Jam Packed : JamFactory Studios . Galleries . Shops

Q&A With Tamara Hahn: Connections 19 January - 19 February

2012-01-23T14:02:00.000+10:30

The work of South Australian ceramic artist and JamFactory alumnus Tamara Hahn celebrates fertility, motherhood, and family. Hahn’s nested vessels formed with deliberate imperfections create a mutually supportive family of objects.

Tamara’s latest exhibition, Connections, can be seen in The JamFactory Atrium Gallery from 19 January – 19 February.

Tamara was kind enough to do a brief Q&A with The JamFactory;

Tell us about yourself, how did you become a ceramic artist?

I first touched clay in year 8 and was instantly in love. Supported by some really good art teachers I went on to try out a few different mediums and finished year 12 with top marks in art.

But ceramics was always my passion. After school I studied for 4 years at North Adelaide School of Art (Ceramics), took 11 years off to have a family (5children), before completing a Bachelor of Visual Art (Ceramics) at UniSA in 2007. In 2008 I was accepted into the JamFactory and have gone on from there.

Which ceramics artist, craftspeople, writers, artists, musicians, anyone do you find particularly inspiring and how have they influenced your approach to making?

I love a lot of different artists work, Picasso being one of my favourites, but the people who have mostly inspired me have been everyday people in my lives who have a passion for their work, be they art teachers, or lecturers (Kirsten Coelho) or anyone who shows enthusiasm and commitment. I love it when people are passionate about their work like I am.

Are there any specific collections, museums that you have found inspiring and why?

Most recently I went to the Tutankhamen exhibition in Melbourne. What inspired me most was the amazing craftsmanship and skill of these people. Everything was made with amazing attention to detail and adorned beautifully. Today we make a lot of things so cheaply and designed just to be practical and last such a short time. These works were not only functional, but beautiful, amazingly so, and have also lasted so long. Very inspiring.

Welcome us to your studio - where is it?

In August 2011 I moved to a purpose built studio at my home in Clovelly Park -'ChocolateBox Ceramics Studio'

When we purchased a home in 2010 I could finally follow a dream of setting up my own studio. It has been wonderful working in a shared studio environment and I have learnt a lot from other artists, but this was the right time to set myself up and have my own space.

The work for the exhibition: Can you describe the specific themes reflected in this body of work?

This exhibition follows similar themes that follow through a lot of my previous work. My family is always around me and has influenced this theme of connected; we need each other and yet are independent. We are alike and yet all unique. Having 5 boys I am always amazed how seemingly having used the same formula we have created 5 completely different children, and yet they are obviously brothers and connected. My process of making reminds me of this, using just two clays and two different glazes and just playing with altering 'form', the possibilities seem endless. No two pots are exactly alike, but are connected by materials and the same process of making.

Describe your method of production in this current work?

Like most of my work to date, these pieces have been created by hand on the potter’s wheel (wheel thrown) and then altered. Mostly I use porcelain clay, but have recently also been using some stoneware. They are fired in a gas kiln to around 1300 degrees in a reduction firing.

Connections can be seen at The JamFactory 19 January - 19 February

Q & A With Laurel Kohut: Treasures opens 19 January - 19 February

2012-01-18T13:27:00.000+10:30

Glass artist and JamFactory alumnus Laurel Kohut investigates how we form relationships with objects, in particular jewellery and its intimate and symbolic nature. Kohut re-creates aesthetic forms of jewellery in glass to explore their varied emotional significance.

Tell us about yourself, how did you become a glass artist?

I fell into glassblowing when I was 17. I had wanted to do something creative at university after completing high school and applied for a lot of different courses – mainly drawing and painting, but also the applied arts course at Monash University majoring in glass.

I ended up falling in love with glassblowing and for many years became quite driven to refine my technical skills of producing glass objects. I love blowing glass because it is a challenging physical experience, but the material itself is also very captivating for me. People respond to it in many different ways – often people can’t help touching glass; or they are afraid to touch it. It is at once beautiful and seductive but also fragile and dangerous.

I am not sure I can classify myself purely as an artist, or a glassblower, or a designer-maker. I feel like a combination of all three as I enjoy making a vase just as much as I enjoy making a sculptural object or installation. To me production objects (such as bowls and vases) are not only an important way to learn skills and make a living, but they are also important objects within themselves. These objects make their way into the world and into homes and may (or may not) end up forming intimate relationships with their owner as treasured belongings.

Which craftspeople, writers, artists, musicians, anyone do you find particularly inspiring and how have they influenced your approach to making?

During my research for this body of work I came across the book “The Hare with the Amber Eyes”, by English ceramicist Edmund De Waal. Written about sentimental objects (heirlooms) it describes the journey of the 264 netsuke* as they passed through 3 generations of his family. As it was written from the perspective of an object maker it struck a chord with my ideas and made me think about the importance of the objects we surround ourselves with everyday.

*Netsuke are Japanese figurines used to hold fast the toggle strings on a purse designed to attach to a kimono. They are miniature works of art, often hand carved out of different materials.

Are there any specific quotes, ideas, places that influence this current body of work?

'My job is to make things, and how objects get handled, used and handed on is not just a mildly interesting question for me, it is my question.’

Edmund De Waal.

For this body of work I have been thinking about the kinds of objects that people get attached too. These could be objects that have personal associations such as heirlooms, love tokens, and mementos. Or they might reassure, comfort, or provide an ego boost. I am intrigued by the way people invest various emotions within objects. I feel that jewellery items are very personal types of objects and ones that are given value not only for material worth but also for sentimental significance. I wanted to look at jewellery in a different way – scaling up the objects so that the viewer could at once recognise the form but also associate with it as a signifier. In this way I hope they will ponder on the nature of their own precious objects.

Are there any specific collections, museums that you have found inspiring and why?

I love the Victoria and Albert Museum in London. They have collections of the most amazing objects. Each object is treated as a work of art - from fashion, to glass, to keys and toys!

Welcome us to your studio - where is it?

Since completing my Masters Degree at Monash University late last year, I have been lucky enough to find a space in Nick Wirdnam’s studio. Located in an industrial area of Cheltenham (a bayside Melbourne suburb) I use it to grind and finish my pieces after they are made in the hot shop. Next door to us is Holly Grace’s studio and we often visit each other.

I blow glass at Maureen William’s hot shop in St Kilda, and also work as an assistant to Nick and Maureen there. It has been great having them as mentors.

The work for the exhibition: Can you describe the specific themes reflected in this body of work?

As I have mentioned above, the general concepts around the work are based on my interest of how people relate to and form attachment with objects. Specifically, the crowns in this exhibition reflect of our need for self-esteem and status among our peers. I believe objects play a major role in achieving a desired status in society.

The rings are more personal and sentimental objects. They signify our need for love and relationships and in this body of work become a symbol for those things we give to others as keepsakes, heirlooms or love tokens.

The earrings are also partly about love – but more about those dear to us that leave our lives. Mementos of friends or lovers departed become extremely precious to those that will miss them. Traditionally earrings are supposed to come in pairs, and to me this references the desire permeates popular culture, that people are also ‘designed’ to be in pairs and long to find a perfect partner who will ‘complete’ them. When an earring is lost one frantically searches for it before giving up in frustration or despair. There is a mourning period as one wonders what to do with the earring that is left. To me this mimics the despair of losing a loved one. Many people will hold on to objects that remind us of those we have lost.

Describe your method of production in this current work?

Most of the work is blown or sculpted in the hot glass studio. I make various shapes or components and then take them into the coldshop and spend many long days cutting, grinding, polishing and gluing. The pieces of glass I make in the hotshop undergo a vast transformation in the coldworking studio. In this way I can create shapes and forms that otherwise would be very difficult to attain.

Laurel Kohut's exhibition Treasures is showing in JamFactory's

CollectorSpace 19 January - 19 February

Interviews with JamFactory Associates for Generate'11 Exhibition

2012-01-09T13:18:00.001+10:30

This video features interviews with a graduating Associate from each of the JamFactory's four disciplines. The video was presented in conjunction with Generate '11, which is showing in GalleryOne until 12 February 2012. Stop in and see some of the Associates wonderful work in person.

Tom Moore And Team Create Works Based On Family Day Art Contest

2011-12-22T10:51:00.000+10:30

This video has been making the rounds on our facebook and youtube page.
Last year at the JamFactory Family Day we asked kids to submit drawings, and two were selected to be made into glass works. On completion, the works were displayed at the JamFactory for a month then were given to the young designers to keep. We've put it on the blog for those of you who have not yet seen the video. It's a fun video and we encourage you to watch it through to the end where you can see the finished products. The Glass Studio truly did a magnificent job on this project.
Hope you enjoy it.

JamFactory Christmas Table: Some Great Gift Ideas

2011-12-16T16:03:00.000+10:30

We thought we'd share a few photos of our Christmas Table in the Morphett St. Shop. If you're searching for special gift ideas this is a great place to start.

Wishing you a Merry Christmas and all the best in the NewYear

from The JamFactory.

Q&A with JamFactory Associate Andrea Fiebig and Generate '11

2011-12-02T16:38:00.003+10:30

Tell me about your work on display in Generate ‘11

I’ve got two lines of work in Generate. I’ve got production work I’ve been making from time as an Associate here and some of my exhibition pieces are a little bit jazzed up; more special and high-end things. It’s nice to not have to worry about cost or how much time a project is taking.

Where do you draw your inspiration from?

My exhibition work and production work are pretty different. I think my production work is a lot lighter and can be a bit more playful, or I’m looking at the qualities the glass has, so I work in a more rational way. My exhibition work mostly comes from dream experiences that I’ve had. Some of them are quite scary [laughs].

Does the work look “scary”?

I guess I kind of tried to make them ugly, but I love the glass so much and when it looks beautiful I think ‘ahh it’s so beautiful’-I think they end up looking kind of half ugly and bloated and really nice at the same time. I don’t mind that because there’s a process going through the dreams and dredging out all of the dark bits and bringing them into the light, and the transparent quality of the glass reflects that as well. The colours are dark and murky but then there’s that transparent light quality coming through it too. I think it actually ties it in really nicely.

How did you originally come to Glass?

I’ve always loved art and was doing a lot of art at high school. I did a TAFE course in Applied Art and Design. I was thinking of doing illustration. I love drawing – I love kid’s books. I was at a Uni Open day in Melbourne at Monash; the glass studio is hidden away on the seventh floor. I saw people blowing glass and my jaw hit the floor and that was it. I thought ‘Oh my God, I have to learn to do that.’

Where would you like to see your work?

I think my work does come from an art base- more craft than designer so I’m happy to stay with art galleries, and there’s a few in Australia. And I’d really like to have some international exposure, especially in Germany because that’s where I was born, so I’d especially like to be able to take some work there.

What’s next for you now that your two year JamFactory Associateship is finished?

I’m going to sleep [laughs]-Everyone laughs when I say that but I’m really serious. I’ve got a lot of catching up to do! I’m going back to Melbourne, where I’m from, for a couple of months. And for three months from April to July I’m going to Sydney to do a Mentorship with Ben Edols and Kathy Elliott. It’s really exciting. I’m really looking forward to that.

Generate '11 is the Annual Exhibition of Final Year Associates, and will

show in GalleryOne at The JamFactory

from 10 December - 12 February.

Ernabella Artists at JamFactory

2011-10-21T15:04:00.002+10:30

Four artists from Ernabella Arts, located in the remote North of South Australia, are currently involved in a residency program at JamFactory Ceramics Studio. Renita Stanley, Carlene Thompson, Tjimpuna Williams and Inawinytji Stanley are producing gorgeous decorative works that are destined for Fisher Jeffries Gallery here in Adelaide plus JamFactory Morphett Street store and include hand painted cups and larger forms. The cups were made by JamFactory Associate Hilary Jones and the larger forms by Silvia Stansfield, alongside some pieces made by the ladies themselves. The work has certainly caught the attention of many of us here, and it will no doubt be a popular item when released for sale.

Ernabella Arts Inc, Australia’s oldest indigenous art centre, was founded in 1948 and incorporated in 1974. JamFactory has a long history of collaboration with the Ceramics Program at this important Arts Centre and this connection was again supported through a visit to Ernabella by Prue Venables in June of this year. This visit was funded by the Darling Foundation and Jam Factory.

On discovering that a group of artists were to be in Adelaide twice over a one month period for other exhibitions, Prue suggested that rather than travel twice, they stay on for a one month residency in the Ceramics Studio at JamFactory.

We now have the good fortune to see an exciting daily process where plain ceramic mugs are being transformed into wonderful, individual works of art that tell the cultural stories of these people.

Ernabella artists work can be found in all major Australian state and national collections and is exhibited around the world. These women already have considerable reputations for their painting on canvas and it is exciting to see the translation of the work onto ceramics. We all feel very lucky to experience this opportunity.

So, do look out for these wonderful works in the JamFactory shop in the next month or so.

Prototyping: Making Ideas 3 September - 23 October, 2011 (part two)

2011-08-30T17:05:00.003+09:30

ILLUMINI
illumini Decanter 2010, Thumbler Tumbler 2010 and illumini Light (prototype) 2011

Designer-makers Karen Cunningham and Mandi King established illumini in 2010 after completing the two-year Associate Program in JamFactory’s Glass Studio. Through their highly skilled and intuitive understanding of glass, combined with their clean and contemporary design language, illumini has produced a range of items which actively bridges design and craft.

Illumini prototyped their designs through two JamFactory Glass Studio’s Special Projects program. The porgram ensures varied training opportunities, and a depth of experiences for JamFactory’s Associates whilst providing independent artists, designers and craft practitioners with the means and facility to realise their designs and artworks in glass.

In developing their products, illumini set design parameters to a single phenomenological property of glass. For the illumini Decanter, they exploited glass’s tack and stretch, cleverly using a tack point hole in the design as an ergonomic handle and contact point to aerate the wine, whilst the solid cast glass component in the illumini Light uses glass’s ability to conduct and diffuse light.

SIMONE LeAMON

Ricotta, 2011 and La Prima Ballerina, 2011

Simone LeAmon has a multidisciplinary approach to design and art that has seen her develop designs and concepts for graphics, lighting, furniture, interiors, public art, motorcycle apparel, fashion and jewellery.

Ricotta and La Prima Ballerina have been developed over two years, through a collaboration with Melbourne-based lighting manufacturer Rakumba.

The Rakumba Design Collaborations began with LeAmon undertaking a residency where she spent one day a week at the Rakumba factory over a period of six months. Immersing herself within the company allowed LeAmon to learn about lampshade production and Rakumba’s manufacturing capacity, with a special focus on understanding the skill set embedded within the staff. The free exchange of ideas between LeAmon and the staff in the factory fed the design and development of these lamps.

Ricotta’s design is informed by the skills of one of Rukumba’s wire frame makers. To celebrate his years of knowledge, an inverse shade has been created where the shade is on the inside and the wire is expressed on the outside. The name stems from the grid pattern created by the pleating and wire which resembles the grid on the plastic barrel of a ricotta cheese mould.

La Prima Ballerina is based on a traditional shade form originating in the 19^th century. Having fallen out of fashion few contemporary shade makers possess the high level of technical skill required to produce it.

LUCELUX

Stretchlight, 2008 Peppered Sunlight, 2009 and Splashlight, 2011

Lucelux is an Australian lighting design company based in Wagga Wagga, NSW. It was established by designer and metalsmith Rohan Nicol as a way to expand his practice beyond studio based jewellery. Works in the Lucelux range have been developed through a unique partnership with local manufacturer Precisions Signs.

Stretchlight is inspired by the inexplicable forces of the “Big Bang”—in particular, the form of the light reflects the theory that matter was distributed throughout the universe via rhythmic waves of energy, where it was compressed by gravity into the stars and planets. After early prototype attempts to produce the diffuser on borrowed vacuum-forming equipment resulted in limited success, Rohan approach local skilled vacuum formers to produce his prototypes. With the prohibitive costs of tooling a unique partnership has developed with designer and manufacturer, whereby Precision signs have invested in the project, providing the tooling free of charge and producing a small initial run of each design.

Peppered Sunlight underwent rigorous prototyping and has employed new print technologies to create its distinctive patterned diffuser. The light is dimmable and height-adjustable, and its interchangeable diffusers create lighting effects that are reflective of dappled light through trees. The ingenuity of this design was rewarded with the Bombay Sapphire Design Discovery Award in 2009.

Splashlight is currently in the prototyping stage, unlike the vacuumed formed lights, this design is spun aluminium.

Prototyping: Making Ideas will exhibit at The JamFactory, Gallery One from 3 September to 23 October.

Prototyping: Making Ideas 3 September - 23 October, 2011

2011-08-30T14:11:00.000+09:30

Prototyping: Making Ideas provides audiences with a rare opportunity to learn about the processes and stories behind the design and development of a succesful product.

A prototype is an essential step in the process of designing any product, it allows designers to explore alternatives in their designs; test material and production methods and demonstrate the functionality of their product before committing to production.

Adam Goodrum's Chatterbox Prototype

Adam Goodrum

The development of functional, full-scale prototypes is a key characteristic of furniture and object design in this country and has contributed to the international success of many Australian designers, Adam Goodrum has been working with Italian company Cappelini for the production of his Stitch chair whilst and Trent Jansen has work produced by Moooi in the Netherlands.

When prototyping a new design Adam Goodrum, regularly creates a 1: 1 scale cardboard model, this scaling is extremely important to him as it allows him to walk around the object, to get a feel for the object in space, and to see how people will engage with it, whilst questioning its size, comfort and suitability.

The journey from ideas and sketches, through prototypes to final product, can be a long process and it is rare that just one prototype of any design is created. Through presenting early prototypes at various stages Prototyping: Making Ideas plots this challenging and exciting trial and error stage.

Trent Jansen
Trent Jansen’s practice is focused on creating sustainable design, through developing pieces that maintain a lasting relationship with their user. To develop this lasting relationship he imbues his designs with references to some of most powerful human relationships such as the bond between mother and child (Pregnant Chair, 2008)

Pregnant Chair is two Beech chairs, the smaller of which fits exactly within the lines and space of the bigger chair. The chairs though not 100% identical resemble each other like a child does their parent. Pregnant Chair is being produced by Dutch design firm Moooi. Trent had spent time in the studio of Marcel Wanders in 2004, (as well as running his own design studio Wanders is the creative director of Moooi), however it took him several years to build up the courage to send Wanders a design to consider.

With a firm belief that a prototype should be fully functional and at 1:1 scale, Jansen worked with furniture maker Jon Goulder to produced the first prototype of the Pregnant Chair. From this he refined the design before sending technical drawings to Moooi.

Moooi went on to produce further prototypes. Working with an International company did at first present challenges, as images rather than a physical prototype were sent to Trent to refine areas of the design. Trent worked closely with Bart Schilder, Moooi’s product developer on the incremental improvements; sketches of details were sent back and forth—Jansen sending line drawings Schilder returning computer renderings. From these two different ways of working, a second set of technical drawings were developed and the final prototype created.

Sasha Titchkovsky and Russel Koskela

Started in 2000 by Sasha Titchkovsky and Russel Koskela, Koskela’s Sydney showrooms, presents a refreshing approach for Australian design. Their collection focuses on sustainable furniture design and manufacturing, presented alongside a carefully considered array of objects and homewares by local designers and artisans.

Through its commitment to quality and innovation, Koskela works directly in partnership with a number of suppliers, manufacturers, and craftspeople to create its unique homewares and interiors. Successful collaborations include the celebrated lampshade made with the Indigenous weavers from the Elcho Island and Mapuru Homeland, as well as recent projects with the glass and ceramic departments at JamFactory.

The klassikko dinner set produced in collaboration with JamFactory’s ceramics studio highlights the time that prototyping may take especially in a medium such as ceramics, where various clay bodies and glazes must be tested to consistently achieve a desired result.

This range has been designed with glaze inside and on the lip, whilst the outside is left unglazed. The main concern for the studio was to find clay body that would reach a suitable level of vitrification, to ensure the exterior unglazed surface remained white and stain-resistant as possible.

Though the original prototypes were wheel-thrown, the range will be produced using the jigger/jolly- a semi-industrial machine that enables the production of exact replicas of each item from moulds.

Prototyping: Making Ideas exhibits at The JamFactory, Gallery One from 3 September to 23 October.

Peta Kruger Exhibition - Opening 22 July

2011-07-14T11:27:00.000+09:30

Kylie Minogue Goddess Vase

2011-06-02T09:34:00.000+09:30

JamFactory Glass artists Deb Jones and Nick Mount have juts designed and made a beautiful vase for Kylie Minogue, as part of her current tour.

Check out more details at http://kyliegoddess.posterous.com/

Form without Function

2011-06-01T15:58:00.000+09:30

Clare Wilson is currently showcasing a new body of work in the Atrium exhibition space.

Check out more at http://www.clarelwilsonglass.blogspot.com/

Julia deVille at JamFactory

2011-06-01T15:45:00.000+09:30

New Zealand born, Melbourne based jeweller Julia deVille is now showing at JamFactory with her first South Australian solo exhibition.
Check our her website http://juliadeville.com/

Tell us about yourself and your practice?

I am fascinated with the aesthetic used to communicate mortality in the Memento Mori period of the fifteenth to eighteenth centuries, as well as the methods the Victorians used to sentimentalise death with adornment.

I work predominately in traditional gold and silversmithing techniques, combined with materials that were once living such as jet, a petrified wood historically used in Victorian Mourning jewellery, human hair and most importantly, taxidermy. I use these materials as a Memento Mori, or reminder of our mortality.

I incorporate the symbols of death through out my work because I think it is important to identify with the concept that we are in fact mortal creatures. The nature of our culture is to obsess over planning the future, however in doing so, we forget to enjoy the present.

I consider my taxidermy to be a celebration of life, a preservation of something beautiful. I feel strongly about the fair and just treatment of animals and to accentuate this point I use only animals that have died of natural causes.

Jaan Poldaas Formocentric Exhibition

2011-03-22T15:38:00.000+10:30

Recently graduated Glass Studio Associate Jaan Poldaas showcases new work in Formocentric exhibiting in the Atrium 17 March- 17 April 2011
Check out Jaan's blog! machinemadebyhand.blogspot.com/

Tell us about yourself, how did you become a glassblower?
I started in 2004, at the Alberta College of Art and Design. I was stuck on glass the very first day. First minute.

ACAD has a fierce 'visiting artists' initiative which brought plenty of outside influence to the program and promoted the exchange of ideas in an international context. During my time there, I was part of several workshops and was introduced to a thorough range of techniques and histories in glass. I suppose it was the physical challenge, the coordination and concentration that glassblowing requires which kept me engaged. In addition, and over time, I learned that I am a closet pyromaniac.

Tell us how you learnt about the Associate Program at JamFactory
Gabriella Bisetto was an artist in residence at ACAD during my final year there. She was cool, and spoke highly of the Jam. I could only assert from this that the Jam must also be cool. So, after graduating in 2007, I applied to the associate program and after a second attempt in 2008, I was in. It was tricky to get here in terms of visas and stuff but we got it all sorted out and I arrived in Jan. 2009.

What was your main objective while working at JamFactory?
I just wanted to focus on making. I studied at an institution where the conceptual and contextual aims of 'the artist' were paramount. which is not a bad thing but for me the Jamfactory has been a place to spend the time learning the material, firstly from a craft persons' perspective, and thus to be able to use glass with confidence as a visual artist. I do believe that one precedes the other. Craft and technique before artistic prowess and image. Designing products, participating in exhibitions and special projects; these are natural results of refining ones craft. My main goal is to better understand this crazy, sparkly material.

Describe your style of work and the processes and techniques involved?
In the beginning, the voices in my head demanded that I...'pay attention to profile and proportion!’ it’s as if I haven't left this type of inquiry; it captivates me to no end. I'm a shape-ist. Glass can do so many things texturally, structurally, and there are so many things in the world to emulate with glass, yet i find it more challenging and satisfying to create a perfect sphere. A sphere can be as conceptually dense or mind numbingly banal as the maker intends it to be. Either way, geometric forms are powerful tools of communication, and though they pervade every aspect of our lives it is rare that you contemplate a circle, square or triangle absolutely by itself. They are beautiful.

Anyhow, so, I use glass and I make shapes with it, right? But particularly, I have been working with a technique I call 'coils' wherein I take small globs of hot glass and build with them consecutively upon one another. It’s a cellular way of creating the vessel wall. This technique is not unlike a coiled pot technique found in ceramics. i take each 'digit' of glass and force it to serve my will. The distortion created by this technique acts as a back drop upon which i can compare and highlight other qualities of the material.

What was the best experience of your time at JamFactory so far?
My best experience was the Dante Marioni workshop at the beginning of my associate ship in 2009. To have such a world class technician come to the studio and take our attention for a week straight was a humbling and inspiring experience.

What is your experience of the glass community in Adelaide?

The glass community in Adelaide is wide and friendly. There is a huge network of glass artists that access the jam studio with a plethora of techniques and styles being employed amongst them. Its saturated with information and experience. There is no technical query that cannot be answered. I always have someone to bounce ideas off of and the opportunity to collaborate with designers in other mediums is ever present. It's an excellent community.

Jam Packed talks to Julie Blyfield about her upcoming exhibition in GalleryOne, which celebrates 20 years of making by one of Australia's most renowned jewellers

2011-01-18T12:06:00.000+10:30

Tell us about yourself, how did you become a jeweller?
I knew I wanted a career in the arts after my schooling, I trained as a secondary school art teacher in the late 1970's.

It was during this fabulous course at Teachers College that I learnt the basic skills in jewellery making (as well as many other things such as printmaking, painting, drawing, photography) and I was hooked on making small scale work! I am a keen gardener and I enjoy planting, 'snipping and sweeping' as a way of relaxing and changing my focus.

Which jeweller, craftspeople, writers, artists, musicians, anyone do you find particularly inspiring and how have they influenced your approach to making?

I find a lot of people, books and travelling to remote places inspiring, but in terms of metal workers, I would mention people such as David Huycke, a Belgium metalsmith who makes beautiful, classic work. International jewellers such as Peter Bahuis, Helen Britton and Lucy Sarneel have all inspired me at some time. Frank Bauer, a German silversmith and designer who lives here in Adelaide taught me new skills in raising metal from flat sheet into three dimensional forms. Frank was very generous in sharing his knowledge and skills with me when I worked alongside him in his studio in 2003 to learn these skills.

Are there any specific quotes, ideas, places that influence this current body of work?
Every Christmas we head down to Kangaroo Island to relax, swim and wind down at the end of the year. So I decided that I would base a new collection of work on the coastal plants collected from beach walks and plants of the sea. I didn't really want the work to be a literal translation of what I collected or photographed but rather reflect the 'feel ' of the coastal vegetation and the colours of the locations.

Are there any specific collections, museums that you have found inspiring and why?

Yes there are many Museums that have inspired me including the Pitt Rivers Museum in Oxford, UK as I love the hand written labels and the density of the display with every case full on interesting artefacts. I also enjoy visiting the South Australian Museum for its wonderful collection of Indigenous artefacts and Pacific Island collections. While I was a resident in the UK on a jewellery exchange project in 2003 I visited the Natural History Museum in London and the Herbaria in Cambridge and Edinburgh where I studied plant collections.

Welcome us to your studio - where is it?

In Adelaide. I work from my own independent studio after working as a partner and access tenant at Gray Street Workshop for 23 years from 1987 - 2010 where I worked in an open plan studio alongside many other emerging and established jewellers in a shared studio environment.

The work for the exhibition: Can you describe the specific themes reflected in this body of work?

The exhibition reflects 20 years of my practice from 1990 - 2010 so it encompasses personal responses to my own family history and reflections on Adelaide's history when I worked as a volunteer on a local achaealogical dig in the old market area by East Terrace.

It also looks at the history of jewellery, specifically focusing on the work from the 1850's in the Victorian Era.

The exhibition shows my passion for gardening and interest in Museums and collections where I made work inspired from an old album of pressed plants collected in the desert around 1900. This album is now housed in the South Australian Museum Archives.

Describe your method of production in this current work?

I use the technique of 'chasing' which is a process where annealed silver metal is supported in 'pitch' (bituminous material) I hammer to texture my silver sheet with small steel tools before soldering. In commencing my work I often photograph, sketch and make paper maquettes to assist me in making decisions about the forms and designs I will make. In this way I can be free to cut, paste, staple paper together quite quickly and spontaneously to resolve the design process and avoid wasting expensive materials. I always recycle as much as possible in my making process.

Julie Blyfield: Contemporary Jewellery and Objects 1990 – 2010
GalleryOne
5 February – 20 March
Opening: 4 February at 6:00pm

Jam Packed talks to Metal Design Studio Creative Director Christian Hall about the Gilles Street Primary School Project

2011-01-17T12:32:00.000+10:30

Tell us about the project at Gilles Street
The project is an Artist in Residency program at the school where members of the Metal Design studio (Creative Director Christian Hall and Associates Hannah Carlyle and Peta Kruger) work at the school on two main projects. The first to develop a range of artist-made toys and the second a series of workshops for staff and students based on the theme identity and exploring sculpture through the accessible medium of jewellery and the body, and growing across larger scales and sites. The aim of the residency is to provide an inclusive sculptural experience that is international in scope for students, teachers and artists.

What are the major benefits of training students as young as 11 years old about design thinking? Future growth - The core idea that is central to this project is that these students are active participants in the creation of their own material culture – now and in the future.

By working with young students and allowing them access to “design thinking” + the creative development of their own concepts then to see these concepts realised as professional outcomes manufactured to the highest degree of finish we aim to plant the seed for future growth in these individuals and the design sector. This project may be the spark that ignites a passion that sees one of our students go on to become an architect, artist, designer etc.

Application to other areas – Students can draw upon the problem solving skills and lateral thinking experienced in “design thinking” and find application for these skills in other area of the school’s curriculum. Design is not just about the creation of things but about developing a self defined process for thinking through problems. This process has broad application.
Inclusivity - Design a pre-linguistic, open ended and semiotic form of expression that transcends boundaries of age, race and gender. The medium is perfectly suited to create an inclusive and playful learning environment, especially for the diverse group Gilles Street Primary School – Gilles St Primary supports a New Arrivals Program which makes up one third of the schools population. Over 40 different cultural groups are represented. Working with “toys” and 3D sculpture is the ideal vehicle to encourage enquiry, interaction and play between artists, students and teachers.

What do you hope that the students themselves will learn from or take away from the project?
Through this program I would like to see each student develop a connection with one or all of the artists involved that they can draw upon in the future. This connection could be a direct resource for the students; a way of gaining knowledge, information and insight into contemporary practice, or an in indirect resource; the experience serving to demystify the creative process and profession.

In addition to this, by developing the students concepts to a professional manufacturing and presentation benchmark we are aiming to help students will realise their own potential for excellence beyond limits previously imagined. We want them to be excited about art, craft and design practice

as process as my own with different constraints, only I never know what the students are going to value or why. When I ask them the answers can reveal a surprisingly sophisticated grasp of the world and that makes me think that the partnership between a school and a professional arts organisation, between student and artists, can bare real fruit. I am excited about what the marriage of the students ideas and view of the world and our technical, professional and creative know how can do together! In a way this is teaching me to be allot less precious about my own approach.

Gillies Street Jam is showing in the Atrium from 5 February - 13 March

Daniel Emma announced as winner of Bombay Sapphire Design Discovery award 2010

2011-01-12T10:25:00.000+10:30

The 2010 Bombay Sapphire Design Discovery Awards night was held at the Sydney Opera House on Wednesday 15 December, announcing Daniel Emma as the winners of the top prize for their ‘Basics Collection’, a range consisting of brass paperweights, a pendant light, magnetic paperclip tower and mirror.

Awarded annually, the prize consists of $30,000 in cash and a trip to Milan to attend the international design fair ‘Salone del Mobile’ in 2011. It is judged by experts in the industry and recognizes outstanding work by emerging Australian designers.

Judges described Daniel To and JamFactory’s Emma Aiston as “the complete package,” with work that reveals “a proactive independence of spirit, brand awareness, great interaction with their end-user and a reliance on local production.”

The work of all ten finalists will be included in an exhibition in early 2011.

All I want for Christmas...at JamFactory

2010-12-13T13:57:00.000+10:30

This year for Christmas if you are looking for something special, handmade and original, visit one of our two stores in order to choose from the very best craft and design from around the country. Our experienced staff offer knowledgeable advice - and they do gorgeous gift wrap. We are open 7 days a week and have something to suit every hip pocket, purse or credit card.

1. Peta Kruger, Earrings, $308.00

2. Zara Collins, Cuffe, $155.00

3. Hassa Hands, Salad Servers, $34.30

4. Ben Sewell, Glass Forms, small $230.00, large $290.00

5. Samantha Bosward, Woven Turnings, $341.00

6. Dale Roberts, Tumbler, $70.00

7. Rebecca Hartman Kearns, Urban Grass, small $110.00, large $143.00

On-Site Shop
Monday - Saturday 10am-5pm
Sunday 1pm-5pm
Extended Trading Hours in December: Open Monday-Friday 9am-5pm
No longer open Public Holidays

Rundle Mall Plaza Shop
Monday - Thursday 10am-6pm
Friday 10am-9pm
Saturday 10am-5pm
Sunday 12pm-4pm
Extended Trading Hours in December: Monday-Thursday 10am-7pm. Sunday 12pm-5pm

Generate '10 JamFactory Annual Graduate Exhibition

2010-12-09T11:47:00.000+10:30

The annual exhibition of work by final year JamFactory Associates Andrew Bartlett, Hannah Carlyle, Caren Elliss, Sorcha Flett, Susan Frost, Michael Garrett, Nick Koschade, Peta Kruger, Jaan Poldaas, Danielle Rickaby and Vanessa Williams.

Capturing these young artists at a crucial moment in their careers, this showcase is a barometer of trends and emerging ideas in contemporary craft and design from within Australia’s leading studio centre for the development of design integration and hand craftsmanship.

"Like so many of the 150 or so alumni that have gone before them this group of 11 dedicated emerging designers will go on to establish successful and influential careers. Building on strong foundations, they will continue to refine their design, craft and business skills. They will create new opportunities for themselves, they will extend their networks around the globe and they will always be part of the JamFactory community." - Brian Parkes, Managing Director

Generate opens this Friday the 10th of December at 6pm in Gallery 1.

Canberra based artist Elefteria Vlavianos talks to us about her practice and the inspiration behind her work in the Momentum 18th Tamworth Fibre Textile Biennial opening at JamFactory 29 October

2010-11-03T07:30:00.004+10:30

Tell us about yourself, how did you become a painter/printmaker?

I am not sure when I became a painter; because as far back as I can remember I have always painted and loved drawing. Having said this I have been painting on a full time basis for about 8 years. My earliest memories of printmaking are working with large scale silkscreen print in South Africa; however my adventure into etching and lithography came about in collaboration with the master print maker John Loane.

Which painters/ printmakers, craftspeople, writers, artists, musician, anyone do you find particularly inspiring?
I have a range of painters/ printmakers – craftspeople, writers, artists etc. that I find inspiring. The range is quite eclectic. In art historical terms, I am currently looking at the work of Eva Hesse and Arshile Gorky. My interest these artists is related to formal and transformation aspect of their work. My interest in their work connects to issues regarding, cultural displacement, translation and renewal. At the same time I am equally interested in the work of Robert Ryman, Barnett Newman and Agnus Martin

Within a contemporary – Australian context – I think that Australia has a huge wealth of artists so it is very hard for me to pick. So to mention a few artist whose work I am interested in include Bea Maddock, Hossein Valamanesh, Vivienne Binns and Juan Devila.

A key writer for me at the moment is John Berger – in particular his books – The Sense of Sight.

Have any of these people had a specific influence your way you approach to making? If so, how? For all artists the list of ‘artists’ they keep and return to time and again, each provide a little insight into approaches, processes and ways of thinking about art – in general – and practice specifically.

The work of Eva Hesse and Arshile Gorky is of current interest to me. Gorky’s late paintings fascinate me because I identify a translation of culturally specific imagery into a contemporary abstract context. In relation to Hesse’s work, I am interested in her investigation of materiality, structure and form beyond the limits of a modernist approach to formalism. I see her work as shifting the position and idea of the visual object from that of a statement to a question about art, culture and life. I find this approach appealing because it opens up all kinds of possibilities of what art might be, how it can be conceived and constructed. I am also fascinated by the way in which she investigated the materials she used in order to find new ways of making them speak.

Recently, I had an opportunity to meet the painter Juan Devila. We had this most amazing conversation about, tradition and transformation in painting - the move between representational and abstract work particularly in painting. This conversation was about carrying over a particular kind of cultural tradition and aesthetic into a contemporary context. This conversation will probably keep with me for a very long time.

Are there any specific quotes, ideas, places that influence this current body of work?
A current quote that I like very much is by Anni Albers – from “Material as Metaphor in Selected Writings on Design”

“How do we choose our specific material, our means of communication? ‘Accidentally’. Something speaks to us, a sound, a touch, harness or softness. It catches us and asks us to be formed. “

Is there any specific collections, museums that you have found inspiring and why?Last year I had an opportunity to visit the Benaki Museum in Athens. I was particularly interested in their textile collection form the Ottoman Empire prior to 1920’s. The collection was magnificent. It was the first time I was able to look at a large collection of traditional textiles form Anatolia and compare – motifs, colour, scale and techniques used and compositions employed.

Welcome us to your studio - where is it, do you share the space, if so what are the benefit of a shared space?

At the moment I have a studio at an artist run collective in Canberra known as ANCA or Australian National Capital Artists inc. I have a studio on my own, but there are 20 other studio’s in the complex which means that you can meet and interact with other artist. It’s an absolutely wonderful facility, and community.

My studio is quite big, and is filled with stuff. At the moment I am in the process of stretching and gessoing my next lot of canvasses. As a result the walls and floors are covered with white canvasses of differing sizes. I also have two tables that have works on paper on them that I am working on. There are normally a few things happening at once in the studio, which is the best way to be for me. I like to have things in a kind of progression.

The work for the exhibition: Can you describe the specific themes reflected in this body of work?

I made this work in 2008 and at the time I was interested in the way in which memory can be carried over though material tactility. I was interested in the relationship between the intimacy of work and how they might connect individuals to a particular time, place or event. I had this feeling to create something that was intimate, jewel-like as well as being expansive or a movement in time. This interest is connected to themes regarding time, rhythm, and regeneration. In addition I also wanted the works to be seductive and to slow the viewer down into looking.

Describe your method of production in this current work?

My methodology is process driven and highly detailed. I also wanted to straddle the boundaries between – drawing, printmaking and textile genres. So in relation to this, I was quite playful. At the time I did not want to think to hard about the result, it was more a matter of making, so that one work lead to another. There are 6 in this series, but they in fact are part of a much larger series of 14 works. They were installed in a single line so that the viewer would move from one to the next in a progression.

Melbourne based artist Vicki Mason talks to us about her practice and the inspiration behind her work in the Momentum 18th Tamworth Fibre Textile Biennial opening at JamFactory 29 October

2010-11-03T07:30:00.003+10:30

Tell us about yourself, how did you become a jeweller?
A visit to Fluxus jewellery gallery and workshop in the mid 80s in Dunedin NZ when I was an arts student studying the classics helped get me hooked on the idea of a career in the crafts as a studio jeweller.

Which jeweller, craftspeople, writers, artists, musician, anyone do you find particularly inspiring?
I’m a greatly inspired by the work of Julie Blyfield along with numerous other wonderful jewellers like Otto Kunzli, Lucy Sarneel, Svenja John to name just a few.

Outside my field the works of Karl Blossfeldt, Paul Klee, Hundertwasser (Friedrich Stowasser), William Morris, Georgia O’Keefe, Margaret Preston, Lucien Henry and many others are always inspirational. Aussie writers like Kate Grenville, Alex Miller and Peter Temple... as well as garden writers like Richard Aitken and Peter Timms always leave me feeling refreshed.

Have any of these people had a specific influence your way you approach to making? If so, how?
I think I’ve been influenced by the clarity of vision that Julie Blyfield seems to convey in her work.

Are there any specific quotes, ideas, places that influence this current body of work?
My observing the curious nature of a Kumquat tree given to me by a family member many years ago that I have planted in my herb garden affected the development of some of the works in the exhibition. This tree’s stem is formed from two separate parts. Onto a root stock of some kind a Kumquat tree has been grafted and it is this join and the process undertaken in order for this to happen that intrigued me.

Are there any specific collections, museums that you have found inspiring and why?
A visit to the Powerhouse Museum as well as the AGSA in 2009 to view some Australian colonial jewellery as part of a fieldwork trip for my Masters study has been the most recent source of contact with collections of artefacts. The use of Australian indigenous flora in some of the works I viewed is really stimulating.

Welcome us to your studio - where is it, do you share the space, if so what are the benefit of a shared space?
I work from home in the suburbs of Melbourne due to family commitments. I get tonnes done but often miss the chatter of a shared space.

The work for the exhibition: Can you describe the specific themes reflected in this body of work?
This series explores concerns to do with place and belonging. I was thinking about hybridity and grafting, often associated with agricultural and horticultural practices to fuse two plants to achieve a desired outcome. The idea of grafting is used in some of these works as a metaphor for the migrant experience, where a fusing of sorts takes place. The series creates a sense of how disparate elements can be engineered and come together to create something completely new. I used motifs from a variety of historical sources as well as indigenous flora from the area where I live to try to generate new meanings and create new ornamental forms that speak to this concept of fusion.

The work arranged in a circle, relates to the ideas of systemisation and classification in the study of botany, to Petri dishes, and to the circular form of pots into which we put many plants.

Describe your method of production in this current work?
These works mix hand-fabrication processes with industrial processes. The combination of industrial techniques and processes with obvious craft processes brings together old and new technologies. These processes in combination with the choice to use an old established material (metal) with a new material (plastic) was aimed at reflecting the underlying concepts of the work with its mixed focus.

Patsy Hely talks to us about her practice and the inspiration behind her work in 'To There and Back' opening in Gallery 2 at JamFactory on October 29

2010-11-03T07:30:00.002+10:30

Tell us about yourself, how did you become a ceramic artist?
My grandmother and mother had some quite lovely ceramic objects, English and Japanese mostly, that I always loved, but had never been curious about how they came into the world. Then one day in the 70’s in England I was wandering around St Ives with a friend and we passed a pottery workshop and - looking through the window - saw someone throwing a pot. It had never occurred to me that pots were made by hand – but I think I was hooked on the spot.

Which ceramic artists, craftspeople, writers, artists, musician, anyone do you find particularly inspiring?
I’m most influenced I think by the written word. The person who over a period of time has had the biggest impact on my thinking and, therefore, on my making, is the writer Phillip Rawson. His text ‘Ceramics’, written I think in the 60’s, is the most critically engaged reflection on pots I’ve ever read and I can still read it today, though I’ve read it many times, and still find new insights. Lately, I’m struck by the concentrated act of producing an extended imaginative text such as, for instance, Wolf Hall by Hilary Mantel or Brooklyn, by Colm Toibin – both bring a whole world to life.

I’ve just written an essay for an exhibition marking the 80th birthday of Les Blakebrough. I’ve come away from doing the research for that absolutely full of admiration for someone who has managed such a long and fruitful career and made a very tangible contribution to his field. The work I probably most love having at home is that of Kirsten Coehlo, it is just so perfect both to use and to see sitting on the shelf.

Have any of these people had a specific influence your way you approach to making? If so, how?
I think both Les and Kirsten have a strong sense of what they want to make and are very interested in trying to learn something for themselves through developing work. When I work for an exhibition I need to totally immerse myself in a set of ideas that I find valuable and that relate to issues I’m interested in intellectually – so I feel that I know more after I’ve developed a body of work, not just made more. Phillip Rawson’s view of ceramics as an art with a long historical trajectory has always informed my making. It’s given me a love of the history of ceramics and taken away any need to feel I have to make something ‘new’, I’m happiest making work that is connected to that trajectory, even if I’m the only one who recognizes it!

Are there any specific quotes, ideas, places that influence this current body of work?
It has grown out of previous work and a long held interest in intersections between souvenirs, the recording of experience and ideas about place and belonging.

Are there any specific collections, museums that you have found inspiring and why?
I spent a few days wandering the V & A last year - I think that is probably a craftsperson’s heaven. Seeing the collections there reinforces for me that imaginative acts, like making something, are worthwhile pursuits.

Welcome us to your studio - where is it, do you share the space, if so what are the benefit of a shared space?
I work alone in a small studio behind the house. I’ve shared studios in the past and enjoyed that but now – I much prefer working alone and have come to rely on the space it opens up for reverie.

The work for the exhibition: Can you describe the specific themes reflected in this body of work?
I’m interested in how experience of place is recorded both by myself and by others. There is a long tradition of this in ceramics, as both souvenir and document. I’ve been to Adelaide quite a lot over the last few years and spent quite a bit of time walking the city and taking photographs. Painting these images now is a way of thinking about place, of remembering experience - immersing myself in recollection. Many of the images are somewhat mundane, city streetscapes for instance, and it’s a challenge to make something visually interesting through the manipulation of materials.

Describe your method of production in this current work?
All of the work is slipcast porcelain painted with combinations of ceramic under and overglaze and ceramic lustre.

JamPacked speaks to Annabelle Collett, who's work is exhibiting in Momentum, the 18th Tamworth Textile Biennial, showing at the JamFactory, 29th October to 5th December

2010-11-03T07:30:00.001+10:30

Tell us about yourself, how did you become a textile artist?
I have always loved pattern, it’s history and significance across all cultures, on all types of surfaces. At Art School, looking at modern and abstract painting, I always felt the designs would look great as printed fabric. From the early seventies I have been playing, experimenting and making patterns on material. Frustrated with the fabrics available commercially I have hand painted, hand printed and knitted textile designs for items that I have constructed to sell as fashion and soft furnishings. Over the last decade I have made art pieces as abstract coverings, intentionally unwearable, incorporating social comment reflecting current concerns. Over the years I have also collected a huge amount of patterned vintage textile lengths as a reference to textile designs from the 20th Century.

Which textile artists, craftspeople, writers, artists, musicians, anyone do you find particularly inspiring?
I have always loved artists whose work could be easily converted to textile designs. Artists like Jackson Pollock, Stuart Davis, Sonia Delaney, but there are also many others, too many to mention.

Welcome us to your studio - where is it?
I moved house and studio about 18 months ago into quite a large place. My studio is upstairs in a large room with fabulous natural light and a big balcony.

I have a room dedicated to my collection of vintage fabrics and another room referred to as the ‘inside shed’. I have been very productive in this studio space, as, for me, these elements of space, light and ordered accessibility enliven my creative energies.

The work for the exhibition: Can you describe the specific themes reflected in this body of work?
The work in this exhibition is from a much larger collection titled ‘Disruptive Pattern Syndrome’ which made up a solo exhibition that I have exhibited in many galleries around Australia in the past few years. With this body of work I have used many types of camouflage fabrics to convey the elements of visual disguise. In contemporary society camouflage sits in a broad arena from military application to fashion items. This has allowed me to explore, abstract and play with the principal themes of similarity and difference.

Describe your method of production in this current work?
For this work I wanted the opportunity to create my own ‘camouflage’ fabric, using the digital process of designing and printing, now readily available.

Playing with patterns and shapes that I created on the computer in Photoshop I developed many designs that followed the principals of merging and blending. I have had these designs digitally printed onto short lengths of cotton drill, in 4 different colour ways. The sewn garment plays with the notions of a military uniform and is placed in front of the panels of the same fabrics to create a chameleon pattern play that I’ve called ‘Neo-Camo’.

JamPacked speaks to Jane Bowden, who's work is exhibiting in Momentum, the 18th Tamworth Textile Biennial, showing at the JamFactory, 29th October to 5th December

2010-11-03T07:30:00.000+10:30

Tell us about yourself, how did you become a jeweller?
I bought my first piece of jewellery, a small silver ring, when I was about 11 in Sydney. From the day I put that ring on I wanted to be a jeweller.

Which jewellers, craftspeople, writers, artists, musician, anyone do you find particularly inspiring?
I find so many things inspiring. I love architecture, Japanese furniture, well crafted pieces including well crafted jewellery. Pieces that you can’t work out, just by looking at them, how they were made. Detail…… Objects that make you want to hold them. Trips to other countries, different cultures are inspiring.

Are there any specific quotes, ideas, places that influence this current body of work?
These pieces are inspired by the process of weaving and the small central ring becomes the loom for my piece, and the beginning point. The ring forms have developed as I weave. My aim was to create that link between the internal and external form. I like the way the weaving is translucent and you can see the internal form if you look closely. I have been inspired by forms of the Aboriginal eel fishing traps.

Is there any specific collections, museums that you have found inspiring and why?
I love visiting galleries when I’m travelling. I love the history of the pieces. Who made pieces and when, and what happened to them. Who wore or owned pieces. I love the emotion and life a piece has.

Welcome us to your studio - where is it, do you share the space, if so what are the benefit of a shared space?
Our arcade - Gay’s Arcade, Adelaide SA

Our studio and gallery
Zu Design - Jewellery + Objects

Our Gallery

I work from my studio and gallery in Gay’s Arcade, Zu design - jewellery and objects. Gay’s Arcade is a part of Adelaide Arcade and is such a beautiful place to work in. Our Gallery show cases over 80 artists from across Australia. Roman and I run Zu design and we have access tenants who share our space. It’s great sharing a space with other jewellers. We share equipment and help with making solutions. I find it inspiring.

Our Workshop

The work for the exhibition: Can you describe the specific themes reflected in this body of work?
Woven ring series for MOMENTUM - My work for this exhibition is about the momentum and rhythm in the process of the weaving and construction of each of my pieces.

Describe your method of production in this current work?

I begin with a small central form and then add many pieces of silver wire which become the warp for my weaving. I use a very fine piece of silver or gold wire (0.3mmin diameter) as the weft and I weave my ring form. In these pieces I have varied the colour using different metals including sterling silver, 18ct white, 18ct pink gold, 22ct gold and beryllium treated sapphires.

AirCraft gets set to take off!

2010-09-22T13:16:00.000+09:30

JamFactory Metal Design Studio Creative Director Christian Hall prepares for his upcoming exhibition AirCraft: lights + mobiles + ornaments to be showcased in Studio Works Retail Gallery from

9 Sept - 31 Oct 2010

Hall presents this series based on the iconic, stylised emblem

of the aeroplane, with a knowing and boyish will, looking to

celebrate the symbol of mechanical flight and produce

objects that carry within them the daring of dreams.

Whether 'caught in mid zoom' or in motion, the image of the aeroplane, present in Hall's work since 2003, encapsulates a spirit of optimism that looks back on modernity as an object of nostalgia.

The design, a flat silhouette that is pressed and folded to 'pop up' into existence, denotes one of the key sculptural concerns in Hall's practice, the spatial ambiguity of form emerging from flatness.

AirCraft highlights the allure of making and manufacture and questions the distinction between the utilitarian and the decorative, and pure and applied arts.These toy-like objects slip between product, artwork, design and craft, with multiple applications from large scale installation in commercial contexts to simple objects in the domestic environment.

AirCraft: Lights + Mobiles + Ornaments is showcased in JamFactory's Studio Works Retail Gallery from 29 Sept - 31 Oct 2010

Exhibition Opening Night : Making Waves, Metonymy: look both ways, Precious

2010-09-15T15:33:00.000+09:30

Gerry Wedd Opened Friday Night's Exhibition to great applause, read his insightful speech below!

At last...an exhibition of functional craft at JamFactory!
A concept- free zone! This is a real craft show full of craft of the ocean-going variety, but it’s also crafty. These are shiny objects of Cargo cult proportions. Perhaps Peter is using a different kind of craft in a bid to bring waves up the gulf and into Morphett street.

To help Peter along here is a Hawaiian chant to bring on the swell

Kumai !Kumai ! Ka nalu nui
mai Kahiki mai,
Alo po’i pu! Ku mai ka pohuehue,
Hu !Kai ko’o loa

I come to this show as a surfer, of course I’m impressed by the craft .They are lovingly and meticulously made, but all I’m really interested in is how they perform. Where would I ride them,what do they feel like??

Surfboards are the example non pareil (parelle) of archct Louis Sullivans dictum - Form follows function. Each curve, each edge, the width, the thickness, the weight, every aspect is considered with a view to it’s relationship with, and performance on an ever-morphing wall of water. There is no frippery in these forms. After spending countless hours of construction Peter has bravely handed over these beautiful abstract forms for others to leave their mark on : that is to ornament them.

What we have here is clash of sensibilities.

As that great taste-maker Adolf Loos pointed out in his essay ornament and crime "The evolution of culture marches with the elimination of ornament from useful objects" Loos introduced a sense of the "immorality" of ornament, said it was "degenerate", and that its suppression was necessary for regulating modern society. He took as one of his examples the tatooing of the "Papuan" and the intense surface decorations of the objects about him; Loos considers the Papuan not to have evolved to the moral and civilized circumstances of modern man, who, should he tatoo himself, would either be considered a criminal or a degenerate.

Of course surfboard making pre-dates Loos who was in his own way a design Calvinist,
Now…Australia has an interesting link with one of the earliest descriptions of surfing and surfcraft, Ship’s log, 1780, Captain King in the service of Captain Cook.

Whenever, from stormy weather, or any extraordinary swell at sea, the impetuosity of the surf is increased to its utmost heights, they choose that time for this amusement: twenty or thirty of the natives, taking each a long narrow board, rounded at the ends, set out together from the shore. As the surf consists of a number of waves, of which every third is remarked to be always much larger than the others, and to flow higher on the shore, the rest breaking in the intermediate space, their first object is to place themselves on the summit of the largest surge, by which they are driven along with amazing rapidity toward the shore. Captain King-Cooks voyages.

When Cook arrived in Hawai'i, surfing was the main deal. Beaches had been named after legendary surfing incidents. There were the kahuna (a kind of surf priest ) who intoned chants to christen new surfboards, to bring the surf up and to give courage. Hawaiians had no written language until the haole (white-skinned people) arrived, their history was oral, remembered and retold in songs and chants.

Hawai'i was ruled by a code of kapu (taboos). Kapu regulated almost everything from where to eat; how to grow food; how to predict weather; how to build a canoe; how to build a surfboard; how to predict when the surf would be good, or convince the Gods to make it good .A hierarchical system denoted who could ride which board. Commoners rode small paipo boards on their knees and stand up alaia boards as long as 12 feet. Royalty rode waves on olo boards that were as long as 24 feet.The boards were hacked out of local timbersand laboriously shaped and finished with abrasive stones. Although the Hawaiians patterned their bodies and textiles, their boards seem to be largely un adorned.

After contact with stern Calvinist missionaries Hawai'i was changed forever from the Eden which Cook had encountered. The missionaries drove surfing out along with any other lascivious activities. As the kapu system crumbled under Christianity, so did surfing's ritual significance within Hawaiian culture.

The Hawaiians weren’t the first surfers we know of but they were the ones that developed it into a cult. In the 1900’s surfing and surfboards began to spread afield and developments in design came thick and fast. The boards surrounding us in the gallery embrace those developments: from Tom Blake vegetarian,naturist,1920’s tore the rudder from a speedboat
and attached it to the bottom of a surfboard .
to Bob Simmons-1940’s who studied hydrodynamics in an
effort to go faster than anyone else

In the 1960’s surfers were quick to embrace the counter culture and all it promised. For a brief time in the summer of love surfers embraced the idea of surfing as an artform and a life philosophy.
Counter cultural Guru and Acid head Timothy Leary saw surfing as a way of reaching an all-knowing Zen like state. And I quote…
“I want to have film of a surfer, moving along constantly right at the edge of the tube. That position is the metaphor of life to me. , the highly conscious life. That you think of the tube as being the past, and I’m an evolutionary agent, and what I try to do is be at that point where you’re going in to the future but you have to keep in touch with the past…that’s where you get the power… and sure you’re more helpless, but you also have the most control at that moment. And using the past … the past is pushing you forward isn’t it?”

Leary’s quote is apt with regard to Peters boards if not his whole practise.
These surfboards, like much craft are on the cusp, being propelled forwards into the future by the past. Now go and do some mind surfing of your own.

Interview with Associate Samantha Bosward

2010-09-09T16:14:00.000+09:30

JamFactory talks to first year Furniture Design Associate Samantha Bosward about her JamFactory experience and the studios latest exhibition 'Product'!

Tell us about yourself, how did you become a furniture designer/maker?
Having always been interested in art and design I went on to study Interior Architecture at University for a short period of time. Needing to fulfil my want to make and be hands on I moved to Tafe to study furniture design and wood machining.

Where do you go, look, research for inspiration?
I look at natural objects for inspiration. I photograph and collect seed pods, tree bark, leaves etc to study their forms and textures.

What are your main objectives while undertaking the Associate Program at JamFactory?
To experiment! Use this opportunity to try out making techniques and use different natural materials.

Can you tell us about the theme of the exhibition?
The exhibition's theme is "Product". It was an exercise to explore a concept - to develop processes and ideas for making items in a commercial environment.

Could you describe your work from the show – the ideas behind the work you produced and your process of making?
I have used the process of gapped segmented turning to make my "Woven turnings". Essentially the idea was to replicate the delicate form and structure of woven bowls and baskets but in a more solid material.

Which crafts people, writers, musicians are inspiring?
I am quite the William Morris fan- the repetition and subject matter of his prints.

Are there any specific Quotes; Ideas; Places; that have influenced this current body of work?
Patterns in natural objects and the movement and changing of their forms over time.

Product will be showcased in JamFactory's Studio Works Retail Gallery until 25 September

Making Waves – interview with Peter Walker

2010-09-06T18:43:00.000+09:30

Tell us about yourself, how did you become a furniture maker?
I was born in Sydney and some of my early schooling was in South India. After high school I worked for four years in a variety of jobs including cleaning, oyster farming, sound recording and antique restoration. Around 1981, I was working in a boat-yard in Sydney for Ian Smith, potter, sculptor and boat-builder who introduced me to the world of craft and designand inspired me to study furniture design. The Tasmanian School of Art offered the most exciting education for me at that time so I moved there and ended up staying for 14 years, establishing my own studio and design practice along with having four kids, a goat, a few sheep, chooks and building houses in a small rural community south of Hobart. During this time I spent five years as a Design Consultant in the furniture manufacturing industry for Chiswell before moving to Adelaide to Head the Furniture Studio at the JamFactory from 1997 to 2000.

A quick 4 about inspiration?

Which furniture designers, craftspeople, writers, artists, musician, anyone do you find particularly inspiring?

Sculptor Martin Puryear, anthropologist Wade Davis, musicians Rodrigo y Gabriella, surf craft innovator Tom Blake, filmmaker Werner Herzog, authors Tim Winton and Haruki Murukami

Have any of these people had a specific influence your way you approach to making? If so, how?
Yes, all of them in a way, along with many others as I draw my influences from every aspect of life I encounter and these people are pertinent in my thinking at the moment.
Martin Puryear, for his subtlety of form and the relationship he has developed between materials and craftsmanship
Wade Davis for his global perspective, cultural respect and ability to connect ideas of ancient wisdom with today’s technological culture.Tom Blake as someone who created a “lifestyle” from observation and creative thinking and his ingenious innovations of the hollow surfboard and fin, life buoys, underwater camera, and the windsurfer.Rodrigo y Gabriella for their virtuosity and innate connection in collaborating with each other and Herzog’s obsessive dedication to his projects and attraction to extreme characters and the “obscure”.

Is there any specific quotes, ideas that influence this current body of work?

The momentum for this body of work started with some time in Dale Velzy’s studio in California in 2003 a couple of years before he died, around the same time that Grubby Clarke’s world wide foam blank monopoly came to an end.I was in San Diego again at the time of Velzy’s memorial and paddle-out with about 2000 surfers from around the world, which inspired me to get going seriously on the wooden boards. There are a number of ideas in this body of work from ecological considerations like material choices, production methods and quality through to lifestyle and the combination of art,craft and design coming together through a direct “hands on” process.To my way of thinking, there is valuable knowledge embedded in hand made objects to do with time, observation and the senses that cannot be communicated in any other way.

Is there any specific collections, museums that you have found inspiring and why?

The Herreshoff Museum in Bristol, Rhode Island USA, exhibits the evolution of hydro dynamics in boat hulls for the Americas Cup over more than 100 years through hundreds of wooden studies of scale model half hulls. I’m very interested in this aspect of surfboard design and the effects on drag, suction, uplift, flow and planning hulls.

Are there specific themes reflected in this body of work?

The things of interest to me that are part of this body of work are surfing history and the evolution of surfboard design, hydrodynamics, ecological considerations, hand skills, the combination of art, craft, design, and the process of collaborating with other artists which always introduces the un-expected and creates something that isn’t possible when working alone.

Describe your method of production in this current work?

Apart from one piece that uses a component of laser cut technology, every board is entirely handmade .I work from full-scale templates and build skeletal framesthat establish the transitional compound curves before laminating rails and skinning the decks and bottoms. Some of the surface treatment is incorporated during the making process and some applied after the board is shaped. The boards are fiber glassed by Mark Taylor at Mid Coast Surf.

In this series of works you have collaborated with a number of artist to add designs to the surfboards can you tell us who you have chosen and why they are suited to this project?

Gerry Wedd and Phil Hayes are both artists and surfers with a history of involvement in Australian surf culture from Mambo to the mainstream global giant of Quiksilver. Gerry is a ceramicist and image-maker and Phil is a painter and print-maker. Stephen Bowers‘ analytical illustrations combine the historical disciplines of Chinese Willow pattern with contemporary social commentary, while Quentin Gore, an industrial designer, brings artisan sensibilities to industrial technologies.

In this body of work you also have introduced the fire as a method to provide a new affect on the surface of the board,can you describe the process and why the use of fire was pertinent for these works?

The connection of fire with water as two of the fundamental natural elements pose a dynamic contradiction of forces that are an essential ingredient of the South Australian environment. The process of burning the boards is similar to surfing in that it is an immediate action taking place, and while it can be controlled quite tightly, I choose to work with it in such a way that it is somewhat unpredictable and I need to respond and adjust to the process as it happens. I love the excitement of taking a carefully designed and crafted finished object into a process that has the potential to go either way – either an inspired series of marks and energy transferred on to the surface, or maybe a blackened pile of charcoal.

In recent years you have spent part of your year in Australia and part in the USA teaching at the RISD has this travel/living between places affected the work you produce.

Yes, I have been doing this for 10 years now and am constantly questioning and evolving my ideas of creative practice while being challenged to expand my thinking as it is influenced by differing cultural perspectives. Running the Graduate Research Program at RISD’s Department of Furniture Design keeps me right in the thick of current thought enquiry in the design field, being involved in projects from North America to Europe and Japan. These are as varied as a sustainable lumber company in Maine, providing an entire community with a supporting industry of forestry, milling and production to developing future concepts and design strategies for technology giant Toshiba in Tokyo. These experiences are balanced with the physical development of work here in Adelaide where I concentrate on my own particular areas of interest which for the last six years has been wooden surfboards.

Peter Walker’s surfboards will be on display at JamFactory from 10 September – 17 October in Gallery 1

Jam Packed interview with jeweller Linda Hughes

2010-09-01T12:42:00.000+09:30

Tell us about yourself, how did you become a jeweller?
I've always 'made' things. I started out as a sculptor and just scaled down to jewellery objects.

Which jewellers, craftspeople, writers, artists, musician, anyone do you find particularly inspiring?
I admire Australian artists such as, Brett Whiteley, Rosalie Gascoigne, Jeffrey Smart and Clarice Beckett. I like street art; graffiti

Jewellers in particular are, Manfred Bischoff, Ramon Puig Cuyas, Katja Prins, Helen Britton and Rian de Jong

Have any of these people had a specific influenced the way you approach making? If so, how?
Jeffrey Smart's palette appeals to me obviously, his sense of composition.

Is there any specific quotes, ideas, places that influence this current body of work?
I've been obsessed with the streetscape for years and continue to be.

Is there any specific collections, museums that you have found inspiring and why?
I could sit for hours in front of Jackson Pollock's 'Blue Poles' at the NGA, it's a journey of discovery. For jewellery, Gallery Marzee and the V & A.

Welcome us to your studio - where is it, do you share the space, if so what are the benefit of a shared space?
My studio is at home, isolated. Bright, warm with real coffee. However, I have contact with my peers at uni and in their studios when a friendly exchange is needed.

The work for the exhibition: Can you describe the specific themes reflected in this body of work?
Street signs and more street signs, subtle changes in pieces and hidden messages.

Describe your method of production in this current work?
Escherlike think parquetry and glue!

Internationally renowned glass artist Katherine Gray is currently conducting a workshop in the glass studio at JamFactory

2010-07-21T11:07:00.000+09:30

Based in LA, Katherine Gray is one of the world’s most recognised artists working in glass, her work uses a strong skills base often combining this with innovative and playful approaches to her ideas-based practice.

Katherine graduated from the Ontario College of Art in Canada and received her M.F.A. from the Rhode Island School of Design, she is currently Assistant Professor in glass at California State University, San Bernardino. Katherine has taught workshops around the world including Canada , France and Japan, as well as writing about and curating exhibitions of contemporary glass. Her work can be found in the collections of the Corning Museum of Glass, the Tacoma Museum of Glass and the Museum of American Glass.

The workshop runs throughout the week with members of the glass community given the opportunity to learn from Katherine, with demonstrations and artist talks. The public can catch a glimpse of Katherine at work from the Glass studio viewing platform throughout the week.

Tom Rowney Workshop June 14-18

2010-06-17T15:54:00.000+09:30

MUTATE

2010-06-10T16:44:00.000+09:30

MUTATE – Materials Under Transition And Technical Exploration
JamFactory Associates recently undertook a new collaborative project called Mutate.
Mutate provided an opportunity for Associates to work with and learn from fellow associates in the four main studios, allowing experimentation and exploration with new materials and techniques.
In groups of 2 or 3 Associates worked together to design a functional item, working from ideas and sketches to a final prototype in a very short timeframe. The results were then presented and critiqued providing valuable feedback on design concepts, use of materials and working as a team.

The project is the first is a series of cross-studio collaborative projects aimed at expanding and enriching the Associate experience

JamFactory Volunteers Week Celebrations

2010-05-28T11:34:00.000+09:30

On Thursday May 20, we celebrated and recognised the support and efforts of our volunteers throughout the year.

The Metal Design Studio held a ‘Make a Silver Ring’ workshop from 1-5pm and a Thank you Ceremony followed, where volunteers were presented with Certificates of Appreciation over drinks and nibbles.

We would like to thank our volunteers for your continued support of JamFactory and time provided in the Volunteer Program.

The Volunteer Program has been established to support the activities of JamFactory, in particular the Gallery. It provides an opportunity for interested people to interact with artists and expose them to professional crafts practice. Volunteer activities include Gallery Invigilation which is an important ‘front of house’ position, providing the first point of contact for visitors to JamFactory.

If you would like further information in becoming a JamFactory Volunteer please contact Kara Growden
8410 0727 kara.growden@jamfactory.com.au

Liz Williamson: Textiles Opening

2010-05-25T17:51:00.000+09:30

Liz Williamson: Textiles was officially opened on Friday 21st May at 6pm by Guest Speaker Kay Lawrence. The exhibition is part of Object Gallery’s Living Treasures: Masters of Australian Craft series which celebrates Australia’s most outstanding and influential senior crafts practitioners.The exhibition runs until 20 June 2010.

Liz Williamson: Textiles is supported by Object’s National Exhibitions strategy funded by the Australian Government program supporting touring exhibitions by providing funding assistance for the development and touring of Australian cultural material across Australia.

1st Year Ceramic Associate James Edwards talks to Jam Packed about the 2010 Clay Energy Conference

2010-05-24T14:45:00.000+09:30

This is the eighth in these series of clay events held in Gulgong home to Australian Preeminent ceramist Janet Mansfield. Is this your first trip to Gulgong? If so what were you expecting?
Yes this was my first Gulgong outing, the 2010 Clay Energy Conference. I just missed the last one in 2007, so I had plenty of expectations, but also knew from talking to others who had been in 2007 what the conference was about. There were plenty of 'artstars' of the Australian and international Ceramics world, and the whole event is really an excuse for every one of all levels to mingle, network and have some fun. That was pretty much exactly what happened.

What were some of the highlights of the conference – particular key notes etc. and why?
Highlights of the conference were more outside of the lectures for me. I sat with our Clay Adelaide exhibition most of the conference, and what I'm considering highlights from this are the moments and conversations with artists from all levels talking about our work, and theirs. I had some great informal chats with some influential people in regards to my practice, which was awesome!

The one artist talk I got to that I did enjoy a lot was Ken Yonetani talking about his work. His work is so highly textural, evocative of the ocean floor in his formations of coral, shells, and mussels made from clay, and then his more abstract pieces, that I couldn't help the immediate attraction to the works.

Which exhibitions did you like and why?
There were so many exhibitions, from purpose built gallery spaces to vacant shops full of work, to a neatly placed display in the main streets shop windows. So much work was attractive; to pick a favourite would be impossible...especially when our Clay Adelaide exhibition was totally the best!!!

Interesting exhibitions though, included the Matchbox Competition, where all and sundry could enter a ceramic based work, as long as it could fit inside a matchbox. On the Saturday night of the conference, all the matchbooks (about 400?) were lined up on a pool table in the Prince of Wales Hotel, and it was really interesting to see how innovative and creative entrants had been.

Another was the '340 grams' - The Australian Ceramic Association Members Exhibition, where members could exhibit anything as long as it weighed 340 grams in total.
I feel these exhibitions were so attractive to me because of the scope of creativity they offered, and a few inspiring ideas came from some of the exhibits!

Did you get involved in the wood firings, if so can you tell us about it?
I didn't get involved in a wood firing as there weren't any being run. We did do a massive Raku workshop though as Raku is a much faster firing process than wood, and that meant the conference was actually long enough to go from start to finish in the whole process of making, drying and firing, while still allowing people to take their finished pieces away.

We did however fire a few wood ovens, a tri-pot Tandoori wood oven, and various other wood-heating ovens that created some decadent food on the last day at Janet Mansfield's property.

Adelaide Ceramist had a show as part of Clay Energy Can you tell us who was part for this exhibition and where it was held?
Our Clay Adelaide exhibition was held in the front upstairs room in a beautiful Victorian style shop fronted house, now officially to be the Headquarters and home of Mansfield Press, at the end of the main streets shopping section. The show opened in conjunction with 4 others in the same building, including National Art School, Woodfire Show, 10 artists from South Australia, Ceramic Study Group, NZceramics, and Royston Harpur - Paintings.

Our exhibition was to present the work of 10 ceramic artists from Adelaide and its surrounds, which included one plinth each dedicated to Jane Burbidge, Maria Chatzinikolaki, Susan Frost, Suzanne Gregor, Tamara Hahn, Charmain Hearder, Stephanie James-Mantton, Wayne McAra, Jane Robertson and myself.

The exhibition was a great success, I had a lot of great feedback and critique, and we sold a few pieces and all of the 90 handmade beakers we each chipped in towards being our opening's wine vessels.

Could you describe your work form the show – the ideas behind the work you produced and your process of making?
Everyone wants to enjoy an environment that is their ideal space. Everyone desires to live amongst ‘stuff’ which brings good memories and makes a good ambience.

By drawing together items and objects that have a memory of past lives, stories unfold and personal memories find their way interweaving with a new element, to cannibalise the original item into something new.
With a fresh face, the objects make their way back into the world to continue their existence, creating and enhancing new memories as they go.

So my work, Parchments, is a desk lamp from a series I'm currently undertaking, involving the cannibalisation of found or op-shopped lamp stands and shades, where I have to create either the shade or stand to match the existing half.

Parchments was created by walking past a house in my street and intercepting an elderly lady putting out a shade-less Victorian hot-cast bronze table lamp. So after a lot of deliberation and experiments, I ended up with a cylindrical translucent porcelain shade, with stencilled Fleur de Lyss on the upper face.

Jam Packed talks to Metal Design Studio Creative Director Christian Hall about the Gilles Street Primary School Project

2010-05-13T13:22:00.000+09:30

What are the major benefits of training students as young as 11 years old about design thinking?

Future growth - The core idea that is central to this project is that these students are active participants in the creation of their own material culture – now and in the future.

By working with young students and allowing them access to “design thinking” + the creative development of their own concepts then to see these concepts realised as professional outcomes manufactured to the highest degree of finish we aim to plant the seed for future growth in these individuals and the design sector. This project may be the spark that ignites a passion that sees one of our students go on to become an architect, artist, designer etc.

Application to other areas – Students can draw upon the problem solving skills and lateral thinking experienced in “design thinking” and find application for these skills in other area of the school’s curriculum. Design is not just about the creation of things but about developing a self defined process for thinking through problems. This process has broad application.
Inclusivity - Design a pre-linguistic, open ended and semiotic form of expression that transcends boundaries of age, race and gender. The medium is perfectly suited to create an inclusive and playful learning environment, especially for the diverse group Gilles Street Primary School – Gilles St Primary supports a New Arrivals Program which makes up one third of the schools population. Over 40 different cultural groups are represented. Working with “toys” and 3D sculpture is the ideal vehicle to encourage enquiry, interaction and play between artists, students and teachers.

What do you hope that the students themselves will learn from or take away from the project?
Through this program I would like to see each student develop a connection with one or all of the artists involved that they can draw upon in the future. This connection could be a direct resource for the students; a way of gaining knowledge, information and insight into contemporary practice, or an in indirect resource; the experience serving to demystify the creative process and profession.

In addition to this, by developing the students concepts to a professional manufacturing and presentation benchmark we are aiming to help students will realise their own potential for excellence beyond limits previously imagined. We want them to be excited about art, craft and design practice

What personally do you enjoy about being involved?
Working with the school, with the staff and students forces me to re-evaluate my own creative practice and the profession generally. The students are so honest in their response to projects and work and their approach to their own making can be very surprising. Where students find challenges and opportunities in the creation of works is very different to artist working at a professional level but the process is the same. Seeing students overcome blocks and the go on to stretch and play with ideas so freely is great. It is very invigorating because it’s essentially the same as process as my own with different constraints, only I never know what the students are going to value or why. When I ask them the answers can reveal a surprisingly sophisticated grasp of the world and that makes me think that the partnership between a school and a professional arts organisation, between student and artists, can bare real fruit. I am excited about what the marriage of the students ideas and view of the world and our technical, professional and creative know how can do together! In a way this is teaching me to be allot less precious about my own approach.

Seeing this process occur for the associates involved in the project is also great. The challenges they face working in the educational context and in particular with young children, are very different to those in any other area of their practice. I feel they gain a much better and more holistic understanding of their own motivations by being involved and I can see that when they have worked at the school they feel satisfied and excited by the experience.

On the whole I feel that a whole other area of what we do is valued in this project, and we feel valued by the students and staff. It’s a very enjoyable experience overall.

Metal on the Map: JamFactory Metal Design Studio

2010-05-05T09:56:00.000+09:30

Studio Works Retail Gallery

5 May – 6 June 2010

The Brief

Metal on the Map is a project and exhibition that explores connections between contemporary jewellery practice and the built environment, between the interior and the exterior. This is a project that asks, “What kind of dialogue can exist between small things and the larger spaces that they inhabit?”

Artists at the Metal Design Studio started with some common ground, a map of Adelaide. Adelaide is a small city, one easily explored on foot; it is also the city through which each artist must travel to arrive at work every day. The map was cut into a grid, each artist received a section. The task; to explore the area and use what can be gathered as a resource in the development of new work.

Each artist has taken a different approach to this task. Some may have chosen to explore every square foot of space while others might have chosen one secluded or hidden aspect. Some may have worked from objects gathered in their area, others from photographs, drawings or even the map itself. Some have based their works on immediate experience while others have unearthed the histories, memories and fantasies imbedded in place.

Artists were asked to consider how to place their mettle (metal) on the map?

Carry On Cases

This exhibition was originally shown as part of the 2010 JMGA (Jewellers and Metalsmiths Group of Australia) Biennial Conference’s exhibition program. The conference was held in Perth, WA over three days.

The cases used to display the artists works are a response to the need to travel and exhibit a body of work in a temporary exhibition space. The cases have been designed to collapse into the space allocated as carry-on luggage for domestic air travel and can be stowed neatly, legs and all, into an overhead locker.

The Metal Design Studio would like to acknowledge the kind assistance and expertise of the Furniture Design Studio in realising this design.

Hannah Carlyle

I explored notions of line and shadow created by rooftops in an aerial view of Adelaide. Reflecting on the architectural elements of the buildings within my area and using the Adelaide Festival Centre as a point of reference, the use of pattern, texture and colour translate the aesthetics found when looking down on our city.

Erin Keys

When I was a small child I used to go to the tip with my father and we would always bring home double the amount of what we had taken there to begin. For me, the tip was an exciting treasure trove of possibilities, once loved items now thrown in to the stinking pile of mixed memories.

Collecting items from my allocated area, these objects play host to ambiguous memories, and the process allowed the little girl in me to wander the streets, excitedly, picking up ‘rubbish’.

Sorcha Flett

In the Circle (Kooringa, the town built for the Burra Burra Copper, mine comes from an Aboriginal word Kuri-ngga which means “In the circle”.)

Ayers House Museum is the only surviving North Tce mansion and so is a prime example of colonial architecture. Reflecting a lifestyle led by Adelaide’s wealthy upper class and servant classes in 19th century South Australia. Part of the museum exhibits sewing, lace work and other handcraft created by women and servants at this time, inspiring my wirework. Sir Henry Ayers’ made his fortune from the Burra Burra Copper Mines. This ‘Monster Mine’ secured the wealth of the colony of South Australia.

Christian Hall

From a balcony in the Adelaide College of the Arts I look across a view hidden from pedestrian traffic. The roof tops of surrounding buildings offer up views of urban nooks and crannies. Demarcated as service areas for buildings these unself-conscious spaces are a relief from an over-designed world and offer a fresh space for dreaming. This work is a topographic play on these spaces.

Peta Kruger

Mapping the unmapped. Some landmarks change, appear and disappear; but it is possible to record their existence. The items found at ground level in a city illustrate brief moments in time, perhaps describing more about the people living in it than the place itself

Leonie Westbrook

Signs of wear, surfaces peeling and eroding away, revealing a glimpse of a former life. Attempts to hide the decay evident in the layer upon layer of coloured paint.

Utilising off cuts of steel tubing in this work I have interpreted the architectural applications of the material - exploiting its structural function and aesthetic properties.

Jessamy Pollock

Section 4 is the area defined by King William, Grenfell, Wakefield and Pulteney streets. I have made works reflecting the architecture found within this area. Windows, doors and decorative features have been my main source for inspiration. The works do not attempt to replicate the architecture, instead architectural features and facades have been used as points of reference to generate new ideas and designs.

Vanessa Williams

My works are inspired by the decorations and features on houses. Some are purley decorative whilst others have a useful purpose. I wanted to make versions of some of these elements that could be worn to decorate the bod

2nd year Metal Design Associates Peta Kruger and Hannah Carlyle talk about their recent trip to the JMGA (Jewellery and Metalsmith) Conference Resource in Perth

2010-04-30T12:06:00.000+09:30

Can you tell us about the theme of the exhibition?
Peta: We each received a section of map from the Adelaide CBD, this could be interpreted into jewellery and/or objects in any way we wished. We made our own display cabinets that were designed to pack down to 'carry on' luggage specifications and each of us travelled over with one of them. The concept seemed to fit naturally the Metal Design Studio travelling together to Perth for a conference, each bringing something to share that describes ourselves and the place we have come from.

Hannah: We were each given a section of map of the Adelaide CBD to base our work on for the show. We could interpret the section however we wanted, no restrictions were given.

Could you describe your work form the show – the ideas behind the work you produced and your process of making ?

Peta: I was allocated an area that included Whitmore Square, the streets south of this, part of the South Terrace Parklands and Veale Gardens. I set myself a task of mapping the items that I found in a walk of the area, items that would normally be considered pointless to be placed on a street map because they were too small or considered to be throwaway, but items that might tell something of the character in the people living in the area and the place, at one moment in time.

I had anticipated on finding lots of interesting and uninteresting pieces of rubbish. On my walk of the area I didn't find any rubbish, maybe just a few scraps of paper. Instead I was slightly surprised to find a number of gardens created by individuals along council strips in the streets. At Veale Gardens I found blooming garden beds and luscious lawns but no rubbish, and in the parklands opposite - dead grass, dead and dying trees and some that had been cut down due to water restrictions from the drought.

Floral motifs are often used as a theme for decorative brooches and so through a series of brooches I displayed some of the blooming succulents, the pretty introduced species along the council strips and bare twigs from the parklands that summarised the character of the area on the day. The area owns a large population of individuals who are homeless, and from my walk I mostly noticed the progress and the efforts of people in the community, and the council, to make the streets and parks shared and communal spaces for all.

Hannah: I explored notions of line and shadow created by rooftops in an aerial view of Adelaide. Reflecting on the architectural elements of the buildings within my area and using the Adelaide Festival Centre as a point of reference, the use of pattern, texture and colour translate the aesthetics found when looking down on our city.

What were some of the highlights of the conference – particular key notes etc. and why?

Peta: Karl Fritsch gave a wonderful and illuminating, personal insight into his life and development as a jeweller. He presented his talk on a slide projector and it included holiday snaps, pictures of his aunties, the place he grew up, the places he worked, the first objects he made as a 6-year old and the pivotal moments in his career where he had made conscious decisions to introduce change to his practice. It was fascinating and rewarding to listen.

Hannah: I really enjoyed the Pin Swap Dinner. It gave me the opportunity to really interact with jewellers from interstate, but also get to know the other Adelaide jewellers that were attending that I had never really spoken to before.

Which exhibitions did you like and why?

Peta: The highlight for me was Makers Metier at Gallery East in North Fremantle. The artist's were Helen Britton, Cynthia Cousens, Karl Fritsch, Elizabeth Turrell and Lisa Walker each with their renown individual interpretations of jewellery and objects, resulting in a room full of exquisiteness.

Hannah: I particularly liked Return. The work was presented very well and I liked all of the jewellery and objects on display.

How was pin swap night, whose work did you get etc.?

Peta: I received a pin from Danielle Butters, a jeweller from Sydney who also teaches at Enmore. We had met each other the previous day at the conference, and had dinner together in Fremantle, so it was a lovely surprise and keepsake.

Hannah: I loved the Pin Swap Dinner; it was a really fun experience. I picked a piece by Perth jewellery Carolyn Gorman, but she was a key member in the conference, she introduced all the speakers at the conference, etc. The piece was made during a workshop with Julie Blyfield.

Mind and Matter: Interview with Adelaide based glassy Jessica Loughlin

2010-04-23T12:07:00.000+09:30

1. How did you become a glass maker?
As a material glass is attractive to most - and perhaps in a large part this is due to it’s unique quality to hold and transfer light.

My Father, who is an architect, probably first brought my attention to the material of glass and its importance in buildings to bring us light , and allow the outside into a buiding. My mother who was a dancer, so I grew up surrounding by the arts and was encouraged to be creative.

In these surroundings I became interested in the difference that the arts can have to enriching our lives through the simple high minded belief that we create our environment and surroundings, (such as chairs, home, office, cities etc) - and the environment that we create needs to stimulate us, make us think and feed our souls as well as provide a utility.

I was drawn to making from an early realisation of the difference between using the Alessi kettle (designed by Richard Sapper) and other white goods in my childhood kitchen. Unlike white goods, the kettle took on a purpose that went beyond its utilitarian function. This vision to put poetry into objects, which create our surroundings, continues to inspire me.

I intended to study design, however, in the process of making, I realised using and molding the ‘real’ materials was important to my design process and allowed for a more intimate understanding of the object. So instead of designing objects, I left Melbourne to study Glass at the Canberra School of Art.

2. Which glassmakers crafts people, writers, musicians are inspiring?
Agnes Martin - for her paintings, writings and thinking on beauty. She has a clarity to her writing that is honest and straight to the point. She reminds the maker to be true to themselves, true to their idea. She asks of an artist to live an inspired life and to strip away all the extra information that surrounds the true essence of a piece and the true essence of an art practice.

Howard Taylor, his study on light. When walking into his retrospective at the Art Gallery of Western Australia, his work emitted light off the painted surface, so that when looking at his pieces, you where almost looking at the light in front on the works. This exhibition presented a deep understanding of the ability of light to create form. Another artist that actually uses light to create space and by doing so questions our understanding of space, is James Turrell, who’s work I also greatly admire

3. Can you tell us about and Collections / museums you have found inspiring:

There is a collection of photographs at the Whitney Museum in New York, which together make one piece “Still Water” by Roni Horn . This piece is series of digital photographs hang around the perimeter of a room. They are detail images of the Thames River, each shot from about the same distance all showing the different moods of water. When approaching a particular image, you realize that the water is numbered, and that running along the base of the image are the footnotes. When reading the footnotes, you almost feel you are it is a stream of consciousness of the viewer watching this water. In the act of viewing this piece you become aware of the space outside (of the landscape of water) and the internal space of the head. As walking towards the piece I notice the moment the barrier of that private interior and the external landscape blur.

4. Are there any specific Quotes ; Ideas ; Places ; that have influences this current body of work:

To me, the Australian landscape is defined by its vast space and a sense of distance. There is an inherent quiet and stillness here, which is unlike any other country. Being out in a vast space creates stillness and space within my mind, and it is portraying this stillness that has remained a constant aim within all my work.

On the way back from a hiking trip 2006, I went to Lake Gairdner. At 130 kilometres long and 48 kilometres wide, it is the fourth largest salt lake in Australia and walking out onto the lake I felt the most overwhelming sense of space – there was not activity noise or confusion rather just salt and sky.

After walking about an hour the mirage that I thought was ahead was water – just 5mm or so. Continuing on it was like walking on top of water.

Light become the landscape and I looked down into the sky.

It’s as if I was suspended in space.

The experience being in this landscape is overwhelming.

For me this is such a powerful landscape- awe inspiring that are beyond your control. A sense of vast – so vast that “our imagination falters in the talk of comprehending it” to Quote Emmanual Kant philosopher in describing the sublime.

As bill viola has said in exhibition catalogue “negotiating rapture”

-“When all the clutter of everyday life is reduced to such brutal minimalism the visual control valves are released and images well up within.”

In this brutally minimal landscape - your are confronted and listen to your own mind.

“The further we go out there, the further we go into ourselves”. Brian Blanchflower ( Western Australian Painter)

Overall I see my works as not representing the sublime, but more as spaces for contemplation - for the viewer to take notice of their own thoughts.

Describe your method of production and the specific themes behind the works in this exhibition:

The works in this exhibition have in part been inspired by experiences I’ve had visiting large salt lakes such as Lake Gairdner and Lake Eyre, where the relationship to water is such a special one.

Even though there is so little water, the landscape is full of drainage lines—watermarks imprinted on the earth. The ground has been shaped and created by water and it is the memory of water that is dominant in this landscape. The physical marks left on the land are what has inspired these piece.

The process I created to make the work in this exhibition reflects the concept. Solid glass is ground up to make powder, and then mixed with water. With water, the powder is moved across a the surface of a large sheet of glass. I then leave the water to evaporate: it leaves an imprint—a watermark—in the glass. Again, the movement of water through evaporation. Once all dry the glass in then fired in a kiln. This process then can be repeated to build up the layers of glass powder. Then parts of the surface edges are ground and put in the kiln for the final firing to bend the glass, as so the piece reflects the some lightness, like hanging paper.

Tell us about your workshop:

I am part of a workshop called Gate 8 which myself and Deb Jones started in 2006. Now we have 6 artists and designers working here, all in different media. I have always worked in a private group studio where there is a great balance between working in a studio on your own and the support, dialogue, creativity and fun you can have working with others. I have included a couple of snaps of our studio.

Mind and Matter: Meditations on Immateriality

10 April - 16 May 2010

Masahiro Asaka, Gabriella Bisetto, Brian Corr, Mel Douglas, Deb Jones, Jessica Loughlin, Janice Vitkovsky, Richard Whiteley
Mind and Matter maps important sculptural, poetic and cerebral tendencies within contemporary glass

Tales of Adventure: From JamFactory

2010-04-23T11:17:00.000+09:30

Craft Australia talks to second year Glass Associate Danielle Rickaby, about life at Jam!
http://www.craftaustralia.org.au/library/adventure.php?id=from_the_jamfactory

New Product: JamFactory Glass Studio gets kinky

2010-04-13T10:42:00.000+09:30

JamFactory's Glass Studio has been hard at work developing new designs for its studio product range. JamFactory Blog chats to Deb Jones from the Glass Studio about their new product and the inspiration behind these new designs!

What was the inspiration for the new Kink Oil Bottle?
Last year we made a farewell gift for former Metal Design Studio Creative Director Sue Lorraine and we were so happy with it we thought other people should be able to get it as a present too!

Who designed the unique shape of the bottle?
Like everything we do down here its a combination of people, designs and comments and everyone who came before us.We like the way the shape suits the action. It just wants to pour.

The OK Training vase provides the opportunity for associates to employ a variety of techniques, tell us more about this.
The OK Training Vase is an item designed for exactly that….Good Training. In just one vase our blowers get to pick up colour, put colour onto a gather, blow into a mold, trim the lip, put two handles onto the form and mark the glass with hot brands. We have created a quirky design with a lot of action for you to use as a vase or jug. Every one’s a winner!

What is the concept behind the ice range?
The Ice Range is designed to showcase an amazing phenomenon of hot glass. When the glass is half formed and still molten it is plunged into cold water. The chill is recorded on the surface of the glass capturing this amazing natural pattern. The forms are simple, showcasing the Ice pattern.

Sarah Green Artist in Residence

2010-04-09T13:17:00.000+09:30

Tell us about yourself, how did you become a jeweller? I started learning to make jewellery when I was around the age of 15 through a night course with WEA. After finding the course inspirational I did some work experience with a family friend: Adelaide jeweller John Karran, then fell into a visual arts and contemporary craft certificate at O'Halloran Hill Tafe after finishing school. After studying for one year I moved to Sydney to study Jewellery and Object Design at the Enmore Design Centre Tafe and learnt more by working part time for Adina Jozsef. I started my own business late last year and finished studying in December.

How would you describe your work- material and processes? Are there any specific themes that run through your practice? I think all practitioners find it hard to describe their work in words, at the moment I'm still defining my aesthetic. I work mostly in silver, with the inclusion of other materials like gold (when I can!), glass, wood, silk thread and the odd found object or material. My favourite process is carving: wood or wax, but also believe in old school manufacturing processes like sawing, filing, sanding, polishing. At the moment the main themes I'm exploring through my work are beauty, science and knowledge of the world around us.

Where do you go, look, research for inspiration? Inspiration tends to strike me when I'm in periods of change, or when one part of my brain is occupied with something else like everyday tasks. I also find listening to music, reading magazines and books, looking around at trees and things on the ground when walking places and my brother's talent writing songs inspirational.

You recently finished your course at Enmore TAFE, NSW what did you find most rewarding of your experiences studying there? The whole process of studying at the Design Centre Enmore was rewarding, tough at times, but everything that happened in the course has lead me to where I am now. The teachers, who are successful practitioners in their own right from around the world, pushed me to find the designer within and develop my making skills further. I especially found the comprehensive and workshop set up and friendships formed with classmates rewarding.

What are your main objectives while working at JamFactory? While at the JamFactory i'm making a production range of silver jewellery to sell to the public, but that's mostly an excuse for me to hang around the Jam Factory getting to know the place and the people. The first contemporary jewellery exhibition I went to was at the Jam Factory so I think it's fitting that I come back here to start my career!

Metal on the Map at JMGA

2010-03-22T10:25:00.000+10:30

JamFactory's Metal Design Studio will exhibit as part of the JMGA (Jewellers and Metalsmith Group of Australia) Conference held from 9-11 April in Perth. Metal on the Map featuring Erin Keys, Leonie Westbrook, Hannah Carlyle, Sorcha Flett, Peta Kruger, Jessamy Pollack, Vanessa Williams and Creative Director Christian Hall will exhibit at Shopfront, Central Institute of Technology.

Haystack Director Stuart Kestenbaum visits JamFactory

2010-03-22T10:13:00.000+10:30

Stuart Kestenbaum, Director of Haystack Mountain School of Crafts visited JamFactory, providing information on the international craft school located in Maine. The school provides workshops in a variety of craft media including clay, glass, metal and woodworking. Associates had a chance to meet and talk with Stuart who collected artists publications to gain a better understanding of the craftspeople in South Australia.
The visit was assisted by Arts SA through their Independent makers and presenters professional development category.

JamFactory Launches our Exciting New Retail Space

2010-03-02T15:48:00.000+10:30

JamFactory's stunning new retail space designed by Khai Liew was officially launched to a large crowd of VIP's, artists and industry guests at a gala cocktail event on Tuesday Night. Guests viewed for the first time the fantastic new design launched by Minister John Hill. The retail shop is now open to the public and provides an iconic space for the presentation of artists' work.

Brian Parkes appointed New Managing Director of JamFactory

2010-02-12T11:46:00.000+10:30

In announcing the appointment Jane Yulie Chair of JamFactory board noted:

Many of you will already know, or know of Brian, as he has a significant national and international reputation as a curator, writer, mentor and advocate in the contemporary craft and design sector with extensive networks among practitioners and institutions in the field.

For the last 10 years Brian has been the Associate Director of Object, Sydney’s renowned craft and design organization and gallery space, where he led many major exhibition projects including “Freestyle: new Australian design for living” and “Menagerie: contemporary indigenous sculpture”. Prior to his role at Object he managed retail and merchandising operations at the National Gallery of Australia and the Museum of Contemporary Art.

Stephen leaves a fabulous legacy of achievement and success and I am confident that with Brian’s background and experience, that journey will continue, and JamFactory will be able to play a significant role in the State supporting the Premier’s newly announced design focus for SA, as well as continuing to grow its leadership position in craft and design locally, throughout Australia and internationally.

JamFactory welcomes visit by John Dunnigan, Professor and Head of the Department of Furniture Design Rhodes Island School of Design

2010-01-18T12:29:00.001+10:30

John Dunnigan presented a slide talk focusing on his own practice and the program at Rhode Island School of Design (RISD) in JamFactory’s Furniture studio on 15 January. John’s visit continues the links between the studio and RISD developed in recent years.

John is a furniture designer whose pieces combine an understanding of furniture design traditions with contemporary originality. Working with exotic woods and fabrics as well as cast bronze, glass and plastics, his work has been exhibited and collected internationally.

Retail Shop gets a Makeover!

2010-01-15T14:51:00.001+10:30

JamFactory has commissioned Adelaide design luminary Khai Liew to create a stunning new fit out for its flagship store. Khai's dramatic makeover will be a significant development for presentation of contemporary craft and design within Australia.
Please note that during renovations the retail shop and gallery will be closed from
Monday 25 January, re-opening on Wednesday 24 February.

Gallery News

2010-01-15T14:11:00.000+10:30

Last Days...Don't miss Generate '09: JamFactory Annual Graduate Exhibition closing 24 January 2010, this exhibition celebrates graduating Associates and creative staff from JamFactory's four outstanding design studios: ceramics, glass, furniture and metal. Artists include Associates
Amanda Dziedzic, Suzanne Gregor,
Tamara Hahn, John Hallett, Erin Keys,
Mariella McKinley, Leonie Westbrook and
Clare Wilson. Creative Staff: Robin Best, Christian Hall, Tom Mirams, Tom Moore and Nick Mount
Image: Tamara Hahn, Vessels, 2009

Adelaide Festival of the Arts

2010-01-15T14:10:00.000+10:30

JamFactory is again a partner with the Adelaide Festival, for the inaugural Adelaide International 2010 Apart, we are together. The Adelaide International 2010 features 11 artists and collaborations, across five Adelaide visual art venues. JamFactory will present Lucy and Jorge Orta (UK/France) in Gallery 1 and 2 from 26 February - 31 March 2010. Please join us for opening night celebrations from 6pm on Thursday 25 February 2010.
Image: Lucy and Jorge Orta, The Gift - Life Nexus Oaxaca, 2002

New Direction for Managing Director Stephen Bowers

2010-01-15T14:08:00.000+10:30

After nearly six years at the helm, Stephen Bowers has resigned as Managing Director. In announcing Stephen’s resignation, Jane Yuile, Chair of JamFactory Board said ‘Stephen has done a wonderful job in further building JamFactory’s reputation and influence within the visual arts, craft and design sector both nationally and internationally. He took JamFactory to new heights by vision, team work, management and passion for visual arts, craft and design, producing outstanding results and delivering strong benefits to artists and the community’.
Stephen will continue to contribute to the sector via various positions he holds and will devote more time to his own artistic practice, which will include a small exhibition of current works presented (appropriately enough) in JamFactory’s Studio works retail gallery during the Adelaide Festival.
The search for a new director is underway and JamFactory Board of Management look forward to making an announcement soon.
Image: Stephen Bowers

Metal Design launches new product

2010-01-15T14:07:00.000+10:30

The studio released its latest product line, The Botanic Collection in Studio Works over the Christmas period with great success. The collection of earrings, brooches and pendants were designed by studio Associates Hannah Carlyle, Sorcha Flett, Erin Keys, Peta Kruger, Leonie Westbrook and Vanessa Williams and Creative Director Christian Hall. The Botanic Collection takes its inspiration from the local Australian bush via field study of the forms of native plants as they regenerated after a fire. Various materials and techniques were explored, with final designs developed in aluminum in a colour range of silver, red and black. This versatile jewellery is available in the Retail shop, priced from $100.
Image: The Botanic Collection

2010 Studio Associates selected

2010-01-15T14:05:00.000+10:30

JamFactory welcomes eleven young artists who have won places in its two-year Associate training program. Joining the studio teams in February are Jessamy Pollack in Metal, Robert Walters, Samantha Bosward and Adam Cantwell in Furniture, Maria Chatzinikolaki and James EdwardsAogu Takanu, Madaline Prowd, Kristel Britcher and Andrea Fiebig in Glass.

The program provides a unique opportunity for studio training and professional development through production, exhibition and commission work.
Image: Glass Associates at work in the studio

Visiting Artist Program

2010-01-15T14:03:00.002+10:30

In 2010 we welcome several international and national visitors participating in workshops, talks and events. Following hot on the heels of artist Matthew Harding (VIC) who provided a short but inspiring experience for the Furniture Studio in late Nov/Dec, will be John Dunnigan, Professor and Head of Furniture Design at Rhode Island School of Design (USA) in mid January. Stuart Kestenbaum Director of the renowned Haystack mountain School of Craft in Maine (USA) will visit from 21 Feb - 8 March while Glass looks forward to the arrival of Katherine Gray (USA) in July to run a series of intensive workshops.
Image: Katherine Gray, Table Topiaries

Mt Gambier Library Fit-Out

2010-01-15T14:03:00.001+10:30

The Furniture Design Studio completed its largest commissioned project with the final touches added to the Mt Gambier Library fit-out in late December. The team developed innovative ‘space-age’ reading and laptop capsules, custom display cases, information stands, bespoke reception areas and much more for the project which transformed the purpose built facility. The project adds to the studio's impressive portfolio of commissions including the recent Channel Nine News Desk and Forestry SA Headquarters fit-out.
Image: Concept and Design work for the project