Monuments – Video Art Installation


Craig Walsh’s Monuments (Promo)

2020/2021 Tour Dates

Oct 2- Nov 7, 2020
Bethesda, MD

Please check back soon for newly announced tour dates!

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“[Craig Walsh’s] eerie and inspiring projections of human faces on trees are already an Internet sensation.”

Susan Froyd, Westword
full article (PDF)


“Walsh challenges the concepts and expectations of history and public monuments in civic spaces.”

Andrea Simpson, ArtsHub
full article (PDF

More press quotes soon to come…


MONUMENTS are site-responsive projection works that have been realised across Australia and internationally,
most recently as part of the 2017 Breckenridge International Festival of the Arts, in Colorado. Monuments represent a haunting synergy between the human form, natural environment and the act of viewing. Night-time projections transform trees into sculptural monuments, surveying the immediate environment. Monuments aims to challenge traditional expectations of public monuments and the selective history represented in our civic spaces. Cleverly deconstructing its own definition by humanising the monument, there is a temporary fusion of everyday individuals with other living species occupying shared areas. Undermining the permanent historical and public art models so often controlled by subjective motivations, Monuments recognises the infinite contributions which influence our understanding of place. “Monuments, Breckenridge” featured three local subjects: historian Maureen Nicholls, biking enthusiast Jeff “Westy” Westcott, and dancer Zoe Gallup.


Craig Walsh has, over the last 30 years, become widely known for his pioneering works including innovative approaches to projection mapping in unconventional sites  His site-responsive works have animated natural environments and features such as trees, rivers and mountains, as well as public art projects in urban and architectural space. He is also renowned for his site interventions at live events, including iconic works at music festivals across Australia and internationally.
Craig’s work remains distinctive for its conceptual underpinnings and deftly woven narrative. Over recent years he has extended his digital arts expertise into work with diverse communities, enabling large-scale participation as collaborators in contemporary art projects such as Home Gwangju (South Korea, 2012), Traces — Blue (Setouchi, Japan, 2013), and FIVE (DADAA Inc., Western Australia, 2013 -14).

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