Broached Consulting

We recently visited the @meridiansculpture workshop to view artist @yhonniescarce ’s upcoming commission for @mirvac_group ’s 55 Pitt Street in Sydney. As a tribute to the pre-colonial condition of the Tank Stream – which once flowed through the 55 Pitt Street site – this site-specific brass sculpture by Yhonnie Scarce is a symbolic reinstatement of the Swamp Sheoak (casuarina glauca) back into the 55 Pitt Street ground plane. This sculpture acknowledges the history of Sydney’s lost flora and builds on the story of the native landscape of Gadigal Country.

In the library of VMCH’s St Clare Kew precinct sits an antique Sammelband of Roman churches, engraved plates gathered across centuries, from devotional surveys of the 1650s to early 19th-century lithographs. A devotional record, it reflects the intertwined histories of faith, art, and intellectual possession that shaped Europe’s visual culture. For this commission, we invited artist John Warwicker to open it. Working from scans of the book’s pages, Warwicker built a series of large-format prints that fold the original architectural drawings into a bricolage with the formal and figurative imagery of the period. The works retain the scholarly rigour of the original plates while enacting a creative, almost theatrical, interrogation of architectural and artistic lineage. John’s prints populate the hallways of the residents’ buildings, spaces that all invariably connect back to St Clare’s library, and the book it contains. Client: @vmchvic for @st.clare_kew Architecture: @woodsbagot Antique Book: @aradergalleriesnyc Artist: @johnwarwicker0001 Photography: @trevormein

NEW COMMISSION | Broached’s capstone project for Lendlease at Melbourne Quarter, Batman’s Hill Marker. This artwork celebrates the surveying of the Melbourne Grid from Batman’s Hill, where this precinct now stands. Broached decided to invert the view of a colonial era theodolite by inviting artist Maree Clarke to create a river reed kaleidoscope within the viewing lens, creating a First Nations perspective on this primary location for the colonisation of Victoria.  Artwork: @broached_commissions & @ree_clarke Manufacturing: @axolotlgroup Lens: @canberraglassworks Photography: @peterbbennetts Commissioned by: @lendlease @melbourneqtr

In the laneway between Nicholas Hall and 150 Lonsdale St, take a moment to view the Gulinj-al Ngulu Kerr-up-non Biik-u (The Voice of Kulin Kin Country) artwork by @ree_clarke , commissioned for Wesley Place. In a custom metal case designed by @broached_consulting and fabricated by @axolotlgroup , it is just one of the many unique Indigenous art pieces for our community to enjoy at Wesley Place. Visit the link in our bio to find out more about Wesley Place’s public art program. #WesleyPlace

John Warwicker’s typographical pamphlet intended for the opening of @lendlease ’s One Melbourne Quarter lobby to accompany his typographical artwork ‘Your Lordship Has Been Fortunate’. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Artist: @johnwarwicker0001 ⠀⠀⠀⠀⠀⠀⠀⠀⠀ #JohnWarwicker #MelbourneQuarter #BroachedCommissions #LendleaseArt #PostcolonialDesign #DesignHistory #SiteSpecificArt #DesignNarratives #ArtAndDesign

An intricate lead-alloy toy soldier stands stoically framed within a decorative pressed metal frame. Objects of child’s play and nostalgia display a cross-section of reverie and daily life, painting a picture of the working-class families who once called 275 Kent St, Sydney, home. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Co-creatively directed: @artistbrand Interior architecture: Mikhael Rodrick @yumdoggmillionaire Lighting design: @annatregloan Client: @mirvac_portfolio and @isptproperty Photography: @alldaydean

A short film commissioned by Sydney restauranteur @nahjichu with Broached’s Lou Weis as executive director. Featured on @nowness , Make Your Maker explores the inseparability of the human body from reproduction and consumption. Jellies and organic materials are cast into the shapes of bodies and faces, an augmentation and cloning of the human body occurring within the kitchen laboratory. Artist @lucymcrae blurs the distinction between specimen and subject, with the proposition of eating our cloned and technologically reconstructed selves.

Batman’s Hill was once earmarked as the potential location for Melbourne’s Botanical Gardens. These gardens served as a project of colonial expansion and settlement with the introduction of plant species collected from around the globe. Artist Geoff Nees’s geometric pattern work warmly inhabits the interior of Lendlease’s headquarters at Melbourne Quarter. The timberwork is comprised as a collection of fallen native and introduced trees from Melbourne’s Botanical Gardens- a commentary on the colonial moment that the building is built upon, and an ambient meditative piece. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Artist: @geoffnees Client: @lendlease Fabrication: @woodcraftmobiliar Photography: @earlcarterstudio

Nostalgia, in collaboration with @woodsbagot for the Continental, Sorrento. We often fondly reflect on this project and the privilege it was to curate and commission works within such a beautiful environment. Broached’s narrative focussed on the exclusion of Indigenous Australians, the LGBTQ+ community, and women as independent travellers during the seaside period of the late 19th C. Vibrancy, playfulness, youth, and sentimentality speak through all these individual works. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ @thecontinentalsorrento photography: @trevormein ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Image 01: @paulkthing , @neon_parc Image 02: @kironrobinson , @sarascoutpresents Image 03: @fergusgreer._ , @michaelhoppengallery Image 04: @darrensylvester , @neon_parc

Stills from Make Your Maker (2012). A short film commissioned by Sydney restauranteur @nahjichu with Broached’s Lou Weis as executive director. Make your maker explores the inseparability of the human body from reproduction and consumption. Jellies and organic materials are cast into the shapes of bodies and faces, an augmentation and cloning of the human body occurring within the kitchen laboratory. Artist @lucymcrae blurs the distinction between specimen and subject, with the proposition of eating our cloned and technologically reconstructed selves. View on Nowness: /story/make-your-maker

Bar Studio had both the privilege and burden of working on an interior design package for one of Australia’s most important colonial structures, the Lands Building. Sitting in the Sandstone Precinct of Sydney, it is distinguished by the fact that it is possibly one of the longest serving bureaucratic offices in the city. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Within the alcoves of the Lands Building are figures, carved from sandstone, who are memorialised for their great achievement in opening up the frontier lands of Australia. This is a building that celebrates the exploits of colonisation, preserving the records of land acquisition and exchange.  ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Broached worked on a narrative that synthesised the colonial history with the interior demands of a contemporary five-star hotel. This narrative was used by Bar Studio as a bed of creative and historical knowledge from which to pull inspiration and direction. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ The result was a Creative Director’s statement that articulated numerous storylines, reflecting upon the more progressive figures during the cut and thrust of colonial expansionism. Bar Studio, who are sensitive to issues of colonisation, utilised this creative direction as a catalyst for aspects of their design response. @barstudio_ ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Image 1: Statue of John McDouall Stuart Image 2: Anthropologist Nicholas Miklouho-Maclay Image 3: The Lands Building, Sydney

Joy Ride was an interactive installation, that wedged audience members – fourteen at a time – between a digital ceiling and an industrial floor. The fourteen strangers, lying on a rotating turntable, were pressed so close to the digital projection screen above them that it was not possible to see the entire image. The result was a breakdown of assumed access to the entire media narrative. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Joy Ride was produced for the ‘03 Singapore and Melbourne International Arts Festival. ⠀⠀⠀⠀⠀⠀⠀⠀⠀ Collaborators: Sir Jonathan Mills Tao Weis Toby Reed Dylan Brady Geoffrey Nees Mathew Ngui Photography: @johngollings