Design Library

To support our commitment to building quality open spaces that enhance the public realm, we have established a Design Library that features 81 designs created by eight prominent regional artists, Geoff Farquhar-Still, Claire Shepherd (Primrose), G.W. Bot, Jazz and Kristal Matthews, Kayannie Denigan, Leah Brideson and Rayne Huddleston. These designs are available at no cost to approved architects and builders, to use as feature elements for façade designs, signage, seating, walkways and other buildings in the public domain.

Claire Shepherd (Primrose)

Claire Shepherd (Primrose) studied at the ANU School of Art majoring in Printmaking from 1994 to 1997. After a career in teachingshe opened Form Studio and Gallery in Queanbeyanin 2010 and as well as managing the Gallery program, devotes as much time as possible to her own (mostly painting) practice.
Primrose’s art celebrates the Australian landscape and does so in ways that explore the painterly processes she uses as much as it does the landscape she visits, considers and remembers. Her designs look at the microcosm of the natural world, asking viewers to creatively journey through that world just as she does.

  • Branch

    Branch

  • Branch 2

    Branch 2

  • Branch 3

    Branch 3

  • Branch 4

    Branch 4

  • Landscape

    Landscape

  • Landscape 2

    Landscape 2

Geoff Farquhar-Still

Geoff Farquhar-Still is a Canberra-based artist who studied at the ANU School of Art majoring in Sculpture from 1999 to 2002. Prior to his art studies from 1993 to 1996 he studied Landscape Design and Plant Science at Sheffield University in the United Kingdom, and Landscape Architecture at the same institution from 1997 to 1998.  He continues with his sculptural practice but also as Director of Artillion P/L he expands that practice to embrace art in the public domain in the broadest sense of that term. He has been responsible for a range of public art projects in the ACT and New South Wales, including at the Australian Jewish War Memorial in Canberra (2018), and the Canberra Centenary Column (2014) on City Hill. His designs reflect his passion for the natural world allied with a deep understanding of contemporary technologies and the collision of both these interests into artworks for the built environment.

  • Flower 1 Colour

    Flower 1 Colour

  • Flower 2 Colour

    Flower 2 Colour

  • Flower 3 Colour

    Flower 3 Colour

  • Flower 4 Colour

    Flower 4 Colour

  • Flower 5 Colour

    Flower 5 Colour

  • Flower 1 B&W

    Flower 1 B&W

  • Flower 2 B&W

    Flower 2 B&W

  • Flower 3 B&W

    Flower 3 B&W

  • Flower 4 B&W

    Flower 4 B&W

  • Flower 5 B&W

    Flower 5 B&W

  • Water 1 Colour

    Water 1 Colour

  • Water 2 Colour

    Water 2 Colour

  • Water 3 Colour

    Water 3 Colour

  • Water 4 Colour

    Water 4 Colour

  • Water 5 Colour

    Water 5 Colour

  • Water 1 B&W

    Water 1 B&W

  • Water 2 B&W

    Water 2 B&W

  • Water 4 B&W

    Water 4 B&W

  • Water 5 B&W

    Water 5 B&W

  • Wood 1

    Wood 1

  • Wood 2

    Wood 2

  • Wood 4

    Wood 4

  • Cloud 1

    Cloud 1

  • Cloud 2

    Cloud 2

  • Cloud 3

    Cloud 3

  • Cloud 4

    Cloud 4

  • Cloud 5

    Cloud 5

  • Flower 1 CNC image

    Flower 1 CNC image

  • Flower 2 CNC image

    Flower 2 CNC image

  • Flower 3 CNC image

    Flower 3 CNC image

  • Flower 5 CNC image

    Flower 5 CNC image

  • Water 1 CNC image

    Water 1 CNC image

  • Water 2 CNC image

    Water 2 CNC image

  • Water 3 CNC image

    Water 3 CNC image

  • Water 4 CNC image

    Water 4 CNC image

  • Water 5 CNC image

    Water 5 CNC image

  • Stone 1

    Stone 1

  • Stone 2

    Stone 2

  • Stone 3

    Stone 3

  • Stone 4

    Stone 4

  • Stone 5

    Stone 5

G.W.Bot

G.W.Botis the exhibiting name of artist Chrissy Grishin. Wombats are prevalent near her suburban Canberra homeand she has taken them as her totemic animal. The source for her name however lies in historic French documents in which refer to this marsupial as le grand WamBot. Bot studied in London, Paris and Australia, graduating with a BA from the ANU in 1982. She has been a full-time artist since 1985 and has a remarkable history of group and solo exhibitions.
Bot’s relationship with her immediate environment and with the wider natural world has informed her practice for many years. Hers is a contemplative and meditative art and to express her deeply felt attachment to her subject she has developed a unique and highly individual pictorial language. The individual elements of this language Bot has called glyphs. These provide a rich and ever-growing visual vocabulary that beautifully expresses the relationship between the self and nature that lies at the core of her art.
G.W. Bot is represented in Canberra by Beaver Galleries.

  • HR Creations 1

    HR Creations 1

  • HR Creations 2

    HR Creations 2

  • HR Creations 3

    HR Creations 3

  • HR Creations 4

    HR Creations 4

  • HR Creations 5

    HR Creations 5

  • HR Creations 6

    HR Creations 6

  • HR Creations 7

    HR Creations 7

  • HR Creations 8

    HR Creations 8

  • HR Creations 9

    HR Creations 9

  • HR Creations 10

    HR Creations 10

Wilay Designs – Kristal & Jazz Matthews

“As proud Ngunawal women we have a strong connection to Country and the water throughout our Country. We would love to do some art pieces that depict our beautiful Ngunawal Country and the importance of caring for it. Caring for the land is something Ginninderry has been able to do by protecting culturally significant land. And also preserving trees, we would add some of these trees within an art piece.
The waterways are such a significant part of who we are as Ngunawal people so our art pieces would have waterholes, the Ginninderra creek and the Murrumbidgee River. Also the animals that you’d find down by or in the river. Like platypus, fish, turtles & kangaroos etc.”

  • Cultural Gathering - Jazz Matthews

    Cultural Gathering - Jazz Matthews

    This design represents the Ginninderra Creek Corroboree Ground Cultural Gathering Place on the left. Significant for things such as teaching and sharing culture. Then, going across, the path follows the Ginniderra creek and the fish traps before reaching the open landscape, the trees and other bush land.

  • Animals on Country: Echidna - Jazz Matthews

    Animals on Country: Echidna - Jazz Matthews

    Represents a variety of Fauna in the landscape such as the Rosenberg’s Monitor, Bearded dragon & Echidna. They are a source of food our people would hunt on Country. These animals are an important part of our beautiful Country and culture.

  • Animals on Country: Rosenberg’s Monitor - Jazz Matthews

    Animals on Country: Rosenberg’s Monitor - Jazz Matthews

    Represents a variety of Fauna in the landscape such as the Rosenberg’s Monitor, Bearded dragon & Echidna. They are a source of food our people would hunt on Country. These animals are an important part of our beautiful Country and culture.

  • Animals on Country: Bearded dragon - Jazz Matthews

    Animals on Country: Bearded dragon - Jazz Matthews

    Represents a variety of Fauna in the landscape such as the Rosenberg’s Monitor, Bearded dragon & Echidna. They are a source of food our people would hunt on Country. These animals are an important part of our beautiful Country and culture.

  • Water animals: Fish - Jazz Matthews

    Water animals: Fish - Jazz Matthews

    The waterways and animals are an important part of country. The water has always connected us socially and culturally together. It’s our responsibility to keep clean, look after and care for the waterways to keep the animals healthy and strong.

  • Water animals: Platypus - Jazz Matthews

    Water animals: Platypus - Jazz Matthews

    The waterways and animals are an important part of country. The water has always connected us socially and culturally together. It’s our responsibility to keep clean, look after and care for the waterways to keep the animals healthy and strong.

  • Sticky Everlasting - Jazz Matthews

    Sticky Everlasting - Jazz Matthews

    The sticky everlasting (Xerochrysumviscosum)-This design represents the beautiful native plants. The sticky everlasting is found on Country & brings in the insects, so is good for pollinating.

  • Corroboree Ground (option A) - Kristal Matthews

    Corroboree Ground (option A) - Kristal Matthews

    This design represents the Corroboree Ground, a corroboree was a time of meeting together and celebrating with different mobs who past through NgunawalCountry.
    Underneath the starry night sky with the hills in the distance my people and all those who gathered togetherwould come by the waterways and sit near the fire. A fire is depicted in the middle which is also a meeting place, with people gathered around it. The white represents the ochre which was used during ceremony.
    Native bush plants and tucker that was collected is represented by the earthy tones. Our connection to Country is just as vital to us today as it was to our old people. We must continue to care for Country and reflect on the significance of this area.

  • Corroboree Ground (option B) - Kristal Matthews

    Corroboree Ground (option B) - Kristal Matthews

    This design represents the Corroboree Ground, a corroboree was a time of meeting together and celebrating with different mobs who past through NgunawalCountry.
    Underneath the starry night sky with the hills in the distance my people and all those who gathered togetherwould come by the waterways and sit near the fire. A fire is depicted in the middle which is also a meeting place, with people gathered around it. The white represents the ochre which was used during ceremony.
    Native bush plants and tucker that was collected is represented by the earthy tones. Our connection to Country is just as vital to us today as it was to our old people. We must continue to care for Country and reflect on the significance of this area.

Kayannie Denigan

Kayannie Denigan is an emerging Australian Aboriginal artist. She is Luritja by birth –connected to Iltjitjariand Unturuin Central Australia through her grandmother and great-grandmother respectively. Kayannie is also connected to the Bagarrmuguwarra, Guugu Yimithirr and Kuku Yalanji people of Cape York through her Nganjan (adopted father). She maintains strong connections to country at Buru, Starke and Yuku Budhuwiguand to the communities of Hope Vale and Wujal Wujal.
Kayannie works predominantly in acrylic on canvas and is inspired by a painting style that was passed down from her grandmothers –the iconic dots and symbols of Central Desert art. She combines this ancient form of storytelling with the colours and stories from the lands and culture of her childhood home in Cape York. Her unique style represents her heritage and upbringing, resulting in earthy, rich and vibrant expressions of her connection to people and country. Kayannie also creates digital art inspired by her paintings. She has worked in copper, brass and silver to create contemporary jewellery and other items that reflect and enhance her practice.

  • Enduring Connection - Kayannie Denigan

    Enduring Connection - Kayannie Denigan

    This artwork draws on the enduring connection between Indigenous peoples and their country. Taking an abstract approach, this artwork represents the features of landscapes across Australia. It shows the rocks, mountains and sites of significance, the places and people that connect us, wildflower, plants and waterbodies that sustain us and the stars at guide us. These things connect us to the land itself.

  • Ngunnawal Country A - Kayannie Denigan

    Ngunnawal Country A - Kayannie Denigan

    This design is inspired by my work exploring the Luritja and Kuku Yalanji lands of my Nanna and Nanny. Inspired by flying over the lands of my ancestors, I have used bright and bold colours I see across Ngunnawal Country. The vibrant yellow and greens are inspired by the wattle and eucalyptus that are iconic of the Canberra region. The design shows the rock formations, water bodies, flora and the people and places of Ngunnawal Country.

  • Ngunnawal Country B - Kayannie Denigan

    Ngunnawal Country B - Kayannie Denigan

    This design is inspired by my work exploring the Luritja and Kuku Yalanji lands of my Nanna and Nanny. Inspired by flying over the lands of my ancestors, I have used bright and bold colours I see across Ngunnawal Country. The vibrant yellow and greens are inspired by the wattle and eucalyptus that are iconic of the Canberra region. The design shows the rock formations, water bodies, flora and the people and places of Ngunnawal Country.

  • Topographic - Kayannie Denigan

    Topographic - Kayannie Denigan

    This work was inspired by the beauty of the Ginninderry landscape and depicts the meeting of Ginninderra Creek with the Murrumbidgee River and the surrounding area. I sought to pay respect to the cultural significance of the area, including the presence of secret and sacred sites, in a culturally appropriate way. Through a topographic approach, I have taken an ariel view that shows the creeks, hills and rivers that make up the Ginninderra landscape. I have shown the areas using earthy colours, which are inspired by the landscape itself.

Leah Brideson

“..I am Leah and am an Aboriginal woman born in Canberra, ACT. My mob are Kamilaroi from my Grandmothers country in the Gunnedah region. I am a self-taught Contemporary Aboriginal Artist and began painting at a very young age. I have been painting in a professional capacity for over 9 years. I am a mother to two young children and a Cultural Integrity Coordinator in ACT Public Schools.
Art is such an important platform to share my culture with the wider community. My art is like a ‘visual yarn’, connecting people with the stories and meaning behind the work. A great deal of my artistic vision and inspiration comes from the changing landscapes in my hometown, on country and from my journeys to ocean country and beyond. I use layers of fine dotting, line work, colour gradients, Aboriginal symbolism and my signature style of ‘cracked earth’ landscape throughout my paintings. Kamilaroi country is often dry and cracked, but rich and deep in history, culture and story as represented by the space in between the cracked earth. My paintings often work between two perspectives; landscape and birds-eye view. Through a birds-eye view, I generally map the journeys in which I take, along with my ancestral and cultural ties. As I learn more about my culture and discover my ancestors footprints in the landscape, I feel the urge to paint my story, my sense of place and greatly pay attention to detail, natural patterns, light, shade and texture in the landscape.
I am inspired by Aboriginal artists such as Judy Napangardi Watson and Minnie Pwerle, particularly their attention to colourdetail and representation of Country. I am greatly influenced by natural artist and photographer Andy Goldsworthy; his work using natural landscape, colour, time and weather is inspiring and makes me think of how lucky we are to have such beautiful Country to live on and draw inspiration from.”

  • Country 1

    Country 1

    ‘Country’ is a representation of the interconnection of Country, water, sky and all living things with both the physical and spiritual world. The cultural landscape where Ginninderryis situated holds story and Songlines that are fundamental to the First Nations peoples, the Ngunnawal, whose physical and spiritual connection to the landscape is strong.
    This artwork urges people to look deeper into the history of place, to know that the landscape was and always will be interconnected with the people since time immemorial, and to listen wholeheartedly to the stories and knowledges of the Ngunnawal peoples.
    In Artwork 1, the connected stars and lines in the sky represent the Ancestors who continually watch over and guide First Nations people in this place. The dots inside the mountain lines depict the mountains as connecting the neighboring nations and beyond. The coloursof this artwork are black and white which depicts a night timescene, but also entices the viewer to create their own colourpalette of what Country looks like from their lens.

  • Country 2

    Country 2

    ‘Country’ is a representation of the interconnection of Country, water, sky and all living things with both the physical and spiritual world. The cultural landscape where Ginninderryis situated holds story and Songlines that are fundamental to the First Nations peoples, the Ngunnawal, whose physical and spiritual connection to the landscape is strong.
    This artwork urges people to look deeper into the history of place, to know that the landscape was and always will be interconnected with the people since time immemorial, and to listen wholeheartedly to the stories and knowledges of the Ngunnawal peoples.

  • Life Source 1

    Life Source 1

    This artwork is an extension from my series of Life Source. It pays attention to the connection the river has with country, and its parallels with the veins in our body and the roots of trees. The veins of a river reach out to nurture country. The cracked earth represents country. Each piece of earth is significant, and in these images also represent stepping stones of connection, adventure and a place to grow with Country.
    In both Life Source artworks, the river system depicted is a topographical view from Google Maps of the MurrumbidgeeRiver bend closest to Ginninderry, with the river system stretching over close to Strathnairn Arts Centre.
    In Country 2, the concentric shapes are a representation of the gradients, elements and spaces of Country. The colourscheme of this artwork will reflect the colours of Country in the Ginninderry and Murrumbidgee River landscape

  • Life Source 2

    Life Source 2

    This artwork is an extension from my series of Life Source. It pays attention to the connection the river has with country, and its parallels with the veins in our body and the roots of trees. The veins of a river reach out to nurture country. The cracked earth represents country. Each piece of earth is significant and in these images,also represent stepping stones of connection, adventure and a place to grow with Country.
    In both ‘Life Source’ artworks, the river system depicted is a topographical view from Google Maps of the Murrumbidgee River bend closest to Ginninderry, with the river system stretching over close to Strathnairn Arts Centre.
    In Life Source 2, the gradual vibrancy dots toward the river embodies the importance of caring for our waterways that sustain life. The colours of this artwork are black and white which entices the viewer to create their own colour palette of what Country looks like from their lens.

  • River Life

    River Life

    This artwork is an illustration of the river connecting all life with many components to its story:
    • People meeting by the river to drink, cook, hold ceremony, swim and play.
    • Fishing nets made from native trees and shrubs and fish (U shapes) swimming in the stream.
    • Animals and wildlife that access the water such as kangaroos, birds and insects.
    • Plants such as the Black Wattle and the River She-oak trees, both plants with connections to the water and great importance for Ngunnawal people with medicinal, nutritional, seasonal indicators and tool making qualities.
    • The ripple effect in the water represents continual passing on of knowledge.
    This artwork aims to educate people on the diverse connections of the river, with many animals that call the place home, the flora that has been thriving in the landscape for thousands of years and the vital connection Ngunnawal people and surrounding nations have to the waterways. This work acts as a visual reminder of why we need to embody respect for the environment and place.
    The colour scheme of this artwork reflects the colours of Country in the Murrumbidgee and surrounding landscape.

Rayne Huddleston

Rayne’s artistic style originates from his maternal grandfather (Ngandi/Ngukkarmob) and the cross-hatching which is seen within two totems comes from Burrunji City, East Arnhem land, a sacred site and original place of the Ngukurr people.
Rayne is an Indigenous artist born in Western Australia and comes from the Mulbraregion and the Nyiyapalilanguage group. His skin name is Wunnangunnanga and his mother’s family is from the Ngukurr Roper River in the Northern Territory.
His mother’s side are traditional people from East Arnhem Land and direct descendants from ruin city, “Burrunju City”. All his art is traditional and respected.

  • Wirradjuri Goanna

    Wirradjuri Goanna

    Rosenburg goanna and travelling across the rough terrain and visiting the left-over campsite left there by the ceremonial groups that visited the area before the floods.
    Colours: background. Brown, red and white. Goanna. Black, white, red, yellow. Gathering places. Blue, white, black. Song lines and footprints. Black and white.
    The red, yellow, and white will be traditional ochre colourswhen designing my cross-hatching and figures will be the traditional techniques passed down to me no matter what. But the rest is flexible my traditional (rakk) can’t be changed that’s embedded into to my heritage, pride and honour. All my backgrounds are bright and colourfuland I like to keep thing simple and colour coordinated.

  • Bogong Moths

    Bogong Moths

    Bogong moths travelling into the new grounds of the Ginninderry cultural gathering place to incorporate our ancient indigenous people who have walked the land and gathered here in the past to feed and share knowledge.

  • Kangaroos travelin’ through the wetlands

    Kangaroos travelin’ through the wetlands

    Kangaroos travelling across the flood plains to eat at the Ginninderra Creek. Before European land practices changed the local environment, the Ginninderra Creek formed a chain-of-ponds in the wetland vicinity of Ginninderra Creek Corroboree Ground Cultural Gathering Place.

Design Library in use

‘Mini-G’ is a fully furnished 27sqm tiny house, located within the Ginninderry GX Display Village. It is designed to challenge people’s views on how homes are designed, and the space that you need to live.

As part of Ginninderry’s Design Library, artwork by G.W.Bot is integrated within the façade of the ‘Mini-G’; this artwork is emblematic of the visual language, that she calls “glyphs”; a consistent theme of all her work.