Ahead of the completion of a new commissioned artwork for Point Hotel, we visited Brisbane artist Jane du Rand in her studio to see the piece taking shape.

Known for her distinctive practice that blends mosaic and handcrafted ceramic elements, Jane creates site-responsive works inspired by the Australian landscape and the stories embedded within it. Her work invites closer observation, drawing attention to the native flora, birdlife and natural details that often become part of the backdrop of everyday life.

For Point Hotel, Jane has developed a large-scale poolside commission inspired by Queensland’s coastline. At the centre of the work sits the pandanus tree, a familiar presence along the state’s shorelines, accompanied by Blue-faced Honeyeaters feeding on its seeds. Together, they form a distinctly local narrative that celebrates place, landscape and connection to the natural environment.

The composition is grounded in a restrained palette of sun-warmed neutrals, sandy earth tones and muted ocean blues, enriched by the deep green foliage of the pandanus. The colours have been carefully considered to reflect the surrounding landscape, creating a work that feels inherently connected to its future setting.

While mosaic remains central to Jane’s practice, her work extends beyond traditional techniques. Working from her Brisbane studio, she combines individually cut mosaic pieces with handcrafted ceramic elements that she creates herself. The result is a richly layered surface filled with texture, depth and materiality, where every component contributes to the larger story being told.

This attention to detail is evident throughout her process.

For Jane, every project begins with a place.

From observation, the process moves into drawing and detailed design before production begins. Every element is carefully considered before the first piece is laid.

“I like to go to the site and stand on the site and feel it, and maybe pick up something off the ground and really get a feeling for where I am.”

Although still in production, the commission has been conceived specifically for its future poolside setting at Point Hotel. From the earliest sketches, Jane has considered how the work will interact with light, movement and the surrounding environment, ensuring the final installation feels intrinsically connected to its location.

The nature of mosaic itself demands patience.

Every piece is assembled by hand, with individually cut ceramic fragments forming larger patterns and imagery at scale.

That relationship between scale and detail sits at the heart of Jane’s work. From a distance, the composition reveals a recognisable landscape. Up close, thousands of individual pieces emerge, each carrying its own colour, texture, and subtle variation.

It is this gradual unfolding that gives the work much of its character. Rather than revealing itself in a single glance, the artwork rewards closer observation and invites viewers to slow down, noticing details that may have initially gone unseen.

Jane’s wider practice is rooted in site-responsive public art, where the relationship between artwork and environment is fundamental. Whether working on public commissions, architectural installations or cultural projects, her focus remains on creating works that feel deeply connected to the places they inhabit.

For now, the Point Hotel commission remains within the studio, each piece carefully assembled by hand before making its way to Brisbane’s Kangaroo Point in the coming months.

Watching the artwork take shape offers a rare insight into a process that is often unseen. One defined by craftsmanship, patience and a deep connection to place.

When complete, the installation will bring together thousands of individual pieces to tell a distinctly Queensland story, creating a lasting connection between art, landscape and the evolving identity of Point Hotel.