International Craft and Design Conference & Talks
17 / 18 September 2015
Parallels – Journeys into Contemporary Making is a rare opportunity to hear over 25 leading international and local makers, designers and curators share their view on the changing worlds of craft and design.
Looking both globally and locally this 2-day conference provides a range of informative, inspirational, and provocative talks revealing the shifting priorities and emerging opportunities for Australian craft and design.
This international craft and design conference is presented by the National Craft Initiative and the National Gallery of Victoria.
Tickets on sale now.
Day 1 — MARKET
Thursday 17 September
9.00am – 5.30pm
180 St Kilda Road, Melbourne
New production, presentation and curatorial models and growing collector and commercial markets (both geographic and demographic) are redefining the traditional commercial landscapes for craft and design. Through the stories of our international and local guests, Parallels sets off on a broad scan of the new craft and design landscape—visiting niche brands and innovative workshops, digital platforms and international design events geared around limited editions and collectables.
Speakers will explore and communicate the accessibility, scale and dynamism of the international market for collectable craft and design through the lenses of making, exhibiting, collecting, and selling.
At the same time they will consider how accelerating global connectivity and shifting retail fortunes are powering consumer demand for hand made items and bespoke brands—artefacts that combine innovative design and materials with heritage and the handmade.
Day 1 speakers include:
Day 2 — MAKING
Friday 18 September
9.00am – 5.30pm
180 St Kilda Road, Melbourne
The convergent worlds of craft and design are diverse and ever changing. Parallels asks a group of internationally respected craft and design practitioners to reflect on their practice—revealing inspirational journeys of heritage, technology, purpose and place.
These conference presentations each examine the ways that people differently embrace and apply skills, materials and ideas. Stretching from ancient materials to emerging technologies—we ask each speaker to articulate the personal and professional landscape within which they operate.
Through their unique individual trajectories, we traverse broad terrain—from research, narrative, materials and technology, to tradition, ceremony and culture.
As technology and globalisation redefine the ways in which we all consume and value objects, how does each practitioner perceive and interpret change?
Day 2 speakers include:
A vibrant program of gatherings, exhibitions and independent but allied events extends the Parallels speaking events into a broader celebration of craft and design. Delegates can access a rich array of interlinking events in Melbourne in September. See you here!
Gallery Funaki presents a very special pop-up exhibition of select highlights from the chp…? jewellery range. chp..?, the brainchild of Gijs Bakker and Marijke Vallanzasca, has brought an eclectic, innovative range of contemporary jewellery to the world since 1996. Manufactured in Amsterdam and featuring international designers including Bakker, Marc Newson, Warwick Freeman and Mi-Ah Rödiger, chp…? straddles the divide between contemporary craft jewellery and design, making designer jewellery more accessible to more people.
Image: Gijs Bakker, Plastic Soup bracelet, plastic drinking straws, gold plated
The Rigg Design Prize is a major design exhibition and prize presented by the new Department of Contemporary Design and Architecture at the NGV. Formerly the Cicely & Colin Rigg Contemporary Design Award, the Rigg Design Prize 2015 will feature object-based work by seven leading Australian design practitioners displaying outstanding creative achievements in design production. One participant will be selected to receive a $30,000 cash prize by 2015 Judges Gijs Bakker (The Netherlands) and Wava Carpenter (USA).
Image: Brodie Neill, Reverb chair, 2009
Through a combination of artists, materials and ways of making Electric maps the collaboration of the handmade with digital technology. Crafted objects across metals, plastics, ceramics and textiles engage the body in participatory gallery experiences with installations referencing interaction, wearability and function. Featuring Alterfact, Bin Dixon-Ward, Mark Edgoose and Douglas McManus. Curated by Debbie Pryor.
Offered as part of Craft Cubed, Craft Victoria’s Koorie Showcase will present a curated selection of work from a number of Aboriginal artists in Victoria. Exploring traditional and contemporary forms, the Showcase will include installations, ceramics, jewellery and weaving. Senior Aboriginal Weavers will also be holding weaving workshops in the Atrium throughout the day.
Image details: Lee Darroch, Possum Skin Armband
Radiant Pavilion is a celebration of the many aspects of contemporary jewellery and object practice in Mel-bourne and around the world. The curated program runs 1-6 September 2015 and includes urban interventions, performances and installations, as well as exhibitions, talks and open studios.
Presented by the World Craft Council, Australia
Craft – the Australian Story ask what the role of craft is in Australia today? This national symposium will explore the unique connections that craftspersons make between Australia and our region. Speakers will consider what distinguishes Australian craft on the world stage and how it contributes to our contemporary life.
Image: Vipoo Srivilasa Happy Land 2015
Design Tasmania will host the inaugural Parallels Design Camp with international guests leading a hands-on designing and making workshop on Bruny Island. Camp participants will be asked to think both as designers and makers so as to examine the ways in which they differently embrace and apply skills, materials and ideas.
The Craft Cubed Festival Online Program Guide will list and guide you to over 100 unique events happening throughout Melbourne and Victoria via a new mobile enabled site.
Image credit: Meg Nicolson
Craft Victoria’s annual daylong seminar features nine prominent speakers talking about career journeys and providing advice, stories, philosophies and unique perspectives on different working methodologies in creative fields.
Cost: $45 / $90
The Craft Window Walk represents a collaborative project between Craft Victoria and some of Melbourne’s favourite spaces and makers. Presenting a series of innovative window installations throughout the CBD, the immersive program will showcase the work of emerging and leading practitioners, working across a diversity of medium and scale in local shopfronts.
Image credit: The Golden Opportunity Shop, Ria Green and Aliça Bryson-Haynes
Jewellery talks for people: it has a unique capacity to attract, deflect, evoke, provoke, guard, reveal, seduce, in other words to perform for people. When gifted, jewellery acts between people, it builds connections and forges alliances. UNcommon moments, an exhibition by Susan Cohn explores those moments in life where jewellery is not given but could be, to say something that would not otherwise be said. It will attempt to understand the changing ways in which people communicate, and how the language of jewellery could bring a different attention to life changing experiences
Fringe Furniture 2015: Between the Lines invites you to look closely at design, to discover meanings beyond the practical and interpret the messages implied in the work of some of the most innovative and evocative emerging and established designers.
Fringe Furniture is a showcase exhibition of furniture, lighting, homewares, wearable objects, permanent and ephemeral works. Recognised as an experimental playground, Fringe Furniture has provided an exciting platform for artists and designers for almost 30 years.
Parallels offers a two-day program of international and local speakers, panels and associated networking opportunities. Delegates can purchase individual day tickets plus optional lunches. Venue capacities vary and some events are expected to sell out. All prices are inc. GST.
Read the descriptions below and then proceed to book your selected events. Some allied events are independently ticketed while others are free. See the allied events listings above.
Includes full day program, arrival refreshments and afternoon tea. 20% discount for students (must show student card at registration). 10% discount for NGV members (login and book as an NGV member to access).
Networking Lunch – Day One
Date: 17 September
Time: 12.30pm – 1.30pm
Venue: NGV International
Cost: $50 per person
A shared lunch designed to react to the themes of the day. Catering for dietary requirements and food allergies with prior notice. Seats limited.
Includes full day program, arrival refreshments and afternoon tea. 20% discount for students (must show student card at registration). 10% discount for NGV members (login and book as an NGV member to access).
Networking Lunch – Day Two
Date: 18 September
Time: 12.30pm – 1.30pm
Venue: Federation Square
Cost: $50 per head
A shared lunch designed to react to the themes of the day. Catering for dietary requirements and food allergies with prior notice. Seats limited.
Parallels is developed by the Department of Contemporary Design and Architecture at the NGV as part of the National Craft Initiative (NCI).
The National Craft Initiative (NCI) is a partnership between the National Association for the Visual Arts (NAVA) and the Australian Craft and Design Centres (ACDC) to support, build and advocate for the craft and design sector in Australia.
This project follows on from the publication of its major report, ‘Mapping the Australian Craft Sector’.
The NGV and the NCI gratefully acknowledge the assistance provided by the Australian Government through the Australia Council, its arts funding and advisory body, and by the Visual Arts and Craft Strategy, an initiative of the Australian, State and Territory Governments.
L’ArcoBaleno is a new and rapidly growing global resource for exploring, discovering, and collecting extraordinary design from around the world. The site mixes a strongly curated marketplace with intelligent, magazine-style content covering innovative and intriguing work across the spectrum of design–from furniture, lighting, crafts, and decorative arts to architecture, travel, fashion, and technology.
After studying Design History at Parsons, Wava Carpenter has worn many hats in support of design culture: teaching design studies, curating exhibitions, overseeing commissions, organising talks, writing articles, and all manner of work. She worked for many years as Curator of Design Miami.
Wava and the L’ArcoBaleno team travel the globe to discover material from the world’s most interesting galleries and makers. They offer fresh insight through diverse content produced in collaboration with today’s most forward-looking and influential curators, collectors, designers, artisans, and nerds. From design masters to emerging talent, they celebrate the people, places, and things that shape the design world, both past and present.
Helen Souness came into her role as Managing Director, Australia and Asia at Etsy in 2014 with the mission to develop the team and business within Australia and Asia. Her CV includes senior roles in market-leading companies including SEEK, Lonely Planet and Envato.
According to Souness, Etsy’s mission to ‘reimagining commerce in ways that make for a fulfilling and lasting world,’ was what first attracted her to the role. “It seems to me that the ways Etsy maximises the benefits to makers and sellers of craft, vintage and supplies is real proof of the company’s commitment to their local artists and suppliers, and this idea of reimagining commerce.”
Approached by the co-founder of Art Dubai to start a fair entirely dedicated to collectible and limited edition craft & design – the first of its kind in the Middle East and South Asia, Cyril Zammit launched Design Days Dubai in 2011. He continues to coordinate with global design galleries, and to work with the renowned makers, designers and professionals from the design industry, to strengthen Design Days Dubai’s role as the definitive modern and contemporary design show, appealing to a broad public including design collectors, designers and architects.
Design Days Dubai is the leading fair in the Middle East and South Asia dedicated to collectible and limited edition furniture and design objects. The fair presents craft & design from leading international designers and galleries alongside up and coming design from across the world. The fair also presents a strong non-commercial program consisting of education, workshops, installations and live performances.
Born in Paris, Cyril Zammit started his career at the Institut Français in Prague, relocating to London to work in the Cultural Department of the French Embassy. Following a move to Switzerland, Zammit managed the sponsorship for Montreux Jazz Festival, the International Sponsorship team of UBS, the Verbier Festival Youth Orchestra and later the sponsorship for Art Basel and Art Basel Miami Beach. In 2005, Zammit joined HSBC Private Bank (Suisse), as Marketing & Communications Senior Manager, where he signed and man-aged the sponsorship of Design Miami/ and Design Miami/Basel until June 2009 later joining the cultural department of Tourism Development & Investment Company (TDIC), Abu Dhabi, as Senior Sponsorship & Funding Manager.
Judith Glover is a designer and lecturer in the industrial design program at RMIT University. She has degrees in industrial design from Swinburne University and visual arts from Sydney College of the Arts. Working in the metal trades as a boiler-maker and blacksmith between degrees she now practices in the field of ceramic production heading her own design studio Goldfrau designing and manufacturing high quality sex toys. Judith currently teaches the subject Sex Sells within the design studies course at RMIT, which focuses on how notions of gender and sexuality become embedded in design and mass production.
Internationally acclaimed Designer Jon Goulder founded his studio in 1996 after graduating from Canberra School of Art. Jon grew up surrounded by furniture, both in his family factory and at home. In 1992 he completed and apprenticeship in upholstery and furniture making to become a fourth generation craftsperson. Since then Jon has designed a body of work, which grounds him as a leading Australian craftsperson and designer.
Jon’s work has featured in a number of major exhibitions and publications around the world and is held in the permanent collections of the National Gallery of Australia, the Power House Museum Sydney and the Art Gallery of Western Australia. Working alongside Jon’s design practice, is his work with individual designers and organisations. Jon recently moved to Adelaide to become the Creative Director of Furniture at the Jam Factory, his interest lays in developing financially sustainable working models for art/craft and design practitioners in Australia.
The Jam Factory Furniture Studio embraces a broad range of craft and design practice, incorporating com-mission design and production ranging from small-scale production of furniture and objects to site-specific artwork for public and private spaces and custom interior fit outs. With a focus on development of individual furniture ranges and exhibition pieces, the Studio is a place where exploration of materials, ideas and process leads to 3-Dimensional reality.
Associates working under Jon’s leadership in the Studio experience all aspects of studio and commission projects, developing skills in design, costing, client liaison, tendering and manufacture while working with a variety of design techniques and materials, including timber, plastics, metal and textiles.
Melanie Katsalidis is a jeweller and the director and founder of Pieces of Eight. Growing up in a creative household, she developed a passion for art and design early in life. She pursued these interests by undertaking a major in art history via Bachelor of Arts degree at Melbourne University (2000) and a Bachelor of Fine Arts, Gold and Silversmithing at RMIT University (2003). In 2005 Melanie established Pieces of Eight. Originally located in North Fitzroy, Pieces of Eight developed as both a gallery to support her peers and workshop to six jewellers.
In 2010 Pieces of Eight moved to the centre of Melbourne’s CBD. Located in Russell Place and housed in a custom built space she designed with her architect father, the Melbourne gallery showcases the collections of carefully selected local and international artists. Regular exhibitions and events bring new ideas and energy into the space and include large scale window installations. A focus on creativity extends to working with clients and artists on bespoke commissions to create a unique outcomes. Over time Pieces of Eight has built a solid reputation as one of the most exciting and original of its kind and celebrates its 10 year anniversary this December.
Trevyn and Julian McGowan have been exporting South African design to the international market for 10 years. In 2008 they saw the need for a platform to provoke new work at the very top end, and to show-case it collectively on the national and international design stage. Trevyn and Julian McGowan established Southern Guild as a forum for South African designers to challenge and support each other, unified by national origin, but with diverse views and voices, and the collection now has a reputation for innovation, excellence and a truly fresh perspective. On an annual basis, they invite a selection of the very best local makers, designers, artists, architects and upcoming talents to produce and premier original pieces for the Southern Guild collection that year.
As the sole gallery representing South African limited-edition design, Southern Guild finds that many international curators and critics hear the unique voice South Africa brings to the world. Southern Guild offers something grounded in social and political realities, narrative, a true bond with nature and a sense of human connectedness. Southern Guild has far less interest in trends or in the highly polished, technologically driven visions of design prevalent elsewhere.
Brodie Neill is an Australian-born designer based in London, UK. Neill graduated from the University of Tasmania receiving a Bachelor of Furniture Design in 2002 before completing postgraduate studies at the Rhode Island School of Design, USA in 2004. Brodie entered the international design scene at Milan’s Sa-lone del Mobile in 2005; later that year he established a studio in London’s East End.
His design studio produces designs in a variety of scale and scope, from production furniture and lighting for international brands such as Kundalini and Riva 1920, to one-off projects for global brands such as Swarovski and Alexander McQueen. Commissioned to produce collectible limited edition design for galleries and private collectors around the world, his @ Chair was included in Time Magazine’s, list of most influential designs of 2008.
Exhibiting regularly at design events worldwide, Brodie’s work has appeared at Salone del Mobile, Milan (2007-2009), Fuorisalone Milan (2011-2015), International Contemporary Furniture Fair, New York (2009), ARCO, Madrid (2011), Maison Objet, Paris (2011), London Design Festival (2011-2014), Art Amsterdam and Art Paris (2012), Kortrijk Biennale and Stockholm Furniture Fair (2014).
In 2013, Neill founded the furniture brand Made in Ratio with the aim of designing, producing and marketing his own furniture and objects. Utilising digital design processes in collaboration with Europe’s best crafts-people, Brodie has launched three Made in Ratio collections, across four continents.
Antonia Syme is the Director of the Australian Tapestry Workshop (ATW ) and a Board Director of the Abbotsford Convent Foundation in Melbourne. She has worked for many years in the arts and cultural sector as a director, consultant, conservator and curator. She was Director of Artbank for over ten years. Her experience has spanned both the private and public sector, in Australian cultural institutions and as Co-Director of the Syme Dodson Gallery in Sydney. Antonia was the Chair of Craft Australia from 2009 to 2011 and was on the Board from 2007. Board and Committee membership includes the the Federal Government’s Taxation Incentives for the Arts Committee, NSW National Trust’s Museums and Collections Committee, the Heritage Council (NSW) Maritime Archaeological Advisory Panel, the Sydney College of the Arts Board and the Camden Park Preservation Committee.
The Australian Tapestry Workshop (ATW) is regarded as an international centre of excellence for innovative, contemporary, hand-woven tapestries, created in collaboration with leading artist. It is the only place of its kind in Australia. The ATW has created more than 500 handwoven tapestries, working with the skills and traditions of hand made tapestries in its 39 years. However the ATW continues to push the boundaries of contemporary tapestry beyond the visual arts sector, spanning art, architecture and design, to ensure that the artform and the skills are kept alive and vibrant through active collaboration with creative individuals and collectives. . Major works are displayed in Australia’s Parliament House, national and state galleries, national and state libraries, the Sydney Opera House, the Victoria Arts Centre, Melbourne Recital Centre, Esplanade Theatres on the Bay (Singapore), Nanjing Library and more.
On an international level there are a growing number of artists and designers are increasingly interested in working with handmade tapestry such as Tracey Emin, William Kentridge, and David Noonan. Keith Tyson (Turner Prize winner 1992) is now working with the ATW on a major tapestry for a UK collector.
The ATW has toured exhibitions to the USSR, the USA, Turkey, Germany, France, Denmark, Japan, India, the UK, Italy, Singapore, Malaysia and New Zealand. Its tapestries are now represented in over 25 corporate collections throughout the world, as well as many public art and private collections in Canada, France, Germany, Japan, Kuala Lumpur, New Zealand, Singapore, South Africa, Switzerland the USA and UK.
John Wardle established his architectural practice in Melbourne and has led the growth of the practice from working on small domestic dwellings to university buildings, museums and large commercial offices.
John has an international reputation as a design architect and has developed a design process that builds upon ideas that evolve from a site’s topography, landscape, history and context and a client’s particular aspirations and values. The architecture of John Wardle Architects (JWA) is closely tailored to its place and highly experiential in nature. John is attuned to the importance of detail – it is through the detail that the nature of material, the fit to function and the experience of occupation is expressed.
John has formed strong links with both artists and public art galleries and as a practicing architect and board member of both the Anne & Gordon Samstag Museum of Art and The Ian Potter Museum of Art has ccontributed to important public art programs.
In 2006 and 2002, JWA was awarded the Royal Australian Institute of Architects Sir Zelman Cowen Award for the most outstanding work of public architecture in Australia. The practice has also been awarded the Harold Desbrowe-Annear Residential Award on three occasions, the Victorian Architecture Medal for a second time in 2008 and the Esmond Dorney Award for Residential Architecture in 2012. The Shearers Quarters received The Robin Boyd Award for Residential Architecture in 2012 at the AIA National Architecture Awards and the Villa of the Year at the World Architecture Festival in Singapore. The Robin Boyd Award for the Fairhaven Beach House was again awarded to JWA in 2013.
The work of JWA is published widely in Australian and international journals and has been celebrated in a book Volume – John Wardle Architects published by Thames and Hudson, London in 2008. A new book on the practice will be launched at the NGV Summer Architecture Commission Project designed by JWA early in 2016.
Lou Weis is the creative director of Broached Commissions. Founded in 2011 it is unique in the world as a curator and scholarship led design house that creates new work based on particular historical contexts. The company has released two internal collections, Broached Colonial and East, and numerous private commissions. Most notable of the private commissions have been the work for Hotel-Hotel, Canberra and the corporate headquarters for Molonglo Group. In 2014 Broached created the first ever design exhibition at the Ullens Centre for Contemporary Art, Beijing.
Currently Lou is also engaged as a creative strategist by misschu, Platform Strategy Asia, Ramus and Molonglo Group.
Lou has worked as a creative director his entire professional life, spanning back to when he founded the Melbourne office of Inside Film Magazine in 1997.
Laura McCusker is an international award winning furniture designer and maker based in Hobart, Tasmania.
Her work is described as ‘exceptional’ by Tyler Brule (Wallpaper magazine) and her pieces have featured regularly in Australian and international interior design publications including Monocle, Monument, The Financial Times (UK & Asia), Australian Financial Review, Vogue Living and Craft Arts International, to name a few. Over her 16-year career as a designer/maker, she has been the subject of a number of TV documentaries focusing on her studio practice.
Her work has been commissioned locally by both the Tasmanian Museum and Art Gallery and by MONA (Museum of Old and New Art) and has travelled as far as the US, UK and Europe. In 2013 she won the prestigious Clarence Prize for Excellence in Furniture Design.
Described by none other than David Walsh as his ‘furniture designer of choice’, Laura has become well established in Tasmania where, since moving here with her family in 2003, she now finds the majority of her clientele.
Laura is a pragmatist in her approach to her work and business. Trained at one of Australia’s leading craft schools, The Sturt School for Wood in NSW, her approach to her work has also been shaped by her industrial experience, from her first apprenticeship with a Sydney cabinetmaker to her work on the fit out of an $80 milliion super yacht in Tasmania. These experiences, coupled with Laura’s formal woodworking education, have resulted in work where traditional techniques sit comfortably alongside the use of more contemporary technologies.
Her designs are instantly recognisable from the clean aesthetic and mid-century influences, and her no nonsense approach to problem solving some of the most challenging commissions has meant that demand for her work continues to increase locally, interstate and internationally.
Laura is an educator and advocate for the Visual arts, Design and Contemporary Craft sector and its community of makers. She sits on the Tasmanian Arts Advisory Board and is Chair of its Assistance to Individuals Panel.
After graduating from the Politecnico di Milano and a postgraduate course at the Alta Scuola Politecnica, he completed his training abroad, studying Metal & Jewellery Design at the Duncan of Jordanstone College of Art in Scotland, Product Design at the Royal Melbourne Institute of Technology in Australia and Traditional Furniture Design in Spain. For him, design encompasses many different values including objects rationality and people emotions.
Between Milan where he opened a studio/showroom in 2011 and Reggio where he was born and raised, Antonio works on personal limited collections and collaborations with big Italians brands such as Barilla Group, Seletti and Alessi. From his first limited edition collection ‘Back Home’ in 2012, Antonio’s work has a special focus on the relations between artcraft and design with a particular attention to Italian artisanal and strong artistic identities.
Passionate about his work and traditional techniques, Antonio presented his work around the world, DMY in Berlin, the Salone del Mobile in Milan, Maison & Objets in Paris and the Design Centrum Kielce in Poland, Wabi Sabi exhibition in Turin, Nomadismi exhibition curated by Lidewij Edelkoort in Milan and at the Design Museum Holon in Tel Aviv.
Very close to his family, roots and culture, Antonio works hand in hand with his grandfather Saverio. He is now looking to expand his ventures and create new partnerships and collaborations around the world. Simple and rigorous in his design approach, spontaneous and enthusiasm in his work relations, Antonio proposes instinctive solutions in creating everyday objects with a special attention to details and the quality of the materials.
Gijs Bakker was trained as a jewellery and industrial designer at the Gerrit Rietveld Academie in Amsterdam, the Netherlands and the Konstfackskolan in Stockholm, Sweden.
His designs cover jewellery, home accessories and household appliances, furniture, interiors, public spaces and exhibitions. He worked and works for numerous companies, including Polaroid, Artifort, Droog Design, Castelijn, HEMA, Royal VKB, ENO Studio and recently as creative director for Yii, Taiwan.
Bakker has taught at various schools, among which the ArtEZ Institute of the Arts in Arnhem, Delft University of Technology, and the Design Academy Eindhoven where he worked since 1987 until 2012 (since 2000 as Head of the Masters Programme).
In 1993, Bakker co-founded Droog Design, a Dutch collective of designers, products and information. Together with Renny Ramakers, he was the selector and art director of all products within Droog Design until 2009.
In 1996, Bakker co-founded Chi ha paura…? (Italian for Who’s afraid of…?). With chp…?, the new brand name since 2013, they wanted to show the international design world that a piece of jewellery is more than a decorative fashion accessory. chp…? invites internationally acclaimed designers to create a special piece for the collection.
Gijs Bakker travels around the world to give workshops and lectures about his own work, Droog Design, chp…?, Yii /HAN gallery and is frequently a member of juries. Gijs Bakker’s work is represented in international public and private collections worldwide.
In current design projects, Bakker investigates the relation between craft and design. Since 2009, he is exploring this theme in his role as creative director for HAN Gallery, formerly known as Yii in Taiwan.
Formafantasma’s work is characterized by material investigations and experimentation into issues as the relationship between tradition and local culture, critical approaches to sustainability and the significance of objects as cultural conduits.
In perceiving their role as a bridge between craft, industry, object and user, they are interested in forging links between their research-based practice and a wider design industry.
As a result, works by Studio Formafantasma have been commissioned by a variety of partners including Fendi, Droog, Nodus rug, J&L Lobmeyr, Gallery Libby Sellers and Established and Sons.
Whether designing for a client or investigating alternative applications of materials, Studio Formafantasma apply the same rigorous attention to context, process and detail to every project they undertake. The added nuance for the duo is that they do so with an eye to the historical, political and social forces that have shaped their environments.
Their work has been presented and published internationally and museums such as New York’s MoMA, London’s Victoria and Albert, New York’s Metropolitan Museum, the Chicago Art Institute, the Textiel Museum in Tilburg, the Stedelijk’s Hertogenbosch, MUDAC Lausanne, the Mint Museum of Craft and De-sign in North Carolina and the Mak Museum in Vienna have all acquired Formafantasma’s designs for their permanent collections.
In March 2011 Paola Antonelli of the Museum of Modern Art in New York and esteemed design critic Alice Rawsthorn listed their studio amongst a handful of practices that would shape the future of design.
Andrea and Simone are lecturing and heading workshops in various Education and Institutions. At the moment they are teaching at the ‘Well Being’ Department of the Design Academy Eindhoven.
Simon Hasan works in the territory between ancient Crafts processes and industrial design. His work is imbued with a richness and texture borne from the use of techniques and materials from these two contradictory worlds.
Simon’s approach can best be described as a type of ‘design archaeology’; a combination of historical re-search and hands-on material experimentation. The goal is to nurture compelling and relevant outcomes for any given context. Avoiding a particular aesthetic style, Simon’s distinctive work often layers materials, processes and textures to create long-lasting objects with a story to tell.
Graduating from the Royal College of Art (M.A. Design Products) in 2008, Simon’s collections of leather vases and furniture received widespread attention for the innovative use of the medieval armour-making technique, Cuir Bouilli. Simon’s output encompasses leading international design galleries, commercial and private commissions, (most recently with Fendi and Kvadrat), and developing his own range of self-branded pieces for retail sale.
He was part of the Design Museum’s Designers in Residence program (2011), and his mannequins for Fendi won a Wallpaper* Design Award in 2012. A fourth mannequin was specially commissioned by the UK Crafts Council for its Permanent Collection in 2013.
Simon runs the Design Through Making platform on the M.A. Design Products programme at the Royal College of Art.
Mavis Ganambarr is one of Australia’s leading fibre artists. She began fibre work under the watchful eye of her grandmother and aunties on Elcho Island where she lives with her husband and children. Passing on her knowledge of plants, recipes and techniques to a new generation helps them understand this important part of their culture and how to keep their country strong.
Ganambarr has worked collaboratively over the past two decades with other artists, curators and designers including Louise Hamby, Alice Whish and Sasha Titchkosky. She has exhibited work in the 16th Tamworth Fibre Textile Biennial, most recently at the Powerhouse and in the 29th Telstra National Aboriginal and Torres Strait Islander Art Award in Darwin.
Melbourne based designer Dale Hardiman began his first collaborative studio (LAB DE STU) during the second year of his studies at RMIT in furniture design. In his honours year of Industrial Design, Dale founded a furniture and object brand, Dowel Jones.
Dale’s practice simultaneously focuses on items of mass-production for Dowel Jones, and singular works under his own name that focus on more conceptual ideas. Hardiman’s theoretical enquiry into design explores the localisation of the production of objects and is manifested in his chosen materials and overall practice.
In 2013, Dale, alongside curator Suzannah Henty, initiated their first curatorial endeavour. The exhibition, OBJECT FUTURE, is an ongoing annual survey that focuses specifically on contemporary Australian de-sign. The exhibition traverses a combination of mass-produced works and one-off pieces – the heart of the project being to support designed outcomes with intellectual foundations.
Operating from a studio in a rubber factory in the Northern suburbs of Melbourne Dale has won numerous artistic and design awards and regularly exhibits nationally and internationally.
Tokyo based architect Shun Horiki studied in both Tokyo and Lausanne Switzerland before joining acclaimed Japanese architecture firm, Kengo Kuma and Associates in 2012.
Since 2014, Shun has coordinated the East Japan Project, an initiative founded by Kengo Kuma. The East Japan Project was created in 2011 to reestablish traditional craft practices in East Japan following the devastation of the Tōhoku earthquake and subsequent tsunami. Through focused research and the sponsorship of emerging craftspeople, the project aims to nurture traditional craft practices and promote a minimalist and sustainable consumer culture through good design.
Khai Liew draws on his cultural heritage and his experience and knowledge as a specialist conservator to design and produce furniture informed by the old and the new, the regional and the international. Ultimately, his oeuvre stands as a highly personal and distinctive statement about beauty and utility. Liew’s decades-long championing and promotion of Australian colonial furniture as a conservator, consultant and valuer has led him to curate many significant private and public furniture collections for both state and national art institutions, featuring numerous definitive examples of Australian pioneer vernacular sourced and conserved by Liew.
The production of small editions and one-off furniture commissions takes place in Liew’s Adelaide studio and workshop. Since its formation in 1996, the eponymous practice has employed a small group of highly experienced craftsmen to make Liew’s works.
Liew’s designs have been exhibited at the Victoria and Albert Museum, London, Design Museum, London and the Triennale di Milano. His work is represented in the permanent collections of the National Gallery of Australia, Powerhouse Museum, Sydney, Art Gallery of Western Australia, and Art Gallery of South Australia.
Liew is Adjunct Professor, School of Art, Architecture and Design, University of South Australia and a Fellow of the Design Institute of Australia.
Dr Pippa Dickson has worked as a project manager and consultant in the private and public sectors for more than 15 years. She was recently named in the top 50 inaugural Design Honourees from the Australian Centre of Design for her contribution to design. Pippa has a PhD in Fine Arts, Furniture Design, and a BA in Political Science. She has furniture designs held in private and public collections including the Tasmanian Design Centre, Henry Jones Art Hotel and MONA. Pippa regularly contributes to art, craft and design journals and acts as a judge for design awards. She is currently Chair of Design Tasmania, Co-Chair of the National Craft Initiative and Director of the National Association for Visual Artists (NAVA).
She is the CEO of GASP (the Glenorchy Art & Sculpture Park) a transformed, now national award winning 9 hectare public art and architectural space along the Elwick Bay foreshore. Since 2008 she has been responsible for developing strategic priorities, raising significant investment for infrastructure from all tiers of government and private support for art projects. GASP was incorporated as a Public Art Gallery in 2010 and Pippa works closely with her Board, the community, civic, arts and business leaders on continuing to implement the shared vision.
Pippa believes firmly in and is an advocate for the importance of art, craft and design in our private and public lives.
Penelope’s diversified career spans tertiary education, interior architecture, project management, exhibition curation, furniture design and public art commissions. Her multi-award winning work has been exhibited at art and craft exhibitions as well as trade fairs, in London, Milan and throughout Australia. In 2011, her ‘Terrain’ table was acquired by the Art Gallery of WA, which like much of her recent work, utilises fabrication and design methods that bridge the digital with hand craft. Currently undertaking a PhD, her practice focuses on developing personally endearing objects and public engagement with space through tactility, memory and narrative.
Yasmin Masri is an early career creative with an interdisciplinary practice spanning craft, design, curatorship, publishing and facilitation. She is interested how we design systems for creative participation and the intersection between objects and storytelling.
Graduating in 2013 from a Bachelor of Design Arts at the ANU School of Art, Yasmin majored in both textiles and furniture + digital fabrication. She has shown work at You Are Here festival, Art Not Apart, Fashfest, and Multifringe at the National Multicultural Festival, as well as exhibiting regularly.
Yasmin is a co-founder and creative director of rip publishing, a small press focused on cross-disciplinary community story sharing. She is also a founding director of Noted, Canberra’s experimental festival of words. Yasmin works at Craft ACT: Craft and Design Centre where she is the Program Producer for the DESIGN Canberra festival.
Geoff Nees is a Melbourne based artist and curator. Geoff has collaborated with many of leading Australian and international architects and designers to deliver large scale facade designs for major property developments and international projects, including the façade for the Australia Pavilion at the Japan World Expo 2005. He exhibits regularly in Australia and overseas.
Elliat Rich is based in Alice Springs, Central Australia. She works across a broad-spectrum of design for a diverse client base, remotely, locally and nationally. Her practice covers cross-cultural resources, exhibition design, public art and furniture, product development, one-off exhibition and limited run objects.
All projects align with an ethical imperative to increase equality between people and across species. Rich completed her Bachelor of Design at the College of Fine Arts, UNSW with first class honours in 2006. In 2014 her and her partner launched Elbowrkshp, a studio, retail space and workshop that they share with other creative professionals.
Damien Wright is an award-winning furniture designer and craftsman. He works almost exclusively with recovered Australian timbers, in particular, indigenous hardwood species that are not traditionally used to make furniture. Damien sources his timber directly from farmers and millers in western Queensland, NSW, Victoria and Tasmania. He is acclaimed for his unique ‘whole tree’ approach to furniture design and construction. Damien employs rare joinery techniques such as blind-mitred dovetails and thick veneering.
Contracting on a commission-only basis, Damien works either directly with clients or through architects and interior designers. His public commissions include the Federal Court of Australia, the National Gallery of Victoria, the Melbourne Immigration Museum, Federation Square Management offices, the Koori County Court of Victoria and the Archdiocese of Broken Bay. Damien’s private commissions are represented in family homes and private art collections. Wright Studios is located in Northcote, Victoria.
Sasha Titchkosky is the co-founder of Koskela, a Sydney based furniture and product design company and retail store established in 2000 with Russel Koskela. Designing and manufacturing in Australia for the commercial and retail sectors, Koskela have worked with leading Australian corporations, architects and design firms to furnish domestic, workplace and university interiors.
Titchkosky and Koskela believe that great design can be used to effect social change. Collaborating with Yolngu weavers from Elcho Island Arts on interior and lighting products since 2009. The on-going collaboration aims to provide Indigenous weavers with an additional stream of income from their work and develop new and compelling contemporary design products for the interiors market. In 2010 the collaboration result-ed in the lighting products Yuta Badayala (translation “In a new light”) with the weavers contributing technical skills, material knowledge and artistic capabilities and Koskela contributing design and marketing skills along with their significant experience in the interiors market.
Margaret Wertheim is the founder of the Los Angeles based Institute For Figuring, an organisation devoted to the aesthetic dimensions of science and mathematics. Through the IFF, she has created exhibitions and programming for galleries around the world, including the Andy Warhol Museum, the Smithsonian, the Hayward Gallery (London), and Science Gallery (Dublin). At the core of the IFF’s practice is the concept of material play. The IFF’s Crochet Coral Reef is now the largest participatory craft and science project in the world, and has been done by communities around the globe from London, New York, and Melbourne, to Latvia and Abu Dhabi
Susan Cohn has a long-standing practice working across the art-craft-design divide. Living in Melbourne Australia, she has been making work for over 30 years, and she has exhibited extensively in Australia and internationally, including a major survey exhibition – Techno Craft: the work of Susan Cohn 1980-2000 – toured nationally by the National Gallery of Australia and a solo exhibition – Black Intentions – presented by the National Gallery of Victoria in 2003.
Cohn has a Doctor of Philosophy in Fine Art Theory and she is represented by Anna Schwartz Gallery. Cohn’s broad understanding of design and making has also enabled her to work as a designer for Alessi, as the curator of the international exhibition Unexpected Pleasures – the Art and Design of Contemporary Jewellery, commissioned by the Design Museum, and as editor/writer for the accompanying book published by Rizzoli International Publications, New York. Cohn is the current artist trustee at the NGV.
Simone LeAmon is the Hugh Williamson Curator of Contemporary Design and Architecture at the National Gallery of Victoria.
Working internationally for two decades as an artist, industrial designer, design curator, writer and academic, LeAmon has established a career as one of Australia’s foremost design practitioners, championing the importance of design and creativity, and the work of the creative communities we live in.
Dan Honey is General Manager of Field Experiments – a nomadic design collective that uses collaborative making to explore diverse cultures and craft communities in different regions around the world. Underpinned by cross-cultural exchange, Field Experiments produces projects, objects and ideas across multiple formats including furniture, clothing, video works, publications, exhibitions, interiors, installation and printed materials. The project has been presented at New York Design Week, Ventura Lambrate in Milan, Design Museum in London.
Dan has been working as an advisor to the creative industries for more than 10 years. She has a wealth of experience in conceiving, managing and implementing special projects for design, art and creative communities. Dan has a penchant for the experimental and is a supporter of initiatives and designers that challenge conventions and exist outside of traditional models.
Dan is also a partner at Office for Good Design—a collective that promotes the value of design and creativity in shaping a positive future. She has been engaged by MPavilion, NGV and the State Government of Victoria to create public programs, exhibitions and events that inform people, using unexpected and accessible formats, about the everyday impact of design. She is currently managing a series of special projects and covert operations for Hotel Hotel in Canberra.
Ewan McEoin is the inaugural Hugh D.T Williams Senior Curator of Contemporary Design & Architecture at the NGV. Ewan has had a diverse 20-year career within the Australian design and creative industries writing, editing and curating festivals and major exhibitions. He was the long-standing editor of the Australian Design Review, co-edited and published the Melbourne and Sydney Design Guides, and has edited several books on architecture and design – the most recent being Under the Edge – a monograph on the work of the 2015 AIA gold medalist Architect Peter Stutchbury.
From 2008 – 2011 he was the Creative Director of Australia’s two largest design festivals – Victoria’s State of Design and Queensland’s Asia-Pacific Design Triennial Unlimited Ewan McEoin has recently been appointed to lead the newly created department of Contemporary Design & Architecture at the National Gallery of Victoria.
Dr Kevin Murray is an independent writer and curator, Adjunct Professor at RMIT University and Research Fellow at the University of Melbourne. In 2000-2007 he was Director of Craft Victoria where he developed the Scarf Festival and the South Project, a four-year program of exchange involving Melbourne, Wellington, Santiago and Johannesburg. He has curated many exhibitions, including ‘Signs of Change: Jewellery Designed for a Better World’; ‘The World of Small Things’; ‘Symmetry: Crafts Meet Kindred Trades and Professions’; ‘Water Medicine: Precious Works for an Arid Continent’; ‘Guild Unlimited: Ten Jewellers Make Insignia for Potential Guilds’; ‘Seven Sisters: Fibre Works from the West’; ‘Common Goods: Cultures Meet through Craft’ for the 2006 Commonwealth Games and Joyaviva: Live Jewellery Across the Pacific that toured Latin America. His books include Craft Unbound: Make the Common Precious (Thames & Hudson, 2005) and with Damian Skinner, Place and Adornment: A History of Contemporary Jewellery in Australia and New Zealand (Bateman, 2014). He is currently a Vice-President of the World Craft Council Asia Pacific Region, coordinator of Southern Perspectives and Sangam: A Platform for Craft-Design Partnerships. He teaches at RMIT University, the University of Melbourne, Swinburne University and University of New South Wales.
Helen O’Neil is Director of the British Council Australia, the United Kingdom’s international organisation for cultural relations and educational opportunities, and is a board member of Craft ACT.
She has worked as an arts manager and director across the creative sector, with a strong focus on building relationships and networks. She was Senior Adviser to the Australian Minister for the Arts, working on the national Creative Australia policy, and taught at the Australian Film Television and Radio School. She has been Executive Director of the Australian Major Performing Arts Group and the Council for the Humanities, Arts and Social Sciences; Chair of the Confederation of Australian International Arts Festivals; and a Director of the Film Finance Corporation. She originally trained as a journalist, working for the ABC, and later worked on digital and broadband TV, including the Foxtel start-up. She is also on the board of Currency House Inc.
Brian Parkes has been CEO and Artistic Director of the JamFactory in Adelaide since April 2010. During this time he has overseen significant growth in the organisation’s audience and operational budget, the opening of a satellite facility with studios, gallery and shop in the Barossa Valley, the development of a successful in-house designed product range and the establishment of national touring exhibitions program.
He spent ten years prior to this as Associate Director and Senior Curator at Object: Australian Centre for Craft and Design in Sydney. He curated several important exhibitions for Object including the landmark survey of contemporary Australian design; Freestyle: new Australian design for living. Parkes has written extensively on design and contemporary crafts and in 2009 co-curated Menagerie a nationally touring survey exhibition of Aboriginal and Torres Strait Islander sculpture.
In 2007 Parkes was one of ten curators invited by Phaidon Press, London to contribute to &Fork, a book profiling 100 emerging product designers from around the world and in 2008 he was an Adjunct Curator for the Museum of Arts and Design in New York.
A graduate of the Tasmanian School of Art in Hobart, Parkes has a significant and unusual background in both the creative and commercial spheres within museums and galleries. In the 1990s he managed the merchandising and retail operations at the Museum of Contemporary Art, Sydney (1998-2000) and the National Gallery of Australia, Canberra (1995-98). At both institutions Parkes was regularly involved in major exhibition project teams, development of publications and strategic planning. Prior to this Parkes managed the exhibition program and retail activity at Entrepot Art Products, on campus at the Tasmanian School of Art, Hobart (1991-95).
Over the last thirty years, Steven Pozel’s career has spanned across Canada and Australia where he has been a champion of visual culture including design, architecture, digital media, public art, craft and the visual arts.
Steven has been the Director of Object: Australian Design Centre since 2000. Object is known for presenting outstanding Australian design, including jewellery, glass, ceramics and Indigenous sculpture to architecture, furniture and fashion. Object recently opened its new William Street Darlinghurst venue as part of its 50th anniversary celebrations.
Prior to moving from Canada in 1997, Steven Pozel was the director of several contemporary art spaces including The Power Plant, Toronto – known globally for its significant exhibitions of contemporary art, design, new media and architecture.
Steven has been a presenter for the SBS Studio arts channel; he consults on creativity and innovation across a broad range of industry – from banking to telecommunications. He is a founding and current Board Member of the Australian Design Alliance, an Industry Fellow for the UTS Business School, as well as a faculty member at The School of Life, Australia.
Scientia Professor Veena Sahajwalla is an ARC Laureate Fellow and the Founding Director of the Centre for Sustainable Materials Research & Technology (SMaRT) at UNSW Australia.
Respected as an internationally award-winning scientist and engineer, Veena’s research focuses on the sustainability of materials and processes with an emphasis on environmental and community benefits. One of her most celebrated achievements is the invention of a process of recycling rubber tyres in steelmaking, now known as green steel and commercialised in Australia and overseas by OneSteel.
Veena works collaboratively with companies and institutions and has established strong partnerships and a deep knowledge of industrial processes and problems. Heading up the SMaRT Centre, she provides leadership for research programs on sustainable materials, placing a strong emphasis on the skills and knowledge that are urgently needed to enhance sustainability.
Passionate about science and engineering and very active in communicating her ideas to industry, government, students and the wider community, Veena was a panelist on the popular ABC TV program, The New Inventors, a TEDx presenter in Sydney in 2011, she leads the Science 50:50 campaign to inspire young women into science, and is a regular guest speaker at conferences around the world.