When the National Gallery of Australia introduced Lindy Lees monumental sculpture titled Ouroboros, it immediately drew national attention. The work, valued at fourteen million dollars, became the most costly single commission in the history of the institution. Rising a little over four meters in height and weighing about thirteen tonnes, the artwork is crafted from stainless steel polished to a mirror like sheen. It is placed within a shallow pond in the gallerys sculpture garden, where its reflective surface captures the changing colors of the sky, surrounding trees, and passing visitors throughout the day.
The sculpture takes its name from an age old image of a serpent consuming its own tail. This ancient symbol has appeared across many cultures for thousands of years and is widely associated with renewal, transformation, and the continuous cycle of existence. By selecting this concept as the heart of her creation, Lee invites viewers to engage with ideas that have shaped spiritual and philosophical thought across different traditions.
Rather than presenting the symbol in a literal manner, Lee reimagines the idea as a large circular form that viewers can enter. This choice transforms the emblem of eternal return into an immersive environment, shifting the focus from observation to direct sensory engagement. Visitors do not simply witness the theme of cycles and continuity they physically move through it.
Crafting an immersive experience
The making of Ouroboros was an extensive undertaking. The sculpture took several years to fabricate in a Brisbane studio and required the effort of many specialists including engineers, welders, designers, and artisans. The polished steel panels were shaped with great precision and joined together so seamlessly that the surface appears fluid and continuous. Every section had to be engineered to maintain structural integrity while also supporting the sculptures smooth curvature and internal illumination.
During daylight hours the outside of the form behaves almost like a liquid mirror. It reflects the world around it in soft, shifting patterns. Clouds drift across its surface. Water from the surrounding pool ripples against it. Visitors walking past find themselves woven into its reflections, creating a moment where the artwork and its environment seem to blend into one unified scene.
At night the sculpture reveals a different personality. Thousands of small openings that were drilled and shaped by hand allow beams of light from within to escape into the darkness. The effect resembles a constellation or a field of fireflies. The interior becomes a warm glowing space that encourages slow movement and contemplation. The contrast between the sculptures outward brilliance and the gentler inner atmosphere is purposeful. Lee wanted the exterior to convey a sense of grandeur while the interior fosters a feeling of stillness and introspection.
Stepping inside the sculpture is a surprising experience. Although its exterior appears compact and contained, the interior unfolds into a spacious chamber. Lee once described the sensation as entering a realm larger than expected, an impression that echoes metaphysical ideas about infinite space existing within finite boundaries. The interior curve draws visitors forward and invites them to linger, observe the shifting light, and reflect on their own place within the larger patterns of life.
The artistic influences behind Ouroboros come from many parts of Lees personal and cultural background. Her practice draws from Taoist concepts, Zen Buddhist insights, and her Chinese Australian heritage. Much of her work centers on the relationship between human experience and the wider universe. In this sculpture she explores these interests on a scale accessible to the public. Her aim was to create a space where people from all backgrounds can feel a sense of connection, not only with the artwork but with something more expansive.
Meaning, debate, and lasting significance
While the sculpture has been widely praised for its ambition and beauty, its cost sparked considerable discussion. Some observers questioned whether a single artwork should command such a high investment, expressing preference for a broader range of acquisitions rather than one monumental piece. Others hesitated to accept the sculptures simplified circular shape as a proper representation of the ancient serpent symbol that inspired it.
Despite these concerns, public response following the unveiling gradually shifted toward appreciation. Many visitors and critics praised the sculpture for its bold presence, its craftsmanship, and its ability to foster a moment of quiet reflection in a busy world. Those who entered the glowing interior often reported a sense of calm, connection, and wonder. In this respect the work achieves what Lee intended. It offers a place where individuals can step away from daily pressures and sense something larger than themselves.
The sculpture also demonstrates the impressive skill and creative potential of Australian art fabricators. The technical demands of the project pushed the limits of local production, and its successful completion sets a new standard for public artworks in the country. The project showcased the cooperation of artists, engineers, foundry workers, and designers working toward a shared vision. The result is a structure that is expected to last for centuries, both as an artistic treasure and as a technological accomplishment.
Beyond its physical qualities, Ouroboros invites ongoing reflection on themes that remain relevant to contemporary life. The symbol of the serpent consuming its own tail reminds viewers that change is constant and that endings can also be beginnings. The reflective surface encourages individuals to consider their role within a broader community and environment. The illuminated interior recalls the idea that light can emerge from within even when everything outside seems dark.
A new landmark for the National Gallery of Australia
In placing the sculpture within a pond surrounded by native plants, the National Gallery emphasizes the dialogue between nature, water, sky, and human creativity. The setting reinforces the fluid relationship between past and present, tradition and innovation, and the personal and the universal. As a result, the sculpture functions not only as a visual landmark but also as a living part of its landscape.
For Lindy Lee, this work represents a significant chapter in her artistic journey. It unites her philosophical interests with a scale and visibility rarely achieved in her earlier projects. The sculpture stands as a testament to her exploration of identity, belonging, and the continuous cycles that shape life.
In the end, Ouroboros serves as more than a striking object. It is an experience that encourages visitors to slow down, breathe, listen, and feel connected to something that transcends the individual. Whether encountered in daylight or beneath a night sky, the sculpture offers a moment of wonder that lingers long after one steps back into the world.
Written by: Christine Daoud
Published on: 1st December 2025