Marmalade Issue 6, 2018

ISSUE NO 06 

CRAFT + DESIGN

Discover Seppeltsfield: wine | food | craft | design | beauty 

730 Seppeltsfield Rd, Seppeltsfield, SA 5355 

seppeltsfield.com.au

CONTENTS 

FEATURES 

14 / Defining Design 

A discussion on how contemporary design is being curated and 

collected in some of the nation’s most significant cultural institutions. 

28 / Milan and all the Fun of the Fair 

Leanne Amodeo reflects on the substantial number of South 

Australian designers who exhibited in the 2018 Milan Furniture Fair. 

34 / JamFactory Icon: Clare Belfrage: 

JamFactory’s annual Icon series celebrates the achievements of 

South Australia’s most influential artists working in crafts media. 

14 

38 / Artist in Residence 

A program providing a point of real connection between local and 

international artists, collectors and the broader community. 

40 / West Side Story 

University of South Australia’s Pridham Hall and the changing 

face of the West End. 

44 / FUSE Glass Prize 

Leading glass authority Margot Osborne presents an insightful 

review of the 2018 Fuse Glass Prize . 

REGULARS 

6 / Highlights 

22 

24 / Q&A: Peta Kruger 

26 / Profile: Kirsten Coelho 

48 / Profile: Sonya Moyle 

50 / Profile: Liam Fleming 

26 

48 

ISSUE 06 / 1

Marmalade 

Editorial Team 

Margaret Hancock Davis 

Brian Parkes 

Design 

Sophie Guiney - 

original design by Canvas Group 

Feature Writers 

and Contributors 

Leanne Amodeo 

Caitlin Eyre 

Claudine Fernandez 


Vanessa Heath 

Patsy Hely 

Nathan James Crane 

Margot Osborne 

Brian Parkes 

Photographers 

Andre Castellucci 

Andrew Cowen 

Pete Daly 

Grant Hancock 

Rachel Harris 

Sven Kovac 

Lara Merrington 

Pippy Mount 

Sam Noonan 

Saul Steed 

Sun Photography 

Daniel Weich 

Zan Wimberley 

All photography as indicated. 

Board of Directors 

Jane Danvers (Chair) 

Jim Carreker 

Rosina DiMaria 

Shane Flowers 

Dr. Jane Lomax-Smith AM 

Richard Maurovic 

Anne Moroney 

Peter Vaughan 

Chief Executive Officer 

and Artistic Director 

Brian Parkes 

Administration 

General Manager 

Kate Cenko 

Finance Manager 

Carolyn Seelig 

Accounts Officer 

Tracy Peck 

Administration/Accounts Assistants 

Danielle Barrie 

Anna Fenech Harris 

Project Officer 

Claudine Fernandez 

Development Manager 

Nikki Hamdorf 

Marketing and Graphic 

Design Manager 

Sophie Guiney 

Marketing and Communications 

Coordinator 

Vanessa Heath 

Ceramics Studio 

Creative Director 

Damon Moon 

Production Manager 

David Pedler 

Associates 

Ebony Heidenreich 

Ashlee Hopkins 

Kerryn Levy 

Hannah Vorrath-Pajak 

Glass Studio 


Karen Cunningham 

Program Manager 

Kristel Britcher 


Liam Fleming 

Commissions Assistant 

Llewelyn Ash 

Technician 

Tim Edwards 

Assistant Technician 

Madeline Prowd 

Associates 

Aubrey Barnett 

Billy Crellin 

Hamish Donaldson 

Chantel Hines 

Renato Perez 

Bastien Thomas 

Furniture Studio 


Jon Goulder (until July 2018) 

Studio Tenants - Adelaide 

Studio 1 

Kristel Britcher 

Karen Cunningham 

Studio 2 

Llewelyn Ash 

Tegan Empson 

Drew Spangenberg 

Emma Young 

Studio 3 

James Howe 

Thomas Pearson 

Studio 4 

Snøhetta 

Studio 5 

Mathieu Cottin 

Studio 7 

Antonia Field 

Zoe Grigoris 

Sylvia Nevistic 

Studio 8 

Connie Augoustinos 

Gus Clutterbuck 

Madeline McDade 

Studio Tenants - Barossa 

Julie Fleming 

Brenden Scott French 

Barry Gardner 

Sue Garrard 

Simone Linder-Patton 

Sonya Moyle 

Rose-Anne and Michael Russell 

Cover 

Measurements throughout 

have been given in millimeters, 

height x width x depth. 

Printing 

Printed in Adelaide by 

Express Colour. 

Distribution Enquiries 

Emma Aiston 

emma.aiston@jamfactory.com.au 

Publisher 

JamFactory 

19 Morphett Street 

Adelaide SA 5000 

Office: (08) 8410 0727 

Email: contact@jamfactory.com.au 

Website: jamfactory.com.au 

Sales 

Creative Directors - 

Retail and Product 

Emma Aiston and Daniel To 

Retail and Gallery Manager 

Lucy Potter 

Retail Supervisor - Morphett Street 

Ali Carpenter 

Manager - Seppeltsfield 

Kristy Pyror 

Retail Sales Staff 

Connie Augoustinos 

Catherine Buddle 

Zoe Grigoris 

Juno Holbert 

Margot Holbert 

Bettina Smith 

Zarah Witzmann 

Acting Head of Studio 

Stephen Anthony 

Associates 

Andrew Carvolth 

Natalie Garven 

Luca Lettieri 

Dean Toepfer 

Scott Van Manen 

Metal Design Studio 


Sarah Rothe 


Alice Potter 

Associates 

Gretal Ferguson 

Danielle Lo 

Sean Prentis 

Sarra Tzijan 

Damon Moon, Skittle, 2018 

ceramic and 24 carat gold leaf. 

Gilder: Bernard Goble. Photographer: 

Andre Castellucci. 

Left: Ceramics Studio. 

Photographer: Andre Castellucci. 

Exhibitions 

Senior Curator 


Studio Tenant 

Danielle Barrie 

Assistant Curators 

Caitlin Eyre 

Lara Merrington (until Oct 2018) 

Exhibition Technicians 

Rhys Cooper (until Sept 2018) 

Brenden Scott French 

Dean Toepfer 

Daniel Tucker 

JamFactory supports and promotes outstanding craft and design through its widely acclaimed studios, galleries and shops. A unique not-for-profit organisation 

located in the Adelaide city centre and at Seppeltsfield in the Barossa, JamFactory is supported by the South Australian Government and recognised both nationally 

and internationally as a centre for excellence. JamFactory acknowledges the support and assistance of Department for Industry and Skills and is assisted by The Visual 

Arts and Crafts Strategy, an initiative of the Australian, State and Territory Governments. JamFactory Exhibitions Program is assisted by the Australian Government 

through the Australia Council, its arts funding and advisory body. 

ISSUE 06 / 3

EDITORIAL 

WELCOME TO THE 

2018 ISSUE OF 

MARMALADE! 

This, our sixth issue in as many years, is 

undoubtedly our best yet and I’m sure you 

will enjoy reading it and sharing it. 

The term ‘sharing’ today is so synonymous 

with the use of electronic social media but my 

reference to sharing Marmalade is of course a 

reference to the generous and physical act of 

leaving it on the coffee table at home or in 

the staff room at work for others to feel in 

their hands. This locally printed 60-page 

hard-copy publication is unapologetically 

analogue in a digital age. 

Marmalade speaks of the importance of design 

and creativity, and of materiality and skilled 

manufacturing, in a similar way to the pottery 

we have produced in our studios for leading 

restaurants or the JamFactory Furniture 

Collection pieces that have been specified 

by architects for some outstanding 

commercial interiors. 

Professional artists, designers and craftspeople 

are providing an increasingly welcome alternative 

to the ubiquitous and mass-produced goods that 

are overwhelming us. 

In this issue we reveal some of the thinking 

behind the ways that contemporary design is 

being curated and collected in some of the 

nation’s most significant cultural institutions. Our 

own Senior Curator Margaret Hancock Davis has 

interviewed key curators from the National 

Gallery of Victoria, the Powerhouse Museum, the 

Art Gallery of South Australia and the Art Gallery 

of Western Australia for this important feature 

(page 14). 

Arguably the biggest annual showcase of 

contemporary design in the world is the Salone 

del Mobile Milano – regularly referred to as the 

Milan Furniture Fair, or for those in the business, 

simply as ‘Milan’. We invited Leanne Amodeo, 

who is one of the most accomplished design 

writers in Australia, to reflect on the significant 

number of South Australian, designers who 

exhibited in ‘Milan’ in 2018 (page 28). 

2018 saw the opening of the University of South 

Australia’s Pridham Hall – a dynamic swimming 

pool and recreation complex that transforms 

into a grand hall for graduation ceremonies. 

JamFactory was part of the design team, along 

with local architects JPE Design Studio and global 

firm Snøhetta and we engaged Nathan James 

Crane to write about this unusual and successful 

collaboration (page 40). 

The two most critically acclaimed presentations i 

in JamFactory’s main exhibition gallery this year 

were the extraordinary exhibitions by worldleading 

South Australian artists Kirsten Coelho 

and Clare Belfrage. Coelho’s body of work was 

presented as part of the Adelaide Biennial of 

Contemporary Australian Art while Belfrage’s was 

JamFactory’s annual Icon exhibition in conjunction 

with the South Australian Living Artists festival 

and the publishing of a major monograph on her 

work. We have featured both of these remarkable 

projects (pages 26 and 34). 

JamFactory is fortunate to have attracted loyal 

and significant philanthropic support in recent 

years through our Medici Collective program and 

other initiatives. One of the highlights of what we 

have been able to achieve as a result of this private 

support is the very successful biennial FUSE Glass 

Prize. The very deserving winner of the prize in 

2018 was South Australian artist Jessica Loughlin. 

Leading glass authority Margot Osborne has 

written an insightful review of the finalists’ 

exhibition (page 44). 

This rich and beautiful magazine is only one of 

many ways that JamFactory tells the stories of 

contemporary craft and design in Australia. Visit 

our shops, see our exhibitions in regional and 

metropolitan galleries across Australia or, as a 

clear majority of our audience now does, look at 

us online via our website or via social media. 

While it is true we cherish and celebrate the 

tactile, haptic object at JamFactory, we also want 

to promote the value and importance of these 

things to the world and to do this in the twenty 

first century we must seamlessly embrace the 

digital. We hope to deliver more of the type of 

content featured in this magazine in alternative 

formats through our online platforms in the future 

and I look forward to telling you more. 

In the meantime, enjoy! 

Brian Parkes 

CEO and Artistic Director 

JamFactory 

Left: Studio of textile artist Lilly Buttrose. 


ISSUE 06 / 5

HIGHLIGHTS 

UNCONFINED BY 

CONVENTION 

JamFactory alumnus and Japan-based furniture designer Liam 

Mugavin of Studio Liam Mugavin, presents his debut solo show 

Unconfined by Convention at Criteria Collection. In this 

exhibition, Mugavin explores cultural and design narratives 

related to home and domesticity through his collection of 

unique chairs that draw upon traditional Japanese aesthetics. 

The chairs are crafted out of reclaimed timber sourced from 

demolished Australian heritage homes and the use of these 

materials, combined with a distinct Japanese influence, 

speaks of Mugavin’s design philosophy. 

Photo courtesy of the artist. 

WARINGARRI TABLEWARE 

JamFactory and Waringarri Aboriginal Arts have 

collaborated on a range of tableware featuring original 

artwork by Kununurra-born artist Gloria Mengil. The range 

includes stoneware dinner plates, side plates, pasta bowls, 

small bowls and beakers all wheel thrown, glazed and fired 

in JamFactory’s Ceramics Studio. Finished with decals of 

Mengil’s black and white Bush Tucker design, the range is 

sold at Waringarri Aboriginal Arts and has featured at art 

fairs around Australia, including TARNANTHI in 2018. 

Photo courtesy of JamFactory. 

SCHOLARSHIP IN SEATTLE 

First year Glass Studio Associate Hamish Donaldson was the 

recipient of a prestigious 2018 Pilchuck Scholarship. An 

international centre for glass art education, the summer 

program at Pilchuck Glass School, Washington, USA, offers 

courses with renowned artists that focus on experimentation 

and teamwork. Generously funded by JamFactory’s Medici 

Collective Program in partnership with Pilchuck Glass School, 

Donaldson participated in the advanced workshop ‘Within 

The Bubble’ where he explored glass blowing and hot 

sculpting techniques under the instruction of Czech glass 

sculptor Martin Janecký. 


6 / ISSUE 06

AGSA AQUISITIONS 

Off the back of JamFactory’s annual Generate exhibition, 

three Associate pieces were acquired by the Art Gallery of 

South Australia, Adelaide, SA: Connie Augoustinos’s Long 

Necked Vessel I, 2017 and Long Necked Vessel II, 2017, 

(pictured) from her Etheric Series and Jake Rollins’ 

sculptural chair Untitled, 2017, handcrafted using 

hundreds of rock maple spheres. 


BOISBUCHET’S OBJECTS 

OF MASS PRODUCTION 

In July, second year furniture Associates Dean Toepfer 

and Andrew Carvolth travelled to Lessac, France, 

to take part in Domaine de Boisbuchet’s summer 

workshops program courtesy of the JamFactory + 

Boisbuchet Scholarship Program. Toepfer, who 

undertook the workshop ‘Cultivating Nature’ with 

Netherlands-based designer Lex Pott and Susan Potts, 

Founder of Copenhagen-based design house NOMESS, 

found the experience invaluable. Carvolth participated 

in ‘Triaxial Weaving’ with the Netherlands-based 

designer Bertjan Pot, and both took part in the 

workshop ‘Mass Production’ with Philippe Malouin 

where they manufactured an object on the grounds at 

Boisbuchet. The JamFactory + Boisbuchet Scholarship 

is generously funded by JamFactory’s Medici 

Collective Program. 

Photographer: Sun Photography. 

NATURAL LANDSCAPES 

Second year Ceramics Studio Associate Kerryn Levy travelled 

to Onishi, Japan, in July to undertake an artist’s residency at 

Shiro Oni Studio supported by JamFactory’s Medici 

Collective Program. During the month long residency, Levy 

whose work is influenced by the colours, textures and forms 

of Australia, created a new body of work using local clay to 

reflect her impressions of Onishi’s natural landscape and 

culture. Whilst there Levy participated in a community music 

festival, a traditional tea ceremony, calligraphy and ikebana 

workshops, and visited galleries and museums in and around 

Tokyo. Her work was exhibited in Onishi as part of a group 

exhibition with fellow residents. 


ISSUE 06 / 7

HIGHLIGHTS 

BACK IN FRONT/CENTRE 

ARTISAN 

DENFAIR continued to support emerging designers 

through the second iteration of the Front/Centre 

exhibition, a showcase of work by the best emerging 

craft and design talent from across Australia. Finalists 

were invited to exhibit their designs before an audience 

of industry professionals, suppliers, retailers and national 

and international media. The six JamFactory Associates 

selected as finalists were Billy Crellin (Glass Studio), 

Scott Van Manen (Furniture Studio), Ebony Heidenreich 

(Ceramics Studio), Luca Lettieri (Furniture Studio) 

(pictured), Dean Toepfer (Furniture Studio) and 

Andrew Carvolth (Furniture Studio). 

Photo courtesy of DENFAIR. 

After almost fifty years as Queensland’s home of craft 

and design, Artisan has moved to one of Brisbane’s 

fastest growing urban hotspots, King Street, Brisbane 

Showgrounds. Artisan’s new home provides a bigger 

space for diverse exhibitions and greater opportunity 

for visitors to discover the quality work on offer by 

Australia’s leading designers and craftspeople. 

Photo courtesy of Artisan. 

CERAMIC JEWELLERY AT 

AUSTRALIA’S OLDEST 

ABORIGINAL ART CENTRE, 

ERNABELLA ARTS 

Metal Studio Creative Director, Sarah Rothe and second 

year Ceramics Studio Associate, Ashlee Hopkins visited 

Ernabella Arts, Pukutja, SA, on a two-week artist residency 

teaching skills in ceramic jewellery making. The pair worked 

with the centre’s community to build upon their sgraffito 

techniques decorating clay beads and ceramic flatware. 

Found objects from the natural landscape were used and 

assembled with handmade metal ear hooks and string. The 

residency is the first of a larger two-year program funded 

through Ku Arts and TARNANTHI Festival, with the aim 

of empowering the community’s women with skills to 

be shared with younger generations for creating viable 

income opportunities. 


8 / ISSUE 06

PATRON + 

In 2018, JamFactory’s Medici Collective raised over 

$100,000 through PATRON+ and (CPA) Creative 

Partnerships Australia’s Plus 1 campaign. JamFactory 

introduced the PATRON+ initiative empowering Medici 

donors to commit their support for two years and 

increase their investment from $2,000 to $10,000 per 

annum which was generously matched by $50,000 from 

CPA. The funding specifically supports JamFactory’s 

Associate program including finance for international 

travel scholarships and visiting industry mentors. 

JamFactory is actively seeking a new PATRON+ 

partner in 2019. 


DRINK DINE DESIGN BAR 

In 2017, JamFactory collaborated with South Australian 

architecture firm Grieve Gillett Andersen to construct the 

inaugural Drink Dine Design Bar. Crafted from an ordinary 

cardboard box into an extraordinary installation, the pop-up 

structure allowed guests to engage with the ten Drink Dine 

Design Award finalists, while enjoying cocktails by 

Applewood Distillery at the Hot 100 South Australian Wine 

Awards hosted by The Adelaide Review. The 2018 Drink Dine 

Design installation was displayed at the Adelaide Airport 

in October, before transforming into the Drink Dine Design 

Bar for The Adelaide Review’s Hot 100 Wine Awards night 

in December. 

Photographer: Sam Noonan. 

CONVERGE AT 

FISHER JEFFRIES 

Converge, presented in association with Fisher Jeffries 

and Worth Gallery, showcased a selection of works by 

JamFactory’s Ceramics Studio staff, Associates and 

studio tenants alongside a retrospective exhibition of 

paintings by Robert Habel. The exhibition was the second 

in a series of four studio-based exhibitions presented at 

Fisher Jeffries and curated by Amy Sierp-Worth of 

Worth Gallery. 

Photographer: Daniel Wiech. 

ISSUE 06 / 9

HIGHLIGHTS 

VASSE VIRGIN AT 

SEPPELTSFIELD 

Seppeltsfield has welcomed olive oil manufacturers 

Vasse Virgin to the family. Artisan makers of natural 

olive oil skincare, Vasse Virgin opened their doors within 

Seppeltsfield’s newly restored vinegar sheds this July. 

In this beautifully renovated space Vasse Virgin offer 

workshops, masterclasses, luxury treatments and a 

gift shop adding another layer to the premium 

Seppeltsfield experience. 

Photo courtesy of Vasse Virgin. 

GHOSTPATROL x 

CARLA MCRAE 

Melbourne based artists David Booth also known as 

Ghostpatrol and Carla McRae, were commissioned by 

JamFactory to design and paint a ten by five metre mural 

across its Morphett Street building facade. Ghostpatrol’s 

practice consists mostly of street-based works of art, 

temporary sculptural and installation art works and 

multimedia experiments. McRae is best known for her 

colourful art and illustration, working across mediums 

including street art, fashion, books and exhibition work. 

The playful greyscale mural was painted over two days. 


MOD. OPENS IN THE 

WEST END 

In May 2018, the University of South Australia opened the doors 

to MOD., Australia’s leading future-focused museum. MOD. 

brings an interesting perspective to Adelaide’s West End 

creative precinct, with its first exhibition program featuring 

the latest Augmented Reality (AR) technology, investigations 

into the relationships between humanity and technology, and 

displays uncovering the connections between art and science. 

Photographer: Grant Hancock. 

10 / ISSUE 06

JAMFACTORY’S CREATIVE 

WORKSHOPS PROGRAM 

BLOWING AND 

SCULPTING AT CORNING 

MUSEUM OF GLASS 

JamFactory’s program of public workshops has 

continued to grow with more than forty short courses 

run in 2017 to 2018. Jewellery and Metal Studio 

workshops are taught by JamFactory alumnus and 

jeweller/object maker Sylvia Nevistic and include 

Introduction to Silver Jewellery Making; Level 2: Silver 

Jewellery Making; Spoon Making; Working with Wax; 

and Enamelling taught by second year Associate 

Danielle Lo. JamFactory’s partnership with the Adelaide 

Central School of Art, Glenside, SA, has furthered the 

Ceramics Studio’s offering, doubling the number of 

Introduction to Wheel Throwing short courses in 2018, 

alongside dynamic Ceramics Summer and Winter School 

programs. Ceramics short courses include: Introduction 

To Wheel Throwing, Introduction To Hand Building, 

Intermediate Wheel Throwing, Ceramic Jewellery 

Making and Ceramic Surface Decoration. These creative 

workshops provide means of teaching income for 

JamFactory Associates and alumni while allowing 

them to give back to the community. 


JamFactory second year Glass Studio Associate Renato 

Perez received the opportunity to attend the renowned 

Corning Museum of Glass, New York, USA, in August. 

As part of the institution’s summer program and one 

of JamFactory’s annual glass scholarships, Perez 

participated in ‘Blowing and Sculpting Inside the 

Bubble’ with leading glass sculptor Martin Janecký. 

The advanced level workshop gave Perez opportunity 

to hone his skills and technique in bit-work, using 

different torches and unique approaches to both 

solid and blown sculpting. 


ISSUE 06 / 11

MEDICI 

COLLECTIVE 

A new renaissance 

of visionary patrons 

who collectively invest 

in, and directly engage 

with the talented 

emerging artists and 

designers undertaking 

JamFactory’s 

acclaimed Associate 

training program 

THANK YOU TO OUR 

MEDICI COLLECTIVE 

Medici Collective Patrons 

William Boyle 

Colin and Marie Goodall 

David and Dulcie Henshall Foundation 

Rick Martin 

David McKee AO and Pam McKee 

Robyn and Kingsley Mundey AM 

Dave and Kate Stock 

Medici Collective Donors 

Paul and Janelle Amos 

Noelene Buddle and David Shannon 

Jim and Helen Carreker 

John Chambers and Dawn Taylor 

Jane Danvers 

Geoff Day OAM and Anne Day 

Shane and Kate Flowers 

Denise George 

Paul and Angela Gillett 

Patricia Roche Greville and Dr Hugh Greville 

Margo Hill-Smith 

Philippe and Diana Jaquillard 

John Kirkwood and Wendy Alstergren 

Nicholas Linke 

Rosina and Marco Di Maria 

Paul and Fatima McHugh 

David and Sue Minns 

Anne Moroney 

Roger and Helen Salkeld 

Peter Vaughan and Anne Barker 

Association of Australian Decorative 

& Fine Arts Societies 

JPE Design Studio 

In its first four years, the Medici Collective has contributed more than 

$300,000 towards the Associate training program, including 5 international 

travel scholarships, and 8 visiting industry mentors in 2018 alone. 

The vision, influence and support of our Medici Collective Donors has ensured 

JamFactory and the talent we nurture play a key role in the creative economy 

locally, nationally and internationally. 

We sincerely thank the ongoing 2018 Medici Collective and Creative Partnerships 

Australia in 2018 who matched their donations. We warmly welcome interest in 

the program for 2019 and for further information please contact JamFactory’s 

Development Manager Nikki Hamdorf on (08) 8410 0727 or 

nikki.hamdorf@jamfactory.com.au 

Right: 2018 Medici Dinner. Photographer: Andre Castellucci.

FEATURE 

14 / ISSUE 06

DEFINING DESIGN 

Words by Margaret Hancock Davis 

Margaret is Senior Curator at JamFactory. 

With design playing a more overt part of programming in 

many of our national institutions, and the mere definition of 

design being challenged we thought it timely for our Senior 

Curator Margaret Hancock Davis to discuss the zeitgeist with 

curators across the country. 

ISSUE 06 / 15

EWAN MCEOIN 

HUGH D.T. WILLIAMSON SENIOR CURATOR OF DESIGN 

NATIONAL GALLERY OF VICTORIA 

MELBOURNE, AUSTRALIA. 

SIMONE LEAMON 

HUGH D.T. WILLIAMSON CURATOR OF DESIGN 

NATIONAL GALLERY OF VICTORIA 

MELBOURNE, AUSTRALIA. 

MHD: It has been three years since the NGV appointed the 

inaugural Hugh D.T. Williamson Senior Curator and Curator 

of Design. What do you feel has inspired the shift towards 

greater design presence in programming at the NGV? 

EM & SL: The NGV has a rich history and association with 

design. From the 1850’s when the Gallery first opened its 

doors to the citizens of Melbourne, the practice of collecting 

decorative arts and design, has created an important and 

diverse collection of ceramics, glass, metalwork, jewellery 

and furniture on which to build upon. 

The NGV’s ground breaking exhibition Melbourne Now in 

2013 was the catalyst for a new approach at the NGV, and 

opened up possibilities for creative collaborations between 

artists, designers, curators and the public. In recognition of 

the design and architecture presentations and their 

contribution to the success of Melbourne Now the NGV 

created in 2015, with the generous support of The Hugh D.T. 

Williamson Foundation, a new curatorial department and two 

new curatorial positions focused on contemporary Australian 

and international design and architecture. 

Design and architecture has become an integral part of 

the NGV’s thinking across all aspects and platforms of 

the institution. In recognition of this central role for design 

NGV has developed a long-term design strategy that 

embeds design within the institution and informs an 

ambitious program of design and architecture 

exhibitions and programs. 

In reaction to the growth in the influence, complexity and 

ubiquity of design there is an appetite and need for 

meaningful opportunities to experience, examine, 

communicate and think about design – what is has to offer, 

what it is used to create. The NGV Department of 

Contemporary Design and Architecture embraces an 

important role to collect, present and examine the most 

interesting trajectories of design and architecture since 

1980 to the present day. 

Previous page: TeamLab design studio 

Moving creates vortices and vortices create 

movement 2017, TeamLab, Tokyo (design studio). 

Photo courtesy of TeamLab and NGV. 

Right: Neri Oxman, Vespers, Series 1 and 2 Masks, 

from The New Ancient collection, 2016, Mediated 

Matter Group, design collaborator, Stratasys, Ltd, 

manufacturer. Photo courtesy of the artist 

and NGV. 

The 2017 NGV Triennial allowed us to take the exploration of 

contemporary art, design and architecture to the next level, 

and to evolve ideas the Gallery began to explore in 

Melbourne Now. The exhibition was a platform on which to 

present a global snapshot of contemporary art and design 

practice, to create a space for inspiration and conversation, 

and to give voice to some of the pressing issues of our time. 

It represented a broad range of disciplines - including: 

painting, sculpture, prints, drawing, photography, furniture 

and product design, games design, architecture, fashion, 

textiles, dance and participatory art. The exhibition broke 

with the contemporary gallery convention of presenting 

disciplines separately, in preference for an integrated, 

multidisciplinary display of contemporary creative practice. 

MHD: What are the key trends you see in the design 

industry that are influencing your programming and 

acquisition choices? 

16 / ISSUE 06

EM & SL: Design in its varied dimensions is powered by 

creativity. Enriching culture and society, design allows us to 

express, question, propose and test ideas about life and the 

world. The scope for design expands and accelerates every 

day. Design thinking intersects with disciplines including 

economics, health, science, ecology and technology. 

Through research and active engagement with the local, 

national and international design community, the NGV 

Department of Contemporary Design and Architecture is 

strategically collecting and exhibiting important examples of 

furniture and object design, architecture, jewellery, graphic 

and multimedia design, game and VR design. 

Since 2015, the NGV Department of Contemporary Design 

and Architecture has both commissioned and acquired 

significant contemporary Australian and international design 

works for the NGV Collection. Each of these works challenge 

our understanding of design and represent an important 

moment in the development of the designers practice. 

Through these objects we can interpret some of the ways 

that contemporary designers produce objects and 

environments as a form of communication. 

Highlights to date include: Ore Streams 2017, Studio 

Formafantasma (designer); Bridge table, large, prototype 

2010, Joris Laarman (designer) Joris Laarman Lab 

(manufacturer); Vespers, Series 1 and 2 Masks, 2015, Neri 

Oxman (designer) Mediated Matter Group (design 

collaborator), Stratasys, Ltd (manufacturer); Santa Cruz River 

2017, Alexandra Kehayoglou; Moving creates vortices and 

vortices create movement 2017, TeamLab, Tokyo (design 

studio); 50 Manga Chairs 2017, Oki Sato (designer), Nendo, 

Tokyo (design studio). 

The NGV Department of Contemporary Design and 

Architecture is especially proud of the one hundred plus 

acquisitions and commissions of contemporary Australian 

design, including: Gyro, table 2016, Brodie Neill (designer); 

Material Studies: Spark Rings 2016, Sean O’Connell (designer 

and maker); and, Standing Place 2017, Elliat Rich (designer), 

Luke Mills (maker). The Department in collaboration with the 

NGV Department of Indigenous Art, is also contributing to 

the commission and acquisition of contemporary works by 

Aboriginal and Torres Strait Islander artists and designers. 

Recent acquisitions include a significant collection of lei and 

body adornment from the Torres Strait featuring works by 

Ellarose Savage, Nancy Kiwat and Matilda Nona. 

ISSUE 06 / 17

FEATURE 

KEINTON BUTLER 

MUSEUM OF APPLIED ARTS AND SCIENCE 

(MAAS - POWERHOUSE MUSEUM, SYDNEY 

OBSERVATORY AND MUSEUMS DISCOVERY 

CENTRE), SYDNEY, AUSTRALIA. 

MHD: The position Senior Curator of Design and 

Architecture at the Museum of Applied Arts and Science 

(MAAS), was created in 2016, as the inaugural curator, 

what assumptions regarding design and architecture 

were you keen to challenge? 

KB: Established in 1879, MAAS sits at the intersection of 

the arts, design, science and technology and is uniquely 

placed to demonstrate how these disciplines impact 

Australia and the world. MAAS has been collecting objects 

of contemporary design for almost 140 years. 

When I became Senior Curator at MAAS (with a focus on 

design and architecture) I wanted to facilitate a critical 

dialogue on design, both within the museum and with the 

wider design community. The expectations and demands 

being placed on designers today are varied and complex 

since they are increasingly asked to tackle our biggest global 

issues. At MAAS we see ourselves as carrying out an 

important role in design education and it is vital that we are 

responsive to changes in the wider social and technological 

landscape and to the subsequent shifts in the design 

industry. MAAS enlists a critical approach to design research 

with an emphasis on cross-disciplinary thinking, whilst 

examining the key issues emerging in contemporary design, 

architecture and the built environment. We aim to provide a 

platform for meaningful public engagement while embracing 

contemporary methods of content delivery, learning and 

collaboration. We are particularly interested in design 

practice that reflects the evolution of the discipline and 

demonstrates this through our exhibitions, public 

programming and collecting plans. 

craft, video game design, speculative practice and large-scale 

architectural interventions. The exhibition was developed with 

an outward focus in order to represent global developments 

in design. I created a clear thematic framework for the 

objects on display, with a strong design narrative aimed at 

challenging traditional museological conventions of display 

and classification. 

MHD: What has been a highlight acquisition/s for 

the collection recently? What does it say about 

contemporary practice? 

KB: MAAS recently acquired the Rare Earthenware project, 

2015 by design research studio Unknown Fields, a partnership 

between Australian born speculative architect Liam Young 

and Kate Davies. Rare Earthenware was the result of an 

expedition to Inner Mongolia, in which toxic mud was 

collected from a radioactive rare earth tailings lake and was 

used to craft a set of ceramic vessels in the shape of Ming 

Dynasty porcelain vases. Each vessel is sized in relation to the 

amount of toxic waste created in the production of three 

items of technology; a smartphone, a laptop and an electric 

car battery cell. This project represents a new wave of 

designers emerging from speculative design. Speculative 

designers debate the possible social implications of our 

scientific and technological advancement essentially finding 

solutions to problems which haven’t yet materialised 

MHD: Your first curatorial project for the Powerhouse 

Museum, Sydney, Australia, Common Good recently opened. 

What were your aims for this project and how does it show 

the design and architecture strategy of MAAS? 

KB: With Common Good, my intention was to profile 

designers from the Asia Pacific region that are responding to 

important social, economic and environmental challenges. 

The exhibition reflects the diversity of contemporary design 

practice in our region and explores the continually evolving 

field of design through an expansive selection of innovative 

projects, ranging from material explorations, contemporary 

Top right: Ger Community Hub by Rural Urban 

Framework, Common Good exhibition, MAAS. 

Photo: Zan Wimberley. 

Right: Rare Earthenware by Unknown Fields, 

Common Good exhibition, MAAS. 

Photo: Zan Wimberley 

18 / ISSUE 06

REBECCA EVANS 

CURATOR OF EUROPEAN AND AUSTRALIAN 

DECORATIVE ARTS 

ART GALLERY OF SOUTH AUSTRALIA 

ADELAIDE, AUSTRALIA. 

MHD: The Art Gallery of South Australia has had a long 

history of displaying decorative arts alongside visual arts 

throughout its galleries. How have you been working to 

challenge these established modes of presentation and 

do you feel there is a difference when you display 

design objects? 

RE: The integration of decorative arts into the Art Gallery of 

South Australia’s permanent Australian and international 

collections predates my tenure as decorative arts curator by 

a number of decades. In the 1960s former Curator, Dick 

Richards, started displaying historic silver in the Australian 

Wing and there is a rumour he displayed a series of Holden 

cars as a celebration of South Australia’s motoring heritage 

but I’m still searching for photographs of this!. In the late 

1970s, then Curator of European Art, Ron Radford AM, asked 

Adelaide-based furniture designer Khai Liew to assist with 

the acquisition of key Barossa Valley furniture, which have 

remained a staple of the Gallery’s Australian category. 

Radford also famously bought Marc Newsom’s LC1 Chaise 

Lounge, 1986, a prototype shown at Roslyn Oxley’s, an early 

incarnation of the iconic Lockheed Lounge, 1988. 

Over the last twenty years or so, there has been a focus in 

acquiring and displaying contemporary works which traverse 

the disciplines of craft, design and decorative arts – mostly in 

the areas of ceramics, glass, furniture and contemporary 

jewellery – with a particular focus on South Australian 

makers. Both Christopher Menz and Robert Reason built up 

remarkable collections of contemporary craft and design. 

Some of my favourite works collected in this period include 

the Rhianon Vernon-Roberts memorial collection of 

contemporary jewellery and Junko Mori’s forged mild steel 

Propagation project: Windy leaf. 

Since 2014, there has been a renewed interest in the field 

of fashion design with the exhibition Fashion Icons: 

Masterpieces from the Collection of Musée Des Arts 

Décoratifs, Paris, France. And in 2017, the Gallery launched 

its Fashion Fund, a dedicated fund for the acquisition of 

contemporary international and Australian fashion. I’m 

recognising that our visitors love contemporary fashion 

design and are hungry for more. Besides the glamour and 

celebrity factor, I think it has something to do with the very 

physical connection we all have with fashion; we live our 

lives in fashion. 

I guess that’s one of the defining aspects of design, its 

relationship to the body. Whether that’s jewellery, vessels, 

fashion or furniture. These works are often made to assist, 

beautify, comfort and nestle the human body. That’s one of 

those things I’ve tried to do as much as possible in the display 

of design, not succumb to the normal ‘decorative arts and 

design behind glass in a showcase’ approach, but to display 

works on the wall as much as possible. 




RE: I see an intriguing harmonising of traditional handmade 

techniques, newer mechanised and computer generating 

methods of manufacturing and the bringing together of craft 

and design. Think of Iris Van Herpen, who elegantly combines 

traditional haute couture labour intensive technique with 3D 

printing, vacuum moulding and so on. Or even Khai Lew’s 

2010 Collec+tors series where he (as a furniture designer) 

collaborated with craftspeople Julie Blyfield, Kirsten Coelho, 

Gwyn Hanssen Pigott, Jessica Loughlin, Bruce Nuske and 

Prue Venables. In each of these cases there is a delightful 

coming together of craft and design and I find myself 

collecting and displaying works that sit within this 

hybrid space. 

I was lucky to acquire Iris Van Herpen’s Alchemy of Light 

dress from her Between the Lines Spring/Summer 2017 

couture collection for the gallery. Technology and handcraft 

were united in the making of this gown. The product of 

1400 hours of work in polyurethane material, it uses the six 

step technical process of laser-cutting, vacuum-forming, 

liquid-moulding, hand-moulding via heat, hand and 

machine stitching. 

The work straddles the world of contemporary design, 

fashion and sculpture. Materially it is ambiguous and 

intriguing; drawing the viewer in, it begs a multitude of 

questions, how was it made, what it is made of, what is it 

exactly? It’s this art that provokes that makes for a powerful 

tool for curators. 

Left: Iris Van Herpen, Original runway Alchemy of Light dress 

from the Between the Lines couture collection, 2016‐17. 

Photo courtesy of the Art Gallery of South Australia. 

ISSUE 06 / 21

ROBERT COOK 

CURATOR OF CONTEMPORARY DESIGN 

AND INTERNATIONAL ART 

ART GALLERY OF WESTERN AUSTRALIA 

PERTH, AUSTRALIA. 

MHD: As the one curator interviewed whose department 

encompasses both the visual arts and design, are there 

any conceptual trends that you see bridging or running 

concurrently in visual arts and design? 

RC: Well, there’s a stack of artists – there have been 

throughout history – who work from or towards a design 

space, be this structural, product-focused, critically or 

relationally. Narelle Jubelin, Andrea Zittel, Atelier van 

Leishout, Liam Gillick to name a a few. There are designers 

being pragmatically forthright about how their practices 

impact on or shift the social sphere and looking at the means 

and modes of making and its distribution, the networked 

object whose focus is mirrored by many artists now. And 

there’s the monumental art-sculptural furniture of those in 

the Carpenter’s Workshop crowd, who I love. Then there’s 

people like Max Lamb who is all these things yet none of this 

is new. Design is always the between space. That’s maybe too 

much of a meta answer! If we look at it more tactically, we’re 

all playing out the post Normcore stream of consciousness 

that pulls art, design and craft into a social media realm with 

a different kind of ice wash traction. 

MHD: What are the differences, if any, when exhibiting 

design versus visual arts? 

RC: I guess there probably aren’t that many when it comes 

down to the display. Maybe I’m going to contradict myself 

here, with visual arts there’s usually more consultation with 

the artists about how this and that will be shown and a 

display parameters gained. 




important, and functionality doesn’t read like it used to in this 

paradigm. Function is your body in a context. There is no 

purity. I sound like Baudrillard. But it’s looping back. This 

means we should be more open to style right now, in a very 

serious way. 

Personally, I gravitate to the design-ness of photos, stylish 

paintings, the lonely pragmatism of jewellery and the 

social structure of biomorphic abstraction. In terms of 

programming, my projects are usually quite separate 

though. I do think historically about the ways the works 

are interpreted. On the craft side, what is always super 

apparent, is that it is the weirdest modernism. 

MHD: What has been a highlight for the Collection recently? 

What does it say about contemporary practice? 

RC: Buying a little Ron Nagle piece recently. It’s called 

Bill-bored, insert date. Nagle is one of the stylish artists in the 

world today. He is up there with Katz and there with Fairfield 

Porter. Oblique, I know, but think about it, what it says about 

contemporary practice is that it’s not just Rie and Coper who 

make grown-up ceramics. Nagle makes flat-out sexy hip 

pieces that are pure goofy chic. They are as ripe as any Katz 

painting. He makes ceramics that you would think twice 

before offering to buy it a drink in a bar. In fifty years there’ll 

be people wondering just why the hell he wasn’t the most 

famous artist in the world. 

Right: Ron Nagle, Bill-bored, 2016 

ceramic, glaze, catalysed polyurethane and epoxy resin, 10.8 x 10.5 x 15.9cm 

State Art Collection, Art Gallery of Western Australia 

Purchased through the Art Gallery of Western Australia Foundation: 

TomorrowFund, 2018. 

RC: I always think I never know this stuff or if there are trends, 

I’m not interested in feeling I’ve to pick them up straight 

away. But there’s some longer-term stuff; I’ve mentioned 

Normcore before and I was serious. It’ll sound like I’m not up 

to speed, but that’s still a thing, a huge thing. Normcore was 

thought to be sarcastic. But in essence, asked the question, 

‘What is the texture of life?’ The collapse of all distinctions 

means that design in the form of style is increasingly 

22 / ISSUE 06

Q&A 

PETA KRUGER 

NIGHT AND DAY, DAY AND NIGHT

JamFactory Jewellery 

and Metal Studio 

alumna Peta Kruger, 

recently unveiled her 

first public art project 

in Sydney’s new 

Steam Mill Lane, 

Darling Square. The 

project with Lendlease 

and ASPECT Studios, 

consists of a series 

of multi-coloured 

geometric catenary 

light systems 

suspended above 

the bustling laneway. 

. 

JamFactory Assistant Curator Caitlin Eyre spoke with Peta Kruger 

about this new direction in her practice. 

CE: The new precinct features eight of your large-scale sculptural installations. 

What was the inspiration behind these works? 

PK: The pieces follow on from previous jewellery collections where I reduced 

jewellery components to a series of lines, shapes and colours. The artworks 

function as abstract signage during the day and neon lights at night. I chose to 

construct sculptures that would blend with the surrounds of the laneway, but 

also provide spaces for contemplation. The Darling Square precinct and broader 

Darling Harbour area is a historically layered and culturally rich site. My concept 

reflects on the transformational aspects of the location as well as its proximity 

to the harbour. The title of the artwork, Night and day, day and night, 2018, refers 

to the song variously performed by Nina Simone, Frank Sinatra, Fred Astaire and 

Ginger Rogers. It alludes to the romantic nature of city lights and the special 

moments in an individual’s life that occur within the shared rhythms of a city. 

CE: Your practice has almost exclusively focused on wearable jewellery pieces. 

What has been the process of translating previously small-scale art works into 

a large-scale installation for a public space? 

PK: When I make jewellery in the studio I usually work my ideas straight into 

sheet metal. Sketching and creating mock-ups seems to only delay my judgment 

of a piece’s success. For many reasons, I couldn’t use this approach for a largescale 

installation. Instead, I spent the best part of a year planning, drawing and 

envisaging every detail of the proposed works before they were fabricated. 

Tensile Design & Construct engineered, fabricated and installed all the artworks, 

allowing me to focus on the colour, scale and placement for each piece. I used 

site visits, cardboard models, colour samples and digital renderings to further 

develop the pieces. 

CE: The installations have been positioned in a very public space. What do you 

hope they inspire or provoke in people passing by? 

PE: Steam Mill Lane functions as a pedestrian thoroughfare as well as a 

destination for food and entertainment. It is used twenty-four hours a day by 

residents, workers and tourists. My intention was to create an artwork that is 

purposely displayed for both day and night viewing, even enticing people to 

return at different times to see the space transformed. Most importantly, 

I hope the works of art bring an element of fun to the space. The high visibility 

of the artwork to a large and varied audience will give rise to multiple 

interpretations and I embrace this aspect wholeheartedly. Recently, the works 

gave me the impression of thought bubbles, as though I’d thrown my ideas 

into the air, where they remained suspended for other people to engage with. 

Their positioning above street level creates a kind of communal space in which 

thoughts and ideas may be shared. 

CE: This has been your first public art project. How has this influenced 

your practice? 

PK: As a contemporary jeweller, my practice reflects on jewellery’s wider context. 

Jewellery doesn’t need to be ‘worn’ to be jewellery; anything can be jewellery if it 

relates to a body. In this case, I have put jewellery onto architectural bodies and 

adorned the cityscape. This project provided an opportunity to practice ideas that 

I’d been exploring only theoretically until now. It also forced me to translate my 

designs into different materials, something I am keen to explore in my next body 

of work. 

Left: Installation of Night and day, day and night, 

Steamill Lane, Darling Square, 2018. 

Photograph courtesy of the artist and Lendlease. 

ISSUE 06 / 25

PROFILE 

KIRSTEN COELHO 

TRANSFIGURED NIGHT 

A deep black. Then turning 

into the gallery proper, 

before one’s eyes have 

adapted, a long stretch of 

illuminated paleness appears, 

seemingly floating in mid 

air. It leaves an imprint - 

an afterglow - on the 

eyes and brain. 

Words by Patsy Hely 

Patsy is an artist and educator. 

Weeks after my visit, this powerful image remains. Kirsten 

Coelho’s Transfigured Night, 2017 is an installation of over 70 

porcelain vessels displayed on a 14 metre-long grey platform. 

The forms are domestic in nature, utilitarian, but installed 

so the objects are closer to eye level than table height, 

suggesting that looking rather than handling is of prime 

importance. The colours are pale, some glazed, some not, 

and they range in size from small bowls to large basins. 

The work overall is ambitious in scale and execution. 

Transfigured Night was part of the 2018 Adelaide Biennial 

Divided Worlds with the divide here being between night 

and day, between the known and the unknown. Coelho 

has cited Russell Drysdale’s 1945 The Drover’s Wife and 

Henry Lawson’s story of the same name as catalysts for her 

thinking. These references enrich the artwork lending it a 

particularly local character. Individual objects are lit from 

above, washed with cool silvery light that picks out their 

varying shapes while also creating shadows and distortions 

that convey a similar sense of foreboding to that found 

especially in Lawson’s story. 

Above: Installation view 2018 Adelaide Biennial 

of Australian Art: Divided Worlds featuring 

works by Kirsten Coelho, JamFactory, Adelaide. 

Photographer: Saul Steed. 

In previous work, Coelho has grouped different vessel types 

together, but here she mobilises a virtual compendium of 

ceramic objects: bottles, flasks, bowls small and large, 

cups, beakers, goblets, basins, flat dishes and more. The 

ceramics historian Phillip Rawson suggests that all ceramic 

forms spawn a host of related types 1 and Transfigured 

Night engages with this idea where the lighting and the 

positioning of the works causes shadows in some places to 

project onto a form an altered version of its own shape. In this

way the number and range of shapes seen along the 

platform appears to multiply and suggest that the work is 

not just exploring an Australian narrative, but is feeling out 

the metaphoric possibilities of the evolution and 

dissemination of ceramics historically. 

Coelho has a keen interest in both the local and global 

histories of ceramics2 and the way Transfigured Night is 

presented suggests her familiarity with museum displays, 

where objects with a variety of cultural references are 

brought together in one space as happens at the Victoria 

and Albert Museum in London, or the Smithsonian Museum 

in Washington. An artwork as accomplished as this invites 

many readings with maritime museum displays of shipwreck 

assemblages,where objects of various origins have lain still 

and undisturbed in darkness for centuries,also coming to 

mind. These assemblages, commonly from ceramic-laden 

ships trading between China and foreign ports, share a 

number of characteristics with this work – and they have 

been a rich source for ceramic historical research. 

Individual forms in Transfigured Night, as many shipwreck 

forms do, carry a variety of cultural inflections, some appear 

to have their roots in Chinese ceramic form, others in 

Scandinavian (Coelho’s own heritage) vessel types. Where 

the glazes of shipwreck vessels have been smoothed and 

made pearly by exposure to deep-sea currents, Coelho’s 

surfaces have a similar tactile feel, having been polished by 

hand or softened by glaze. 

Apart from the variety of cultural reference, and the great 

variety in types of forms, there are as well differences in the 

character of individual forms. Some, such as the large basin 

forms, are highly refined, large but light, whereas others 

seem exploratory, new objects in transition. This mix of the 

perfect and imperfect gives vitality to the work and suggests 

an ongoing engagement with ideas. All of the works are 

beautifully made and seamlessly glazed, though process 

in the form of throwing rings, not usually seen in Coelho’s 

work, are here laid bare by light. 

There is a sense that this has been a very self-conscious 

project, it looks to both her past explorations and future 

possibilities, new types and forms are being explored 

and different ways to make ideas and influences cohere 

are clearly being sought. Transfigured Night is a complex 

artwork and it makes a brave move by engaging with a 

broad range of ideas and commanding such a large space 

with confidence and assurance. 

1. Phillip Rawson, Ceramics: an appreciation of the art, University 

of Pennsylvania Press, Philadelphia, 1984, 92. 

2. Personal communication, 2nd June, 2018. 

ISSUE 06 / 27

FEATURE

MILAN 

AND 

ALL THE 

FUN 

OF THE 

FAIR 

Words by Leanne Amodeo 

Leanne is a content director, 

media consultant and educator. 

There was a time a few years back when it seemed the 

Milan Furniture Fair’s credibility was waning. Visitors 

were disgruntled with the annual trade fair’s organisation, 

insulted by the overinflated prices they had to pay for 

accommodation and generally frustrated by the northern 

Italian city’s lack of adequate infrastructure. Then came the 

scathing yet reasonable opinion piece by Dezeen’s influential 

founder and editor-in-chief Marcus Fairs on his experience of 

the 2013 offering. He drew attention to the lack of curation 

across the main Fiera Milano exhibition complex and satellite 

events in adjacent districts and highlighted the difficulties 

in navigating the Fair in its entirety, both on foot and online. 

Coupled with the rise of the London Design Festival and 

the shift in attention this attracted, the event looked to be 

in trouble. 

But the tide has turned. Cosmit, the company that owns 

the Milan Furniture Fair, seemingly listened to the backlash 

and responded – or perhaps they couldn’t put the fact off 

any longer that the event (established in 1961) was well and 

truly overdue for a refresh. A snappy rebrand from the old 

Salone Internationale del Mobile title to Salone del Mobile 

Milano ensued (although it’s likely most will continue to call it 

Milan Furniture Fair), signalling renewed cohesion across all 

venues. The event finally got its own website and the city also 

underwent a series of infrastructural upgrades, all of which 

make the Fair more user-friendly. Even Fairs’ 2016 round-up 

was much, much more favourable. 

ISSUE 06 / 29

Previous Page: Anna Varendorff, Brass Vase, 2018; Jon Goulder, Basket, 2018; 

Anna Varendorff, Sculptures of Infinite Arrangements, 2018: Henry Wilson, 

Thoronet Dishes, 2018; Jon Goulder x Spence and Lyda, Innate Credenza, 2018. 

Photo courtesy of Emma Elizabeth. 

Above: Jon Goulder x Spence and Lyda, Innate Console, 2018; Ross Gardam, 

Ora desk lamp & Noon mirror, 2018; Fred Ganim, Coat wall hange, 2018. 

Photo courtesy of Emma Elizabeth. 

Right: Nicholas Fuller, Voyage Partitions, 2017; Jonathon Zawada, 

Ouroboros chair, 2018. Photo courtesy of Emma Elizabeth. 

So what does it all mean for designers? Regardless of the 

inflated hotel prices, one thing has remained constant 

and that’s the quality of design on display. From the big 

brands such as Tom Dixon and Moooi, to the newest names 

popping-up in Ventura Centrale, the Salone del Mobile Milano 

showcases the industry’s very best. Ask any designer today 

to name the most significant event on the design calendar 

and chances are they’ll say Milan. From an Australian 

perspective, the 2018 offering (held from 17 until 22 April) 

was a watershed moment, thanks in no small part to 

Emma Elizabeth. 

The Sydney-based designer and stylist is a powerhouse of 

creativity and major advocate for design via online hub Local 

Design, which she curates with James Coffey. Elizabeth is also 

the curator of Local Milan and presented its third iteration 

within an abandoned palazzo, resplendent in its patchy bright 

coloured walls and worn parquet flooring, in the 5Vie district 

for this year’s Fair. Local Milan no. 3 showcased the work of 

26 Australian designers who define Australia’s design scene 

today. This impressive body of furniture, lighting and product, 

was full of nuance and intelligence, beauty and formality 

and the global exposure it gave these designers is not 

easily matched. 

The fact the exhibition itself was so incredibly photogenic 

was not lost on the world’s established media outlets or 

savvy Instagrammers either; an important point not to be 

underestimated, as Elizabeth is well aware. ‘Internationally 

it’s hard for the market to put a face to a name and a name 

30 / ISSUE 06

“This impressive 

body of furniture, 

lighting and product, 

was full of nuance and 

intelligence, beauty 

and formality and the 

global exposure it gave 

these designers is not 

easily matched.” 

to a design and exhibitions like this help create stronger 

connection,’ she explains. ‘We’re at a disadvantage due to 

distance, but we have strength in our aesthetic. People from 

around the world look to Australia for food, lifestyle, travel, 

nature and fashion and design goes hand in hand with these.’ 

Local Milan no. 3 certainly punctuates the ongoing 

conversation about an Australian design identity and being 

seen on a world stage is not only good for the collective, it’s 

excellent for individual designers as well. South Australia was 

well represented in Elizabeth’s exhibition, with seasoned Milan 

exhibitors Jon Goulder (in collaboration with Spence & Lyda) 

and Daniel Emma (who also exhibited as part of Wallpaper 

Handmade) featured alongside emerging designer 

Nicholas Fuller. 

Exhibiting at the Milan Furniture Fair is not without its 

logistical challenges. It takes time and effort, not to mention 

money, to produce the designs and get them and their 

designers there and back. Daniel Emma’s Emma Aiston 

concedes it gets easier with each exhibition as one knows 

what to expect and can therefore better prepare. The pay-off 

is being a visible part of a global design community – there’s 

nothing quite like experiencing a new product in the flesh as 

opposed to seeing it through a filtered social media post – 

and the opportunity to network in person. 

For Fuller, who debuted Leggero floor lamp, 2017, as well 

as exhibiting his award-winning Voyage partitions, 2017, the 

event was an eye opener. Although aware of its scale, the 

magnitude of it all didn’t quite hit until he was there in person. 

Indeed, Salone del Mobile Milano’s website clocked 2018’s 

attendance across six days at around 435,000 and with over 

1800 exhibitors, it’s little wonder Fuller found it difficult to 

see everything. However, he appreciates all that being part 

of a well-received exhibition like Local Design no. 3 means 

professionally. ‘Exhibiting in Milan has been a turning point 

in my career and I’m excited to use the experience to further 

my practice,’ he says. ‘I received some good feedback from 

fellow designers and the general public and I made some 

great connections too.’ 

Most of this year’s attendees are most likely to use words 

like amazing, busy, incredible, crazy, chaotic, intense and 

overwhelming and all in the same sentence, to describe the 

event. Reports also suggest the number of outstanding 

installations and exhibitions were numerous, from 

Swarovski’s Crystal Palace to Studiopepe’s 1970s themed 

‘secret members club’ Club Unseen to a showing of vegan 

furniture by designer Erez Nevi Pana. Hay’s take-over of the 

Palazzo Clerici in the Brera district with Sonos and WeWork 

impressed many, including ceramicist Damon Moon, as did 

New York design studio Apparatus’ showroom in the popular 

5Vie district. 

ISSUE 06 / 31

Moon exhibited a few doors down from Apparatus, along 

with furniture designer and fellow Adelaidean Andrew 

Carvolth. The Milan Project featured their ceramic and timber 

objects that sit somewhere between art and design and 

which elegantly explore ideas of craftsmanship, materiality 

and manufacture in the process. It was the first time at the 

Fair for both designers and like Fuller, Moon agrees that it 

was beneficial, especially in opening up possibilities that 

simply don’t exist in Australia. 

‘The world goes to Milan, so you get to meet people from 

everywhere and they’re in the hundreds of thousands and 

they’re all looking at design,’ he explains. Some of Moon’s 

designs were kept back post-exhibition for a photo shoot 

with an Italian magazine; an opportunity that may not have 

happened if he’d exhibited in Australia. That’s not to say 

Moon sees more value in exhibiting internationally than he 

does locally. ‘I think ideally it’s possible to strike a balance 

between exhibiting overseas and in Australia and that the 

two should support each other,’ he says. ‘Although I do think 

going to Milan as an Australian designer means you are 

taken more seriously in Australia because you’re seen to be 

engaging on a global scale.’ 

Another South Australian first-time exhibitor at the 2018 Fair 

is furniture designer Andrew Eden, a former design assistant 

to Khai Liew. He exhibited in the sixth iteration of Din-Design 

In within the Lambrate Design District and relished the 

melting pot of designers and industry experts, commentators 

and supporters defining the event. Best of all, he was able to 

interact with the big names. ‘I made a special effort to see 

the exhibitions by Vitra, Hay, Louis Vuitton, U-Joint, Kvadrat 

and Nendo,’ he says. ‘They were mind-blowing.’ Like so many 

first-time exhibitors, Eden hopes to return. 

The Milan Furniture Fair is the perfect place to launch a new 

product. Moon’s right, it does give both the designer and 

their practice added credibility and generates the type of 

positive hype that comes with such endorsement. And just 

like the showing of any fashion designer’s new collection, 

the Fair sets trends for the coming year, paving the way 

for conversations and responses to timely design themes 

and topics. Planning has already begun for next year and 

the long process of designing and prototyping new pieces 

is underway. The 2018 event set a high benchmark for the 

exhibition of Australian design and part of the fun is seeing 

how this will be topped next time around. 

Top right: Damon Moon, Gold Skittle, 2018. Photographer: Andre Castellucci. 

Right: Andrew Carvolth, Mila Tall Boy, 2018; Damon Moon, Skittle, 2018. 


Far right: Daniel Emma, Bling Bling Dynasty, 2018. 


32 / ISSUE 06

FEATURE 

JAMFACTORY ICON 

CLARE BELFRAGE: 

A MEASURE OF TIME

Launched in 2013, JamFactory’s 

annual icon series celebrates the 

achievements of South Australia’s 

most outstanding and influential 

artists working in crafts based media. 

Launched in 2013, JamFactory’s annual Icon exhibition 

celebrates the achievements of one of South Australia’s most 

outstanding and influential craft and design practitioners. 

The 2018 iteration presents the work of Clare Belfrage. With 

an international career spanning three decades, the awarded 

artist is best known for her detailed glass sculptures that 

marry organic blown forms with intricate line work. 

JamFactory’s Senior Curator, Margaret Hancock Davis, 

recently caught up with Belfrage at her home studio set 

to a backdrop of stunning red and blue gums; a constant 

reminder for the artist about the fluid beauty of nature. 

MHD: Over the years you have become internationally known 

for challenging and pushing the conventions of drawing 

on glass with stringers (that is fine rods or hollow tubes of 

glass colour). How does your use of stringers differ from 

other approaches? 

CB: I’ve been working with this drawing technique of fusing 

thin lines of glass onto a form during the hot glass process 

for many years now. It’s not a widely used technique and I 

initially used it to draw little pictures or scenes. As my work 

has evolved, I’ve moved away from a narrative style and 

instead focussed on pattern, using repetition and details from 

the natural world to create a sense of rhythm across a form. 

I’ve got pretty obsessed with varying line qualities – opacity, 

transparency, flatness, depth, colour, tonal variation – all 

different sensibilities useful for different ideas. 

MHD: I’m always fascinated by the processes in the hot shop 

and the change of rhythms whist making. Can you describe 

how it feels to work on the molten surface and the attention 

drawing on glass with stringers requires? 

CB: I don’t think of the atmosphere in the hot shop as being 

frantic but it definitely is intense. When I’m drawing with 

glass stringers it’s a particular phase in the making and the 

rhythm really changes at this stage. Building up the pattern, 

line by line, like stitch by stitch, you fall into the process – the 

surface, the pattern – feeling the relationship between each 

mark made. I always have a plan but part of that plan is to 

let go of tightness, to soften, to breathe. It is a completely 

different physical and mental process compared with when 

we’re actually blowing and shaping the form. It takes a long 

time, is highly repetitive and I like the way I kind of lose time. 

Then, when we’re creating the form, it all speeds up again! 

ISSUE 06 / 35

MHD: The intricate working of the surface with fine details 

seems to refer in many ways to what you describe as your 

close observation to nature, a skill developed as a child on 

family camping trips. What observations from nature 

excite you? 

CB: I’m not sure if it is a skill, possibly more a natural way of 

seeing. It is the rhythms in the natural world particularly of 

fine detail that I’m drawn to. This can be seen in a leaf, a rock, 

a grass tree or a particular view, a stretch of sand or water. 

It is the potent combination of intimacy and power, drama 

and delicacy. It is wonder and it is the myriad expressions of 

time; fast and slow, fleeting and frozen. I describe it as the 

big feeling that ‘small’ can give. 

MHD: Time can be measured in nature through accumulative 

processes such as laying down of sediment or growth in 

plants and inversely it can be measured through subtraction 

and removal, such as weathering and erosion. In your artwork 

we see both of these processes at play, the gathering and 

layering of glass in the hot shop, to the slow removal of the 

surface through pumice abrasion in the cold shop, creating 

a smoothed unfamiliar finish to glass. Are these parallels to 

the natural world something you are consciously considering 

while making? 

CB: When creating my artworks I am definitely thinking of the 

building up of pattern, line by line, one small element applied 

at a time, slowly creating a tempo. It is clearly different to the 

accumulative process in nature yet somehow reminiscent and 

I think the flow of making is captured within the final object. 

Taking the shine off the glass is a reductive process and I do 

this with most of my work. I sandblast the forms – erosion 

sped up – with an abrasive compound and then polish by 

hand or using a glass lathe with pumice paste to bring a 

subtle sheen to the surface. I think this certainly creates a 

more tactile surface and draws the audience into the layers 

more than if the shiny reflective surface of glass was left. It is 

a softer surface and holds a greater sense of age and wear. 

MHD: You describe a shift in your perception about the 

Australian landscape from a literal view to a more illusionary 

experience. How did this shift affect your work? 

CB: I think there have been a few significant shifts in my 

work. In the late nineties and early noughties, I really made 

a change from working with simple forms that I decorated, 

to an idea driven approach. I focussed on the aspects of the 

natural world that I was drawn to and developed patterns 

and forms that were inspired by particular plants, a scene, or 

the experience in a place. The pattern often came first. The 

forms became more sculptural and asymmetric. I was keen to 

move the blown form out of its natural desire to be round and 

create artwork where the form and pattern were completely 

integral to each other. 

Another shift was working more consciously in layers. 

Sometimes this was laying down a particular pattern behind 

the line drawings on the surface, especially in the last ten 

years. This has worked to express my interest in different 

experiences of time within a landscape and to create a sense 

of place that’s sometimes real, sometimes imagined. 

There has probably been a broad shift in the perception of 

the Australian landscape and I think there are a number of 

reasons for this shift; not least the artwork of Aboriginal 

and Torres Strait Islander artists fundamental to the cultural 

landscape. I have been deeply moved by a number of artists’ 

practices, particularly the work of Dorothy Napangardi 

and Kathleen Petyarre. They have made a difference to my 

experience in the landscape. 

MHD: Coming from a large family, one of 8 siblings, there 

was always activity nearby. You mention your mother’s 

hands constantly moving, knitting, cooking or mending 

clothes. Was your love of making in some way instilled by 

your mother’s unrelenting creative activity? 

CB: Rhythm has been a strong theme of mine for many 

years now. The rhythms I’ve observed in the natural world 

and more recently, I’ve been reflecting on the rhythms that 

surrounded me growing up. My mother was a very good 

knitter along with many other craft practices and I agree 

her hands were always on the go. She tried to teach me 

sewing and knitting but I was pretty hopeless at craft when 

I was little. I wasn’t patient at all. I did learn music though, 

probably my first passion. There was always lots of music 

going on in my house too. 

JamFactory Icon 2018, Clare Belfrage:A Measure of Time 

premiered in Adelaide as part of the South Australian 

Living Artists (SALA) Festival and will tour to 10 venues 

nationally. The exhibition tour has been assisted by the 

Australian Government’s Contemporary Touring Initiative, 

a program of the Australia Council for the Arts. The 

exhibition presents a body of new art works created 

specifically for this touring exhibition. 

Belfrage was the 2018 SALA (South Australia Living Artist) 

Festival Featured Artist and is the subject of the SALA 

publication written by local writers and artists Emeritus 

Professor Kay Lawrence and Sera Waters and published 

by Wakefield press. 

Previous page: from left Clare Belfrage, Holding Time, Dark Grey, 2014, Quiet 

Shifting, Oceana and Yellow, 2018, Shedding, Dark Grey, 2018, In Deep, Blue and 

Grey, 2018, Quiet Shifting, Pigeon Grey, 2003. Photographer: Pippy Mount. 

Right: Clare Belfrage, Quiet Shifting, 2018. Photographer: Pippy Mount. 

36 / ISSUE 06

ARTIST IN RESIDENCE 

Words by Claudine Fernandez 

Claudine is Project Officer at JamFactory. 

JamFactory has a long tradition of 

inviting established and emerging 

artists and designers to work with 

and mentor Associates, creative 

staff and members of the wider 

community through the sharing of 

experiences, skills and methodologies. 

The residencies are equally beneficial 

for JamFactory and visiting artists 

and create opportunities for ongoing 

collaboration and an exchange of ideas 

beyond participants’ usual scope. 

Over the past eighteen months, 

JamFactory has continued to build 

upon its Artist In Residence Program 

by hosting a number of influential 

artists, craftspeople and curators. In 

September 2017, JamFactory’s Glass 

Studio hosted international glass artist 

David Walters, from Washington, USA. 

Across a five-day intensive workshop, 

Walters worked with Associates 

and glass artists from JamFactory’s 

Glass Studio and the wider glass 

community. ‘David creates a strong 

visual narrative in his work through 

the use of sculptural glassblowing and 

layers of hand painted enamelling,’ 

says Glass Studio Program Manager 

Kristel Britcher. ‘The participants had 

the opportunity to learn the processes 

of low fire enamelling and explored 

a variety of Venetian glassblowing 

techniques to develop more 

sculpturally ambitious work.’ 

In April 2018, celebrated metalsmith 

Junko Mori joined JamFactory’s 

Jewellery and Metal Design Studio 

for a four-week residency focusing 

on the concept of ’uncontrollable 

beauty’. Trained in Japan and based 

in the Welsh countryside, Junko is 

sought after for her uniquely delicate 

sculptures that defy the very nature 

of the materials used. Her residency 

involved two three-day workshops 

for skilled craftspeople, a full 

demonstration day for people of 

all skill levels and a three-day rural 

escape to McLaren Vale with the 

Jewellery and Metal Studio’s 

Creative Director Sarah Rothe and 

the Associates for what was an 

immersive experience into Junko’s 

expert methodology. 

Participants’ reactions to the two 

workshops were overwhelmingly 

positive and they were clearly impacted 

by Junko’s creative ideology and 

metalworking skills. Awarded local 

jeweller Jess Dare says, ‘Junko is 

fantastic! She is energetic, encouraging, 

supportive, generous with her 

knowledge and patient.’ Canberrabased 

sculptural artist Dan Lorrimer 

explained, ‘She is open to hearing other 

perspectives and techniques with a 

genuine respect for sharing.’ Junko 

was likewise impressed saying, ‘I am 

impressed by JamFactory’s education 

and commercial commitment to 

promoting craft.’ 

Junko’s time in Adelaide culminated 

in the solo exhibition Visiting Nature: 

Junko Mori Metalsmith. The exhibition 

showcased new works alongside 

significant sculptures from public and 

private collections, including a loan 

from the Art Gallery of South Australia, 

Adelaide, SA. 

June 2018 saw Chinese ceramic artist 

Huang Fei in residence at the Ceramics 

Studio for three weeks, as part of a 

partnership with Guildhouse, Adelaide, 

SA and the Yiwei Art Foundation, 

Shanghai, China. This residency 

marks the beginning of a long-term 

vision intended to exchange skills 

and develop relationships between 

Shanghai and Adelaide. Huang Fei is 

a third generation craftsperson who 

studied under two separate masters; 

one with a traditional approach and 

the other more contemporary. These 

two divergent styles together with the 

influence of western artists, has led to 

his unique free-style work. 

Huang Fei conducted three workshops 

at JamFactory in traditional Chinese 

blue and white porcelain decorative 

skills, calligraphy and on-glaze 

enameling. He also spent time in the 

Flinders Ranges collaborating with a 

group of artists and presenting an artist 

talk. ‘Huang Fei’s simplicity of brush 

stroke belies his mastery of skill,’ says 

David Pedler, Production Manager, 

JamFactory Ceramics Studio. ‘His 

experimentation with cobalt is very 

exciting and I look forward to playing 

with the skills I have learnt.’ 

Finally, in July 2018, Lyndsay Rice, 

Associate Professor at Alberta College 

of Art and Design, Canada, joined 

JamFactory for a residency with the 

Jewellery and Metal Studio. She came 

directly from a three-week teaching 

residency at the Hubei University of 

Technology, Wuhan, China. Lyndsay 

conducted an Associate workshop 

based around her installation artworks, 

presented an artist talk about her 

career and showcased a series of 

brooches in the Jewellery and Metal 

Studio made during her residency. 

In this digitally connected world of 

seemingly diminished distances it is 

easy to forget that nothing can 

replace the face to face connection 

of actually being there. For those 

invested in the nuanced world of 

material and process these moments 

of genuine exchange with craft and 

design practitioners are invaluable. 

Through its Artist in Residence 

Program JamFactory continues to be a 

point of real connection between local 

and international artists, collectors 

and community. 

Left: Junko Mori. Photographer: Lara Merrington. 

ISSUE 06 / 39

WEST 

SIDE 

STORY 

Words by Nathan James Crane 

Nathan James Crane is a freelance design writer, 

commentator and interior architect based in Adelaide. 

Adelaide’s West End precinct is enjoying somewhat of a 

renaissance on the back of the RAH opening and extensive 

new building works which now stretch along North Terrace 

and Hindley Street West. Perhaps one of the most striking of 

these new additions is UniSA’s Pridham Hall, a collaboration 

between JPE Design Studio, Snøhetta and JamFactory. 

‘When the opportunity for the building came out, we thought 

of Snøhetta and JamFactory straight away as creative 

collaborators,’ says Josephine Evans, Principal at JPE. ‘Having 

a different way of thinking about creating a public building 

and the craftsmanship and detail was essential. It’s that 

mindset which is JamFactory as the local detailed craftsman, 

us [JPE] as the established local architecture firm, and 

Snøhetta, the international flavour.’ 

Key to the success of the $50 million building is the synthesis 

of design thinking that came out of the partnership between 

firms and their shared passion for detail. ‘Craft was always 

going to be part of the building. There is the craft of process, 

like how to bring everyone along the journey in order to 

understand the importance of craftsmanship, and then of 

course there is the really interesting Scandinavian way, which 

they [Snøhetta] made look easy. As we know simplicity in 

design is actually quite hard to achieve,’ says Evans. 

For JamFactory CEO Brian Parkes, the process of being part 

of a design team was new ground, ‘JamFactory have done a 

lot of architectural work in the past with supplying furniture 

for interiors, but until this point we had never been part of the 

design team from the beginning. That was a new thing for us.’ 

Pridham Hall also marks a milestone for Norwegian design 

firm Snøhetta, as it is their first building to be completed on 

Australian soil. ‘To us it is a great opportunity to work with 

someone local,’ says Kaare Krokene, Managing Director of 

Snøhetta’s Australasian division. ‘Most of the work we do 

outside of Norway is predominantly with others, to allow us 

to tap into local knowledge. That’s what we believe makes 

our buildings feel place appropriate. A design that reflects 

its location.’ 

What becomes evident when speaking with all of the 

members of this collaboration, is the value that working 

across differing areas of expertise and scale has offered 

to the project. 

‘It is the combination of different practices with different 

experiences that is interesting and the scale of experience 

they offer,’ says Krokene. ‘The tactility of what JamFactory 

do, versus the mid-size scale of JPE and a company like us 

who do a lot of work at a big scale, that combination of 

approaches and closeness to materials was fundamental.’ 

Left: Exterior Pridham Hall. Photographer: Andre Castellucci. 

Josephine Evans echoed this sentiment when discussing 

JamFactory’s role in the design process, adding, ‘the art of 

making became really clear through the introduction of 

JamFactory into the project.’ 

ISSUE 06 / 41

The building itself is truly a multi-use space, comprised of 

several sport and recreation spaces (swimming pool, 

basketball courts and a gym) as well as function rooms and 

public foyer spaces filled with donor-acknowledgement art 

installations which are integrated into the fabric of the 

building and custom furniture pieces commissioned 

through JamFactory. 

The bespoke donor-integration elements were headed by 

Parkes, who worked with local makers and manufacturers to 

come up with both functional and aesthetically pleasing 

mechanisms for acknowledging donor contributions. Parkes 

notes ‘The design detail development required the expertise 

of various engineers and people within JamFactory. For 

example, Christian Hall helped me develop a bespoke system 

for hanging the chandelier tracks so that the plexiglass panels 

would hang straight. People like Jon Goulder were also 

essential to the craftsmanship seen in the building’s elements’ 

The building has a strong conceptual offering which 

underpins the more formalised aspects of the architecture, 

such as the green wings, open plaza spaces and amphitheatre 

seating which invites people to literally sit on the 

building’s façade. 

‘Any good architectural response speaks to its context… 

one of the key briefs was that there be a really good design 

dialogue with the surrounding buildings. The concept began 

with the idea of ‘unpacking the box’, which led us to a folded 

almost origami-like shaped building,’ says Evans. 

The structure uses vernacular materials like corrugated iron 

and relaxed native vegetation in the roof garden planting to 

reference the Australian aesthetic, adding to the contextual 

appropriateness of Pridham Hall. ‘We wanted to make sure 

that it didn’t feel like a Snøhetta project built in Adelaide, but 

rather that it was truly a local building. It has a modest, 

confident presence,’ says Krokene. 

Krokene also highlighted this aspect of the build, ‘giving the 

most prominent corner back to the public was really 

important. Public ownership was key. If people can touch 

something or they can sit on it, they own it. That was the 

idea we wanted to share with this building.’ 

Parkes agrees, and looks forward to seeing how the building 

matures over the next 12 months, ‘by the end of next Summer 

I think there will be a clear sense of how these spaces work as 

an extension of the public realm. As time goes on I think 

people will start populating it more and more and will get 

a sense of the casualness and accessibility it offers.’ 

Good architecture creates moments of delight. When asked 

about his favourite architectural moment in the building, 

Parkes replied, ‘I love being in the pool space looking back up 

at the astonishing volume of space, but even more so, the 

faceted wall in the Western lobby where you can see the 

sculptural elements on the wall and you wonder ‘where is 

that?’ It looks like a textural Roman archaeological site. It 

could have been ordinary with compliance standards, but I 

think the solution is extraordinary.’ 

As a testament to the value and spirit of collaboration, 

Pridham Hall is a fine example of the ways in which art, 

design, architecture and craft can positively contribute to the 

making of truly innovative and surprising buildings in our 

cities, for our enjoyment now and well into the future. 

Above right and right: Donor Integration elements and furniture within Pridham Hall 


There is no doubt that the help of local makers and designers 

has contributed to the building adding to the always dynamic 

fabric of the city, or what might be described as the ‘grain of 

Adelaide’. That being said, Pridham Hall not only responds to 

the already thriving West End, but also significantly proffers 

a new ‘rhythm’ to Hindley Street, which is prone to being 

a thoroughfare between the Rundle Street precinct and 

the university. 

There is a sense that the building is a democratic contribution 

as Evans continues, ‘it is a new offering to the street for 

Adelaide, it’s a different perspective on how to engage with 

architecture. It’s a truly public building.’

FUSE GLASS PRIZE 

Words by Margot Osborne 

Margot is an independent arts writer and curator.

In its second iteration, JamFactory’s 

biennial Fuse Glass Prize captured 

a moment of counterpoint in 

contemporary Australian glass. On 

the one hand, there were extrovert 

Venetian-inspired tendencies, 

with blown and hot-worked glass, 

characterised by dazzling transparent 

and translucent colour, complex 

pattern and intricate embellishments. 

On the other, there were introspective 

tendencies, revealed in quiet, 

understated forms, muted 

monochromatic tones, elusive 

imagery and subtle play with 

ephemeral effects of light 

and shadow. 

Various female glass artists in FUSE, 

most notably Jessica Loughlin, Kate 

Baker and Mel Douglas, encapsulated 

these latter tendencies, taking the 

medium in new directions centred 

around poetic realisation in glass of 

experiential states of being-in-theworld. 

Loughlin, who on May 18 was 

awarded the 2018 Fuse Glass Prize of 

$20,000 has been at the vanguard of 

innovation in this field, not only within 

Australia but in the international arena. 

Over a number of years she created 

an evolving body of wall panels in an 

infinitely subtle tonal spectrum of greys 

and whites, alluding to her cerebral 

responses to the expansive landscapes 

of Australia’s interior. In her recent work 

she has moved into new but related 

territory, shifting from wall panels 

to free-standing fused glass forms, 

which may be viewed as a refinement 

of her interest in abstract distillations 

of space and light. Loughlin’s winning 

work in FUSE, receptor of light V, 2018 

responds to shifts in ambient light 

throughout the day as the sculpture’s 

opaline crystals capture light, holding 

the yellow and reflecting the blue 

in a gradually shifting aura of warm 

light. This small work exerts a quietly 

powerful presence amidst the clamour 

of colour within the exhibition. 

Sydney artist Kate Baker’s standing 

floor work, Within Matter #2, 2018 is 

imbued with a darkly enigmatic poetry. 

Applied to the surface of a large sheet 

of glass, angled away from the viewer 

and supported by a metal stand, there 

is a blurred, translucent image of a man 

in the act of turning away from the 

viewer’s gaze. While Baker’s moody 

ISSUE 06 / 45

“Fuse goes 

from strength to 

strength and will 

hopefully become 

a biennial fixture 

in JamFactory’s 

calendar.” 

urban noir image is in many ways a 

contrast to Loughlin’s sculpture of 

light and space, both artists are 

re-occupied with poetic meditations 

on perpetual flux and fugitive 

moments of perception. 

Holly Grace uses shadows and light 

to great effect in her suite of three 

glass billy cans, Gulf hut – the story 

of Jimmy Gavel, 2018. Her imagery, 

skilfully applied to the glass surface of 

the blown glass in layers of enamel and 

decals, alludes to the ‘fable of Jimmy 

Gavel’. It is problematic that we are 

reliant on the accompanying label for a 

narrative to make sense of the images 

on the glass. The fashion, especially 

amongst young art school graduates, 

for using text to explain the artist’s 

intentions rather than working out how 

to embody meaning in artwork, is an 

unfortunate tendency from 

my perspective. 

Amongst those artists whose work 

draws out the optical allure of hotworked 

coloured glass, Brendan Scott 

French stands out for his impressive 

nine-panel wall piece Lake’s edge, 

in murrine, 2018 which pays 21st 

century homage in glass to a painterly 

post-impressionist interpretation of 

landscape. Using myriad slivers of fused 

coloured glass tiles, he has composed 

complex colour shifts and rhythmic 

patterns that allude to the seen, and 

unseen, dimensions of landscape. In his 

single panel entry on a similar theme 

for FUSE in 2016 he left the surface 

roughly textured, but in Lake’s edge 

he has ground the surface to a smooth 

finish to create a more effective illusion 

of shimmering colour. 

If the originality of his contribution 

to FUSE is any guide, Liam Fleming 

(who has only just transitioned from 

the emerging to established category) 

is an artist to watch. Blow horn #3 

is a small tower of four coloured 

cylinders, reminiscent of children’s 

plastic building cups, topped with a 

precariously slender stem of black 

glass, on which sit first an opaque 

black sphere, and finally at the apex, 

a shining crystalline egg filled with 

impossibly perfect tiny bubbles that 

glow with light. Liam adroitly balanced 

humour and skill in a piece that 

appeals to the undiluted pleasures 

of looking. 

In the Emerging Artist Category, 

Ursula Halpin was a clear winner for 

the originality and fragile beauty of her 

suspended pate de verre installation, 

Náire orthu, 2017. Hannah Gason’s 

panoramic wall-panel, Getting to know 

you, 2017 an abstract composition 

of translucent and opaque glass, 

would benefit from back-lighting to 

accentuate her rather lovely sense 

of the interaction of line, colour and 

light. In this respect, Thomas Pearson’s 

transparent blown forms, Clepsammia, 

2018, filled with glistening crystals in a 

playful riff on the old-fashioned 

egg-timer, were a joyful celebration 

of colour and light. 

In summary, although it is not possible 

to mention each of the finalist here, 

overall there was not a weak work to 

be seen. Taking into account the few 

quibbles noted above, FUSE goes from 

strength to strength and will hopefully 

become a biennial fixture 

in JamFactory’s calendar. 

Tom Moore must be unique amongst 

Australian glass artists for his 

fascination with taking glass into a 

performative dimension. For FUSE 

this year he created a wondrous 

globular puffer fish, Vitreous interface, 

embellished with twisted filligrana 

patterns and protrusions. Open at 

the bottom, the sculpture allows the 

artist’s head to be inserted so that the 

transparent glass fish may be worn as a 

spectacular surrealist helmet. 

Previous page: Left: 2018 FUSE Glass Prize Winner 

(Established Artist Category) Jessica Loughlin, 

receptor of light V, 2018. Photographer: Rachel 

Harris. Top right: Kate Baker, Within Matter #2, 2018. 

Photographer: The artist. Bottom right: Thomas 

Pearson, Clepsammia, 2018. Photographer 

Pippy Mount. 

Right: 2018 FUSE Glass Prize (Emerging Artist 

Category) Ursula Halpin, Naire orthu, 2017. 


46 / ISSUE 06

PROFILE 

SONYA MOYLE

Ceramic artist Sonya 

Moyle creates delicate 

and expressive sculptures 

inspired by both the 

industrial and natural 

South Australian landscape. 

The JamFactory at 

Seppeltsfield Studio Tenant 

combines her passion for 

ceramics and drawing to 

highlight the environmental 

impact of land clearing, 

farming and industrialisation 

on native flora. 

Words by Caitlin Eyre 

Caitlin is Assistant Curator at JamFactory. 

Growing up deep in the Adelaide Hills near the Para Wirra Conservation Park, 

Moyle spent much of her childhood immersed in the natural environment. As a 

young adult, Moyle found the environmental impact of encroaching industry on 

the natural landscapes particularly confronting. ‘I was driving through the Mallee 

and thinking about all the land that was cleared. All the hundred-year-old trees 

that were ripped out, burnt and destroyed,’ she reflects. ‘It made me wonder 

what was there beforehand.’ 

In her ceramic practice, Moyle recreates miniature versions of rural industrial 

forms in clay and decorates them with abstract drawings of nature. 

The drawings represent the ‘ghosts of nature’ of the pre-industrialised 

landscape, the muted natural colour palette, soft lines and sweeping 

watercolour washes casting a somewhat eerie shadow of the past across 

their stark and rigid forms. 

In spite of Moyle’s environmentalist views and initial aversion to a manufactured 

landscape, she has come to find beauty in grain silos, water tanks, vats, sheds 

and factories that find form in her practice. ‘There is something magical in the 

process of taking something that’s big, raw and industrial and transforming it 

into a small, delicate porcelain object,’ she says. This shift was partly due to the 

nostalgic reactions shared by her audience. Surrounded by Moyle’s objects, 

onlookers would frequently share fond memories of family farms and childhoods 

spent in the countryside. ‘I didn’t originally think like that and somewhere in the 

process I’ve connected with the objects more,’ Moyle says. ’Now every time I 

see a tank or a big silo I get excited. I have to stop and take a photo!’ 

Hand-building is the primary process that Moyle uses in her practice and 

incorporates both slab-building and pinching techniques. The artist often 

crafts forms by wrapping sheets of rolled clay around Polypipe to create 

cylinders and then adds pre-cut bases or other structural components. 

While this process creates sleek and precise surfaces, Moyle also pinches 

clay together when crafting more rustic, tactile surfaces for her production 

ware range. The prepared forms are then bisque fired before being glazed 

and decorated with freehand drawings. 

When initially planning the designs that will adorn the ceramic surfaces, Moyle 

creates an abstract landscape drawing on paper with pencil and watercolour, 

which is then printed onto a clear transparency sheet. The ceramic objects are 

placed in an aesthetically pleasing grouping and the image projected onto the 

arrangement, casting an image across the pieces in a haphazard yet charming 

way. Using the projection as a guide, Moyle then copies the drawings onto the 

objects with her own handmade ceramic pencils, watercolours and pigments. 

The pencils are made of clays, refractory materials and colourants which have 

been shaped into sticks and fired at low temperatures for optimal transference. 

During the initial experimentation phase, each colour recipe is individually tested 

to gauge how it will withstand the final firing. Despite the laborious process and 

the availability of commercial ceramic pencils, Moyle prefers to make her own in 

order to have a broader palette of colours at her disposal. 

While abstraction lies at the heart of Moyle’s decorative aesthetic, she has 

also crafted a range of ceramic production ware that features more realistic 

renderings of native Australian botanicals. On these functional household 

objects, Moyle combines soft pencil lines with loose painterly hues to celebrate 

the organic beauty of iconic native blooms, including Banksia, Sturt’s Desert 

Pea and Eucalyptus Caesia. The pieces are studies of native Australian flora in 

all its glory and subtly work to provide a sense of hope in the conservation and 

protection of our natural treasures. 

Left: Sonya at work in the studio. 


ISSUE 06 / 49

PROFILE 

LIAM FLEMING

Designer and glass artist 

Liam Fleming creates 

production ware and 

functional objects that 

express a love of clean 

lines, considered design 

and deceptively effortless 

craftsmanship. The 

accomplished glassblower 

currently serves as 

JamFactory’s Glass Studio’s 

Production Manager. 

Words by Caitlin Eyre 

Caitlin is Assistant Curator at JamFactory. 

Long captivated by the process of glassblowing, Fleming was introduced 

to glass as a child and credits his supportive parents and grandparents for 

encouraging an early appreciation of art and design. He began glassblowing 

at sixteen and gained practical experience at an independent Adelaide-based 

glass studio. A motivated student, Fleming graduated from the University of 

South Australia, Adelaide, SA, with a Bachelor of Arts specialising in glass. At 

he same time, he had already started working alongside established artists 

in JamFactory’s Glass Studio. 

In 2013, Fleming completed the Glass Studio’s Associate program and 

established himself as a talented emerging glass artist with a focus on exploring 

the intersection between music and art. In recent years, Fleming’s practice has 

moved away from the literal aspects of sound to subtly referencing the shapes 

of musical instruments, the use of rhythm and repetition. 

For Fleming, the allure of glass rests in the performance of the glassblowing 

process itself and he is attracted to the characteristics this process imposes 

on the maker. ‘The main thing I like about glassblowing is that it doesn’t lie. 

It’s going to tell the truth, all the time,’ Fleming says. ‘If you treat it badly, it 

will remember and it will show. I think it keeps you honest.’ 

Fleming has committed himself to making clean, thoughtful production ware 

that creates an impression of effortlessness despite often being technically 

complex and highly involved. The apparent simplicity of Fleming’s production 

ware reflects the artist’s commitment to maintaining a clear sense of integrity. 

There is nowhere to hide mistakes, inconsistencies and imperfections. Fiddly 

embellishments and fancy techniques are kept to a minimum and it’s this 

restraint that enables Fleming to achieve consistent excellence in design, 

technique, form and colour application. 

Fleming’s increased focus on creating functional objects can be partly attributed 

to his role as Production Manager, ‘I’m a bit of a product of where I am. Thinking 

about production and technique is consuming a lot more of my time these days.’ 

As Production Manager, Fleming’s main duties include the daily running of the 

hot shop, designing new pieces for JamFactory’s product range, undertaking 

commission work and assisting Associates to expand their skill set. Yet despite 

his focus on creating production ware and mentoring Associates, Fleming 

continues to invest time developing his own sculptural art works. He particularly 

enjoys the playful process of experimentation and the way in which wacky or 

weird outcomes can inform a final work of art. ‘I make a lot for JamFactory, so 

when it comes to my own time, I want to relax a little bit and be a bit more 

free-flowing with my ideas,’ he says. 

This year, Fleming has been the recipient of several international glass 

residencies. In May, he was invited to attend a three-week residency in Murano, 

Italy, undoubtedly the foremost hub of traditional Venetian glassmaking. While 

there, Fleming also contributed to a small team demonstration of hot glass 

techniques at the 47th annual Glass Art Society Conference (GAS). In August, 

he will participate in a three-week workshop at the esteemed Pilchuck Glass 

School, Washington, USA. The artist received a full scholarship to participate 

and hopes to gain specialist knowledge in furnace fabrication techniques. Lastly, 

in September, Fleming travelled to Mexico to visit Parallel Glass Studio, the 

recently established studio of JamFactory alumnus Diego Vides Borrell, where 

he focused on building stronger ties between glassblowing communities in 

Mexico and Australia 

Left: Blow horn #3, 2018. 


ISSUE 06 / 51

JAMFACTORY 

EXHIBITIONS ON TOUR 

JAMFACTORY ICON 2018 

CLARE BELFRAGE: A MEASURE OF TIME 

Inspired by patterns in nature, glass artist Clare Belfrage’s 

distinctive glass artworks reflect subtle changes and 

the progression of time. 

Murray Bridge Regional Gallery, Murray Bridge, SA 

7 December 2018 - 2 February 2019 

Hamilton Gallery, Hamilton, VIC 

16 February - 26 April 2019 

Hamilton Gallery, Hamilton, VIC 

16 February - 26 April 2019 

Signal Point, Goolwa, SA 

11 May - 13 July 2019 

National Glass Art Gallery, Wagga Wagga, NSW 

27 July - 30 September 2019 

Canberra Glassworks, Canberra, ACT 

1 November 2019 - 19 January 2020 

Tweed Regional Gallery, Murwillumbah, NSW 

21 February - 3 May 2020 

Pinnacles Gallery, Thuringowa Central (Townsville), QLD 

31 May - 9 August 

Redland Art Gallery, Capalaba, QLD 

13 September - 18 October 2020 

Bega Valley Regional Gallery, Bega, NSW 


Below: Clare Belfrage, Quiet Shifting, Oceana and Yellow, 2018. 

Photographer: Pippy Mount. 

JAMFACTORY ICON 2017 

CATHERINE TRUMAN: NO SURFACE HOLDS 

An intriguing and diverse solo show of objects, installation, 

images and film that investigates Truman’s 20 years of 

research and collaborative practice at the nexus of art 

and science. 

Mornington Peninsula Regional Gallery, Mornington, VIC 

21 September – 18 November 2018 

Craft VIC, Melbourne, VIC 

18 January – 8 March 2019 

Tamworth Regional Gallery, Tamworth, NSW 

22 March - 17 May 2019 

Shoalhaven Regional Gallery, Nowra, NSW 

31 May - 9 August 2019 

Cowra Regional Art Gallery, Cowra, NSW 

23 August - 25 October 2019 

Latrobe Regional Gallery, Morwell, VIC 


Above: Catherine Truman, Citizen Scopes-Plyscope, 2014. 


52 / ISSUE 06

JAMFACTORY ICON 2016 

GERRY WEDD: KITSCHEN MAN 

Ceramicist Gerry Wedd enjoys a national reputation 

for his wheel thrown and hand-built blue and white 

ceramics that brim with a dry wit oscillating from the 

humorous to darkly disturbing. 

Cowra Regional Art Gallery, Cowra, NSW 

13 October - 18 November 2018 

Artspace Mackay, Mackay, QLD 

30 November 2018 - 17 February 2019 

Coffs Harbour Regional Gallery, Coffs Harbour, NSW 

8 March - 4 May 2019 

Hahndorf Academy, Hahndorf, SA 

24 May - 30 June 2019 

STEEL : ART DESIGN ARCHITECTURE 

STEEL includes 29 artists, designers and architects from 

across Australia and brings together products, projects and 

works of art that reflect many of the current preoccupations 

with steel within contemporary art, design and architecture 

in Australia 

Hawkesbury Regional Gallery, Windsor, NSW 

2 November 2018 - 20 January 2019 

Australian Design Centre, Darlinghurst, NSW 

1 February – 31 March 2019 

Wagga Wagga Art Gallery, Wagga Wagga, NSW 

13 April – 9 June 2019 

Western Plain Cultural Centre, Dubbo, NSW 

21 June – 21 July 2019 

Mornington Peninsula Regional Art Gallery, 

Mornington, VIC 

2 August – 29 September 2019 

Alcoa Mandurah Art Gallery, Mandurah, WA 

11 October - 24 November 2019 

Bunbury Regional Art Galleries, Bunbury, WA 

7 December 2019 – 9 February 2020 

Murray Bridge Regional Gallery, Murray Bridge, SA 

22 February – 26 April 2020 

Signal Point Gallery, Goolwa, SA 

15 May – 19 July 2020 

Above: Design by Them, Tuck Stools and Table, 2013. 

Photographer: Pete Daly. 

Above: Gerry Wedd, Gram Jar, 2016. 

Photographer: Andrew Cowen. 

ISSUE 06 / 53

JAMFACTORY FURNITURE 

AND HOMEWARES COLLECTION 

54 / ISSUE 06

ISSUE 06 / 55

MEMBERSHIP 

Enjoy more… 

Join as a member from just $50 a year 

• A year of exclusive offers, previews and events 

• Opportunities to meet artists, designers and 

like-minded contemporaries 

• Delivery of Marmalade magazine and event 

programs 

• Discount at select Australia Craft & Design 

Centres nationally 

INDIVIDUAL MEMBERSHIP 

Cost: $50 Student/Senior: $25 

10% discount on purchases in JamFactory shops, galleries and online, 

including workshops and gift memberships. 

CORPORATE MEMBERSHIP 

Cost: $130 

20% discount off corporate purchases in JamFactory shops, team 

building sessions and venue hire. 

10% discount off gallery and personal purchases. 

MEMBERS’ EVENTS 

Enjoy a calendar of exclusive, tailored events and celebrate contemporary 

craft and design with curious like-minded people. Be involved with 

designers, makers and influencers associated with JamFactory. 

GIFT MEMBERSHIP 

Share the love of design with a gift membership, and support 

something good… 

SUPPORTING JAMFACTORY 

Every membership supports the promotion of good design 

and fine craftsmanship, and the professional development of 

creative entrepreneurs in Australia. 

Left: Visiting Nature: Junko Mori Metalsmith exhibition. Photographer: Lara Merrington. 

ISSUE 06 / 57

MAJOR 

PARTNERS 

GOVERNMENT 

PARTNERS 

The University of South Australia 

is a progressive international 

university, and through the School 

of Art, Architecture and Design has 

a long history of leading the way in 

arts education and contributing to 

the vitality of the creative economy. 

The University of South Australia is 

pleased to be working closely with 

JamFactory to further enhance 

opportunity and viability for creative 

entrepreneurs. 

A leader in the design industry, 

Stylecraft has been providing 

furniture of original contemporary 

design for over 60 years. Now 

together with JamFactory, they are 

proudly presenting the Australian 

Furniture Design Award, Australia’s 

richest and most prestigious award 

for furniture design that encourages 

innovation in furniture design and will 

foster new opportunities for furniture 

manufacturing in Australia. 

With a priceless legacy dating 

back to 1851, Seppeltsfield is one of 

Australia’s finest wine estates and 

JamFactory’s exclusive wine partner. 

Their partnership with JamFactory 

brings together two significant 

South Australian icons – both with 

a commitment to premium quality 

and bespoke production, providing 

a unique hub for craft and design in 

the Barossa. 

58 / ISSUE 06

SUPPORTING AND 

PRESENTING 

PARTNERS 

CORPORATE 

COMMISSION 

CLIENTS 

ABC 

Adelaide Airport 

Adelaide Central School of Art 

Adelaide Festival 

Adelaide Flower House 

ANZ 

Art After Dark 

Art Gallery of South Australia 

Artwork Transport 

BHP 

Blanco Food & Wine 

Botanic Gardens Restaurant 

Canvas Group 

Channel 7 

DIA 

Ernabella Arts 

Erub Arts 

EY 

Fisher Jeffries 

Fran Fest 

Girringun Aboriginal Art Centre 

Grieve Gillett Andersen 

Hermannsburg Potters 

James and Diana Ramsay Foundation 

Lipman Karas 

Mayfair Hotel 

Pirate Life 

Pitcher Partners 

Sabbia Gallery 

Samstag Museum 

South Australian Living Artists Festival 

South Australian Tourism Commission 

Spartan 

TARNANTHI: Festival of Contemporary 

Aboriginal & Torres Strait Islander Art 

The Adelaide Review/Hot 100 Wines 

The Advertiser 

The Balnaves Foundation 

The Louise and Appellation 

Tiwi Designs 

Visualcom 

Yalumba 

Adelaide Cabaret Festival 

Adelaide City Council 

Adelaide Festival Centre 

Adelaide Oval 

Adelaide Wine Research Institute 

Adelaide Wine Show 

Athletics Australia 

ANZ 

ANZAC Centenary 

Art Gallery of New South Wales 

Articolo 

Arts South Australia 

Australia Council 

Australian Medical Assocation 

Barossa Trust Mark 

Belle Laide Events 

Beaumont Tiles 

Bird in Hand Wines 

Botanic Gardens Restaurant 

Brand South Australia 

Callum Campbell 

Cara 

Caren Elliss Design 

Climate Council 

Coco Contemporary 

Department of State Development 

Design Institute of Australia 

Economic Development Board 

FINO Seppeltsfield 

Food South Australia 

Genesin Studio 

Hassell 

Hill of Grace Restaurant 

History Trust of South Australia 

Jacobs Creek Wines 

JPE Design 

Justin Hermes Design 

Le Cordon Bleu 

Meals on Wheels 

Media Resource Centre 

Mercato 

McMahon 

Monash University 

Museums & Galleries of NSW 

National Pharmacies 

NAWIC 

Penfolds Magill Estate 

Public Health Association of Australia 

RESA 

Robinson Institute 

Ross Gardam Design 

Rundle Mall Authority 

SA Health 

SA Media Awards 

SACE 

Santos Tour Down Under 

Seniors Card 

Seppeltsfield Road Business Alliance 

Sight For All 

Snøhetta 

South Australian Museum 

South Australian Tourism Commissin 

Streaky Bay 

Tennis Australia 

University of Adelaide 

University of South Australia 

Voice Design 

Volunteers SA 

Walford Angilcan Girls School 

Warrangari Aboriginal Arts 

Williams Burton Leopardi 

Wolfhorde Studios 

ISSUE 06 / 59

JamFactory is a not for profit organisation promoting good craft and design. All donations to 

JamFactory directly support our education, training and exhibition activities. JamFactory 

in turn provides support for a number of organisations through our Give Back initiative. 

Below are the donors JamFactory would like to acknowledge and sincerely thank along with 

those organisations we are proud to support: 


PATRONS 

William Boyle 

Colin and Marie Goodall 

David and Dulcie Henshall Foundation 

Rick Martin 

David McKee AO and Pam McKee 

Robyn and Kingsley Mundey AM 

Dave and Kate Stock 


DONORS 

Paul and Janelle Amos 

Noelene Buddle and David Shannon 


John Chambers and Dawn Taylor 

Jane Danvers 

Geoff Day OAM and Anne Day 


Denise George 

Paul and Angela Gillett 

Patricia Roche Greville and 

Dr Hugh Greville 

Margo Hill-Smith 

Philippe and Diana Jaquillard 

John Kirkwood and Wendy Alstergren 

Nicholas Linke 

Rosina and Marco Di Maria 

Paul and Fatima McHugh 

David and Sue Minns Anne Moroney 

Roger and Helen Salkeld 

Peter Vaughan and Anne Barker 

Association of Australian Decorative & 

Fine Arts Societies 

JPE Design Studio 

FUSE GLASS PRIZE 

DONORS 


Diana Laidlaw AM 

Ian Wall OAM and Pamela Wall OAM 

Alan Young AM and Sue Young 

DONORS 

Ganesh Balakrishnan 

Lewis Batchelar 

Susanna Bilardo and Judd Crush 

Julie Blyfield 

Catherine Buddle 

Alexandrea Cannon 

John and Rose Caporaso 

Kirsten Coelho 

Rhys Cooper 

John and Penny Diekman 

Caren Ellis 

Robert Farnan 

Catherine and Eugene Fleming 


Susan Frost Helen Fuller 

Donald and Rhonda Gilmour 

Jon Goulder 

Stephanie Grose 

Sanghamitra Guha 

Helen Hagen 

Mary Anne Healy 

Victoria Jennings 

Deb Jones Peta Kruger 

Margaret Lehmann 

Dr. Jane Lomax-Smith 

Leslie Matthews 

Penny McAuley 

Tom Moore 

Anne Moroney 

Sylvia Nevistic 

Bruce Nuske 

Libby Raupach OAM and Mark Lloyd 

OAM Richard Ryan AO 

Patricia Stretton 

Barbara and Ray Tanner 

Caroline Treloar 

Ulrica Trulsson 

Catherine Truman 

Gerry Wedd 

Robina Weir 

Jane Yuile 

Sidney Myer Fund 

GIVE BACK 

ACE Open 

Art Deco & Modernism Society 

Australian Refugee Foundation 

Carrick Hill 

Catherine House 

Feast Festival 

Feast Festival 

Feltspace 

Flinders Foundation 

Guildhouse 

Heart Foundation 

HYPA - Two Feet 

Jake’s Big Kokoda Trek 

JusticeNet SA 

Marananga Community Bonfire 

Mercato 

Primo Estate 

Red Faces 2018 

Ronald McDonald House 

SA Nursing & Midwifery Excellence Awards 

Starlight Children’s Foundation 

State Theatre Company 

The Graham F Smith Peace Foundation Inc. 

The Hospital Research Foundation 

Trees For Life 

University of South Australia 

Women’s Legal Service (SA) 

Woods Bagot 

60 / ISSUE 06

Artist: Emma Young, Contemporary Art graduate 

Frog Cake Keepsake 

Set of blown, hot sculpted and cold worked glass 

15cm x 15cm x 15cm 

Photo credit: Lara Merrington 

Enterprising Art 

STUDY WITH THE BEST 

8100368_CRICOS PROVIDER No 00121B 

UniSA is South Australia’s leading university for graduate careers in creative arts * . 

Our innovative Bachelor of Contemporary Art degree stimulates knowledge 

growth and develops your skills through exploration of creative studio practice. 

Perfect your craft in specialist, on-campus studios and workshops and learn 

first-hand how to turn your creative ideas into reality. 

Find out more at unisa.edu.au/contemporary-art 

*QILT: Graduate Destinations Survey 2015 and Graduate Outcomes Survey 2016-17 

– Full-time Employment Indicator. Public SA-founded universities only.

JamFactory thanks 

our major sponsors. 

Proudly investing in 

Tomorrow. Talent. 

Ceramics Associate Ebony Heidenreich. Photograher: Andre Castellucci.

Marmalade Issue 6, 2018

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