Craig Walsh’s Monuments (Promo)

2022/2023 Tour Dates

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“the digital works continue to animate landscapes and public spaces around the globe, and they’ve evolved in breadth and scope”

Grace Ebert, Colossal
full article (PDF)

“Walsh positions the luminescent faces in the fraught, timely debate over whom we should honor in public space – and how.”

Kelsey Ables, Washington Post
full article (PDF)

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

Susan Froyd, Westword
full article (PDF)


Craig Walsh’s Monuments challenges traditional expectations of public monuments and the selective history represented in our public spaces. Built for the great outdoors, Monuments celebrates selected individuals through large-scale, nighttime projected portraits onto live trees in public spaces for stunning effect. Monuments represents a haunting synergy between the human form, nature, and the act of viewing. Enormous night-time projections transform trees into sculptural monuments. Presenters select subjects to celebrate and honor through their stunning portraitures. Installations typically include 3 portraits installed for 4 weeks of nighttime viewing. Recent Monuments in Charlotte SHOUT Festival, NC; Without Walls Festival, in San Diego; and Moss Arts Center in Blacksburg, VA.

“For the past eight years, the Australian artist has created a series of exhibits called Monuments that play with the idea of who we commemorate, and how.”

Elizabeth Segran, Fast Company full article (PDF)

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

Andrea Simpson, ArtsHub full article


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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