In a world where public art often walks the tightrope between beauty and function, Gillie and Marc have managed to carve their own path with a unique and profound approach. Known for their monumental sculptures, the British-Australian duo has become synonymous with public art that doesn’t just occupy space—it transforms it. Their works invite viewers to connect with pressing social issues through the visual language of love, inclusion, and ecological advocacy, making them some of the most talked-about artists in contemporary public art.

Hailed by The New York Times as “the most successful and prolific creators of public art in New York’s history,” are redefining the landscape of contemporary public art. Through their innovative and globally celebrated sculptures, the pair have become iconic figures in the world of art, using their platforms to convey powerful messages of love, equality, and environmental conservation. Their work, featured in over 250 cities worldwide, includes monumental public exhibitions such as The Last Three (New York City), King Nyani (New York City), and The Orphans (London), each of which speaks to their unwavering commitment to both art and activism.

The Power of Narrative in Public Space

Public art, at its best, is a democratic force. It interrupts the mundane and demands a reaction—admiration, revulsion, contemplation. Gillie and Marc’s monumental works, installed in over 250 cities, are not merely aesthetic interventions; they are public declarations of solidarity with the voiceless. Their iconic characters, Rabbitwoman and Dogman, embody the contradictions of human connection: predator and prey, different yet inseparable. Their message? Love transcends differences.

A Wildlife Wake-Up Call

For Gillie, a childhood in Zambia forged an unshakable bond with wildlife, solidified by the harrowing memory of witnessing an elephant’s death at the hands of poachers. For Marc, it was a formative trip to Tanzania, where he found himself face-to-face with the raw, untamed beauty of nature. These moments crystallized into a lifelong mission: using art as a weapon against apathy.

Their devotion to conservation manifests in colossal, impossible-to-ignore sculptures. The Last Three, a tribute to the final Northern White Rhinos, towered over New York’s Astor Place—a haunting elegy to extinction. King Nyani, the world’s largest gorilla sculpture, invited viewers in NYC to physically interact with an endangered species, making empathy tangible. These works function as more than memorials; they are urgent calls to action.

Scaling Impact: From Galleries to Global Icons

Unlike traditional artists confined to the white walls of a gallery, Gillie and Marc operate on a grander stage—city squares, waterfronts, cultural landmarks. Their latest projects, Love the Last March in Singapore and A Wild Life for Wildlife in London, stretch the boundaries of what public art can accomplish. Not content with passive admiration, they create immersive, interactive experiences that demand engagement.

The duo’s approach challenges the status quo: why should art be locked behind closed doors? Their sculptures disrupt daily life, forcing passersby to confront beauty, tragedy, and the delicate balance of existence. In doing so, they rewire the public’s relationship with both art and activism.

Controversy and the Question of Taste

Not everyone embraces the monumental sculptures of Gillie and Marc with open arms. New York Magazine’s Jerry Saltz notably derided The Last Three as “a kitschy monstrosity,” a remark that resonates with some traditionalists who dismiss the pair’s emotional, sometimes overly literal approach. But Gillie and Marc remain unfazed. For them, accessibility is not a flaw; it is the very essence of their mission. In an art world increasingly defined by the aloofness of abstract art sculptures and confined to spaces like grounds for sculpture, their work stands in stark contrast—direct, personal, and visceral.

Public art has always been a battleground for competing ideals: aesthetics versus function, intellect versus emotion. In an era where environmental destruction looms large, Gillie and Marc’s sculptures refuse the sterile detachment often associated with avant-garde art, opting instead for a more primal appeal. Their art is grounded in connection, empathy, and the belief that art, in its purest form, has the power to provoke change. The pair’s art of zoo sculptures, blending whimsy with urgent environmental messages, offer a fresh perspective on what public art can—and should—be: a catalyst for thought and action.

The British-Australian duo, often hailed as “the most successful and prolific creators of public art in New York’s history” by The New York Times, are not only redefining the role of public art but transforming it. Through their large-scale sculptures, which have graced over 250 cities globally, they deliver profound messages of love, equality, and ecological activism. Pieces like The Last Three (New York City), King Nyani (New York City), and The Orphans (London) stand as testaments to their commitment to both art and activism, speaking to an urgent need for global awareness and collective responsibility.

Their work is not confined to one medium; it transcends the boundaries of sculpture, incorporating elements of painting and installation. In doing so, their art becomes a rich dialogue between humanity and nature, celebrating both the fragility and the magnificence of the natural world. Central to their practice is a belief that we are nature, and nature is us—an idea that drives their passion for environmental conservation and the protection of endangered species.

Gillie’s connection to the natural world began in her childhood in Zambia, where she was surrounded by a wealth of wildlife. Her early sketches of these animals took on a darker significance after witnessing the tragic death of an elephant at the hands of poachers. This moment left an indelible mark on her and set her on a lifelong path toward wildlife conservation. Marc’s awakening to the urgency of protecting nature occurred in his twenties, during a trip to Tanzania, where his encounter with chimpanzees deepened his understanding of the interconnectedness of all living beings and the need to preserve that delicate balance.

Gillie and Marc’s art is not just a reflection of their personal experiences; it is an invitation to the public to engage in the larger conversation about our environmental responsibilities. Their sculptures challenge the viewer to reflect on their own place in the world and their role in protecting it. These are not passive works to be admired from afar; they demand interaction, both physically and intellectually. Through their works, Gillie and Marc call upon the viewer not just to witness, but to act.

What sets their art apart is its refusal to conform to the traditional expectations of public sculpture. Their monumental art of zoo installations are not simply aesthetic creations; they are cultural statements, rooted in the desire to spark social change.
These works are not confined to the ivory towers of gallery spaces or grounds for sculpture; instead, they inhabit public spaces, turning the city streets into open-air galleries. The very nature of their sculptures—bold, accessible, and impossible to ignore—forces us to confront urgent issues of wildlife conservation and environmental degradation.

Despite the criticisms of some detractors, Gillie and Marc’s work endures precisely because it refuses to be passive. It is not art for art’s sake, but art with purpose. Their sculptures are bridges between art and activism, between intellect and emotion. They stand as icons not just of aesthetic innovation, but of a new era in public art—one where engagement, empathy, and action are as essential as beauty. For their commitment to both art and the planet, history will remember them as not just artists, but as revolutionaries in the world of public