Object in conjunction with Craft Australia, announce the new Living Treasures for 2012 and 2014

Object: and  Craft Australia, is pleased to announce the new Living Treasures for 2012 and 2014.

Nick Mount 2012 

Nick Mount (South Australia) is one of Australia’s pre-eminent glass artists. Approaching the fourth decade of his career, he is recognised for commissions, teaching, and exhibitions in Australia, Europe, South America, the United States and Japan. His work, represented in many major public and private collections, combines virtuoso technique with a keen instinct for design, freely adapting traditional Venetian decorative styles to his own sculptural approach. Mount is pleased with the accolade and comments:

“Pauline and I feel the Living Treasure Award is a great thing for the Crafts.
We’re very happy that this year’s award acknowledges the contribution of
the glass community of South Australia and the JamFactory”.

  














Nick Mount, Reclining Bob, 2009. Photograph by Grant Hancock
 

Lola Greeno 2014

Lola Greeno (Tasmania) is a highly respected Indigenous shell worker, sculptor, installation and fibre artist with more than 30 years experience in traditional shell necklace making. Renowned both in Australia and overseas for her distinctly patterned, often colourful and iridescent, delicate strands of shells collected from the Tasmanian and island coastlines, Lola is one of a handful of women shell stringers who have been responsible for ensuring the craft is passed on from their Elders and continued to the present day. Lola’s work is exhibited nationally and is represented in State, National and many private collections. Greeno was excited by the announcement of the award as she has just finished working with some different materials that will help in her planning a new series of work for display in 2014.

“I am pleased and honoured to have won this award and hopefully inspire
other Indigenous Craft makers and designers to keep working towards
achieving their goals”.

Lola Greeno, Necklace with blue maireener, white cockle and grey gull shells, 2006, Photographer Joe Larrart

Living Treasures about the series

Object: Australian center for craft and design  website

John Greig, Pleasure Dome Doorway, 1987 on Flickr

John Greig, Pleasure Dome Doorway, 1987, a photo by Craft Australia on Flickr.

New images have been Load to the Craft Australia National Historical Collection on Flickr

Save our Stories

Craft Australia is saving the story of the Australian Studio Craft movement. Over 25,000 colour slides from the Craft Australia Historical Collection are slowly deteriorating in the historic slide sleeves of the past. Craft Australia is preserving these slides by digitising them and making them accessible online. Images of work by Australian artists dating back to the late 1960s will now be viewable on the internet. Read More

Pennie Jagiello: Musings on a Sustainable practice

Making with materials of Mass Destruction 

When I was studying Fine Art, majoring in Sculpture,  I started making things with recycled electrical wire. My Dad was in demolition at the time and had given me a few bags of wire thinking i could do something with it. Those bags became 4 large wheelie bins full of  wire that have been my signature material for 16 years. I have always worked with recycled marterials, and even as a small child I loved to make things out of whatever I could find. I grew up in an environment that encouraged you to make use of what you had and you didn't waste anything.

Black & Gold Series Neckpiece # 2 Recycled electrical wire gold coloured paper clips & de-constructed costume jewellery

My sculptures became smaller and smaller; I started wearing them, then I started making and selling pieces that were ( mostly ) wearable. My constant influence has been the ocean and all things marine related. The history of Pacific jewellery and adornment has also been a major inspiration regarding the resourceful and adaptive ways in which these cultures make, and the techniques and materials they use. The techniques I use are also quite simple  such as weaving, binding, engraving, hand cutting and drilling. Cold joining  and methods of working are chosen even if it means it takes longer to complete a piece of work the end result is not about time efficiency but any way in which I can lighten my footprint. Although I respect the use of natural materials, I have no interest to physically incorporate them in my work; I prefer to transform the unnatural.

When I am at the beach, I collect rubbish and marine debris and I have a large collection of abandoned and discarded fishing gear  that I use in my work. Aluminum cans, plastic bags, drink bottles and de-constructed costume jewellery are some of the other materials I salvage from family, friends and op shops.

My studio is wherever I am at the time, and I have always worked in a way that is portable. It is my aim to continue making  without buying materials that are new wherever possible. I hope others not only enjoy wearing my work, but  are inspired  to be respectful of our environment. Recycling for me is not a marketing tool or brand, but the ethos of my making.

Every little bit counts; its pretty simple really.

Pieces of Fate Neckpiece  Recycled electrical wire  plastic bags & aluminum de-consrtucted costume jewelley and  fishing nets 


Links 
Pennie Jagiello website
Metalab blog
Pieces of Eight website
Studio Ingot  website 
Sustainability stories link 
Be In The Know for Sustainability Forum Updates Subscribe

Craft Australia is interested to know how you are tackling sustainability in your practice. If you would like to contribute ideas or have an experience you would like to share on the Craft Australia blog. Contact the blog editor

Share Your Stories 2011 - Ink & Spindle

Ink & Spindle at Design:Made:Trade 2011 

CA: What is your business

Ink & Spindle: Our business is Ink and Spindle, locally designed & hand screenprinted organic & sustainable textiles.

CA: What do you hope to achieve in your business?

Ink & Spindle:  Many things! 

- to shine the spotlight on organic and sustainable fabric.

- a greater awareness & understanding of the provenance of textiles in general (which is usually horrendous)

- a successful & financially secure business!

CA: What got you started and how long have you been going?

Ink & Spindle:  We had our first business meeting 3.5 years ago. It took about 6 months to get the commercial lease for our studio organised & signed (those things take aaages) What got us started was a common set of beliefs, we felt we had the wherewithal to build a successful business & there seemed to be a gap in the market place. Plus we were in our early to mid 20's & our motto was "no kids, no mortgage - what have we got to lose?"

Links

Ink and spindle website

Ink & Spindle at Design Made:Trade 2011

Share Your Stories survey 
Design:Made:Trade website  

Share Your Stories 2011 - Captain Robbo

Captain Robbo at Design:Made:Trade 2011

          

   CA: What is your business? 

   Captain Robbo: I design and make Adventure Pants! Screen printed leggings.

      

   CA: What do you hope to achieve in your business? 

       

   Captain Robbo: Financial success and recognition for doing something I love. 

     

   CA: What got you started and how long have you been going?

      

   Captain Robbo: I officially began Adventure Pants as part of NEIS in September 2010 but have been designing and printing small creative projects since 2003.

Links

Captain Robbo website

Share Your Stories survey 

Design:Made:Trade website

Share Your Stories 2011 - Under There

 Under There at Design:Made:Trade 2011

 

CA: What is your business?

Under There: My business is all about product design.  The UNDER brand is a subset of Autumn products design studio in Sydney. Autumn is focused on design services such as product and graphic design, documentation and problem solving. UNDER is focused on Interior product sales of original Australian designed furniture and lighting.

CA: What do you hope to achieve in your business?

Under There: I hope to enhance the Australian design and interior products industry with unique and fun products.  I am also very passionate about helping businesses to use design to their advantage, both through design consultancy and through specifying our products to enhance commercial and domestic interior fit-outs.

CA: What got you started and how long have you been going?

Under There: I have been working as a product designer since 2002 for design consultancies. Autumn was started in 2007 as a way to work with my own clients. UNDER was launched this year as a focal point for my interior products. I studied Industrial Design at UTS.

Links

Under There website

Share Your Stories survey 
Design:Made:Trade website

Share Your Stories 2011- Xavier and Me

 
















Xavier and Me at Design:Made:Trade 2011

CA:  What is your business?

Xavier and Me: Is a home furnishings textile studio that creates handmade and vintage inspired homewares.

CA:  What do you hope to achieve in your business?

Xavier and Me: My business achievement in the long term is to create a lifestyle brand that people love to have in their homes. My personal achievements I want to gain is a more flexible working hours allowing me to pick and choose when I work so I can spend time with my family.

CA: What got you started and how long have you been going?

Xavier and Me: This is something that has been burning within me for quite some time now. It was serendip really – I was made redundant from my job that I went back to after maternity leave. Having had 6 months off  it wasn’t really a shock to my system so I just sat down at the table one day and started designing and writing my business plan. That was 2 years ago now and I have loved every minute of it. 

Links 

Xavier and Me website

Share Your Stories survey 

Design:Made:Trade website

Share Your Stories 2011 - Aya Kawa

 

 Aya Kawa at Design:Made:Trade 2011

CA: What is your business?

Aya Kawa:  Sells limited edition, handmade, woven silk ties and enamel cufflinks. The tie designs are inspired by the traditional Japanese textiles that I  studied in Kyoto in 1974. The cufflink designs are based on details from the ties. The fabric is woven as an image for the tie rather than a repeat fabric pattern.

CA:  What do you hope to achieve in your business?

Aya Kawa: A scalable sustainable business that showcases my designs and provides a regular income that will in turn, allow me to work as a designer and time to experiment and develop as a designer maker.   

CA: What got you started and how long have you been going?

 Aya Kawa: Serendipity. After working as an artist/designer/maker for over 35 years I had a period of substantial health issues which meant I couldn't continue the silk painting and glass work that I was currently doing. At the same time my son asked me to design silk ties which I was able to do. Without the pressure to physically make my artworks I was able to immerse myself in designing which I discovered I loved. The response to the work was overwhelmingly positive which surprised and delighted me in the very short time of 2 years. Although I am now able to return to working in my studio I do not want to stop creating new ideas for AYA KAWA.

Links 

Aya Kawa website 
Share Your Stories survey 
Design:Made:Trade website

Share Your Stories 2011 - Ingrid Tufts

Ingrid Tufts at Design:Made:Trade 2011

CA:   What is your business

Ingrid: I design and make functional ceramic tableware and decorative pieces. There are three aspects to my practice: My own range of tableware, commissioned work for restaurants and retailers, and experimental and exhibition works. I find that this gives me plenty of variety and opportunity to experiment, design, make and market.

CA       What do you hope to achieve in your business?

Ingrid: I would like to continue to develop new products and find opportunities to market my work. I also enjoy working with other artists and craftspeople so collaboration is high on my list when looking for opportunities for growth. I am hoping to build a sustainable practice that allows me the flexibility to explore various aspects of design and production.


CA:    What got you started and how long have you been going?

Ingrid: It's about seven years that I started to experiment with clay and really enjoyed it. But I have been making and marketing production work for about two years now.

Links

Ingrid Tufts website

Ingrid Tufts at Craft Victoria 
Share Your Stories survey 
Design:Made:Trade website

ca enews # 66 July 2011

 

Simone LeAmon, La prima Ballerina, image courtesy JamFactory

Klaus Moje, Untitled 2006, fused and kilnformed mosaic glass, 7.5 x 53 x 53 cm

Featured Articles

• Brian Parkes, designer makers - prototyping an idea  read more
• Vicki Halper, australian craft impressions read more
• Blanche Tilden, Brooches and hidden networks read more

ca enews # 66 July 2011
Subscribe Free 

SHARE YOUR STORIES

KINK oil bottle image courtesy the JamFactory

Craft Australia invites you to take the 
Share Your Stories survey.

Craft Australia is again conducting the 'share your stories' survey to gather data about Australian crafts people and designers operating small businesses or creative micro industries.

Craft Australia will collate these findings to establish a picture of micro businesses. This data will be the basis of information to advocate for small businesses in the creative industries sector. Please take 5 minutes to take the Share Your Stories survey.

All participants go in the draw to win a KINK oil bottle designed by Deb Jones, hand-made by the JamFactory Glass Studio and donated by the Canberra Glassworks. 

The winner will be notified by email and an announcement made on the Craft Australia website,  and Craft Australia blog,  

Craft Australia thanks the Canberra Glassworks for donating the KINK oil bottle.

Links

JamFactory

 

Tales of Adventure, where are they now? Julie Ryder

Hill End

In November 2009 Julie Ryder undertook a studio residency at Hill End in Murray's Cottage formerly owned by Donald Friend and Donald Murray. Julie reports back with this first Tale of Adventure in our series charting members of the Craft Australia community participating in residencies, exhibitions, conferences or events listed in our opportunities section. Julie Ryder is an internationally recognised textile artist living in Canberra. 

Julie Ryder's tale of a residency at Hill End NSW,   Read more

Where is Julie Ryder Now? 

Julie is currently participating in a residency at Gullkistan  in Laugervatn, South Iceland.

I am currently undertaking a month long residency at Gullkistan, at Laugarvatn in the South of Iceland.  Laugarvatn is a small town on a lake surrounded by mountains, situated in the middle of Iceland's famous Golden Circle.  The Golden Circle comprises some of the most spectacular and diverse natural features Iceland has to offer - geysers, geothermal mud pools and hot springs and majestic waterfalls.  In addition it is in the shadow of Hekla, Iceland's most famous volcano.  In fact Ridley Scott has just started filming 'Prometheus' here. There are currently 4 international residents at Gullkistan, and we all share the studio at Eyvindartunga, a picturesque farm on the outskirts of Laugarvatn. Since my arrival I have been hiking to explore the natural rock formations and plant life of this region, and have started to draw and work with the natural materials here. This is definitely a place for solitude and isolation, but perfect for intense creativity.  As it is summer here we have 24 hours of daylight so it's often hard to know when the working day has stopped. I am looking forward to developing the ideas and art I have created here back in my studio in Pialligo ACT. 

 

Residencies at Gullkistan Iceland

Julie Ryders'  Portfolio 
Threads of Life, Barometer Gallery   15 June - 24th July 2011

For more information on the Hill End Residencies visit  

Craft Australia publishes the experiences of those working in the Craft and Design sector participating in residencies, exhibitions and events. Contact Craft Australia with your tale

India Flint: Musing on a sustainable practice

I make pieces for walls and bodies constructed from patches and scraps of fabric and coloured with plant dyes made from leaves and water. No adjunct chemicals are used in the process, merely found scrap metals, food wastes and water sourced from the wild. It’s a method of working that means the residues from dyeing can be safely, even beneficially, returned to the earth. The cloth is acquired from the most sustainable sources I can find, Beautiful Silks [Victoria], the Hemp Gallery [NSW] and MilkyMerinoTM [NSW] as well as from thrift stores and from vintage dealers. I prefer to heat my cauldron with fuel gathered from our paddocks, as the carbon given off in burning is much the same as the carbon given off when the wood is left to rot, but I make sure to leave plenty as homes for local fauna.

Salvaged garments bear hidden records of the bodies that wore them. Dresses made from repurposed cloth become a compendium of stories written in marks that are added with stitch and dyes extracted from windfall leaves gathered in the course of wandering. They bear witness to past wearers and to the sources of the fibres, multi-layered maps of journeys both physical and metaphorical; making them helps me to make sense of the whirled.
India's  blog 
India Flint website 
Second Skin book  
Eco Colour book

  


Images courtesy of India Flint

Be In The Know for Sustainability Forum Updates Subscribe 

Craft Australia is interested to know how you are tackling sustainability in your practice. If you would like to contribute ideas or have an experience you would like to share on the Craft Australia blog. Contact the blog editor

right way: the future of Indigenous craft and design

Open publication - Free publishing

Rightway Website

Tipping point - ACDC strategy for the future

Open publication - Free publishing - More acdc

Abstract

This publication outlines the many programs delivered by the network of Australian Craft and Design Centres (ACDC) as a direct result of Visual Arts and Craft Strategy (VACS). The report includes case studies which demonstrate ways the ACDC network invests in support for artists, innovation and design, innovation and new technologies, Indigenous craft and design as a growth industry, and growing audiences for Australian craft and design. Tipping point PDF

Australian Craft and Design Centres (ACDC)

Vicki Halper Makers and Designers: Collisions and Intersections

Event   Choosing Craft - Vicki Halper Speaking Tour April 2011

Writer, academic and curator Vicki Halper looks at the heady days of the studio crafts movement that followed the Second World War (1939-1945), when designers such as Charles Eames and Dorothy Liebes were part of the conversation at seminal conferences sponsored by the American Craft Council. Halper details how many craft makers were and are leading double lives as designers of limited edition or factory-produced lines. Read More

Choosing Craft 

Dorothy Liebes who illustrates the optimistic modernism of the American designer post WWII

Open Studio Presented by Craft Victoria

21-24 July 2011

New to Design:Made:Trade is Open Studio. Selected designer/makers take their studio 'on the road' and create 6 studios, hosting 12 makers over 4 days.

Featuring: Leah Jackson, Andrea Shaw, Nick Jones, Elizabeth Yong, Matt Thomson, Emily Green, Maryann Talia-Pau, Emma Greenwood, Kirsten Perry, Milly Flemming, Andrea Daniels and Stephanie de Kuijer.

 

Emma Greenwood 

 

Nicholas Jones

 

Kirsten Perry

Leah Jackson 

For more information visit the Craft Victoria website