by Carla Caruso

The Adelaide Botanic Garden (Park 11) has always been a popular spot.

But it’ll be even busier as the weather warms with the launch of Chihuly’s Garden Cycle exhibition, from September 27 to April 29 next year.

For the uninitiated, Dale Chihuly, now 82, is a celebrated contemporary glass artist from the US. His Garden Cycle exhibition will make its Australian debut, exclusive to Adelaide, at the Garden.

Think vibrant, large-scale sculptures set against the beautiful botanical destination, complemented with a unique program of activites.

We spoke to Rhianna Pezzaniti, the producer of the Chihuly project in Adelaide, to learn more about what to expect.

Rhianna, how did the partnership with Dale Chihuly come about? Why is his Garden Cycle exhibition a perfect match for the Adelaide Botanic Garden?

In 1999/2000, Dale Chihuly presented work in Canberra through the National Gallery of Australia, and in Adelaide, through an exhibition with the JamFactory.

As a satellite project to these, Chihuly also presented work at the Adelaide Botanic Garden, and in 2024, the timing is right for his work to return to our city, in the first ever Garden Cycle exhibition in Australia.

The collaboration between Chihuly and the Adelaide Botanic Garden is a perfect match for a number of reasons.

Firstly, the site itself is rich with colours, textures and different forms, both built and natural. It’s an inspiring backdrop to the Garden Cycle works.

But further to this, Chihuly’s work makes a lot of sense in the context of Adelaide, given the significant glass art community and rich talent we have here — many of whom have spent time with the Chihuly Studio in Seattle and Pilchuck academy [in Washington State, US].

How many sculptures and installations will be on show and what size will they be?

There will be 15 large-scale glass and ‘polyvitro’ [plastic] sculptures and installations spread across the Garden — in lakes, garden beds, lawn areas, and ponds.

The suite of artworks range in scale and style and represent all his major installation types. The final location of the sculptures and installations will be revealed on opening day.

In the Bicentennial Conservatory, there will also be an interpretive ticketed exhibition, called In Full Colour: Dale Chihuly, that will feature a further nine clusters of smaller, museum-scale works.

Will there be anything entertainment-wise to accompany the sculptures?

There will be ticketed opportunities to accompany the free daytime garden trail. 

Chihuly Nights will allow visitors to experience the installations in a dynamic, after-dark setting.

Under the setting sun and dramatic nocturnal lighting, the installations will seem to transform in colour and form.

There will also be food, drink and live music in the Schomburgk Pavilion.

In Full Colour: Dale Chihuly is an accompanying exhibition, set in the rainforest setting of the Bicentennial Conservatory.

This immersive exhibition explores Chihuly’s artistic process and gives insights into the creation of his unique works.

JamFactory will also operate a Chihuly in the Botanic Garden retail shop, situated in the [Garden’s] Museum of Economic Botany, that will sell a selection of Chihuly edition glass sculptures and prints, as well as merchandise and a selection of products from South Australian artists and practitioners.

Will Dale be coming to Adelaide for the launch?

While Dale is unable to attend the launch, we are looking forward to welcoming the Chihuly Studio team to Adelaide.

What is it about glass art that continues to appeal?

Glass is extremely versatile. It can be used to create uniform, symmetrical pieces, then there are more unique, figurative works by the likes of [Australian glass artist] Tom Moore.

Chihuly has paved the way and pushed the boundaries – glass art doesn’t have to be uniform, symmetrical art.

It takes incredible skill, training and practice to produce a piece of glass art, and it can be a precarious process. The hot shop itself is mesmerising!

Specifically thinking about the work in the Garden – the scale, the sheer volume of glass, and the way it’s created to look like it was always meant to exist here – is very appealing.

Main photo, top: Dale Chihuly, Ethereal Spring Persians, 2022, 6 x 9 x 8', Missouri Botanical Garden, St. Louis, installed 2023. © 2022 Chihuly Studio. All rights reserved. Photographer: Nathaniel Willson.