Beyond the Ocean of Existence

Designer: Loretta Quinn
Year: 1993
Bronze sculpture n granite plinth

Beyond the Ocean of Existence demonstrates Quinn's reflective approach, and it is a work replete with religious references. There is a sense of 'folk religion' in much of her art, and whether the symbols derive from the mystery of a Latin mass or the animist universe, a Celtic myth or a Japanese garden, she says they are 'visual references to which other will relate'.
A painted bronze sculpture, Beyond the Ocean of Existance comprises of a single large ball surrounded by eight bronze coils. A series of smaller balls and lengths of column, both triangular and circular in cross-section, surround these coils. At the sculpture's top is a stylised angel. The work is mounted on a granite plinth of dressed and polished blocks

Burke and Wills Monument

Designer: Charles Summers
Year: 1865
Bronze statue with granite pedestal

The ill-fated journey of Bourke and Wills is one of the most recited episodes in Australian history, and one that Summers would have a role in memorialising. Burke and Wills' journey began amid glorious public sentiment of hope and pride as their team set off for the Gulf of Carpentaria. Among other things, the publicly funded expedition would help solve the puzzle of what lay in Australia's interior, and at a time of interstate rivalry it would bring triumph to Victoria. But the expedition ended as a sorry tale of rash decision-making and unfortunate timing, and ultimately with the deaths of Bourke, Wills and Gray.

On 2 November 1861, news of the death of Bourke and Wills reached Melbourne, and within days greif swept the city; more than 40,000 people are said to have paid their last respects to the fallen heroes. The Victorian government announced a memorial would be erected and Charles Summers submitted the winning design. Burke stands to the left of the seated Wills, his forearm resting on his companion's shoulder. A book lays open in Wills' lap. Mounted atop granite blocks, the statue also features bronze bas-relief plaques depicting events during the expedition.

Larry LaTrobe

Designer: Pamela Irving

Year: 1992 and 1996

Bronze sculpture

He is a life-size dingo-like dog who surveys the activity in City Square. Larry was based on Irving's dog, Lucy, and on her uncle, Larry. She claims that the dog is iconic to Australia, and from the moment it was unveiled, Larry LaTrobe became one of Melbourne's most loved sculptures.

Despite being anchored to the site with 30 centimeter bolts, Larry disappeared in August 1995. Council immediately launched a campaign for his return, but to no avail. On hearing of the theft, Larry's most ardent admirer, Mr. Peter Kolliner, who had owned the foundry where he was cast, offered to produce another one. Irving altered the new Larry's colouring to affect some individuality (he has a redder tinge), but in all other respects he is the same.

Larry was officially welcomed home on the 16th of September 1996. Melbourne band Jugularity entertained the crowd with an ode to the sculptures. 'Larry Come Home - a dogumentary.' sung to the tune of 'Advance Australia Fair.'

The Echo

Designer: Edward Ginger
Year: 1996
Steel plate sculpture with polyurethane paint

Ginger's non-figurative  The Echo takes it's inspiration from Melbourne's rich and diverse cultures, particulary it's Asian cultures. Both the design and vibrant sienna colouring of the work have strong assosiations with Eastern spirituality.
The Echo is sited close to Chinatown and what was, at the time of installation, the bank of Hong Kong, with the intention of connecting the work to it's cultural environment. The design also seeks to intergrate disparate aspects; Ginger has incorporated seating to encourage passes-by to linger and to interact with the sculpture, and to see it as part of the streetscape rather than as an interloper from the lofty world of art.

A History Apparatus - Vessel, Craft and Beacon.

Designer: Chris Reynolds
Year: 1993
Steel and fibreglass sculpture on bitumen, concrete and bluestone foundation.

This sculpture was created as a part of the National Metal Industry Sculpture Project which was an innovative program that aimed to establish links between art and the greater community.

The work comprises of three main elements (the vessel, craft, beacon).  The main components of the sculpture is 24 metres in length. The components refer to concepts that anchor us down in life:

• vessel - the past
• craft - the present
• beacon - the future

Federation Bells

Designers: Neil McLachlan, Anton Hasell
Bronze-alloy bells on galvanised-steel poles
Year: 2002
Owned by Arts Victoria

The federation Bells installation comprises of 39 upturned bells of different sizes, mounted on poles ranging from two to six metres high. The size of each bell determines the pitch, and collectively the pitch ranges over four octaves. Most of the bells are harmonic and very pure in their tone; seven are polytonal, so able able to play more than one pitch with a single hammer strike.
Seven Australian composers were commissioned to create paices of four to five minutes for the launch of the bells. Computer-controlled hammers strike the bells to the tune of the programmed compositions.
In 2008, the city of melbourne launched a website ( http://www.federationbells.com.au/ ) to allow members of the public to compose their own paices for the bells.
By walking among the bells or listneing to them from up to 100 meters away, visitors have a different aural experience of the music.