Jenny Reddin
Jenny Reddin is a sculptor whose work is deeply rooted in a fascination with form and structure. Her artistic practice revolves around the manipulation of simple geometric shapes, primarily cubes, which she transforms into intricate and dynamic sculptures. Reddin’s work captures a sense of equilibrium and grace, often challenging perceptions of gravity and stability.
At the core of Reddin’s sculptures is the use of metal, specifically bar or flat plate, which she welds into complex arrangements. These structures are designed to interact with their environment in unexpected ways, appearing to hover, cascade, or spill across surfaces. The resulting forms are reminiscent of natural elements such as tree roots, rampant vines, or rock formations, each piece balancing a sense of organic growth with industrial precision.
What sparked the idea for the work you are exhibiting at SWELL this year?
I was thrilled to be selected for the Swell Sculpture Festival. The opportunity to exhibit among such a high calibre of artists, in a location as breathtaking as Currumbin Beach, is truly a dream for any sculptor. I can’t wait to see the sculpture positioned against the ocean backdrop with a brilliant sunset behind it adding colour, shadow and additional dimension to the work.
What’s something people might not realise about the process behind your work?
I have been a painter for over 20 years but became frustrated by working on a 2D plane. During COVID I convinced a neighbour to teach me to weld. I haven’t looked back.
I see distinct similarities between dressmaking and metal work. Either way you are taking a flat piece of material and manipulating it into a shape and form for a different purpose. Both are intensely exciting, challenging and totally worth the effort. I weld all my own smaller works and marquettes but for large scale works I collaborate with fabricators.
What role does location or environment play in your sculptures?
I live and work in the gently rolling hills in the Yarra Valley. I am sure that the environment is reflected in the ebb and flow that I look for in my work.
What keeps you coming back to sculpture as a form of expression?
Sculpture is both a physical and mental challenge. It demands engineering precision, welding skill, strength, and endurance — but more than anything, it demands a deep commitment to an aesthetic that can be elusive, often slipping in and out of focus.
My own aesthetic is grounded in minimalism. I strive for strong, clean lines and simplicity of form. The materials I use, and the way I use them, naturally lend themselves to this pared-back language. For me, less is more — the structure and form should speak for themselves, without the need for embellishment.
If you could install your work anywhere in the world, where would it be and why?
Antarctica.
Come and see for yourself at SWELL Sculpture Festival, Pacific Parade, Currumbin 12th – 21st September.