Tuesday, November 19, 2013

JamFactory at Seppeltsfield

On 2 Nov JamFactory launched its new studios, gallery and shop at the iconic Seppeltsfield Winery in the Barossa.

The 1,000 square meter facility, situated in the historic stables building at Seppeltsfield (only an hour’s drive from Adelaide), provides studio space for around a dozen professional artisans, a gallery for free public exhibitions and a retail shop presenting outstanding hand-made products. 

A separated walkway through the space enables visitors to see skilled makers at work, learn about the materials and processes behind the products and discover the heritage of the building, which dates back to 1851.

JamFactory at Seppeltsfield brings together two significant South Australian brands - both with a commitment to premium quality and bespoke production. Through the collaboration, Seppeltsfield will take its first major step towards building a unique tourism offering.
Complementing its established wine heritage, the Seppeltsfield estate will combine arts and design activities through the new JamFactory facility, as well as a culinary drawcard through the development of a destination restaurant, launching in 2014. 

JamFactory is a not for profit organisation that supports and promotes good design and fine craftsmanship. It has been nurturing the careers of emerging artists and designers and presenting innovative new work to audiences since 1973.

JamFactory at Seppeltsfield will present nationally significant exhibitions, hands on
workshops, artist talks and other public programs.

It will provide a major creative hub within the Barossa and will boost cultural
tourism in the region. JamFactory at Seppeltsfield will be open 7 days from 11am - 5pm.

Video: Opening Day of JamFactory at Seppeltsfield

Photography by Dragan Radocaj PHotography
Come visit JamFactory at Seppeltsfield the next time you are in the Barossa!

Wednesday, November 13, 2013

Glass Artist Amanda Dziedzic

Amanda Dziedzic is a Melbourne based glass artist who was a Jamfactory Associate in 2008/2009, and is still often seen in our Adelaide Glass Studio. You may have seen her recently on The Design Files (that other blog… :) We love TDF!). We had a chat with Amanda on her last visit here to JamFactory…

Glass.  What brought you to the world of glass?
I first studied under Gabriella Bisetto as an elective at Uni SA, way back when the glass studio was at Underdale. (thats a long time ago, I feel old...)

Amanda Dziedzic at Jamfactory
You live in Melbourne, but create glass work in Adelaide? How did this come about, and how’s it work for you?
 Well we have chopped and changed quite a bit. Adelaide, Melbourne, Adelaide and back to Melbourne. I came back to Adelaide when I got the job as an associate but we had to move back to Melbourne for my husbands job. 
Each time it takes a little going to get back into the swing of things but this time the Melbourne glass community feels pretty good to me. When I am in Melbourne I work out of Phillip Stokes gallery and I am just in the process of setting up a studio space in Brunswick with a buddy of mine.
I do love blowing glass at the Jam though. It’s just so familiar for me and the equipment is always top notch. It also just happens to be home to my awesome team...which brings me to your next question..

Tell us about the team!
My team is the awe inspiring Dani Rickaby and Jaan Poldaas. I love those two. They are such talented glass makers and make my production sessions run like clock work. Not only do they run like clock work, we also have a great time together. They are not only my team, they are my mates. I really miss those guys when I am in Melbs so it’s real nice to come home and book those guys for some solid making time together. We have worked together now for something like four years and we have a beautiful kind of rythym together. They make it so easy for me to make my work. Working in the team together is one of my favourite aspects of glass blowing.

Jaan Poldaas,Amanda and Dani Rickaby aka "The Team"
What does a typical Adelaide visit for you entail?
A typical Adelaide visit is always hit the ground running! I try and cram in as much as possible which can be tough at times but I always find it rewarding. I am my own worst enemy. But I just feel like I am always on a tight time frame. Roll into town, make the work, grind and polish the work, pack and send the work. All this and try and cram in visits with friends and family.


Tell us about the Yumemiru range.  Would you call it your signature piece?  Is it your most popular or well known work?
Yumemiru came about as my final year exhibition pieces from being an associate. They are my version of a Japanese daydream. I am mildly obsessed with all things Japan (I have been fortunate enough to travel there 3 times so far), these pieces are my interpretation of my time spent in Japan. They then kind of evolved into production pieces for me. I really enjoy making them.

And there’s a vegetable theme going on in your work as well. Could  you elaborate on that? Are you getting enough greens?

Again, Japan pops up here with the Daikon raddish that I spotted on my trawls through the Japanese back streets. I just think they are beautiful. As I started to delve more into the root vegetable I also found the beet was used quite a bit in mythology. Have you read that book “Jitterbug Perfume” by Tom Robbins? It’s fantastic. 
(Blog editor has theory that Tom Robbins is actually a woman and mustachioed man on the back of the books is her neighbour who poses for book jackets-they hang out on Adirondack chairs, drink scotch whiskey and think it's all quite funny)
I just really like the natural world and for me creating a garden is about taking pride in your own space and gives me a sense of achievement and self worth. The tiny street gardens I saw in Japan are a constant source of inspiration for me.

You were very involved in the recent workshops held at JamFactory with Karen Willinbrink-Johnsen and Jasen Johnsen. What was your role and could you tell us a bit about the experience?

Last year I was lucky enough to take a class at Pilchuck with Karen and Jasen. They just blew my mind. I started the conversation they should come to the Jam. So through numerous emails back and forth somehow we made it happen! Amazing. I just thought the associates would get so much out of the opportunity. There are not a huge amount of hot glass sculptors in Australia and Karen and Jasen are such fantastic teachers. So I was fortunate enough to TA for them while they were in town teaching which was an experience in itself. 
Click for Videos of Karen Willenbrink-Johnsen at JamFactory
Amanda with Karen Willenbrink-Johnsen at JamFactory
What’s coming up for you at the moment? We hear you’re busy…
My big deal of the moment was my interview on The Design Files. I was pretty stoked to be featured. I have some new product to launch at this years Open House which I am super pumped about. They are beautiful display domes with a turned timber base.
I am also working on establishing a new studio space in Brunswick which is really exciting for me. It is in a warehouse that is shared with 9 other artists from various art forms. It’s really exciting to be insomething from the ground up. We took it over a couple of months ago and the place was a total dump. We have been ripping up the floor, putting up walls, making the space real pretty, learning LOTS.
I also work for glass artist Ruth Allen in her workshop. So yeah, biz-zay!

 (Read the Design Files Interview here:TDF Amanda Dziedzic)

Do you have a favourite Adelaide place or places you like to visit when you are here? Food and/or drink?

Oh man, I have a list as long as my arm for favourite haunts I have to visit when I get back home. Here are a few favourites; The Wheaty is a given for beers and a cheese platter, The Deli, just over the road for the best pizza, Red Door Bakery is the bomb, I love going to the markets for Bibimbap, Tokyo Tower cocktail at Dragonfly a new found fav (thanks Jaansie) is Adelaide Pho on Waymouth St. Their salt and pepper squid is off the hook!! 

On to music! Can you give us a couple of choice tracks from your favourite playlist at the moment?

Again, I have so many!! Here goes:
Ritual Union, Little Dragon
Humpty Dump, The Vibrettes
Crazy on You, Heart
Tightrope, Janelle Monae
Coffee and Tv, Blur
The Wizard, Black Sabbath
Going Up the Country, Kitty, Daisy and Lewis
Dj set from Motor City Drum Ensemble

Amanda and Dani Rickaby at JamFactory
Have you got any new products coming out? Anything we should know??

Well the Display Domes for the Design Files launch on the 21st of November. I have also been working on my ‘growing bottles’, the ones with the leaf stoppers. I feel like I have a bunch of ideas scrambling around my noodle at the moment, am really, REALLY looking forward to getting into that new studio and getting them all out. 

Follow Amanda's blog at Little Bird, Big Chip

Wednesday, October 2, 2013

drink+dine+design - South Australian Emerging Designer Award Finali

Eleven finalists have been selected from a large group of entries for the 2013 drink + dine + design - South Australian Emerging Designer Award.

Entries were received from The University of South Australia, JamFactory and TAFE SA and were deemed to be of an exceptionally high standard by award judges, Brian Parkes (JamFactory CEO), Joanne Cys (UniSA Associate Professor) and Leanne Amodeo (The Adelaide Review design writer)

Finalists will be featured in an exhibition at JamFactory from 11 October -
1 December, with the winner of the $2,000 award to be announced at the exhibition opening. Focusing on South Australia’s reputation for great food, wine and dining experiences, drink + dine + design showcases innovative and exciting product
design ideas that enhance the experience of consuming fine food and wine.

The finalists for 2013 are
Kristel Britcher - Senov Whiskey Tumblers
Andrew Gregg - Stool 2.0
Daniel Guest - Tilt Wine Rack
Winaya Kamaputri - It’s Up to You: The Transformable Trivet
Emma Klau - The Cheese and Wine Kinetic Platter
Jaime Sanchez - Corn Cob Holders
Wayne Mcara - Dinner Set with Bowl
mono (Kumiko Nakajima and John Quan) - Juicy Decanter Set
Liam Mugavin - Tangle Coffee Table
Stephen Soeffky - CRANK Bottle Opener
Ulrica Trulsson - Jug with beakers

Andrew Gregg - Stool 2.0

Daniel Guest - Tilt Wine Rack

Emma Klau - The Cheese and Wine Kinetic Platter


Kristel Britcher - Senov Whiskey Tumblers

Liam Mugavin - Tangle Coffee Table

mono (Kumiko Nakajima and John Quan) - Juicy Decanter Set

Stephen Soeffky - CRANK Bottle Opener

Ulrica Trulsson - Jug with beakers

Wayne Mcara - Dinner Set with Bowl

Winaya Kamaputri - It's Up To You: The Transformable Trivet
Jaime Sanchez - Corn Cob Holders

The Award is a partnership between JamFactory, The Adelaide Review and The
University of South Australia - School of Art, Architecture and Design.

Monday, September 30, 2013

A Chat with JamFactory's Alice Potter

Alice began working as Program Manager in the Metal Design Studio in 2012 after working as the Technical Officer in the Jewellery and Metal studio at the University of South Australia for four years. She completed a Bachelor of Graphic Design in 2004, a Bachelor of Visual Arts [Jewellery] in 2006 and received First class Honours in Visual Arts in 2012. Alice was an access tenant at Adelaide's Gray Street Workshop for over four years and regularly exhibits her work throughout Australia. 
We are focusing the attention of our blog on the people who make JamFactory what it is. Watch for interviews with staff, associates and the many artists who hire studios and studio time at JamFactory. 
On to our chat with Alice Potter:

Alice Potter at her work bench at JamFactory

A Tiny Pile of Black Shiny Things brooch

How would you describe your work?
Colourful. Busy. Organised mess. Wearable (even if it doesn’t look like it). The work doesn’t take itself too seriously. Happy and fun (but never ‘quirky’). Not for everyone, but that’s ok.  

Exploding tummy pig necklace

You studied Graphic Design. How did you go from this to Jewellery Design?
Even through highschool I had always been interested in, and was making jewellery (wire and beads, etc) and creating tangible ideas, but during my Visual Communications degree using computers to present my ideas felt a little backwards. What I wanted to say never came out how I wanted it to look, except the times I was cutting up bits of paper and card then colour photocopying assignments instead of using computer programs. 
I enrolled in an Intro to Jewellery winter elective at the then UniSA Underdale Campus and there was no turning back. My sister convinced me to finish my degree instead of quit half way through (which I am now thankful for), and after 18 months of interesting design classes and saving hard earned retail-monkey dollars for a new Bachelor, I enrolled in the Visual Arts and Applied Design degree at AC Arts TAFE. 

I'm Not A Kid Anymore
All The Good Things You Can Think Of brooch pair

Are friends constantly giving you stuff they think you'd like to use in your work?
Yes!  And I love it. Sometimes it’s ‘no this actually would be better given to the Op Shop or bin’ stuff, but most of the time I can find useful things – even if it means chopping it up or melting it down.  

Fake Nails Darling brooch

Where do you find most of the objects you use in your work? Are you always on the lookout for more material to work with?
The bits and pieces that I use in my work come from literally anywhere and everywhere; my grandpa’s pear tree off-cuts, op shops, garage sales and two dollar shops. I prefer to use second hand items as it gives the objects new purpose, plus it means I haven’t just gone out and bought the most convenient things at hand. I like the challenge of finding and using random gold (sometimes actual gold) knowing that I won’t be able to just go out and buy another one if I use my limited supplies or my idea needs a second go.  

She'll Be Apples - Bang Bang!

You started working at JamFactory in 2012 as the Production Manager for the Metal Design Studio. How do you find the teaching/managing role compared to the designer /maker role?
Completely opposite and complimentary at the same time. When you design and make for yourself you are in a bubble of thought, process and, well, you. When you teach, manage and tech for a team of people you have their skills and interests in the front of your mind, as well as making sure the jobs are completed to the best of everyone’s ability in the timeframe available. Making in my own practice gives me a good idea about how a job can be made, managed and delivered by others, and managing others also gives me a better understanding about how I can meet my own personal deadlines.  

She'll Be Apples - Here's Looking At Your

How is JamFactory different to Uni SA where you were employed as the technical officer in the Jewellery and Metal Studio there?
I look at JamFactory as post-tertiary training and development, whereas the university is somewhere where you attend to learn the skills to start or further your artistic career. At the Uni I was teaching people skills and then we would all part ways to other jobs, workspaces, studios or classes. At JamFactory there are a group of staff and associates who all already have the skills you were teaching at the Uni, which you collectively apply to real life jobs and clients. Then at the end of the day, or on the ‘non-Jam days’, we all are still here working on our own practices side by side at our personal benches.
 His Mo Mo Had Mojo brooch
Your work is very colourful. Has it always been this way?
Yes and no. I love colour and have forever loved rainbows (I know, right!). I have always tried to make colour the focus or a part of my work, and some of my earlier pieces were quite subtle and restrained (even no colour at all – shock, horror!). But these days I just think ‘stuff it’ and make it all as bright as I want. Having said that I do take great care in which colours go where. Too much green will make a blue piece look like something under the sea, and too much red will make something look… too red. A mini fluro green dot or a tiny orange CZ can either make or break a piece – it’s actually not as easy as it looks!  
Sticks and Stones brooch

 You recently worked in conjunction with several other artists, each of you contributing something to a particular piece of jewellery. How was this experience different to your normal process? What was it  like to give up control?
When I start a piece I stare at it for ages and then get fed up procrastinating, so I ‘throw’ bits of paint and plastic and other colourful tid-bits its way until it resembles something I am visually satisfied with. With the Mixquisite project I was constantly aware I would be handing it on to someone else to contribute to, so you never really finished (or started) a piece fully. It was bizarre seeing something you had worked on and believed to have ‘OMG made it so amazing’ in the final exhibition look completely different. But that’s the game, and that’s the project. If I was a control freak I wouldn’t have said ‘Yes’ to Lisa Furno when she proposed the idea to me back in early 2012. 

A few potential supplies?...
What are you listening to in the studio at the moment?
I can’t help singing along to my music in the studio – it makes me happy and more productive (I hope everyone else doesn’t mind!). So I suppose the massively eclectic mix that happens to be on my iPod at the time, but that’s always changing.  

Today is a Good Day - triple shot Jade, glass, lapis and faux pearl 2
The best place you’ve seen your jewellery worn or displayed?

Sometimes you walk down the street and you see a complete stranger wearing one of your pieces. That’s the best feeling – knowing that a little bit of you means something special to someone you hardly know. And it also feels like you know a tiny secret about that person. It makes me smile every time. 

website  alicepotter.com
facebook  facebook.com/alicepotter

Monday, September 2, 2013

A Chat with JamFactory Associate Llewelyn Ash

Llewelyn Ash is a Second Year Associate at JamFactory, and most recently won the Youth Category in this year’s Museum of South Australia Waterhouse Prize for his work titled “Above and Below. “  We thought it a great time to talk to Llewelyn about his practice and share it here.

You’ve come to glass from a print making background. How did you discover glass and how does your graphics background influence your glass work today?
I discovered Glass in my second year of study at UniSA when I took an introduction to Glass Blowing class. I was taken by the technical and physical challenge. I was going to major in Printmaking in my final year but at the last minute changed my focus to glass, a decision I’m very happy about. In this final year of study I worked towards incorporating my printmaking designs onto the glass to create a distinctive and unique design. So my graphic background has influenced my glass that I make today.

Can you discuss the influence of landscape, and the coast in particular on your work?
The ocean consumes my thoughts as a surfer and allows me to see some very inspirational parts of coastline. It also allows me to spend a lot of time in nature observing and seeing its beauty, I like to share my observations through my artwork.

How has growing up in an artistic family influenced you?
Yes it has played a large part in my career. I grew up on a hobby farm with three artists working from there, Margie Shepard and my mum and dad, Janet Ayliffe and Glen Ash. So I was always surrounded by art. All of their work as influenced me greatly.

You’ve won a few awards recently, including the Youth Category in this year’s Waterhouse prize. Can you tell us about that experience?
Yes it is a real honor to win this award. It has been a little overwhelming experience with a lot of media involved, it has been fun though. 

What was the reaction at JamFactory? (Associates and staff?...)
It has been so nice to share this experience with the other associates and staff, feels like I have one the prize for the team.

Have you any advice to other young artists out there who are considering, or who are new to the medium of glass?
Glass is a medium that you really need to spend a lot of time with it to learn. So if you want to do it, volunteer your time assisting other artist to learn and get a feel for the medium. Volunteering my time was the most valuable thing I did to get me started.

It’s your second year as a JamFactory Associate. Is the program what you expected it to be? What effect has the Associate program had on your work?
The associate program has been what I expected and has given me the skills to continue glass blowing as my career. It is nice now because when I have an idea or designs I know have the skills to make it.

Has anyone or anything in particular influenced you and your work over the past year and a half?
I think being part of the JamFactory and the glass community in Adelaide has influenced me the most with so many different glass artists and designers working around me. It is a very special place to work. I also got to participate in a glass blowing class in Pilchuck glass school in Seattle last year. Getting to work with many Artists from around the world, learning new tricks and techniques that have been very helpful.

What’s it like getting to make your own trophy?
Well it makes me laugh and I can just make another one if I break it.

Where can we see your work?
Fine Art Kangaroo Island, The JamFactory, Art Images and the Hahndorf Academy and currently at the Museum in Adelaide.
On a lighter note:
What are you listening to or watching lately?
I’m listening to a lot of Tripple J and watching Offspring and Surfing Competitions Online

It’s 12:01 at JamFactory…What’s your favourite place for lunch whenyoudon’t bring one from home?
Haha, Roll and Roll make the best Sushi and or there is a place next to the Jam that makes an epic yiros

What can’t you live without?
Surfing and a good Bakery.