Brendale doesn’t usually ask to be looked at. It’s an industrial pocket of Moreton Bay where the horizon is mostly logistics sheds, substations, fenced perimeters, and the quiet hum of infrastructure doing exactly what it’s meant to do—stay functional, stay invisible, stay out of the way.

So when a 50-metre noise wall at the Akaysha Energy Battery Energy Storage System (BESS) site gets turned into a large-scale mural by INDO the Artist, it doesn’t feel like decoration. It feels like interference in the best possible sense.

Commissioned by Akaysha Energy (https://akayshaenergy.com), the brief wasn’t “make it pretty.” It was closer to a systems problem: how do you soften the visual impact of heavy energy infrastructure without pretending it isn’t there?

Because before the paint, the wall was doing what industrial walls do. Existing as refusal. A long, flat boundary whose job was to block sound and absorb attention at the same time. The kind of surface you stop seeing even while you’re looking at it.

That’s the tension INDO stepped into: not hiding infrastructure, but changing the way it lands in the body when you pass it.

The idea came down to something almost too simple to argue with "paint a seed - Then a tree & a sun" also include brendale slogan " its possible to do the impossible"

From there, the mural becomes less image and more translation. Seed to system. Organic expansion mapped onto engineered structure. Green tonal fields pushing through controlled geometry like nature trying to remember itself inside a grid.

It avoids the obvious move—no literal landscapes, no easy environmental storytelling. Instead it sits in that in-between space where you recognise something without being able to fully name it. It feels like ecology filtered through industry. Or industry remembering it came from ecology in the first place.
On the ground, the reality is less poetic and more physical.

This is industrial-scale painting. Long horizontal runs. Exposure to Queensland heat. Safety protocols inside an active energy site. Surfaces that don’t forgive inconsistency. Coatings built for longevity, not Instagram. Every metre has to read at 60km/h and still hold together when someone steps closer and the abstraction starts breaking into layers.

There’s no single “moment” in a mural like this. It’s all repetition and control. Rhythm over flourish. Consistency over gesture. The image only works if it survives scale.
But somewhere in that discipline, the wall stops behaving like a barrier.

What was once a blank edge of infrastructure starts acting like a visual field—something that changes how the precinct is read in motion. Not softened into invisibility, but pulled into conversation with its surroundings.
And that shift matters more than it should in a place like this.

Because energy infrastructure isn’t hidden anymore. Battery storage sites, substations, and industrial power systems are becoming part of everyday landscapes. They sit closer to people, closer to roads, closer to life. Which means they can’t just function well—they have to be seen differently.

Not art as branding. Not art as cover. Art as translation layer between utility and public perception.
Since completion, the Brendale BESS wall has done what these kinds of interventions quietly aim for: it has stopped being a blank industrial afterthought. It’s become a reference point in the precinct. A long-form visual marker that shifts the emotional temperature of the site without changing what it does.
It still blocks sound.
It just doesn’t block meaning anymore.

Since completion, the mural has become:

• A visual uplift within an industrial environment
• A symbol of optimism aligned with Queensland’s energy transition
• A point of local pride and identity for Brendale

Location: Brendale North Brisbane Moreton Bay Queensland
Mural Wall Size: 8m x 50m ( 400 square Meters )
Client: Akaysha Energy Australia
Turn Around time: 8 days

At Kendall Skate Park, INDO doesn’t simply apply paint to concrete
he completes a civic intention already in motion, where council planning, community need, and youth culture converge into a single functional artwork.

Commissioned as part of the broader redevelopment led by Port Macquarie-Hastings Council, the mural forms a key visual layer within a $600K+ public infrastructure investment. The objective was not cosmetic. It was strategic: to transform a previously underutilised and aging recreational site into a high-activity youth destination with long-term cultural and social value.

The challenge faced by council was typical of many regional public spaces — a dormant site with legacy infrastructure, limited engagement, and minimal identity.

The former Kendall Tennis Club courts had reached end-of-life use, creating both a spatial and social gap in the community. Rather than demolish and replace with a purely functional facility, the decision was made to reimagine the site as a skateable, youth-driven civic hub.

INDO’s response was a design-led intervention grounded in movement, durability, and place-based identity.

Spanning approximately 715sqm across bowls, ramps, transitions, and flow zones, the mural is not an overlay, it is integrated into the skate geometry itself. The design was engineered to work with rider lines, sightlines, and flow dynamics, ensuring it enhances rather than interrupts performance. In this context, the artwork becomes kinetic, activated by skateboards, scooters, and BMX riders moving through it.

The purpose was clear: create a “contemporary and striking design” that strengthens place identity, resonates with youth culture, and withstands the physical intensity of daily public use. INDO delivered a surface that functions as both infrastructure and cultural signal,
a visual language of energy, motion, and ownership.

What once was a disused court has been redefined as a destination. The mural acts as the visual anchor of that transformation, turning a forgotten space into a recognisable landmark within Kendall’s public realm. It now operates as a community gathering point, a recreational drawcard, and a subtle driver of regional visitation through skate culture.

In practical terms, the project resolves three core issues: underutilised public land, lack of youth engagement infrastructure, and absence of visual identity. In cultural terms, it replaces vacancy with belonging.

Kendall Skate Park now stands as a fully realised community asset, where function, infrastructure, and contemporary street art operate as one unified system.

Location: Kendall NSW Australia
Mural Wall Size: ( 715 square Meters )
Client: Port Macquarie Council
Turn Around time: 10 days

In the Inner West of Sydney, where laneways bleed into live music venues and everything feels slightly amplified, Dweeb City lands like a signal flare on brick.

Painted in 2023 by INDO the Artist, the mural stretches roughly 17 metres wide by 7.5 metres high across the side of a two-storey terrace at 1 Metropolitan Road, Enmore. It didn’t start as a fantasy universe. It started with a brief from Inner West Council: represent women in Newtown and Enmore—visibility, presence, voice, cultural weight.

At the time, the laneway itself wasn’t much to look at. A run-down inner-city passageway defined more by neglect than attention—rats, the smell of urine, and the usual accumulation of urban waste that gets ignored in plain sight. It functioned, but barely. A forgotten connector between better-known streets.
From there, things shifted.

Instead of a literal portrait of place, INDO pushed into research-led storytelling—digging into identity, archetypes, and the kind of exaggerated femininity that exists somewhere between pop culture and myth. The concept that emerged was Dweeb City: a fictional “girl band from space,” part satire, part celebration, part neon-drenched mythology built for the wall.

What followed is a mural that behaves less like decoration and more like a visual broadcast.
Hard-edged pop aesthetics, loud colour blocking, and high-contrast composition drive the work—pinks, purples, greens, yellows, electric blues cutting through black and white like a poster ripped from an alternate reality. It feels designed for maximum impact at street level, where pedestrians don’t so much “view” it as they absorb it mid-step.

At the centre sit the band members—stylised, oversized, expressive—existing somewhere between punk zine illustration and psychedelic comic strip. They’re not portraits. They’re characters. Alter egos. Symbols of attitude and imagined identity.

Threaded through the composition are slogans and fragments—Inspire, Love, Girl Power, Kindred Spirits, Hope, Happiness—not as decoration, but as interruptions. Little declarations breaking through the noise of the image.

Set just behind Enmore Road’s strip of bars, restaurants, and live venues, the work plugs directly into the Inner West’s cultural bloodstream. It doesn’t sit outside the scene—it feels like it was pulled from it. A visual extension of the same DIY energy, music culture, and late-night creative spill that defines the area.
And something else changed with it.

What was once an overlooked, slightly avoided laneway transformed into an urban totem of art and visibility. The kind of place people now seek out rather than pass through. A destination point. A marker of identity in the neighbourhood’s evolving cultural map. The mural didn’t just sit on the wall—it recalibrated the experience of the space, reframing the laneway as part of the Inner West’s quirky, increasingly curated edge of creativity and street-level culture.

Executed with precision and efficiency, the work balances scale with clarity, complexity with control. From a distance it reads as impact. Up close it breaks into layers of character, symbolism, and graphic rhythm.
Since its completion, Dweeb City has settled into the local landscape as both landmark and reference point—a wall people don’t just stumble across, but intentionally go looking for.

Ultimately, it sits in that Vice-era intersection of subculture, visual storytelling, and urban myth making. Not just a mural about place, but a fictional system inserted into a real one—and left to reshape it.

A heritage Victorian terrace house in Enmore, Sydney’s Inner West—this is the architectural backdrop to Dweeb City, a work that sits directly within the suburb’s layered urban history.

Like many of the late 19th-century terraces that define Enmore and Newtown, the structure forms part of a tightly held streetscape of narrow lots, rhythmical façades, and dense urban continuity. These buildings are a core element of the area’s heritage character—reflecting Sydney’s early residential expansion and the enduring visual language of terrace housing that still shapes the Inner West today.

Set within this context, the mural reactivates the site’s presence—bridging contemporary street art with the enduring material history of Enmore’s built environment.

Mural Wall Size: 17m x 7.5m
Client: Perfect Match Inner West Council
Turn Around time: 4 days

This large-scale industrial mural was designed and painted by Australian mural artist INDO at an industrial facility in Brendale, within the Moreton Bay region of Queensland.

Inspired by Melbourne's vibrant beer culture, urban street art, and contemporary graffiti movement, the artwork centres around "Umbrella Girl"—a monumental female figure holding an umbrella, surrounded by subtle tributes to hip hop, graffiti, and pop culture. Combining bold composition, expressive colour, and large-scale visual storytelling, the mural celebrates creativity while bringing energy and character to an industrial setting.

Created to transform a prominent outdoor warehouse wall, the artwork delivers colour, identity, and lasting visual impact, strengthening the business's presence and creating a memorable local landmark. Designed specifically for a commercial environment, the mural features premium professional finishes and durable exterior coatings suited to Queensland's demanding climate.

Projects like this demonstrate how large-scale murals can revitalise industrial buildings, warehouses, factories, commercial developments, breweries, hospitality venues, and public spaces throughout Brisbane, Brendale, Moreton Bay, and regional Queensland.

Whether you're a business owner, property developer, council, government organisation, or commercial property manager, a professionally designed mural can transform ordinary architecture into a distinctive visual destination that reflects your brand, tells a story, and creates lasting value for employees, customers, and the wider community.

Mural Wall Size: 8m x 32m
Client: Wattle Group
Turn Around time: 8 days

Commissioned by Port Macquarie Koala Hospital & Kempsey Shire Council, the Koala mural by INDO the artist forms part of the broader Koalas in the Macleay initiative an integrated approach to public art, conservation, and community awareness.

Located in Crescent Head, the mural transforms a functional public structure into a visual landmark anchoring environmental messaging within everyday space.

The project gained public traction through council channels, where it was shared across social platforms, highlighting both the artwork and the artist behind it. In their official Facebook post, council draws direct attention to the mural’s presence and authorship, noting it was “designed by a local artist, INDO” What’s clear is this: the work isn’t positioned as decoration. It’s framed as civic communication.

The mural speaks to a larger narrative. Koalas in this region are not abstract symbols they are part of a fragile, real ecosystem under pressure. The artwork captures that tension with clarity and restraint, balancing aesthetic strength with environmental intent.

From a council perspective, the outcome is strategic. A once overlooked amenities building becomes a point of engagement.
A message that might otherwise be ignored is now unavoidable.

From an artist’s perspective, it demonstrates control. Not just of style but of meaning, placement, and impact.

This is where public art shifts category. From paint on a wall to infrastructure for awareness, identity, and action.

Mural Wall Size: ( 70 square Meters )
Client: Kempsey Shire Council
Turn Around time: 8 days

National Tribune
nationaltribune.com.au/koalas-in-macleay-mural-project/?utm_source=chatgpt.com

Kempsey Shire Council
https://www.kempsey.nsw.gov.au/Your-Council/Council-news-public-notices/Council-news-updates/Koalas-in-the-Macleay-Mural-Project