.

Last days to be with this work, amongst the perfect company of @judith_nangala @mahala_m_hill and @whatisadaniel at @graingergallery . Closes Sunday 9th March. '...In my casting I take this beauty and translate it to human. I just want people to feel that all-consuming awe and wonderment, but it’s amiss. Polished metals harden what was once fluid, shaping it into something to be worn, displayed, possessed. We are reflected back. These forms exist between awe and heartache, complexity and destruction, where being human means both reverence and collapse. Right now this is the closest I can get to clarity.'

Secreted away in a library vitrine in Lutruwita/Tasmania is a work made for Sawtooth x UTAS, under the curation of Sawtooth Director and all-round awesome person Zara Tully. I’m honoured to be alongside one of my favourite sculptors, Gabbee Stolp, in the adjacent vitrine. We’ll all be chatting at 5:15-6:15pm tonight in person at the Inveresk Library and on zoom. We hope to see you there! @sawtootharigallery @universityoftasmania @plimsollgallery @zarasully.art @saintgabbee ... Remnants, 2024 Bronze, steel, cotton velvet, sealant Dimensions variable This work is assembled from remnants around my studio and comes from a quiet place in my mind. Sometimes words seem pointless when we’ve been shouting so loud. Circles are calming, making orbits like atoms and stars and those thoughts trying to make sense of it all. Velvet is lush and embracing, pink like flesh and blue like waves. Bronze is an exploration of value systems, fragility, and permanence. Pteridium esculentum, or austral bracken, whose genus is prehistoric and expansive, shades the curled forms of the mice my cat once left me. A muscle shell splits and moves with the current, eroding with its surroundings and growing with the organisms that make it home. On a hovering twig lichen forms a complex symbiosis of cyanobacteria and fungi, along with a single-cell yeast and other friends. A little banksia pod rests with its leaf, having spat its seeds along the path we walk to school. The vitrine holds them in stillness, pausing time. This work is a small solace, a way to sit silently with the fragility and beauty of things when our voices grow weary.

These pieces are on display amongst the work of the brilliant @judith_nangala at @graingergallery until the 9th of March. This is an artist statement and a ramble for these quiet cast works that rest between awe and heartache. I don’t know how we aren’t all in constant awe of the complexity of everything around us. I’m in wonderment of every scrap, pinging off the intricacies that brought on our existence, the vibrating atoms that compose the universe around us, the persistent and entangled life at every level of being, the heaviness of time moving through our bodies and the wider irrelevance of us within it. The more I know the less I know. I’ve always consumed knowledge hungrily, as if answers will knit themselves together rather than dodge and weave while questions grow exponentially. There’s solace and beauty in the plants and animals around us, the relationships that sustain us. I find calm in the ironbark, flow in the hardenbergia, the fungi draw me out while the lichen reverberate. The banksia pods remind me of being with my child and I glow. But while I float and soar high off wonderment there’s this baseline feeling of my insides being pulled out through my feet. While being human in this time and place privileges me to these explorations, I’m so aware that I’m part of a species who’s enacting immeasurable cruelty and greed, inconceivable destruction, while in a state of mass denial. In my casting I take this beauty and translate it into human. I just want people to feel that all-consuming awe and wonderment, but it’s amiss. Polished metals harden what was once fluid, shaping it into something to be worn, displayed, possessed. We are reflected back. These forms exist between awe and heartache, complexity and destruction, where being human means both reverence and collapse. Right now this is the closest I can get to clarity.

Privileged to be showing with some inspiring Canberra artists, @mahala_m_hill and @whatisadaniel at @graingergallery with my pieces intertwined up in the mezzanine gallery with the thoroughly brilliant work of @judith_nangala (who I'm a long time admirer of). I honestly love all these artists' work. Such a pleasure getting to know Kasey and Rich recently, and it warmed my heart being invited into this incredible show. Opening tonight at 6pm @graingergallery . Hardenbergia Cycle 1/3 25 x 25 x 5 cm Cast Bronze, stainless steel, sealant

Tomorrow is the last day to see my latest solo show 'self portrait in the anthropocene' at the wonderful @craft_design_canberra . Two epic bodies of work are coming to their exhibition ends for now, with 'this place' as part of Dreamscape curated by @tai_mitsuji at @amesyavuz also having it's last day.