Art seen

The university and polytechnic are host to many artworks which, if not strictly speaking public, are on open display. Some are well known, such as Peter Nicholl's Bridge of blackened timbers close to the University Union. Others are in more secluded spaces, or within the tertiary institutes' buildings.

One work which, while in plain sight, is not well known is Holding Time, by Wanaka-based artist Ernie Maluschnig. This work takes the form of a sundial (or more correctly, sun crescent) of smooth stainless steel. One of several sundials which the sculptor has created, this 2000 sculpture comprises two interlocked crescents, with a single metal bar as a gnomon. This sets it apart from many of the sculptor's other sundial forms, which replace the two curved elements with a panelled bowl-like structure. The resulting work is delicate and elegant.

The siting of the work is as important as the work itself. Set within a courtyard of the polytechnic's Owheo Building, it becomes the sole focus of attention for anyone approaching from the street. Thus, it is not only time that is held by the work, but the view of the passer-by.

Surrounded by a simple plot of flowers, the work is arresting in its simplicity and form, while simultaneously remaining true to its horological function.

• Crescent forms and metal rods are also important elements of a formerly well known but now often overlooked work not far from Maluschnig's. Eleven bronze rods supporting albatross wingspan, by John Middleditch, is situated close to the entrance of University College, and now largely blends in with the surrounding foliage.

The work's title prosaically describes the physical elements of the piece. Two large irregular crescent forms, representing the wings of an albatross, are raised above the sculpture's pedestal on a series of heavily patinated rods. The work seems to catch the air and hold the sunlight as if it too was originally intended as a sundial.

The sculptor, John Middleditch, was responsible for several impressive works in the South, notable among them the copper water fountain in Dunedin Public Hospital's collection. Albatross was commissioned for the university's centenary in 1969, a year which also saw the opening of the neighbouring hall of residence. As with the fountain, the verdigris-covered surface of the albatross wings shows the importance the artist placed on the finished surface of the work. The effect created by the form and patination induces a mixed mood that is at once reflectively calm and gently uplifting.

• Much of the university's artwork is within buildings and the university library, in particular, is home to many pieces on public display. The interior's grand curving feature wall has been nicely complemented by several works, among them two notable pieces at the building's western end.

In the main concourse sits Peter Nicholls' 2002 work Musa. As with much of the artist's large-scale sculpture, discarded elements from early industry are used to become a paean to the landscape. Archaeology and aesthetics meet to convey the human trace that has scoured the countryside. Musa is serene yet austere, its lattice of solid wooden posts topped by the grail-like bell from an ore-crusher. The work becomes a funereal metaphor: never send to ask for whom this bell tolls, it is for the land.

Above, at the top of the main stairs, is a circular gestural abstract by Neil Frazer from 1992. The paint is so thickly applied that the term impasto seems too slight. The rugged surface and subtle yellow and blue hues reflect perfectly the building's stonework, while also suggesting a giant world map, as if to imply that a world of knowledge is contained within the building. The positioning of the piece allows this powerful, muscular work to dominate the stairway above which it sits.