Marmalade Issue 3, 2015
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ISSUE NO 03<br />
design + craftsmanship
A BAROSSA WINE, FOOD & ART PARADISE<br />
SEPPELTSFIELD.COM.AU<br />
T: (08) 8568 6200 A: 730 Seppeltsfield Rd Seppeltsfield Barossa Valley SA 5355
CONTENTS<br />
Features<br />
16 / Nuturing Tomorrow’s Talent<br />
Mentoring exceptional talent, JamFactory’s rigorous<br />
two-year Associate training program provides upcoming<br />
artists, designers and craftspeople with world-class<br />
professional development opportunities.<br />
26 / GLASS: art design architecture<br />
Outstanding projects by contemporary Australian artists,<br />
designers and architects representing a cross-section of current<br />
creative practices and relationships to this versatile material.<br />
14<br />
34 / Shimmer<br />
Shimmer highlights the continuity of practice in several forms of<br />
Indigenous adornment in Australia whilst showcasing new ways in<br />
which contemporary artists are exploring ideas of adornment in<br />
their practice.<br />
40 / The Synergy of Good Food and Design<br />
As demand for more than outstanding food and wine increases,<br />
good design has risen to become an equally important player in<br />
South Australia’s experience based food game.<br />
Profiles<br />
12 / Alexander Lotersztain: In Profile<br />
14 / Giles Bettison: Pattern and Perception<br />
22<br />
24 / Henry Wilson: Collector, Craftsman, Creative Force<br />
Q&A<br />
46 / DANIEL EMMA<br />
54 / Julie Fleming<br />
56 / Kyoko Hashimoto<br />
26<br />
48<br />
ISSUE 03 / 1
<strong>Marmalade</strong><br />
Editorial Team<br />
Margaret Hancock Davis<br />
Brian Parkes<br />
Design<br />
Sophie Guiney with<br />
template by Canvas Group<br />
Copy Editor<br />
Maple Amodeo<br />
Feature Writers<br />
and Contributors<br />
Leanne Amodeo<br />
Coby Edgar<br />
Caitlin Eyre<br />
Nikki Hamdorf<br />
Margaret Hancock Davis<br />
Victoria Kovacs<br />
Brian Parkes<br />
Danielle Robson<br />
Adele Sliuzas<br />
Emma Waterman<br />
Photographers<br />
Brad Bonar<br />
Andre Castelucci<br />
Andrew Dunbar<br />
Anna Fenech Harris<br />
Sean Fennesey<br />
John Gollings<br />
Florian Groehn<br />
Michael Haines<br />
Grant Hancock<br />
Sven Kovac<br />
Andy Lewis<br />
Janelle Low<br />
Johanis Lyons-Reid<br />
Pippy Mount<br />
Fernanda Pardo<br />
Dragan Radocaj<br />
Phebe Rendulić<br />
Tom Roschi<br />
Denis Smith<br />
Liam West<br />
All photography<br />
as indicated<br />
Printing<br />
Printed in China by Imago<br />
Cover<br />
Rings with Artichoke, 2014<br />
Brass, powder coated brass,<br />
polyurethane, pigment<br />
Photographer: Phebe Rendulić<br />
Left: Alice Potter, Metal Design Studio<br />
Photographer: Brad Bonar<br />
Measurements throughout<br />
have been given in millimeters,<br />
height x width x depth.<br />
Distribution Enquiries<br />
Emma Aiston<br />
emma.aiston@jamfactory.com.au<br />
Publisher<br />
JamFactory<br />
19 Morphett Street Adelaide SA 5000<br />
Office: (08) 8410 0727<br />
Email: contact@jamfactory.com.au<br />
Website: jamfactory.com.au<br />
JamFactory supports and<br />
promotes outstanding design and<br />
craftsmanship through its widely<br />
acclaimed studios, galleries and<br />
shops. A unique not-for-profit<br />
organisation located in the Adelaide<br />
city centre, JamFactory is supported<br />
by the South Australian Government<br />
and recognised both nationally<br />
and internationally as a centre<br />
for excellence.<br />
Board of Directors<br />
Peter Vaughan (Chair)<br />
Jim Carreker<br />
Shane Flowers<br />
Prof. Kay Lawrence AM<br />
Dr. Jane Lomax-Smith AM<br />
Anne Moroney<br />
Penny McAuley<br />
Libby Raupach OAM<br />
Chief Executive Officer<br />
and Artistic Director<br />
Brian Parkes<br />
Administration<br />
General Manager<br />
Kate Cenko<br />
Finance Manager<br />
Carolyn Seelig<br />
Executive Assistant<br />
Claudine Young<br />
Accounts Officer<br />
Tracy Peck<br />
Administration/Accounts Assistant<br />
Anna Fenech Harris<br />
Development Manager<br />
Nikki Hamdorf<br />
Communications Manager<br />
Lana Pearce<br />
Graphic Designer<br />
Sophie Guiney<br />
Sales<br />
Creative Director - Retail and Product<br />
Emma Aiston and Daniel To<br />
Retail and Gallery Manager<br />
Lucy Potter<br />
Retail Supervisor<br />
Ali Carpenter<br />
Retail Supervisor - Rundle Mall Plaza<br />
Roxanne Ambrose<br />
Retail and Gallery Manager -<br />
Seppeltsfield<br />
Kristy Pyror<br />
Retail Sales Staff<br />
Tessa Gravestock<br />
Angela Kearns<br />
Kate O’Leary Wroblewski<br />
Susan Schiller<br />
Bettina Smith<br />
Janice Vitkovsky<br />
Zarah Witzmann<br />
Exhibitions<br />
Senior Curator<br />
Margaret Hancock Davis<br />
Assistant Curator<br />
Adele Sliuzas<br />
Assistant Curator on secondment<br />
from TARNANTHI Festival of<br />
Contemporary Aboriginal and<br />
Torres Strait Islander Art<br />
Coby Edgar<br />
Exhibition Installation Team<br />
Seb Calabretto<br />
Peter Carroll<br />
Daniel Guest<br />
Jaan Poldaas<br />
Ceramics Studio<br />
Creative Director<br />
Damon Moon<br />
Production Manager<br />
David Pedler<br />
Glass Studio<br />
Creative Director<br />
Karen Cunningham<br />
Specialist Glass Producer<br />
Tom Moore<br />
Program Manager<br />
Kristel Britcher<br />
Production Manager<br />
Liam Fleming<br />
Commissions Assistant<br />
Llewelyn Ash<br />
Associates<br />
Drew Spangenberg<br />
Kate Nixon<br />
Andrej Larson<br />
Laure Fradin<br />
Lewis Batchelar<br />
Alice Mahoney<br />
Furniture Studio<br />
Creative Director<br />
Jon Goulder<br />
Production Manager<br />
Adam Cantwell<br />
Associates<br />
Nicholas Fuller<br />
Rhys Cooper<br />
Stephen Roy<br />
Huw McConachy<br />
Matt Pearson<br />
Daniel Tucker<br />
Madeline Isakson<br />
Metal Design Studio<br />
Creative Director<br />
Christian Hall<br />
Production Manager<br />
Alice Potter<br />
Artists in Residence<br />
Kyoko Hashimoto<br />
Guy Keulemans<br />
Studio Tenant<br />
Associates<br />
Davide Spinoni<br />
Angela Giuliani<br />
Sylvia Nevistic<br />
Zoe Grigoris<br />
Emma Field<br />
Studio Tenants<br />
Studio 1<br />
Kristel Britcher<br />
Katie-Ann Houghton<br />
Madeline Prowd<br />
Studio 2<br />
Llewelyn Ash<br />
Andrew Baldwin<br />
Liam Fleming<br />
Alexander Valero<br />
Studio 3<br />
Tegan Empson<br />
Emma Klau<br />
Zoe Woods<br />
Studio 4<br />
Regine Schwarzer<br />
Jane Bowring<br />
Studio 5<br />
Liam Mugavin<br />
Matthew Taylor<br />
Studio 6<br />
Andrew Bartlett<br />
Daniel Guest<br />
Studio 7<br />
Tess Malpas<br />
John Richardson<br />
Kate Sutherland<br />
Studio 9<br />
Susan Frost<br />
Wayne Mcara<br />
Studio 10<br />
DANIEL EMMA<br />
Studio 11<br />
Ulrica Trulsson<br />
JamFactory at Seppeltsfield<br />
Studio 2<br />
Rose-Anne Russell<br />
Peter Tonkin<br />
Quinn Luestner<br />
Studio 3<br />
Julie Fleming<br />
Studio 4<br />
Barry Gardner<br />
Studio 6<br />
Brenden Scott French<br />
Fundraising Committee<br />
Denise George<br />
Diana Jacquillard<br />
Helen Nash<br />
Patricia Roche Greville<br />
Barbara Tanner<br />
Special thanks to Libby Raupach OAM<br />
Volunteers<br />
Rowena Allert<br />
Jill Cooke<br />
Truus Daalder<br />
Inta Deepers<br />
Steven Dewhirst<br />
Jo Gardner<br />
Keith Herbig<br />
Cat Lawrence<br />
Anne Leech<br />
Margaret Pearce<br />
Phillip Peckover<br />
Helen Petros<br />
Elaine Rischbieth<br />
Wendy Robins<br />
Diane Sparr<br />
Alli Symons<br />
Gillian Taggart<br />
Jasmine Van Der Byl<br />
Ann Veale<br />
JamFactory is a not-for-profit<br />
organisation promoting good<br />
design and fine craftsmanship.<br />
JamFactory acknowledges the<br />
support and assistance of Arts SA<br />
and is assisted by The Visual Arts<br />
and Crafts Strategy, an initiative of<br />
the Australian, State and Territory<br />
Governments. JamFactory Exhibitions<br />
Program is assisted by the Australian<br />
Government through the Australia<br />
Council, its arts funding and<br />
advisory body.<br />
Copyright © <strong>2015</strong>. All rights reserved.<br />
Copyright for all completed works in<br />
this publication resides with the artists.<br />
Copyright for photographic images is<br />
held by the individual photographers<br />
as acknowledged. Copyright for written<br />
content resides with the individual<br />
authors or designers. No part of this<br />
publication may be reproduced, stored<br />
in a retrieval system or transmitted<br />
in any form or by any means without<br />
prior permission from the publisher.<br />
Technician<br />
Tim Edwards<br />
Assistant Technician<br />
Madeline Prowd<br />
ISSUE 03 / 3
Editorial<br />
WELCOME TO THE<br />
<strong>2015</strong> ISSUE OF<br />
MARMALADE!<br />
I recently celebrated my fifth anniversary as<br />
JamFactory’s CEO. I am very proud of what<br />
we’ve achieved and feel enormously privileged<br />
to work with such a passionate and outstanding<br />
Board and staff.<br />
JamFactory continues to be a cherished cultural<br />
Icon in South Australia, a clear leader in craft and<br />
design nationally and increasingly highly<br />
regarded across the globe. At the beginning of<br />
this year the New York Times noted Adelaide as<br />
one of the travel destinations for <strong>2015</strong> and named<br />
JamFactory as one of the reasons to visit.<br />
Through our venues in Adelaide and the Barossa<br />
and our national touring exhibitions we now<br />
reach a physical audience of more than 220,000<br />
visitors annually, along with many more who<br />
engage with us through our web presence and<br />
printed publications. JamFactory also directly<br />
supports the careers and incomes of hundreds<br />
of artists, designers and craftspeople every<br />
year through our training, exhibition and retail<br />
programs. It’s quite a remarkable organisation!<br />
This is the third issue of <strong>Marmalade</strong> magazine<br />
and its contents are again derived from the<br />
smorgasbord of stories and projects emanating<br />
from the broader JamFactory community.<br />
The first feature on page 16 outlines the highly<br />
acclaimed two-year Associate training program<br />
that lies at the heart of all that we do. The article<br />
showcases the most recent crop of alumni<br />
who are each well on their way to becoming<br />
successful entrepreneurs utilising the creative<br />
and business skills they honed during their<br />
time in the program.<br />
We recently increased philanthropic support for<br />
the Associate training program through the<br />
launch of our Medici Collective, a new program<br />
that enables visionary patrons to engage with<br />
the Associates and collectively contribute more<br />
than $50,000 annually towards their training.<br />
Glass has been a central material for the<br />
JamFactory since our hot glass studio was<br />
established over 40 years ago and in February<br />
this year we launched a ground-breaking<br />
exhibition looking at the use of glass in<br />
contemporary Australian art, design and<br />
architecture. This exhibition – our fourth major<br />
touring show since 2013 – was a major undertaking<br />
for JamFactory and our Senior Curator Margaret<br />
Hancock Davis provides some insights in the<br />
feature article on page 26.<br />
JamFactory is an organisation committed to<br />
collaboration and we have many partnerships<br />
across many projects. One of the most dynamic<br />
of those this year is the Shimmer exhibition – a<br />
collaboration with the South Australian Museum<br />
presented as part of TARNANTHI, the Art Gallery<br />
of South Australia’s inaugural Festival of<br />
Contemporary Aboriginal and Torres Strait<br />
Islander Art. The exhibition’s co-curator Coby<br />
Edgar gives a taste of what we can expect to see<br />
when the show and festival open in October on<br />
page 34.<br />
In recent years JamFactory has pursued new and<br />
varied opportunities for artists, designers and<br />
craftspeople in relation to the growing food and<br />
wine sector in South Australia – with some<br />
fabulous outcomes. The specially commissioned<br />
feature by Leanne Amodeo on page 40 examines<br />
some of these and hints at further possibilities for<br />
the future.<br />
If you enjoy the content of this magazine you<br />
might like to follow JamFactory on Twitter,<br />
Instagram or Facebook, watch videos on our<br />
YouTube channel or subscribe to our free<br />
bi-monthly e-newsletter. Details for all of these<br />
are available on our website which will be<br />
undergoing a dramatic overhaul later this year.<br />
We’ve made some great changes to <strong>Marmalade</strong><br />
this edition and I would particularly like to<br />
acknowledge the wonderful work of our Graphic<br />
Designer Sophie Guiney. As always we welcome<br />
any feedback and suggestions you might have to<br />
help us continue to evolve it.<br />
Enjoy!<br />
Brian Parkes<br />
CEO and Artistic Director<br />
JamFactory<br />
ISSUE 03 / 5
Highlights<br />
ASSOCIATE HIGHLIGHTS<br />
CULTURE<br />
AND DESIGN<br />
Glass artists Karen Cunningham,<br />
JamFactory Glass Studio Creative Director<br />
and Mandi King, Master’s student at<br />
University of South Australia, collaborated<br />
to form illumini in 2010. Both share an<br />
interest in Scandinavian culture and design<br />
and in 2014 successfully undertook a three<br />
month Australia Council studio residency<br />
in Helsinki, experiencing firsthand the<br />
relationship between Finnish culture and<br />
design. During their residency, Cunningham<br />
and King interviewed a series of local<br />
artists, designers, researchers and<br />
businesses, interested in understanding<br />
relative environmental and socio-cultural<br />
perspectives. The residency also provided<br />
inspiration for new works, including the<br />
concept and design for the illumini<br />
Greenhouse, <strong>2015</strong> (pictured above) on<br />
tour in GLASS: art design architecture<br />
until 2018.<br />
Photographer: Fernanda Pardo<br />
JamFactory would like to congratulate the talented Associates who completed<br />
the two-year Associate training program in 2014. Many Associates received<br />
Australia Council ArtStart Grants (providing financial support for developing<br />
arts practices) including: Courtney Jackson, Matt Taylor, Katie-Ann Houghton<br />
and Marcel Hoogstad Hay. In addition, Hoogstag Hay was awarded an<br />
Endeavour Executive Fellowship that will see him travel to Berlin and Houghton<br />
was one of four recipients to receive an Australia Council Skills and Arts<br />
Development – Residency Grant in 2014, for use in the USA. Associate Liam<br />
Mugavin was the recipient of an Australia Council New Work Grant and<br />
Associate Steve Soeffky collaborated with designer Stephen Goddard, on<br />
the exhibition display for JamFactory’s touring show GLASS: art design<br />
architecture. Diego Vides Borrell launched his own product collection – the<br />
Void series – while Alexander Valero continued in creating works for exhibition<br />
(pictured above), developing his technical expertise for the making of<br />
sculptural pieces.<br />
Photographer: Tom Roschi<br />
NARRATIVE AND<br />
IMAGINATION<br />
Danielle Rickaby (pictured left), glass<br />
artist and former Associate at<br />
JamFactory, received the Hill Smith<br />
Gallery/Friends of the Helpmann<br />
Academy Award for international<br />
travel, valued at $5,000. She was<br />
selected on the basis of her work<br />
exhibited at The Helpmann Academy<br />
Graduate Exhibition in <strong>2015</strong>.<br />
Influenced by the psychoanalytical<br />
Rorschach ‘inkblots’ test, Rickaby’s<br />
work triggered the imagination<br />
through abstract imagery; the<br />
merging of a two dimensional plane<br />
with three dimensional objects.<br />
The award provides an outstanding<br />
opportunity for international travel<br />
and associated networking. It<br />
supports cultural experiences that<br />
will contribute to the future of<br />
Rickaby’s professional glass practice.<br />
Photographer: Mick Bradley<br />
6 / ISSUE 03
HONOURING FAMILY<br />
Former JamFactory Associate and Glass Studio Tenant<br />
George Agius, was awarded the Vicki Torr Memorial Prize at<br />
the <strong>2015</strong> States of Illumination Ausglass Conference. In<br />
honourable memory of much loved glass artist Vicki Torr,<br />
the prize is funded by proceeds raised through the biannual<br />
conference’s auction. Agius was awarded the prize for her<br />
work Whanau: A Breakfast for Ancestors, 2013 (pictured<br />
below) comprising six family members from her lineage,<br />
over breakfast made by the artist herself. It is a story and<br />
tribute piece that continues the legacy of Agius’ ancestry.<br />
Photographer: Liam West<br />
MASTERING TECHNIQUES<br />
JamFactory Associate Drew Spangenberg<br />
(pictured above) received a scholarship in 2014 to<br />
attend Seattle’s prestigious Pilchuck Glass School.<br />
While there, Spangenberg had the honour of<br />
working with glass artist and Manager of the Glass<br />
Studio at the Toledo Museum of Art’s Glass<br />
Pavilion, Jeff Mack. Best known for his application<br />
of Venetian techniques in goblet making, Mack<br />
provided Spangenberg with invaluable insight<br />
into his process, sharpening his skills in very<br />
specific ways.<br />
Photographer: Sven Kovac<br />
SACRED SPACES<br />
Program Manager for JamFactory’s Glass Studio Kristel<br />
Britcher (whose work Composizione Evoluto, 2014 is<br />
pictured left), is the recipient of The Stephen Procter<br />
Fellowship in <strong>2015</strong>. The fellowship aims to assist Australian<br />
and international glass artists to work/study abroad and<br />
acts as a significant and exciting link between glass<br />
communities around the world.<br />
Britcher will travel to Scotland to research sacred spaces<br />
and mineral collections, continuing her creative research<br />
into natural spaces and the sublime. She will then<br />
undertake a residency in the Glass Studio at the Australian<br />
National University School of Art in Canberra, to develop<br />
new sculptural glass works.<br />
Photographer: Michael Haines<br />
ISSUE 03 / 7
Highlights<br />
CELEBRATING<br />
30 YEARS<br />
Adelaide’s renowned Gray Street Workshop<br />
celebrates its 30th anniversary in <strong>2015</strong>. Gray<br />
Street is an artist run studio and access facility<br />
providing contemporary jewellers and object<br />
makers the opportunity to learn, create and<br />
exhibit their work. Many renowned jewellers<br />
have been connected with the workshop<br />
including former JamFactory Creative Director<br />
for Metal, Sue Lorraine (one of the founding<br />
partners of Gray Street Workshop) and former<br />
JamFactory Associates including Kath Inglis,<br />
Erin Keys, Michelle Taylor and Sim Luttin. In<br />
celebration of the workshop’s 30 years, Theatre<br />
of Details, an exhibition by the three current<br />
partners Jess Dare, Sue Lorraine and Catherine<br />
Truman (whose work In Preparation for Seeing:<br />
Cell Culture Glove, <strong>2015</strong> is pictured left) opened<br />
in Adelaide in March before touring nationally<br />
and internationally.<br />
Photographer: Grant Hancock<br />
STEPHEN BOWERS:<br />
BEYOND BRAVURA<br />
Stephen Bowers is one of Australia’s foremost<br />
contemporary ceramic artists. His work has been<br />
celebrated in JamFactory’s Icon series, a showcase<br />
of the achievements of South Australia’s most<br />
outstanding and influential craft and design<br />
practitioners. As part of the series and after two<br />
years of successful touring, Stephen Bowers:<br />
Beyond Bravura will come to a close in September<br />
<strong>2015</strong>. In 2014 Bowers (whose work White Cockatoo,<br />
2010 is pictured right) was awarded both a Churchill<br />
Fellowship and Arts SA fellowship to continue<br />
his research into blue and white ceramics from<br />
around the world.<br />
Photographer: Grant Hancock<br />
BESPOKE DESIGN<br />
Andrew Bartlett, furniture designer and JamFactory<br />
Studio Tenant, completed a wine packaging project<br />
with South Australia’s family owned Taylors Wines.<br />
A premium wine, Taylors released The Visionary<br />
Cabernet Sauvignon 2009 with a bespoke luxury gift<br />
box (pictured left) handcrafted out of a single piece of<br />
Tasmanian blackwood. Each bottle was hand labelled,<br />
numbered and boxed, and the fixtures – the Spanish<br />
crafted locking mechanism – finished in rhodium to<br />
ensure that they safely last into the second half of this<br />
century, like the wine housed within.<br />
Photo courtesy of Taylor Wines<br />
8 / ISSUE 03
SIMPLICITY AND FORM<br />
PRICELESS COLLECTIONS<br />
Ceramist and JamFactory Studio Tenant Susan Frost,<br />
worked on a major project for the South Australian<br />
Tourism Commission (SATC), which included gift<br />
sets for the Santos Tour Down Under. The gift sets<br />
(pictured below) were made up of Frost’s signature<br />
espresso cups, saucers and bowls. Each piece was<br />
handmade; wheel thrown, trimmed and fired multiple<br />
times. The project was challenging due to the tight<br />
turnaround and sheer volume of the order. The pieces,<br />
as with most of Frost’s work, were influenced by the<br />
simplicity of form and function.<br />
Photographer: Anna Fenech Harris<br />
JamFactory Studio Tenant and internationally acclaimed<br />
ceramic artist Bruce Nuske, was one of the successful<br />
recipients awarded an Australia Council Skills and Arts<br />
Development – Residency Grant in 2014. The grant<br />
facilitates excellent development opportunities for<br />
craftspeople, designers, media artists and visual artists,<br />
through time abroad in select major cities. Nuske (whose<br />
work Teapot, 2008 is pictured above) chose<br />
the London studio, using the time to focus on British<br />
industrial ceramics. He was given rare access to priceless<br />
collections at the Victoria and Albert Museum, at liberty<br />
to explore his fascination with mass production techniques<br />
of the Industrial Revolution.<br />
Photographer: Grant Hancock<br />
JAMFACTORY FURNITURE<br />
COLLECTION<br />
A major initiative for JamFactory in <strong>2015</strong> will be the development of an<br />
exciting new furniture collection. Under the leadership of the Furniture<br />
Studio’s Creative Director Jon Goulder (pictured left), the collection will<br />
include pieces designed by Henry Wilson, DANIEL EMMA and by Goulder<br />
himself; all three leading Australian designers and previous winners of the<br />
prestigious Bombay Sapphire Design Discovery Award.<br />
The pieces in development include: a storage system, a dining chair and<br />
table, a stool, a light and an occasional chair. The designers are working<br />
closely with JamFactory’s Furniture Studio, providing valuable experience<br />
for Associates in design development, prototyping and working with<br />
manufacturers. The collection will grow over time and provide a pathway<br />
for emerging designers to access manufacturing and mainstream<br />
distribution.<br />
This initiative will strengthen JamFactory’s relationships with highly<br />
skilled local industry and stimulate value-added growth in the furniture<br />
design and manufacturing sector of South Australia. The collection will<br />
be available from May 2016.<br />
Photographer: Sven Kovac<br />
ISSUE 03 / 9
Clockwise from left: Session 3 - Happy Motel Warehouse. Photographer: Brad<br />
Bonar; Session 1 - Stylecraft Photographer: Andre Castelucci; Session 2 - BNKR<br />
Photographer: Brad Bonar; Session 3 - Happy Motel Warehouse Photographer:<br />
Brad Bonar; Session 1 - Stylecraft Photographer: Andre Castelucci
FUTURE<br />
DESIGN<br />
FRIDAY<br />
JamFactory joined forces with Stylecraft and<br />
CityMag in 2014 to present Future Design Friday<br />
- a series of four design events across the city<br />
showcasing some of Adelaide’s most creative,<br />
innovative and entrepreneurial designers.<br />
With a focus on the future of design in South<br />
Australia, sold out audiences came together<br />
to hear from industry representatives across<br />
fashion, landscape architecture, graphic,<br />
furniture, interior and product design.<br />
We kicked off the series at Stylecraft with<br />
a discussion on the role of art and design in<br />
creating successful public spaces, headed to<br />
the latest fashion hub BNKR to talk all things<br />
Adelaide, looked at the pop-up trend and<br />
marriage of food and design at Happy Motel’s<br />
city warehouse and finished the series talking<br />
furniture design at JamFactory.<br />
Dont miss our <strong>2015</strong> series:<br />
10 JULY<br />
14 AUGUST<br />
11 SEPTEMBER<br />
9 OCTOBER<br />
Check our website for more details<br />
jamfactory.com.au
Profile<br />
ALEXANDER<br />
LOTERSZTAIN<br />
IN PROFILE
“It Boy” Alexander<br />
Lotersztain is leading<br />
the way in innovative<br />
contemporary Australian<br />
design and is fast en route<br />
to becoming an international<br />
household name.<br />
Words by Adele Sliuzas<br />
Adele is Assistant Curator at JamFactory.<br />
Within the world of contemporary Australian design, Alexander Lotersztain<br />
has established himself as a design leader. Described as one of the most<br />
versatile designers in the country, he was named amongst one hundred of<br />
the most influential young designers worldwide by Phaidon in their 2007<br />
publication &fork. Graduating in 2000 from Design at Griffith University,<br />
Queensland College of Art, Lotersztain went on to found multifaceted<br />
design studio Derlot. Based in Brisbane, the studio has since become a<br />
hub from which Director Lotersztain collaborates with both local and<br />
international industry specialists in the disciplines of furniture design,<br />
interior design, art direction, branding and product design. Seeking to<br />
extend the scope of his studio, Lotersztain introduced Derlot Editions;<br />
a co-brand project that merges custom design and local production with<br />
a viable commercial mentality.<br />
Driven by the intellectual process of design, Lotersztain views innovative<br />
thinking as core, ‘Design is about giving shape and resolve to an idea’ he<br />
says. ‘It is about how to connect new dots. Once the idea is strong, design<br />
comes easy’. His design vernacular combines repetition of shapes and lines,<br />
with a contrast of colours and materials. This aesthetic can be seen in works<br />
such as Lotersztain’s Twig, 2012. The design is characteristically industrial<br />
in materiality and modularity, while referencing nature through the organic<br />
natural forms; the softened curves of the benches invite human interaction.<br />
Twig has several iterations utilising different materials: concrete, recycled<br />
LDPE plastic (that can be internally illuminated), an upholstered version and<br />
a latter form with backrest. The streamlined, bold design is characteristic of<br />
Lotersztain’s aesthetic.<br />
Moving beyond product design, Lotersztain’s Limes Hotel fit-out in Brisbane<br />
is a perfect example of the breadth of his practice. The large-scale project<br />
saw design thinking integrated throughout the building and provides a<br />
curated experience for guests. Lotersztain worked with the architect to<br />
design the entire building, including the external façade. Within the hotel,<br />
the level of design ranges from structural, spatial elements, to furniture and<br />
details such as clothes hooks and bathroom hardware/fittings.<br />
Local manufacture is key to Lotersztain’s design ethos and he believes it is<br />
the responsibility of the design industry to engage Australian manufacturers;<br />
“It’s important to support local. We as designers have a responsibility to our<br />
industry.” Supporting Australian industry within a global world is a way to<br />
build and develop business and with this incentive in mind, he encourages<br />
manufacturers to implement an innovative approach, to take risks and to<br />
believe in design.<br />
Relationships between designers and manufacturers are fundamental to<br />
staying competitive in a global market and Lotersztain’s collaboration on the<br />
ONE/THIRD project has this principle at heart. In 2012 Loterzstain was invited<br />
by Tasmanian manufacturer Designs in Timber to create a new brand and<br />
design direction for the company. Taking on the role of Artistic Director of<br />
the ONE/THIRD brand, Loterzstain brings together a team of designers from<br />
around the country to create products which are manufactured in Tasmania<br />
and distributed throughout Australia and the world.<br />
In 2014 Lotersztain continued his commitment to industry relations when<br />
he visited Adelaide to run a workshop with JamFactory Associates based<br />
on thinking outside of the square. He worked with the group to encourage<br />
innovation and new ways of thinking when designing product. This kind<br />
of educational leadership is what Lotersztain sees as essential to his own<br />
practice, offering insight and alternative approaches to design matters.<br />
Left: Twig Backrest, 2012<br />
Recyclable UV Stable LDPE<br />
various dimensions<br />
Photograph courtesy of the artist<br />
Working closely with clients, designers and manufacturers has allowed<br />
Lotersztain to develop a multifaceted practice and a solid, energetic brand<br />
in Derlot. His approach, with its focus on innovation and design thinking, is<br />
changing the landscape of contemporary Australian design.<br />
ISSUE 03 / 13
Profile<br />
GILES BETTISON<br />
PATTERN & PERCEPTION
Adelaide glass artist Giles<br />
Bettison has been selected<br />
as the feature artist for<br />
the <strong>2015</strong> South Australian<br />
Living Artist (SALA)<br />
Festival. In conjunction with<br />
SALA, JamFactory will be<br />
presenting Bettison’s solo<br />
exhibition as the latest in<br />
our annual Icon series.<br />
Words by Caitlin Eyre<br />
Caitlin Eyre is an emerging arts writer and<br />
curator. She is the South Australian Living<br />
Artist Festival Emerging Writer for <strong>2015</strong>.<br />
Bettison was first introduced to murrine when he attended a demonstration<br />
of United States glass artist Richard Marquis’ adaption of the technique at<br />
JamFactory’s Glass Studio. Up until this time, the tradition of murrine was<br />
seldom practised outside of Italy since its 16th century revival and rarely<br />
seen in contemporary glass studio practices. However, murrine instantly<br />
struck a chord with Bettison, whose experimental approach to developing<br />
this technique would breathe new life into its largely unchanged methods<br />
and forms.<br />
In 1995, Bettison undertook a position as a Technical Assistant at the<br />
Latitudes 1 workshop. Using the workshop’s leftover sheets of Bullseye<br />
compatible coloured glass, he began cutting, stacking and fusing them<br />
together, before stretching the glass to create long murrine canes. Cutting<br />
the canes into pieces, the resulting tiles bore an intricate cross section of<br />
colours and patterns, which he then fused together to form a flat sheet. At<br />
the final stage of the process, glass was blown and shaped into plates or<br />
vessels and Bettison’s talent for making outstanding works set.<br />
This innovative use of compatible sheet glass to make murrine pieces<br />
caused a stir amongst contemporary glass circles in Europe and America.<br />
Bettison had effectively reinvented and transformed murrine well beyond<br />
its traditional conventions. As a result, he received immediate recognition<br />
and was catapulted into the contemporary international glass limelight,<br />
launching what would inevitably become an ongoing, dynamic career.<br />
The patterns Bettison depicts in his complex and distinctly unique<br />
contemporary forms, are largely drawn from aerial photographs of both<br />
natural and agricultural landscapes, particularly those of his family’s<br />
property in rural South Australia and areas of the United States. The visual<br />
references for many of these pieces have been sourced on road trips and<br />
flights, Bettison gathering ideas through photographing and sketching the<br />
vivid array of patterns as they unfold around him. In this way, the complex<br />
and intricate patterning, colours and topographical nuances, become both<br />
the inspiration and abstracted subjects of Bettison’s carefully constructed<br />
glass works.<br />
During the course of his artistic career, Bettison has worked relentlessly to<br />
perfect his modernised technique of murrine glass making and to recreate<br />
it for a contemporary audience. Poised to inspire a new generation of glass<br />
artists and with almost two decades of expertise in glass making, Bettison<br />
will exhibit his mastery in JamFactory’s <strong>2015</strong> Icon exhibition.<br />
JamFactory Icon <strong>2015</strong><br />
Giles Bettison : Pattern and Perception<br />
JamFactory, Adelaide, SA<br />
17 July - 12 September <strong>2015</strong><br />
Riddoch Art Gallery, Mt Gambier, SA<br />
3 October - 16 November <strong>2015</strong><br />
JamFactory at Seppeltsfield, Seppeltsfield, SA<br />
29 November <strong>2015</strong> - 16 February 2016<br />
Left: Vista <strong>2015</strong> #3,<br />
Cold assembled hot worked murrini, blown and cold finished<br />
260 x 170<br />
Photographer: Andrew Dunbar<br />
ISSUE 03 / 15
Feature<br />
NUTURING<br />
TOMORROW’S<br />
TALENT<br />
Mentoring exceptional talent, JamFactory’s<br />
rigorous two-year Associate training program<br />
provides upcoming artists, designers and<br />
craftspeople with world-class professional<br />
development opportunities.<br />
Words by Brian Parkes<br />
Brian is CEO and Artistic Director at JamFactory.
18 / ISSUE 03
At the core of JamFactory’s broad range of activities is our<br />
widely acclaimed two-year Associate training program.<br />
Targeting talented emerging artists and designers, the<br />
Associate program aims to provide chosen Associates with<br />
technical skills, business knowledge, first-hand experience<br />
and professional networks.<br />
The program is offered in four studio areas: ceramics, glass,<br />
furniture and metal design. Entry is highly competitive<br />
with applicants having typically completed tertiary level<br />
study in one of the four areas or a closely related discipline.<br />
Applications are shortlisted and interviews conducted to<br />
select up to four Associates within each studio every year.<br />
Exceptional recent graduates from local TAFE and university<br />
courses compete with interstate and overseas applicants for<br />
these limited places.<br />
Led by outstanding Creative Directors Damon Moon<br />
(Ceramics Studio), Karen Cunningham (Glass Studio),<br />
Jon Goulder (Furniture Studio) and Christian Hall<br />
(Metal Design Studio), the program prepares Associates<br />
to become successful creative entrepreneurs in their<br />
chosen field.<br />
The Associates spend half of the time each week developing<br />
their own work under the guidance and mentorship of the<br />
Creative Directors and other studio staff. This work can include<br />
the development of products for retail markets, undertaking<br />
private commissions or research and experimentation towards<br />
major works for exhibitions and competitions. Visiting artists<br />
and designers in residence, tenants in the building and other<br />
Associates provide additional feedback, critique and peer to<br />
peer learning.<br />
All first-year Associates complete a series of design marketing<br />
seminars with Daniel To, who is one half of celebrated design<br />
duo DANIEL EMMA and Co-Creative Director of Retail and<br />
Product at JamFactory (see page 46). By the end of the year,<br />
each first-year Associate will have an established graphic<br />
identity and a functioning website with e-commerce capability.<br />
Associates learn about working with galleries and curators<br />
and the contractual and logistical requirements of public<br />
exhibitions through various projects, most notably the<br />
annual Generate exhibition; a curated show of work by<br />
finishing second-year Associates. Generate is presented in<br />
JamFactory’s main gallery in Adelaide, before touring to the<br />
new JamFactory gallery at Seppeltsfield in the Barossa Valley.<br />
This annual showcase of exceptional work and new ideas is a<br />
celebration of JamFactory’s role in nurturing emerging artists<br />
and designers, and pays tribute to the breadth of experience<br />
Associates gain over two years in JamFactory’s globally<br />
unparalleled program.<br />
We are very proud of the achievements of the eight<br />
Associates who completed the program at the end of 2014<br />
and whose works are showcased on the next spread. Like so<br />
many of the JamFactory alumni that have gone before them,<br />
these dedicated emerging artists and designers will go on to<br />
establish successful and influential careers. Building on strong<br />
foundations, they will continue to refine their design, craft<br />
and business skills. They will create new opportunities for<br />
themselves, they will extend their networks around the globe<br />
and they will always be part of JamFactory’s core community.<br />
The remaining half of the Associates’ time is spent working<br />
on commercial, operational or speculative projects for<br />
JamFactory. These activities provide valuable hands-on<br />
vocational training and include: design development and<br />
fabrication of JamFactory products; collaborative design<br />
and completion of major commissions (including<br />
management of budgets, timelines and client<br />
relationships); maintenance of studio equipment; and<br />
development and delivery of educational workshops.<br />
Practical seminars on marketing and business administration<br />
are also conducted throughout the year, along with special<br />
projects that promote innovative thinking. In July last year,<br />
Brisbane-based designer Alexander Lotersztain (see page 12),<br />
ran an intensive product design workshop with the Associates<br />
and in September <strong>2015</strong>, jewellery designer Susan Cohn, will<br />
challenge them in a completely different way.<br />
Previous page: 2014 final year JamFactory Associates left to right: Marcel Hoogstad<br />
Hay, Katie-Ann Houghton, Diego Vides Borrell, Courtney Jackson, Steve Soeffky,<br />
Liam Mugavin, Alexander Valero and Matt Taylor Photographer: Sven Kovac<br />
Left: Liam Fleming at work in the Glass Studio Photographer: Brad Bonar<br />
ISSUE 03 / 19
CLASS OF 2014<br />
2<br />
3<br />
4<br />
1<br />
1 MATT TAYLOR<br />
2 KATIE-ANN HOUGHTON 3 COURTNEY JACKSON 4 MARCEL HOOGSTAD HAY<br />
FURNITURE DESIGNER/MAKER<br />
FURNITURE STUDIO<br />
ARTIST/DESIGNER/MAKER<br />
GLASS STUDIO<br />
JEWELLER/ILLUSTRATOR<br />
METAL STUDIO<br />
GLASS ARTIST<br />
GLASS STUDIO<br />
Matt Taylor has developed<br />
a portfolio of works that<br />
gently explore the tone and<br />
textures of raw materials,<br />
and maintains the quality<br />
and integrity of hand<br />
craftsmanship.<br />
Katie-Ann’s work<br />
incorporates minimalism,<br />
subtle forms and often<br />
includes multiple pieces<br />
that come together to<br />
form a silhouette, playing<br />
with the interactions of<br />
boundaries in blown forms.<br />
Play and experimentation<br />
are key aspects to<br />
Courtney’s creative<br />
process. Her exhibition<br />
work looks at the concept<br />
of the souvenir, and<br />
how objects are used as<br />
receptacles for memories.<br />
An interest in Venetian<br />
glass blowing techniques<br />
led Marcel to experiment<br />
with pattern making. Using<br />
traditional cane working<br />
methods he plays with form,<br />
colour and repetition.<br />
20 / ISSUE 03
6<br />
8<br />
5<br />
7<br />
5 ALEXANDER VALERO 6 DIEGO VIDES BORRELL 7 LIAM MUGAVIN 8 STEVE SOEFFKY<br />
GLASS ARTIST<br />
INDUSTRIAL DESIGNER/MAKER DESIGNER/MAKER/CREATOR DESIGNER<br />
GLASS STUDIO<br />
GLASS STUDIO<br />
FURNITURE STUDIO<br />
FURNITURE STUDIO<br />
Exploring the science<br />
and magic of deep space,<br />
Alexander Valero is<br />
interested in capturing<br />
elements of the universe<br />
through the materiality of<br />
glass. His small sculptural<br />
works incorporate<br />
geometry, pattern and<br />
optical illusion.<br />
Diego’s Void series looks<br />
at the transparency of<br />
glass, joining components<br />
and overlapping shapes<br />
to playfully combine hues<br />
of coloured glass.<br />
Liam’s aesthetic is largely<br />
informed by Japanese<br />
design, in particular,<br />
Japanese townhouse<br />
architecture known as<br />
Machiya. Making one-off<br />
and limited edition<br />
production pieces, he<br />
works with elements<br />
including linearity, negative<br />
space and intervals.<br />
In developing a number<br />
of products, Steve engaged<br />
with the prototyping<br />
process and has learnt<br />
through testing about the<br />
importance of feasibility<br />
within product design.<br />
Steve’s design aesthetic<br />
focuses on clean lines,<br />
functional detail and elegant<br />
craftsmanship.<br />
ISSUE 03 / 21
Tomorrow. Talent.<br />
MEDICI<br />
COLLECTIVE<br />
In early <strong>2015</strong> JamFactory launched a<br />
dynamic new donor program enabling<br />
visionary patrons to collectively<br />
invest in and directly engage with<br />
the talented emerging artists and<br />
designers undertaking JamFactory’s<br />
acclaimed Associate training program.<br />
<strong>2015</strong> MEDICI COLLECTIVE MEMBERS<br />
Wendy Alstergren and John Kirkwood<br />
Kent Aughey<br />
Anne Barker and Peter Vaughan<br />
Noelene Buddle and David Shannon<br />
Anita and Randolph Bowen<br />
Jim and Helen Carreker<br />
John Chambers and Dawn Taylor<br />
Annette Coleman, Gate Uniques<br />
Adrian and Dianne Evans<br />
Shane and Kate Flowers<br />
Denise George<br />
Elaine Golding and Neil Smith<br />
Colin Goodall<br />
Steve Grieve and Dr Christine Putland<br />
Philippe and Diana Jaquillard<br />
Professor Kay Lawrence AM<br />
Nicholas Linke<br />
Mark Lloyd and Elizabeth Raupach OAM<br />
Penny McAuley<br />
Paul and Fatima McHugh<br />
David and Pam McKee<br />
Anne Moroney<br />
Gavin and Carolyn Moss<br />
Alan and Sue Young<br />
Adelaide Casino<br />
Australian Decorative and Fine Arts Society<br />
Hedges Asset Planning<br />
Mossop Group Pty Ltd<br />
The Hosking Foundation<br />
Through their vision, influence and support of the humanities,<br />
the Medici family played a major role in the Renaissance.<br />
Commissioning artists and scientists like Michelangelo,<br />
Leonardo da Vinci and Galileo, the Medici’s influence on the<br />
world can be felt even today. If one family can influence culture<br />
so significantly over 500 years, we asked why can’t a new<br />
generation of visionaries and leaders of change do the same?<br />
The Medici Collective represents a new genesis of vision and<br />
influence. A group of sophisticated and educated investors<br />
who are part of a growing culture of giving and who wish to<br />
have greater impact and involvement in nurturing the careers<br />
of those they support.<br />
There couldn’t be a better time to celebrate the talent behind<br />
the creative economy and its impact on Australia. The building<br />
momentum of creative entrepreneurs here is being noted<br />
globally, and people want more.<br />
The passionate influencers who make up the inaugural Medici<br />
Collective will have the rewarding opportunity to see the<br />
results of their investment and involvement as they witness the<br />
development of individual artists and designers.<br />
JamFactory has been investing in tomorrow’s talent for over<br />
40 years. Our success and the generous support of community<br />
and government has ensured JamFactory and the emerging<br />
artists and designers whose careers we nurture play a key role<br />
in the creative economy locally, nationally and internationally.<br />
Our two-year Associate training program is the most<br />
significant career development opportunity in Australia for<br />
emerging creative entrepreneurs working in ceramics, glass,<br />
furniture or metal design, attracting applicants from across the<br />
country and around the world.<br />
Medici Collective donations directly support JamFactory’s<br />
Associate training program and the Medici will learn about,<br />
hear from and engage with individual Associates throughout<br />
the year.<br />
We sincerely thank the <strong>2015</strong> Medici Collective members and<br />
warmly welcome interest in the program for 2016. For further<br />
information please contact JamFactory’s Development<br />
Manager Nikki Hamdorf on (08) 8410 0727.<br />
22 / ISSUE 03<br />
Right: First year Glass Studio Associate Laure Fradin<br />
Photographer: Sven Kovac
Tomorrow. Talent.
Profile<br />
HENRY WILSON<br />
COLLECTOR,<br />
CRAFTSMAN,<br />
CREATIVE FORCE
Henry Wilson, intelligent<br />
thinker and captain of<br />
purposed design, has a<br />
Masters in Man and<br />
Humanity from the Design<br />
Academy Eindhoven<br />
(DAE). He established his<br />
multidisciplinary design<br />
studio in 2010 with a focus<br />
on locally produced furniture,<br />
lighting and interiors.<br />
Words by Danielle Robson<br />
Danielle Robson is an independent curator,<br />
creative producer and writer based in Sydney.<br />
Henry Wilson opens a canvas satchel and upends its contents onto the<br />
table in front of us. Out tumbles a motley collection of objects; carefully<br />
selected bric-a-brac that the Sydney-based designer keeps as a reminder<br />
of the ingenuity of design. “I have a love affair with shape,” says Wilson,<br />
picking up a bespoke vintage cheese cutter. “That’s every designers<br />
dream; to find a resolution using shape alone.”<br />
For Wilson, less is undoubtedly more. Philosophically, he’ll avoid<br />
designing product for products’ sake. In practice, his designs are driven<br />
by a desire to do more with less. Fewer materials, reduced parts, limited<br />
tooling. This exacting and deliberate restraint creates objects with an<br />
earthy and tactile sensibility, where embellishment is the by-product of<br />
process: the surface pitting of cast objects, the discolouration of aged<br />
raw leather, or the varying hues of natural timber.<br />
Under the tutelage of Aldo Bakker and Dick van Hoff at DAE, Wilson was<br />
required to defend his every project. This gruelling training cemented<br />
his resolve to only design where there is need. “If I can find something<br />
that already exists and is really nice, I’ll avoid designing that thing,”<br />
says Wilson. “When you can isolate a need and then design something<br />
utilitarian, resolved and beautiful, that’s the holy trinity for getting that<br />
object right.”<br />
Wilson is mindful of his predecessors, and isn’t afraid to embrace<br />
collective design knowledge and flaunt it in his work. His most successful<br />
project to date, the award-winning A-joint series, unashamedly reinvents<br />
a cheap plastic sawhorse bracket that the designer stumbled across in a<br />
hardware store. “I realised that there was an inherently very good idea in<br />
it, but that it was resolved at the minimum,” explains Wilson.<br />
Discovering that the patent on the wedge mechanism had expired,<br />
Wilson got to work unleashing the potential of the core idea,<br />
transforming the old mechanism into a versatile contemporary design<br />
object that has been rapidly embraced by the market. In stark contrast<br />
to the disposable plastic bracket, his aluminium and bronze cast A-joint<br />
is sold with a lifetime guarantee, highlighting Wilson’s determination to<br />
future-proof consumption.<br />
When naming designers that inspire him – Achille Castiglioni, Jean<br />
Prouvé, Jasper Morrison, the Bouroullec Brothers – Wilson summates,<br />
“Anyone with a strong practice that can isolate what they are good at and<br />
who has had time to focus on a path or ideology.” Fittingly, it is precisely<br />
Wilson’s own focus that saw him invited to design the interior of personal<br />
care brand Aesop’s retail space in Balmain, Sydney.<br />
Opening in early 2014, Wilson was commissioned to design the entire<br />
shop fit-out, despite having never tried his hand at interior design before.<br />
“I’m of the thought that once you have a conceptual basis, you can apply<br />
that to lots of situations. The Aesop store interior unlocked another skill<br />
set that I always thought I could do, but had never really investigated,”<br />
Wilson explains.<br />
While Wilson’s trajectory into interiors is just beginning, his signature<br />
talent for combining industrial and craft-based techniques are currently<br />
being employed by JamFactory’s Furniture Studio. Wilson is developing<br />
a piece of furniture that will be part of the inaugural JamFactory<br />
Furniture Collection; a modular unit that will work in both domestic<br />
and commercial settings.<br />
Left: A3 Joint, 2013<br />
cast aluminium<br />
450 x 340<br />
Photographer: Andy Lewis<br />
JamFactory’s branded furniture collection will launch in Spring <strong>2015</strong>.<br />
It will showcase Wilson’s collaborative contribution – a locally<br />
manufactured piece in keeping with the pragmatic ethos of his<br />
multidisciplinary design practice.<br />
ISSUE 03 / 25
Feature
GLASS:<br />
ART DESIGN<br />
ARCHITECTURE<br />
Words by Margaret Hancock Davis<br />
Margaret is Senior Curator at JamFactory.
Having premiered at JamFactory<br />
Adelaide, GLASS: art design<br />
architecture is touring nationally<br />
to both metropolitan and regional<br />
galleries, sharing the compelling<br />
magic that is glass in all its<br />
many forms.<br />
Glass has been an important medium in the history of<br />
civilisation. Archaeologists have found that early peoples<br />
used obsidian (naturally occurring volcanic glass) to make<br />
spear tips, while evidence shows that hand-made glass was<br />
produced as a form of glaze from 3500 BC in Mesopotamia.<br />
Rudimentary forms of hollow glass containers have been<br />
made using sand casting processes since 1500 BC and<br />
glass blowing, as we know it today, emerged in the first<br />
century BC.<br />
Since these earliest times, we have used this malleable,<br />
deeply seductive material in increasingly refined ways and<br />
today we see glass as part of sophisticated structures and<br />
used in cutting edge technologies. It is a material that has<br />
been favoured by artists, designers and architects over the<br />
centuries, for both its formal and conceptual qualities. The<br />
history of art, design and architecture is peppered with<br />
extraordinary achievements of human endeavour, ingenuity<br />
and audacity, in which glass has been a central feature.<br />
GLASS: art design architecture brings together twenty<br />
three products, projects and works of art, that reflect current<br />
preoccupations with glass within the fields of contemporary<br />
Australian art, design and architecture. Those exhibiting<br />
represent a wide range of approaches to working with<br />
glass and many have a strong personal association with<br />
the material.<br />
The range of work in the exhibition is varied – from fine,<br />
handcrafted jewellery to a highly technical glass skyscraper<br />
– and strikes at encouraging audiences to think expansively<br />
about the human connection with glass and to consider<br />
familiar glass objects through a new lens.<br />
Glass is a multifaceted material and appeals to designers,<br />
artists and architects for its almost unlimited capabilities; to<br />
transform or transmit light, to reflect, project or distort, and<br />
for its ability to be recycled.<br />
Previous Page: Jess Dare, Conceptual Flowering plant<br />
series, 2013-14 lampwork glass dimensions variable<br />
Photographer: Grant Hancock<br />
Left: Yhonnie Scarce, Not Willing to Suffocate, 2012<br />
blown glass, painted metal 650 x 150 x 200<br />
Photographer: Janelle Low<br />
An example of this recycling is Ruth Allen’s Sustainable<br />
Stubbies. Allen has taken glass bottles in their original form<br />
and hot manipulated them, working each into a new utilitarian<br />
shape – carafes, glasses, vases – effectively turning her studio<br />
into a waste eliminating, green workshop.<br />
KeepCup is similarly about sustainability and reusability. Born<br />
out of desire to encourage multiple use behaviour amongst<br />
coffee drinkers, KeepCup is a barista-standard, reusable coffee<br />
ISSUE 03 / 29
cup, manufactured in Australia and sold all over the world.<br />
Five years after launching the original KeepCup at a<br />
Federation Square design market, a new version in glass has<br />
since been released. Titled KeepCup Brew, the reusable<br />
glass design comes in two sizes with a mixed selection of<br />
coloured lids/bands/plugs, is dishwasher proof and<br />
contains recycled content.<br />
Also committed to minimizing negative environmental impact<br />
through design, Architectus in association with Ingenhoven,<br />
embraced the technical and functional qualities of glass when<br />
designing Australia’s most sustainable office tower 1 Bligh<br />
Street, Sydney. Recipient of the 6 Star Green Star Office<br />
Design v2 and Office As-Built v2 Certified Ratings from the<br />
Green Building Council of Australia, the Bligh Street offices<br />
feature a double-layered glass skin. Depending on the time of<br />
day, the glass layering shrouds and protects occupants from<br />
the sun, or either channels light inwards, illuminating the very<br />
heart of the building.<br />
From the modern skyscraper to the historical, grand<br />
structures of glass and cast iron built to celebrate the spoils<br />
of colonisation and our industrialised world, Blanche Tilden’s<br />
sophisticated glass jewellery is informed by her desire to<br />
understand how things work and her interest in the interface<br />
between the hand-made and the machine-made. Her Graded<br />
Palais necklace, 2014 looks to architecture for inspiration, in<br />
particular the great exhibition buildings of the 19th century<br />
(The Crystal Palace, 1851, and The Palais des Machines,<br />
1889). Superbly utilising glass in their design, these buildings<br />
emphasised German architect Bruno Taut’s statement that<br />
glass was the quintessential material for the modern world,<br />
due to its capacity to hold and disperse light.<br />
Combining aspects of craft, design and architecture, the<br />
design duo of illumini, Karen Cunningham and Amanda<br />
King, created the illumini Greenhouse, <strong>2015</strong>, to function<br />
as equal parts garden space and artwork. Keen to realise<br />
what a greenhouse would look like if made by a glass artist<br />
or craftsperson, illumini considered both pragmatics and<br />
aestheticism in developing the design of their user-friendly<br />
greenhouse. It is able to capture rainwater whilst providing<br />
ideal conditions in terms of oxygen and humidity levels for<br />
plants to thrive.<br />
In Conceptual Flowering Plant Series, 2013, Jess Dare draws<br />
inspiration from the powerful lamp-worked glass pieces of<br />
deceased glass artists Leopold and Rudolf Blaschka. Inspiring<br />
ideas of time and the fleeting nature of memory, Dare<br />
investigates the works of the father-son artists, applying their<br />
approach to brilliant colour and soft forms to her own practice,<br />
as is beautifully showcased in GLASS: art design architecture.<br />
As a material, glass can be both incredibly strong and intensely<br />
fragile. For Yhonnie Scarce, this has been a perfect metaphor<br />
for the impact of colonisation on Aboriginal culture; having<br />
been brought to its breaking point, it has managed to sustain<br />
itself. As Scarce states,“If glass breaks, it’s always going to<br />
leave something behind”.<br />
Squeezed to near breaking point, the glass bush bananas<br />
of Not Willing to Suffocate 2012, are held intact by the tight<br />
metaphorical grip of colonisation. They reference highly<br />
controversial studies carried out on Aboriginal people —<br />
including members of Scarce’s own family — by researchers<br />
during the 1920s and 1930s. The black-lustre bruising on the<br />
fruit suggests suffocation, as experienced by Aboriginal<br />
people through government/missionary cultural denial<br />
and restrictions.<br />
Combining the genres of art, design and architecture in<br />
an exhibition such as this, GLASS: art design architecture<br />
provides an extensive view of glass in its many forms as seen<br />
in our current contemporary visual culture. New connections<br />
between works, fresh and unfurling perspectives of the<br />
importance of glass in our daily lives, its value expressed<br />
in light of who we are, are all represented in this vibrant<br />
exhibition, that brings together a diverse portfolio of<br />
talented practitioners.<br />
glass-exhibition.jamfactory.com.au<br />
The exhibition was curated by Brian Parkes and Margaret<br />
Hancock Davis and designed by Stephen Goddard in<br />
association with JamFactory’s Metal Design Studio.<br />
GLASS: art design architecture is touring nationally to<br />
JamFactory at Seppeltsfield, Murray Bridge Regional Gallery,<br />
Signal Point Gallery, Wagga Wagga Art Gallery, ANU School<br />
of Art Gallery, Bathurst Regional Art Gallery, Western Plains<br />
Cultural Centre, Lake Macquarie City Art Gallery, QUT Art<br />
Museum, Cairns Regional Gallery, Caboolture Regional Art<br />
Gallery, UTS, Sydney Art Gallery, Design Centre Tasmania<br />
and Mornington Peninsula Regional Art Gallery.<br />
Top right: Architectus + Ingenhoven, 1 Bligh Street, Sydney, 2009–11<br />
Building owned by Dexus Property Group and Cbus Property<br />
Photographer: H.G. Esch<br />
Far right: Blanche Tilden, Grand Palais necklace, 2014. water-jet cut,<br />
cold worked and lampworked borosilicate glass, oxidised 925 silver<br />
40 x 380 dia Photographer: Grant Hancock<br />
Left: Clare Belfrage, Awash in black, 2014 blown glass with cane drawing,<br />
hand sanded and polished<br />
460 x 470 x 60 Photographer: Pippy Mount<br />
30 / ISSUE 03
ISSUE 03 / 31
JAMFACTORY<br />
EXHIBITIONS ON TOUR<br />
ACROSS AUSTRALIA<br />
2014 - 2018<br />
DESIGNING CRAFT/CRAFTING DESIGN:<br />
40 YEARS OF JAMFACTORY<br />
WOOD: ART DESIGN<br />
ARCHITECTURE<br />
Curated by Brian Parkes and Elliat Rich WOOD:<br />
art design architecture explores innovative and<br />
outstanding uses of wood in contemporary<br />
Australian art, design and architecture. It<br />
represents modes of thinking and relationships to<br />
this fundamental material. A total of 28 exhibitors<br />
have contributed to the exhibition providing rich,<br />
diverse and inspiring examples of the use of wood<br />
in the creative arts, design and architecture.<br />
Lake Macquarie City Art Gallery,<br />
Booragul, NSW<br />
14 Feb - 28 April 2014<br />
QUT Art Museum,<br />
Brisbane, QLD<br />
9 May - 6 July 2014<br />
Kick Arts, Cairns, QLD<br />
18 July - 14 Sept 2014<br />
Object: Australian Design Centre,<br />
Sydney, NSW<br />
4 Oct - 14 Dec 2014<br />
In 2013 JamFactory celebrated 40 years of nurturing and<br />
promoting contemporary craft and design in Australia with the<br />
landmark exhibition Designing Craft/Crafting Design: 40 Years<br />
of JamFactory. Curated by Margaret Hancock Davis, Margot<br />
Osborne and Brian Parkes, this exhibition presents new work<br />
by 40 selected artists, craftspeople and designers who have<br />
had a significant involvement with the JamFactory during its<br />
40 year history.<br />
Tweed River Art Gallery,<br />
Murwillumbah South, NSW<br />
29 Nov 2013 - 19 Jan 2014<br />
Ipswich Art Gallery,<br />
Ipswich, QLD<br />
3 Feb - 23 March 2014<br />
Artspace Mackay,<br />
Mackay, QLD<br />
4 April - 16 May 2014<br />
Gold Coast City Gallery,<br />
Gold Coast, QLD<br />
31 May - 13 July 2014<br />
Moree Plains Gallery,<br />
Moree, NSW<br />
28 July - 7 Sept 2014<br />
ANU School of Art Gallery,<br />
Canberra, ACT<br />
26 Sept - 1 Nov 2014<br />
Wagga Wagga Art Gallery,<br />
Wagga Wagga, NSW<br />
6 Dec 2014 - 25 Jan <strong>2015</strong><br />
Latrobe Regional Art Gallery,<br />
Morwell, VIC<br />
6 Feb - 5 April <strong>2015</strong><br />
Design Centre Tasmania,<br />
Launceston, TAS<br />
24 April - 19 July <strong>2015</strong><br />
Riddoch Art Gallery,<br />
Mt Gambier, SA<br />
3 August - 13 Sept <strong>2015</strong><br />
Murray Bridge Regional<br />
Gallery, Murray Bridge, SA<br />
27 Sept - 22 Nov <strong>2015</strong><br />
Signal Point Gallery,<br />
Goolwa, SA<br />
7 Dec <strong>2015</strong> - 31 Jan 2016<br />
Port Augusta Cultural Centre<br />
- Yarta Purtli Gallery,<br />
Port Augusta, SA<br />
15 Feb - 10 April 2016<br />
Above left: Greer Honeywill, This housing estate is not to scale<br />
#2, 2011 Houn pine, American cherry wood, American redwood<br />
1260 x 210 Photographer: Peter Whyte<br />
32 / ISSUE 03<br />
Above right: Designing Craft/Crafting Design: 40 Years of<br />
JamFactory installation view, JamFactory<br />
Photographer: Grant Hancock
GLASS: ART DESIGN ARCHITECTURE<br />
JAMFACTORY ICON<br />
STEPHEN BOWERS:<br />
BEYOND BRAVURA<br />
Curated by Brian Parkes and Margaret Hancock Davis,<br />
GLASS: art design architecture showcases 23 outstanding<br />
projects by contemporary Australian artists, designers and<br />
architects. It represents a cross-section of current creative<br />
practices and relationships to this versatile material.<br />
Stephen Bowers is one of Australia’s foremost<br />
contemporary ceramic artists. His work is celebrated in<br />
JamFactory’s Icon series, showcasing the achievements of<br />
South Australia’s most outstanding and influential craft and<br />
design practitioners. Each Icon exhibition is presented<br />
annually during the SALA (South Australian Living Artist)<br />
Festival before touring nationally.<br />
Watson Arts Centre,<br />
Canberra, ACT<br />
7 March - 13 April 2014<br />
Artisan,<br />
Brisbane, QLD<br />
2 May - 28 June 2014<br />
Caboolture Regional Art Gallery,<br />
Caboolture, QLD<br />
12 July - 6 Sept 2014<br />
Cairns Regional Gallery,<br />
Cairns, QLD<br />
17 Oct - 30 Nov 2014<br />
Cowra Regional Gallery,<br />
Cowra, NSW<br />
12 Dec 2014 - 1 Feb <strong>2015</strong><br />
Wagga Wagga Art Gallery,<br />
Wagga Wagga, NSW<br />
7 Feb - 22 March <strong>2015</strong><br />
Manly Art Gallery and Museum,<br />
Sydney, NSW<br />
27 March - 3 May <strong>2015</strong><br />
JamFactory at Seppeltsfield,<br />
Barossa Valley, SA<br />
9 May – 19 July <strong>2015</strong><br />
Murray Bridge Regional<br />
Gallery, Murray Bridge, SA<br />
24 July – 13 Sept <strong>2015</strong><br />
Signal Point Gallery,<br />
Goolwa, SA<br />
16 Oct – 4 Dec <strong>2015</strong><br />
Wagga Wagga Art Gallery,<br />
Wagga Wagga, NSW<br />
19 Dec <strong>2015</strong> - 6 March 2016<br />
ANU School of Art Gallery,<br />
Canberra, ACT<br />
18 March - 30 April 2016<br />
Bathurst Regional Art Gallery,<br />
Bathurst, NSW<br />
13 May - 16 June 2016<br />
Western Plains Cultural<br />
Centre, Dubbo, NSW<br />
1 July - 18 Sept 2016<br />
Lake Macquarie City Art<br />
Gallery, Lake Macquarie, NSW<br />
30 Sept - 6 Nov 2016<br />
QUT Art Museum,<br />
Brisbane, QLD<br />
18 Nov 2016 - 5 March 2017<br />
Cairns Regional Gallery,<br />
Cairns, QLD<br />
17 March - 30 April 2017<br />
Caboolture Regional Art<br />
Gallery, Caboolture, QLD<br />
12 May 2017 - 16 June 2017<br />
UTS Art,<br />
Sydney, NSW<br />
30 June 2017 - 18 Sept 2017<br />
Design Tasmania,<br />
Launceston, TAS<br />
29 Sept 2017 - 6 Nov 2017<br />
Mornington Penisula Gallery,<br />
Mornington, VIC<br />
13 Nov 2017- 19 Jan 2018<br />
Queen Victoria Museum and Art Gallery,<br />
Launceston, TAS<br />
29 May - 19 July <strong>2015</strong><br />
JamFactory at Seppeltsfield<br />
Barossa Valley, SA<br />
1 August - 4 October <strong>2015</strong><br />
Above left: Stephen Bowers, Blu Roo: Antipodean, 2010<br />
wheel-thrown earthenware, underglaze, clear glaze<br />
70 x 640 Photographer: Grant Hancock<br />
Above right: GLASS: art design architecture<br />
installation view, JamFactory Photographer: Grant Hancock<br />
ISSUE 03 / 33
Feature
SHIMMER<br />
Shimmer is an innovative and collaborative exhibition that<br />
will present new works of art by Australian based artists, as<br />
part of the inaugural TARNANTHI Festival.
Words by Coby Edgar<br />
Coby is Assistant Curator of<br />
TARNANTHI the Art Gallery of<br />
South Australia’s inaugural Festival<br />
of Contemporary Aboriginal and<br />
Torres Strait Islander Art.<br />
Shimmer. The word itself suggests<br />
movement, energy and light. When<br />
something shimmers, it transcends into<br />
the future, while retaining a present<br />
manifestation. There is a trace that<br />
stays with you, but you can’t hold onto<br />
it forever. Beauty is much the same;<br />
the physical morphs into a memory<br />
of what it once was, transforming into<br />
something else. The process of adorning<br />
– both ritualistic and representative of<br />
identity, time, and place – intertwines<br />
the physical with the mental and sacred.<br />
Shimmer is a collaborative project<br />
between JamFactory and the South<br />
Australian Museum presented by<br />
TARNANTHI, the Art Gallery of<br />
South Australia’s inaugural Festival of<br />
Contemporary Aboriginal and Torres<br />
Strait Islander Art. The Festival will be<br />
held from the 8th - 18th of October<br />
<strong>2015</strong> and will encompass a series<br />
of exhibitions, public programs and<br />
community events across Adelaide<br />
with an art fair on the opening-weekend<br />
at Tandanya National Aboriginal<br />
Cultural Institute.<br />
will give artists the opportunity to<br />
investigate a collection in the South<br />
Australian Museum and create works of<br />
art in response. The works will be shown<br />
amongst the Museum’s permanent<br />
collections and also displayed in<br />
JamFactory’s main gallery space.<br />
Some of the works of art will continue<br />
the traditions of the artists’ own people,<br />
showing changes (or otherwise) in<br />
cultural practices over time, while others<br />
will use the opportunity to create new<br />
works of art. Ranging from emerging<br />
to established, this unique selection of<br />
artists is certain to create an engaging<br />
contemporary view of adornment, while<br />
challenging and interrogating the spaces<br />
their work will inhabit.<br />
At the heart of TARNANTHI, Artistic<br />
Director Nici Cumpston, will be working<br />
with Aboriginal and Torres Strait Islander<br />
artists from across the country and with<br />
key cultural institutions, to showcase<br />
and challenge preconceptions of<br />
Aboriginal art. The Festival’s supporting<br />
public programs and community<br />
events will give artists opportunity<br />
to voice their vision with a broad<br />
audience of international and local<br />
guests, from curators and fellow artists,<br />
to students, academics and industry<br />
professionals alike.<br />
A Kaurna word, TARNANTHI<br />
encompasses the idea of new<br />
beginnings and means to come forth<br />
or appear, referencing a sprouting<br />
seed or dawn-breaking sunlight.<br />
The participating artists in Shimmer<br />
have been invited to create works of<br />
art around the concept of adornment,<br />
with a brief to express the true nature<br />
of adornment as both an idea and<br />
physical manifestation. The exhibition<br />
will incorporate a mixture of practices<br />
from ceramics to fashion design and<br />
Previous page: Maree Clarke, Men in Mourning, 2013<br />
digital print on polypropylene 1200 x 2000<br />
Courtesy the artist and Vivien Anderson Gallery,<br />
Melbourne<br />
Right: Maree Clarke, Kimberly wearing river reed<br />
necklace with cockatoo feathers, 2014<br />
digital print on polypropylene 2000 x 1200<br />
Courtesy the artist and Vivien Anderson Gallery,<br />
Melbourne<br />
36 / ISSUE 03
38 / ISSUE 03
Respected artist and curator, Melbourne<br />
based Maree Clarke, is one of the<br />
established artists involved in the project.<br />
Clarke will build on her work researching<br />
Kopi, otherwise known as a Widow’s Cap;<br />
a plaster headpiece made from gypsum.<br />
Historically worn while mourning<br />
for a period lasting two weeks to six<br />
months and with extra gypsum added<br />
periodically, the final weight of these<br />
headpieces could escalate up to seven<br />
kilograms. Kopi were customarily placed<br />
on the grave of the related deceased<br />
once the period of mourning had ended.<br />
The concept of mourning adornment<br />
is not a new field of research for Clarke<br />
and the inclusion of her work within the<br />
museum is sure to shed new light on<br />
their collection, drawing fresh attention<br />
to this emotive, historically significant<br />
ritual.<br />
Young emerging fashion designer, Grace<br />
Lillian Lee, will investigate the Museum’s<br />
neckpieces and other feminine objects<br />
of adornment. Lee creates textural,<br />
intricately woven works of art by use<br />
of a traditional Torres Strait Islander<br />
weaving technique. Her pieces are<br />
aesthetically beautiful and when worn,<br />
offer a sculptural element that resonates<br />
beyond fashion and into fine art. Living<br />
in Cairns and surrounded by ocean, there<br />
is no doubt Lee will find an affinity with<br />
the many objects held in the Museum’s<br />
marine collection.<br />
Janet Fieldhouse is a multi-award<br />
winning Torres Strait Islander ceramicist<br />
creating delicate porcelain forms<br />
referencing the worn objects and<br />
artefacts of the Torres Strait region.<br />
Previously inspired by arm bands and<br />
wedding pendants, Fieldhouse is drawn<br />
to the flat ground clamshells decorated<br />
with intricately carved turtle shell<br />
overlay, known as Kap Kap, in the South<br />
Australian Museum’s World Cultures<br />
Collection. Worn by Melanesians around<br />
the neck or as a head piece these<br />
adornment are a symbol of social rank.<br />
Their white iridescent surface with<br />
contrasting silhouetted fret work of<br />
brown and tan create highly crafted<br />
designs that vary from island to Island.<br />
Looking at the similarities in design and<br />
medium of such objects throughout<br />
Melanesia, Fieldhouse examines crosscultural<br />
exchange in her research and<br />
practice.<br />
Other artists included in this project<br />
are Vicki West (TAS), Dale Harding<br />
(QLD), Sebastian Arrow (WA), Nicole<br />
Foreshew (NSW), and Tamara Baillie<br />
(SA). Bringing together such a variety<br />
of practitioners to examine the objects<br />
in the South Australian Museum enables<br />
the collection to be addressed through<br />
differing cultural and personal lenses.<br />
This unique project gives voice to the<br />
diversity of Aboriginal and Torres Strait<br />
Islander art practices whilst facilitating<br />
cross institutional engagement and<br />
knowledge sharing, strengthening the<br />
collective and creating new relationships<br />
and understandings. By forging such<br />
relationships the project aligns with the<br />
broader aims of TARNANTHI, to come<br />
forth and create new opportunities.<br />
Shimmer is co-curated by Assistant<br />
Curator of TARNANTHI, Coby Edgar and<br />
JamFactory’s Senior Curator, Margaret<br />
Hancock Davis and will be on show at<br />
JamFactory and the South Australian<br />
Museum from 2 October –<br />
28 November <strong>2015</strong>.<br />
Top left: Janet Fieldhouse, Bride Pendant Series 4, 2014<br />
white raku, shells, string, cassowary feathers, beads<br />
700 x 700<br />
Courtesy the artist and Vivien Anderson Gallery,<br />
Melbourne<br />
Bottom left: Janet Fieldhouse, Baskets, 2014<br />
Porcelain 100 x 280 x 180<br />
Courtesy the artist and Vivien Anderson Gallery,<br />
Melbourne<br />
ISSUE 03 / 39
Feature<br />
The Synergy of<br />
Good Food<br />
and Design<br />
As demand for more than<br />
outstanding food and wine<br />
increases, good design has risen<br />
to become an equally important<br />
player in South Australia’s<br />
experience based food game.<br />
Words by Leanne Amodeo<br />
Leanne is a freelance writer and editor specialising in<br />
design and architecture.
In any serious discussion on fine wine and dining, South<br />
Australia’s wines are lauded as some of the best in the world<br />
and its wine regions praised for their heritage and tradition.<br />
Frequent appearances on top ten lists continue to boost<br />
their reputation, and the Barossa Valley’s recent inclusion<br />
in US-based magazine Wine Enthusiast’s 10 Best Wine<br />
Travel Destinations for 2014, is bound to result in an influx of<br />
international tourists within the next year. And it won’t take<br />
them long to figure out South Australia’s other great offering;<br />
exquisite food and the quality of its produce.<br />
But of course, this State’s food culture is as deeply<br />
entrenched as its love of a full-bodied Shiraz. Adelaide<br />
Central Market has been servicing local foodies for over<br />
one hundred years and Gepps X Market is unmatched as<br />
South Australia’s largest open-air market, providing Sunday<br />
morning goers a myriad of fresh produce. While some of<br />
South Australia’s best restaurants can be found in its wine<br />
regions, there are equally fine dining experiences to be had<br />
in the suburbs. Adelaide’s CBD also continues to expand its<br />
notable restaurant offerings with chefs the calibre of Jock<br />
Zonfrillo, Duncan Welgemoed and Sean Connolly opening<br />
Orana, Africola and Sean’s Kitchen, respectively.<br />
The recent launch of these and many other popular eateries<br />
simply reiterates our culinary credentials at an international<br />
level and incidentally reveals South Australia’s growing<br />
investment in high-end design. Some of the country’s best<br />
interior designers have been engaged to work on local<br />
hospitality fit-outs within the past two years, including<br />
Alexander & Co who completed Sean’s Kitchen in late 2014.<br />
Around the corner from Connolly’s New York style brassiere<br />
is the new Bates Smart designed Madame Hanoi, while<br />
designer Pascale Gomes-McNabb is behind the outstanding<br />
refurbishment of Magill Estate. Good food and wine may be<br />
what South Australia has long based its reputation on, but<br />
the value good design adds to the dining experience is now<br />
taking that reputation one step further.<br />
It’s a wholistic approach that has not been lost on<br />
powerhouse designer Alexander Lotersztain, who, along<br />
with business partner chef Erik van Gederen, opened Depo<br />
in the heart of Brisbane’s West End in 2012. “The game<br />
has changed in the hospitality industry,” he explains. “As<br />
a designer you now have to create environments where<br />
customers feel great, they feel loved and they can enjoy an<br />
entire experience.” Lotersztain designed the restaurant’s<br />
interior and wanted the same level of consideration to be<br />
given to the tableware, so he called up JamFactory’s Chief<br />
Executive Officer Brian Parkes.<br />
The resulting collaboration saw JamFactory’s Ceramics<br />
Studio design five different plates, manufacturing a total<br />
of five hundred items, for exclusive use by the restaurant.<br />
Lotersztain was quick to identify JamFactory’s value-add<br />
potential and Parkes was even quicker to realise the wide<br />
recognition such an opportunity could bring the craft and<br />
design organisation. Unsurprisingly, the Depo commission<br />
set the ball rolling for a number of other high-profile<br />
JamFactory hospitality commissions.<br />
Amongst these is the Furniture Studio’s recent design of<br />
five different dining tables for the new Fino restaurant<br />
at Seppeltsfield, which was designed by local architect<br />
Max Pritchard. Located on the same site as JamFactory’s<br />
satellite venue, it made sense Fino owners Sharon Romeo<br />
and David Swain (who is also head chef) chose to work with<br />
JamFactory. The commission was undertaken by Furniture<br />
Studio Associate Rhys Cooper and overseen by the Furniture<br />
Studio’s Creative Director Jon Goulder, resulting in a total of<br />
forty tables, each consisting of a metal pedestal base and<br />
timber tabletop.<br />
Romeo and Swain’s strict brief called for an understated<br />
design that doesn’t detract from the overall fit-out and this<br />
allowed Cooper to exercise his industrial design skills. It also<br />
gave him the opportunity to develop product in a real world<br />
scenario, which is something Goulder is particularly keen<br />
to nurture in the furniture Associates. “This studio is more<br />
of a design incubator or design lab,” explains the Creative<br />
Director. “We’re not set up for large scale production, so<br />
we’ve had to develop relationships with local manufacturers.”<br />
Interestingly, it’s commissions such as the Fino dining tables<br />
that have provided Goulder and the Associates with the<br />
means by which to reach out to industry and engage in that<br />
necessary dialogue on manufacturing. As Goulder continues,<br />
“Those relationships are pivotal in our long term future as a<br />
furniture design studio; our economic sustainability is based<br />
on them.”<br />
On the other hand, JamFactory Ceramics Studio’s Fino<br />
commission involved supplying approximately twelve<br />
hundred tableware items, including dinner and side plates,<br />
most of which were adapted from the existing JamFactory<br />
product range. Unlike the Furniture Studio, the Ceramics<br />
Studio manufactures all its products in-house either by or<br />
under the watchful eye of Creative Director Damon Moon.<br />
But perhaps one of the organisation’s most significant<br />
hospitality commissions came Moon’s way shortly after he<br />
took up the role in early 2014.<br />
Magill Estate’s head chefs Scott Huggins and Emma McCaskill<br />
approached him wanting a special service of tableware for<br />
their degustation menu, which can range from five to nine<br />
courses (each served with a specially selected Penfolds wine).<br />
Certainly for Moon, the scope and range of the project was<br />
Previous page: Tableware designed and made by Damon Moon for Magill Estate<br />
Photographer: Andre Castelucci<br />
Right: Africola chef Duncan Welgemoed wears the Dressed to Digest series of six<br />
sterling silver lapels designed by Angela Giuliani winner of the Drink Dine Design<br />
Emerging Designer Award 2014<br />
Photographer: Sven Kovac<br />
42 / ISSUE 03
44 / ISSUE 03
unlike anything he had ever undertaken. “The thing about<br />
Magill Estate is they have a particular food philosophy,”<br />
e says. “They either grow a lot of the food they use<br />
themselves or source it locally and they pay a lot of<br />
attention to seasonality, so they wanted tableware which<br />
reflected that ethos.”<br />
The clay and glazes Moon used were not only made from<br />
local materials, but quite often he literally hand gathered<br />
them himself. You couldn’t get any closer connection to the<br />
Magill Estate kitchen than actually using the ash from the fire<br />
upon which they burn the vineyards’ prunings for a glaze.<br />
Moon also hand gathered and hand-ground local copper ore<br />
to achieve the green colour in one of the plates, while another<br />
was made from clay he dug up from the Fleurieu Peninsula.<br />
It should come as no surprise to learn the project took him<br />
a year to complete, especially considering that most of the<br />
pieces were hand thrown by Moon.<br />
“Scott and Emma wanted a progression through the courses,<br />
so as the items would become larger they also became<br />
darker,” he says. “It’s kind of a dramatic setting for the food,<br />
but certainly as the maker, I always had to keep in mind that<br />
a particular item is only complete when food is placed on it.”<br />
Moon’s designs may have a high level of interest, but they are<br />
also elegantly restrained in order to allow the food to make<br />
its own aesthetic statement. “I don’t want the tableware to<br />
be competing with the food,” he reflects. “When the two<br />
are placed in front of someone they should see it as one<br />
cohesive picture.”<br />
In this respect there is no better example to highlight the<br />
synergy between food and design. It also makes sense that<br />
JamFactory introduced their annual Drink Dine Design<br />
emerging designer award to promote South Australia’s<br />
strong connection between food, design and wine. Last<br />
year’s winner Angela Giuliani, charmed the judges with her<br />
Dressed to Digest series of six sterling silver lapel pins,<br />
featuring miniature cooking utensil motifs. They would<br />
look completely at home on the lapel of any world-class<br />
chef and should they eventually go into production, would<br />
undoubtedly be well received.<br />
Top left: Tables designed by JamFactory’s<br />
Furniture Studio for Fino at Seppeltsfield<br />
Photographer: Tom Roschi<br />
Far left: Depo Dinnerware commission, 2013<br />
Photographer: Florian Groehn<br />
Left: Plate from Penfolds Magill Estate commission 2014<br />
Photo courtesy of Penfolds Magill Estate<br />
Food and design may simply be trending at the moment<br />
and we can be excused for thinking this based on the glut of<br />
cooking and home improvement shows currently flooding<br />
our television screens. But the more likely scenario is people<br />
are beginning to demand that good food and design be<br />
integrated into their everyday lives – an approach that<br />
cities like Copenhagen have proven works – for long-term<br />
social and cultural benefits. This renders a continual need to<br />
promote South Australia’s key artisanal traditions, making<br />
JamFactory’s position as unofficial ambassador a very<br />
important one.<br />
ISSUE 03 / 45
Q &A<br />
DANIEL EMMA
Late 2009 JamFactory was thrilled to announce the<br />
appointment of Daniel To and Emma Aiston as joint Creative<br />
Directors - Product and Retail. Having met while studying<br />
Industrial Design at University of South Australia, Daniel To and<br />
Emma Aiston, otherwise known as DANIEL EMMA, undertook<br />
two years of invaluable experience (following their 2007<br />
graduation) at London design studios Marc Newson, Thorsten<br />
van Elten and Committee. After establishing their own studio,<br />
they launched their first celebrated collection, Shapes, showing<br />
in London and Tokyo. Off the back of this initial success,<br />
DANIEL EMMA extended their range beyond understated desk<br />
accessories to include furniture, lighting and installations.<br />
Named by Wallpaper* in 2009 as design graduates to watch,<br />
DANIEL EMMA have gone on to build a strong international<br />
following for their innovative work. Collaborating with<br />
renowned brands such as Field, Hay and Tait and through<br />
active participation in exhibitions and design shows in<br />
Paris, New York, Milan and Berlin, this creative pair are<br />
seemingly unstoppable.<br />
JamFactory’s Senior Curator Margaret Hancock Davis caught<br />
up with them to discuss their vision for Product and Retail.<br />
MHD How do you feel your experiences to date inform the<br />
way you see your new position at JamFactory?<br />
DE We haven’t come from a traditional retail background,<br />
which is why our approach is slightly unconventional. As<br />
designers, we enjoy creating experiences and for us, we see<br />
JamFactory retail as an extension of this. We want visitors<br />
to come in, feel inspired and walk away with a greater<br />
knowledge and understanding of what it is to be a part of<br />
the organisation and why JamFactory’s positioning is so<br />
important in the Australian design scene.<br />
MHD In 2011 JamFactory launched its own range and as part<br />
of your new role, you will be stewarding these products into<br />
production with studio Creative Directors, as well as finding<br />
exciting market places for the works. How will your “just<br />
make it” ethos, combined with your practical industrial design<br />
training, help direct and inform the new products produced<br />
as part of JamFactory’s range ?<br />
DE We see great value in being able to see a piece in its<br />
final material and finish. Many of the creative teams within<br />
JamFactory work with their material of choice first as a<br />
way of prototyping, which suits our style perfectly. In local<br />
industry and within our personal practice, generally the costs<br />
involved in prototyping are high which means we have to<br />
thoroughly plan before launching into making.<br />
MHD Positioning is often talked about in retail. What are the<br />
unique features of JamFactory retail outlets that enable them<br />
to be destination retail stores?<br />
DE JamFactory has the potential to offer an unrivalled retail<br />
experience. We have to look at the operations wholistically<br />
but on the other hand, realise that each store can offer<br />
something different. We see the Morphett Street store as our<br />
flagship store, a destination, where visitors can get the entire<br />
JamFactory experience; Rundle Plaza as the General Store,<br />
offering goods and services aimed at everyday living; and<br />
Seppeltsfield as the Regional Lifestyle Store, which is not only<br />
responsible for sharing JamFactory’s story throughout the<br />
local area, but also to showcase local makers and producers.<br />
The online shop is also a main focus for us, as we see the huge<br />
potential in this being our point of contact to wider Australia<br />
and the world.<br />
MHD As part of your role, you present a series of market<br />
seminars to JamFactory Associates. What do you view as the<br />
greatest potential for emerging designers and craftspeople in<br />
the market place?<br />
DE The market is in a state of transition. When we first began<br />
our studio there was generally much less awareness (especially<br />
in Australia) of design. This was the main reason we began<br />
to show our work internationally as we felt it was far better<br />
received, not only in the flesh, but also through media, retailers<br />
and manufacturers overseas. Over the past 6 years we have<br />
seen design become far more mainstream in Australia, which<br />
in turn is proving to be very beneficial for up and coming<br />
designers and studios. Now there are far more magazines,<br />
blogs and galleries celebrating design.<br />
MHD Part of the changing customer experience in JamFactory<br />
retail spaces is the introduction of practical workshops. Can<br />
you tell us about them?<br />
DE The idea of these workshops is to offer the public a tactile<br />
designer-maker experience without the commitment of a six<br />
week course. We like the idea of participants being able to<br />
walk away at the end of two hours with something they are<br />
proud of. Workshops we are currently rolling out are Wearable<br />
Art with jeweller Alice Potter and a weekend textile class with<br />
Melbourne screen printers Homework.<br />
MHD To finish, what are the next big plans for DANIEL EMMA?<br />
We are in the process of developing new work for The Rigg<br />
Design Award exhibition, which is being held at the National<br />
Gallery of Victoria in September <strong>2015</strong>.<br />
Left: BIG & SMALL, 2014,<br />
dimensions variable<br />
Photographer: Sean Fennesey<br />
ISSUE 03 / 47
DONATING TO HISTORY<br />
When two of South Australia’s leading cultural institutions<br />
came together to realise a special project, the result was an<br />
invaluable, one-of-a-kind object and some.<br />
Words by Emma Waterman<br />
Emma is an Adelaide based writer with a passion for the Australian arts community.<br />
It was a welcomed collaboration between JamFactory and<br />
the South Australian Museum that resulted in a new donation<br />
box for the museum. “We needed something bespoke; it<br />
needed to be totally reflective of the museum, both in terms<br />
of its collections and history,” explains Museum Director Brian<br />
Oldman. And while there was no doubt in Oldman’s mind<br />
JamFactory was the perfect group for the commission, he<br />
had no preconceptions as to how the new donation box<br />
would look. “We knew we wouldn’t find what we were looking<br />
for off the shelf…we put a brief together based on what we<br />
needed the box to achieve and left it to the designers to<br />
respond,” Oldman says.<br />
The new donation box needed to have a presence, engage<br />
and represent the values of the South Australian Museum.<br />
With these goals in mind, JamFactory’s Metal Studio led by<br />
Creative Director Christian Hall, set about doing their<br />
homework to fulfil the straightforward yet excellent brief.<br />
“There was a lot of conceptual exploration by the Metal<br />
Studio team, including field trips to the Museum, to<br />
understand its collections,” Hall details.<br />
The end product, which was unveiled in December 2014, uses<br />
an 18th century handle to turn a surface of mirrored stainless<br />
steel etched with fossils. Suspended above this undulating<br />
surface is a metal rendering of the Museum’s plesiosaur<br />
skeleton; the finest example of an opalised fossil in the world.<br />
And as authenticity is critical within museum contexts, the<br />
Metal Studio worked on the final design for the plesiosaur in<br />
close consultation with the Museum’s paleontologists.<br />
The sculptural value of the box is evident and what especially<br />
sets it apart from other boxes is the donation pit. This<br />
tangible aspect acts as a measure to how audiences feel<br />
about the box and indeed the Museum. For Oldman, it was<br />
important to communicate the fact that the Museum is in<br />
need of financial support, “We open our doors for free and<br />
always have. But if we are to do all of the things the public<br />
would like a museum to do – have exhibitions, programs and<br />
educational activities – we need funding.”<br />
In the short time the donation box has been in place, it’s<br />
clear the commission has delivered on both qualitative and<br />
financial goals. “I’m absolutely delighted with the results. It<br />
certainly exceeds customer expectations,” Oldman exclaims.<br />
Just as the commission process was a two-way relationship<br />
between JamFactory and the South Australian Museum, so<br />
too was the legitimate teaching and learning opportunity<br />
that resulted. “The educational opportunities presented<br />
through this commission for our studio Associates were<br />
second to none,” Hall reflects and further notes, “Plus, the<br />
Museum had absolute trust in us from the very first time we<br />
pitched our idea, so that gave us the confidence to create<br />
something exceptional.”<br />
Top right Detail showing stainless steel plesiosaur within the Donation Box<br />
at the South Australian Museum<br />
Photographer: Tom Roschi<br />
Far right: Detail of the etched stainless steel surface.<br />
Photographer: Tom Roschi<br />
Right: South Australian Museum Director Brian Oldman<br />
Photographer: Denis Smith<br />
48 / ISSUE 03
ISSUE 03 / 49
A NEW WAY<br />
JamFactory’s Furniture Studio has undergone<br />
somewhat of a revolution over the past twelve months.<br />
Words by Emma Waterman<br />
Emma is an Adelaide based writer with a passion for the Australian arts community.<br />
Appointed as the Furniture Studio’s Creative Director in 2014,<br />
Jon Goulder has certainly made his mark in the short time<br />
he’s been in the role. While commission work plays an<br />
important role in all JamFactory studios, Goulder has taken<br />
this one step further. The studio now enlists the support<br />
of leading local manufacturers to execute some of the<br />
commissions, developing ranges of furniture and<br />
homewares designed within the studio.<br />
Bringing with him more than 20 years’ experience as a<br />
professional designer-maker, the studio has been advanced<br />
by Goulder’s renowned practice and his established position<br />
as a leader in the field of Australian contemporary furniture<br />
design. “We design domestic and commercial commissions<br />
and whilst we maintain our artistic license, we’re also willing<br />
to collaborate with architects, artists and designers to<br />
develop ideas for public and private commission,” Goulder<br />
says in explanation of the studio’s direction.<br />
In line with this new model, the program has shifted to cater<br />
for a more contemporary skill set, conducive to the practices<br />
of the new Furniture Studio Associates.<br />
“The learning of craft skills at universities and technical<br />
colleges is slowly being eroded as the teaching of these skills<br />
is no longer seen as relevant,” says Goulder “Increasingly<br />
we’re taking on Associates who are industrial designers,<br />
architects and tradespeople. We don’t teach them to become<br />
fine woodworkers but instead, to conduct a professional<br />
furniture and object design practice that’s relevant to today’s<br />
industry, technologies, and marketplace.”<br />
And as Goulder continues this new way, it places the<br />
Furniture Studio in a uniquely advantageous position on<br />
a national scale. “There aren’t many design businesses in<br />
Australia that have our capability; we’re both designers and<br />
makers. It’s very hard to find a designer who can make and<br />
a maker who can design,” he points out.<br />
The heartbeat of this studio is commission work and its<br />
importance as a training tool for Associates must not be<br />
undervalued. With the studio running as a professional<br />
practice, the Associates work on the design and development<br />
of real-world projects, within real-world budgets and time<br />
frames, resulting in a professional rate of pay for their work.<br />
One example of this was last year’s project for Beach Energy<br />
in conjunction with Walter Brooke Architects. In partnership,<br />
Associates developed numerous bespoke items for the new<br />
Beach Energy head office including a twelve metre long<br />
boardroom table and complete fit-out of the Managing<br />
Director’s office.<br />
Looking forward, <strong>2015</strong> promises to be just as busy – if<br />
not busier – with the team working on several large-scale<br />
commissions, JamFactory’s homewares, a collection of<br />
JamFactory branded furniture for national distribution and<br />
several high profile national exhibitions. “We’re designing<br />
sculptural bench seating for the new Royal Adelaide Hospital<br />
and developing furniture for the entry foyer of the Brookfield<br />
Multiplex head office in Perth with Woods Bagot. We’re also<br />
part of the design team, with Norwegian practice Snøhetta<br />
and local firm JPE Design Studio, working on the University<br />
of South Australia’s Great Hall project,” Goulder enthuses.<br />
It’s clear to see why Goulder is so excited about the fresh<br />
direction the Furniture Studio is taking, including the<br />
exceptional work Associates are producing. As mentor,<br />
he is expectant that this current approach will deliver five<br />
key qualities in graduating Associates: a view to economic<br />
feasibility, an individual professional profile, work ethic and<br />
proficiency, design skills and making skills.<br />
And as the commission work continues to flow through their<br />
studio doors, it looks as though this new model is going<br />
to deliver on each of these expectations. “Associates will<br />
have the complete package that will allow them to have an<br />
economically sustainable and culturally viable professional<br />
practice beyond this studio,” Goulder firmly believes.<br />
Top right: Rhys Cooper, CUSP Dining Chair, 2014, American White Oak, Kvadrat<br />
Maharam Fabric 600 x 500 x 750 Photographer: Andre Castelucci<br />
Far right: Nicholas Fuller, Phil Chair, <strong>2015</strong> soap finished American White Oak and<br />
Kvadrat Maharam fabric Photographer: Daniel Tucker<br />
Right: Stephen Roy, Hansha Stool, 2014 American White Oak,<br />
Photographer: Johanis Lyons-Reid<br />
50 / ISSUE 03
ISSUE 03 / 51
JAMFACTORY<br />
PRODUCTS<br />
JamFactory studio production focusses<br />
on the design of useful, well made products.<br />
These objects highlight the craft methods<br />
behind their production and the specific<br />
characteristics of the materials used.<br />
JamFactory products are designed<br />
in-house by creative staff or through<br />
collaboration with independent<br />
designers. Each piece is manufactured<br />
or hand finished within one or more of<br />
the JamFactory’s four Adelaide based<br />
studios in ceramics, glass, furniture,<br />
and metal design.<br />
This range of products is designed by<br />
Daniel . Emma, Jon Goulder, Christian Hall,<br />
Deb Jones, Tom Mirams, Damon Moon<br />
and Brian Parkes.<br />
All products are available through<br />
JamFactory’s online shop.<br />
jamfactory.com.au<br />
design + craftsmanship
KINK<br />
Oil Bottle<br />
$125<br />
KINK<br />
Vinegar Bottle<br />
$95<br />
GRIND<br />
Pepper Mill<br />
$175<br />
GRIND<br />
Salt Mill<br />
$175<br />
THROWN<br />
Cup & Saucer<br />
$75<br />
THROWN<br />
Cup<br />
$24.95<br />
Olive<br />
Lime<br />
Clear<br />
Smoke<br />
Aubergine<br />
Clear<br />
Black<br />
Natural<br />
White / Sand<br />
Natural / Black<br />
White Speck<br />
Sand Speck<br />
THROWN<br />
Side Plate<br />
$35<br />
THROWN<br />
Dinner Plate<br />
$49.95<br />
THROWN<br />
Dessert Bowl<br />
$29.95<br />
THROWN<br />
Pasta Bowl<br />
$39.95<br />
THROWN<br />
Platter<br />
$99.95<br />
THROWN<br />
Salad Bowl<br />
$99.95<br />
White Speck<br />
Sand Speck<br />
White Speck<br />
Sand Speck<br />
White Speck<br />
Sand Speck<br />
White Speck<br />
Sand Speck<br />
White Speck<br />
Sand Speck<br />
White Speck<br />
Sand Speck<br />
CHOP<br />
Board<br />
$180<br />
SERVE<br />
Board<br />
$195<br />
SHARE<br />
Board<br />
$255<br />
STORE<br />
Desk Tidy<br />
$165<br />
BLOCK<br />
Bookends<br />
$120<br />
Natural<br />
Natural<br />
Natural / White<br />
Natural / Sand<br />
Natural / Black<br />
Black<br />
CUBE<br />
Paperweight<br />
$90<br />
ECLIPSE<br />
Pinch Bowls<br />
$59.95<br />
ECLIPSE<br />
Nesting Bowls<br />
$220<br />
CURVE<br />
Salad Servers<br />
$95<br />
JAMJAR<br />
Storage Jar<br />
$250<br />
Brass<br />
Stainless Steel<br />
Stainless Steel<br />
Stainless Steel /<br />
Black<br />
Smoke<br />
Amber<br />
Clear<br />
ISSUE 03 / 53
Q &A<br />
JULIE FLEMING
JamFactory’s Seppeltsfield facility provides highly sought<br />
after independent studio spaces. Adele Sliuzas, JamFactory’s<br />
Assistant Curator, spoke with one of our new tenants at<br />
Seppeltsfield, milliner Julie Fleming.<br />
Fleming’s millinery studio adds a sense of vintage glamour<br />
to the Seppeltsfield village. One of Australia’s most prolific<br />
hat makers, she started her business in Melbourne in 1989.<br />
Studying fine arts at the University of Southern Queensland<br />
and Monash University, she majored in painting and<br />
printmaking, prior to becoming interested in millinery in the<br />
mid 1980s. Fleming trained in London under famed Royal<br />
Milliner, the late Philip Somerville, before making a name for<br />
herself in Melbourne and more recently in the Barossa Valley.<br />
AS Tell me a little about your training in London.<br />
JF I landed in London in late 1987 and knew I needed to get a<br />
job straight away. My girlfriend and I went to a phone box and<br />
rang every business in the phone book that related to textile<br />
design and millinery. I was offered a job at Philip Somerville.<br />
They taught me how to work with fabrics and many other skills<br />
that I was later able to build on. Two years later, I came back to<br />
Australia and started my own business in Melbourne.<br />
AS You worked with Alannah Hill recently on some accessories<br />
for her new label Louise Love. How was it working with her?<br />
JF I’ve known Alannah for many years and we’re both very<br />
much in sync. When she decided to start her new label she<br />
asked me to get on board and do the accessories. I’ve ended<br />
up making giant upside down bows and Mickey Mouse ears<br />
which were pretty nutty but have sold amazingly well.<br />
AS You’ve just moved from the heart of Melbourne to the<br />
Barossa Valley. What made you decide to make the move?<br />
JF It was time for me to move away from manic metropolitan<br />
life in Melbourne. My sister has lived in Angaston for 15 years<br />
and told me about JamFactory at Seppeltsfield, so I got in<br />
contact with them. I still plan to do pop-up shops in Melbourne<br />
during Spring Racing and will be recommending that interstate<br />
clients come for weekends to the Barossa Valley. Who wouldn’t<br />
want to do that!<br />
AS Millinery is a very tactile process, with so many beautiful<br />
fabrics at your disposal. Can you share a bit about the<br />
materials you use?<br />
JF I have always loved heavy beading, proper crystal<br />
decorations and French embroidery. Everything I do is<br />
based around my personal taste. A lot of the materials I<br />
source come from America and I’ve collected countless<br />
abrics over the years.<br />
AS When you set out to design and make a piece, what is<br />
your process?<br />
JF My designs evolve from the pieces of material I have around<br />
me. I might put a group of things together that are of the same<br />
colourway and go from there. I don’t plan a lot. I like to see<br />
how things evolve and enjoy getting into a meditative rhythm<br />
where my mind drifts while I’m making. I work quite slowly<br />
and work on several pieces consecutively. There is a lot of<br />
waiting around; waiting for things to dry. This allows me to put<br />
something down and leave it and then come back to it later.<br />
AS Where do you draw inspiration from?<br />
JF I am inspired by the elegance and style of the 1940s and<br />
1950s. I love Dior. If you had told me when I was finishing art<br />
school that I would have ended up in the fashion industry, I<br />
would have told you that you were crazy! I’m still not sure<br />
how it happened.<br />
Left: Julie Fleming in her Seppeltsfield studio.<br />
Photographer: Dragan Radocaj<br />
ISSUE 03 / 55
Q &A<br />
KYOKO<br />
HASHIMOTO
Alongside JamFactory’s highly sought after independent<br />
studio spaces, JamFactory Adelaide provides artist residency<br />
opportunities. Adele Sliuzas, JamFactory’s Assistant Curator,<br />
spoke with the Metal Design Studio’s Artist in Residence,<br />
Kyoko Hashimoto.<br />
Kyoko Hashimoto is an Adelaide based jeweller whose bold,<br />
colourful designs make use of strong graphic elements and<br />
nontraditional materials. Hashimoto studied jewellery at the<br />
College of Fine Arts in Sydney and has travelled extensively<br />
throughout Europe and Asia. In 2014 she held the position of<br />
Production Manager in JamFactory’s Metal Design Studio and<br />
is currently an Artist in Residence.<br />
AS Can you tell me how you became a jeweller? What made<br />
you decide to become a designer-maker?<br />
KH Both my parents are ceramists, so I was exposed to art<br />
from a young age. They owned a stationery shop in Japan, so I<br />
had access to an endless supply of paper and coloured pencils.<br />
I always wanted to be an artist, except for when I wanted to<br />
become a professional speed skater!<br />
AS Can you tell me about the materials you are drawn to<br />
and how they inform your practice?<br />
KH I like to explore various materials along with their tactile<br />
qualities. My purpose as a designer is to make things different,<br />
unique and a little bit fun. I believe this is why I’m attracted to<br />
working with nontraditional materials like acrylic, sponge and<br />
powder coated brass.<br />
AS And your current wearable series, The Endcap Project.<br />
What was/is your thinking behind this?<br />
KH The project began when I purchased a bag of endcaps to<br />
finish off a piece. An endcap is a jewellery component typically<br />
used to ‘cap’ the end of rope or chain to prevent fraying. I<br />
could only buy them in bulk from China and afterwards, had<br />
thousands of endcaps left over. One day I was cleaning my<br />
studio and found them again. Their find made me think about<br />
problems of globalisation, industrial mass-production and I felt<br />
sad. As I reflected over the many industrial components in our<br />
daily lives that are similarly mass-produced, shipped around<br />
the world and too often discarded, I decided to use the surplus<br />
endcaps in my new jewellery collection. Each design from<br />
the new collection has an endcap component and each piece<br />
varies in appearance, colour and shape, which I feel revitalises<br />
the otherwise standardised quality of industrialised objects.<br />
AS You are currently an Artist in Residence in JamFactory’s<br />
Metal Design Studio. What are you working on there?<br />
KH I’m working on a new range of jewellery that combines<br />
semi-precious stones, locally sourced marble and precious<br />
metals. As part of my residency, I’ve been invited to give a<br />
workshop to the Metal Associates on the conceptual design<br />
of rings, together with my partner Guy Keulemans, a furniture/<br />
object designer also in residence at JamFactory. Guy has a<br />
very conceptual approach to his designs, so the topic of this<br />
workshop is perfect for us.<br />
AS What is your process when designing and making a piece?<br />
KH I am often drawn to a material first, then research and<br />
experiment with the capabilities and limitations of that<br />
material. At the moment, I’m interested in combining marble<br />
elements with silver or gold. Marble behaves differently to any<br />
other material I’ve ever worked with. I like the idea of using<br />
local off-cuts from industry and making them into wearable<br />
objects.<br />
AS You’ve lived in Sydney, Tokyo, Berlin, Eindhoven and last<br />
year made the move to Adelaide. From your exposure, do<br />
you think people from different cities wear their jewellery in<br />
different ways?<br />
Different cities definitely wear their jewellery differently. My<br />
jewellery appealed to the younger crowd in Tokyo. But when I<br />
was living in Berlin, the general fashion was sort of minimalistic<br />
– Street Grunge – and not many people wore statement<br />
jewellery. So I modified my jewellery in response, particularly<br />
in regards to size, scale and subtlety.<br />
Left: The End Cap Project, 2014<br />
Brass, powder coated brass, sterling silver, polyurethane, pigment<br />
dimenisions variable<br />
Photographer: Kyoko Hashimoto<br />
ISSUE 03 / 57
JamFactory is delighted to be collaborating with Stylecraft –<br />
one of Australia’s leading commercial furniture suppliers – to<br />
present the first Australian Furniture Design Award (AFDA),<br />
a prestigious biannual award for excellence in innovative<br />
Australian furniture design.<br />
The new AFDA award is open to both Australian designers<br />
(locally based or otherwise) and designers residing within<br />
Australia. It aims to raise the profile of Australian furniture<br />
designers, to encourage innovation in furniture design and to<br />
foster an increase in production of Australian made furniture.<br />
The winner of the AFDA will receive a $20,000 cash prize<br />
and a residency at Adelaide’s JamFactory to develop a design<br />
through to commercial production for national distribution<br />
through Stylecraft.<br />
JamFactory’s Chief Executive Officer Brian Parkes says,<br />
“The opportunity for the winner to work with Jon Goulder<br />
and the team in our Furniture Studio and to access our local<br />
manufacturing networks is a significant value-add for the<br />
prize.” Stylecraft’s Managing Director Anthony Collins agrees,<br />
“The guaranteed distribution outcome will provide real longterm<br />
benefits for the winning designer.”<br />
As part of the residency, JamFactory will assist with<br />
prototyping the winning design, or a related piece, and<br />
facilitate negotiations with appropriate local manufacturers.<br />
The resulting piece, or pieces, will be represented nationally<br />
and in Singapore by Stylecraft and the designer will earn a 7%<br />
wholesale royalty on all sales.<br />
Another major element of the Award will see the winner’s<br />
prototype acquired by the Art Gallery of South Australia. The<br />
Gallery’s Director Nick Mitzevich says, “The purchase of work<br />
through this important new award will enable the Gallery to<br />
continue to build its design holdings,” which currently includes<br />
several important prototypes such as the Lockheed Lounge by<br />
Marc Newson.<br />
Six finalists will be chosen to present their prototypes before<br />
the judging panel and the winner announced at a special<br />
event in Adelaide in July. An exhibition of finalists’ works will<br />
be displayed at Stylecraft showrooms in Adelaide, Sydney,<br />
Melbourne, Brisbane, Canberra and Perth over the following<br />
twelve months.<br />
Australian Furniture Design Award: <strong>2015</strong> Judging Panel<br />
Jon Goulder<br />
Creative Director, Furniture Design Studio, JamFactory<br />
Jon Goulder founded his own studio in 1996 and his unrivalled<br />
work has featured in significant exhibitions and publications<br />
around the world. Goulder was the inaugural winner of the<br />
Bombay Sapphire Design Discovery Award in 2003 and his<br />
work is held in major public collections, including the National<br />
Gallery of Australia and Powerhouse Museum.<br />
Tony Russell<br />
Brand Director Stylecraft<br />
Tony Russell has been with Stylecraft since 2000. His current<br />
role encapsulates product selection with European suppliers<br />
and the development of Australian design and manufacturing<br />
exclusively for the Stylecraft collection.<br />
Nick Mitzevich<br />
Director, Art Gallery of South Australia<br />
Since his appointment at the Art Gallery of South Australia in<br />
2010, Nick Mitzevich has significantly enriched the Gallery’s<br />
collections with major acquisitions, dramatically increased<br />
private benefaction and broken audience attendance records.<br />
He has curated notable international and national exhibitions,<br />
including the 2014 Adelaide Biennial of Australian Art.<br />
Fenella Kernebone<br />
Presenter, By Design, ABC Radio National<br />
Fenella Kernebone is a television and radio presenter<br />
and producer, MC, interviewer and writer. In 2010 to 2011,<br />
Kernebone hosted Art Nation on ABC TV and presented<br />
and produced on Sunday Arts. Prior to that, she was one of<br />
the hosts and film reviewers on The Movie Show, SBS TV.<br />
Rosina Di Maria<br />
Principal, Woods Bagot, Adelaide Studio<br />
Rosina Di Maria returned to Adelaide after leading the interiors<br />
portfolio in the Woods Bagot, London Studio. Since returning<br />
she has completed the interiors of the South Australian Health<br />
and Medical Research Institute, Hilton’s Collins Bar and the<br />
Adelaide Convention Centre redevelopment.<br />
Jon Goulder. Splay Chair, 2011 Tasmanian Oak 720 x 720 x 660<br />
Photo courtesy of the artist
“No other award offers such<br />
a substantial prize pool and<br />
rigorous mentoring programme.<br />
The professional advice means<br />
that a designer can transform<br />
their great idea into a resolved,<br />
market place product. There are<br />
very few platforms that nurture<br />
Australian designers in such a<br />
practical, career-defining way.”<br />
Adam Goodrum, Sydney,<br />
November 2014
Join us! Become a member of JamFactory and<br />
help nurture and promote good design and<br />
fine craftsmanship in Australia. Support a world<br />
class Associate training program and receive a<br />
great range of discounts, exclusive event<br />
invitations, information and offers.<br />
INDIVIDUAL MEMBERSHIP<br />
JamFactory Membership is for someone who has everything...<br />
but wants more.<br />
Cost: $45<br />
/ 10% discount at JamFactory shops and online<br />
/ 10% discount on gallery purchases<br />
/ 10% discount on gift membership<br />
/ 10% discount on JamFactory workshops<br />
/ Exclusive offers and invitations to openings and other events<br />
/ Delivery of the JamFactory magazine <strong>Marmalade</strong> worldwide<br />
/ Delivery of the JamFactory event program (4 annually)<br />
/ Bi-monthly electronic newsletter with exclusive member offers<br />
/ 10% discount at Seppeltsfield Cellar Door and FINO at Seppeltsfield<br />
(Conditions apply)<br />
/ A premium suite upgrade for JamFactory members staying at<br />
The Louise with gas-log fireplace and outdoor private rain shower<br />
(subject to availability)<br />
/ NEW Members Circle program of events and activities<br />
CORPORATE MEMBERSHIP<br />
Be original... Inspire staff and clients with unique, high quality and<br />
beautifully wrapped corporate gifts and experiences.<br />
Cost: $120<br />
/ 20% discount at JamFactory shops and online<br />
/ 10% discount on gift membership<br />
/ 10% discount on JamFactory workshops, team building sessions<br />
and venue hire<br />
/ Exclusive offers and invitations to openings and other events<br />
/ Delivery of the JamFactory magazine <strong>Marmalade</strong> worldwide<br />
/ Delivery of the JamFactory event program (4 annually)<br />
/ Bi-monthly electronic newsletter with exclusive member offers<br />
MEMBERS’ CIRCLE<br />
The Members’ Circle is available to all members and was established<br />
to offer further immersion in JamFactory and its far reaching network.<br />
The Members’ Circle offers a selection of exclusive social and insightful events<br />
and activities, talks, tours, wining, dining and an exclusive annual shopping<br />
experience.<br />
GIFT MEMBERSHIP<br />
Tick Gift Membership on the application forms, and the recipient will<br />
receive their 12 month membership enclosed in a limited edition<br />
JamFactory greeting card from you.<br />
ISSUE 03 / 61
MAJOR<br />
PARTNERS<br />
SUPPORTING<br />
PARTNERS<br />
JamFactory is a unique, iconic<br />
and important South Australian<br />
organisation, and ANZ is proud<br />
to be a sponsor again in <strong>2015</strong>.<br />
With a priceless legacy dating back<br />
to 1851, Seppeltsfield is one of<br />
Australia’s finest wine estates and<br />
JamFactory’s exclusive wine<br />
partner. Their partnership with<br />
JamFactory brings together two<br />
significant South Australian icons –<br />
both with a commitment to<br />
premium quality and bespoke<br />
production, providing a unique hub<br />
for craft and design in the Barossa.<br />
The University of South Australia<br />
is a progressive international<br />
university, and through the School<br />
of Art, Architecture and Design has<br />
a long history of leading the way in<br />
arts education and contributing to<br />
the vitality of the creative economy.<br />
The University of South Australia is<br />
pleased to be working closely with<br />
JamFactory to further enhance<br />
opportunity and viability for<br />
creative entrepreneurs.<br />
Established in 2003, Canvas Group<br />
is a multi-award-winning creative<br />
agency based in Sydney. With over<br />
9,000 projects for clients around<br />
Australia, Europe, Asia and the<br />
Americas, they are proud partners<br />
in the JamFactory brand, website<br />
design and <strong>Marmalade</strong>.<br />
A leader in the design industry,<br />
Stylecraft has been providing<br />
furniture of original contemporary<br />
design for over 60 years. Now<br />
together with JamFactory, they are<br />
proudly presenting the Australian<br />
Furniture Design Award, Australia’s<br />
richest and most prestigious award<br />
for furniture design that encourages<br />
innovation in furniture design and<br />
will foster new opportunities for<br />
furniture manufacturing in Australia.<br />
62 / ISSUE 03
GOVERNMENT<br />
PARTNERS<br />
CORPORATE<br />
COMMISSION<br />
CLIENTS<br />
Adelaide Botanic Gardens<br />
Adelaide Cabaret Festival<br />
Adelaide Casino<br />
Adelaide City Council<br />
Adelaide Film Festival<br />
Adelaide United Football Club<br />
Adelaide Wine Show<br />
Articolo Architectural Lighting<br />
Arts SA<br />
Athletics Australia<br />
Australia Council for the Arts<br />
Barossa Grape & Wine Association<br />
Beach Energy<br />
Bradley Cole Lighting<br />
Brand South Australia<br />
Brookfield Multiplex Australasia<br />
Centennial Park<br />
Department of Further Education,<br />
Employment, Science and Technology<br />
Department of State Development<br />
Evright Trophies<br />
FINO at Seppeltsfield<br />
Food South Australia<br />
Glass and Glazing Association of<br />
Australia<br />
Hot 100 South Australian Wines<br />
JPE Design Studio<br />
Kojo Productions<br />
Koskela<br />
Le Cordon Bleu Australia<br />
Maybe Mae<br />
Meals on Wheels SA<br />
Media Resource Centre<br />
Museums and Galleries of NSW<br />
National Gallery of Australia<br />
National Pharmacies<br />
Penfolds Magill Estate Restaurant<br />
Renewal SA<br />
Robinson Institute<br />
Ross Gardam Design<br />
Royal Adelaide Show<br />
SA Health<br />
SA Media Awards<br />
Santos<br />
Santos Tour Down Under<br />
Schiavello<br />
Seppeltsfield Wines<br />
Simulation Australia<br />
South Australian Museum<br />
South Australian Tourism Commission<br />
Stylecraft<br />
The Louise & Appellation<br />
Traegermunt Pty Ltd<br />
University of South Australia<br />
Walford Anglican School for Girls<br />
Walter Brooke<br />
Woods Bagot<br />
2KW Enterprises<br />
ISSUE 03 / 63
JamFactory is a not for profit organisation promoting<br />
good design and fine craftsmanship. All donations to<br />
JamFactory directly support our education, training<br />
and exhibition activities. JamFactory would like to<br />
acknowledge and sincerely thank the following donors<br />
for their support:<br />
Adey Lawyers<br />
James Allen<br />
Helen Bell<br />
Alexandrea Cannon<br />
Everglades Fund<br />
Farm Follies<br />
Catherine Flemming<br />
Grant Hancock<br />
Lyndall Hughes<br />
Diana Jaquillard<br />
Victoria Jennings<br />
Lisa Lavan<br />
Professor Kay Lawrence AM<br />
Nicholas Linke<br />
Jane Lomax-Smith<br />
Kathie Massey<br />
Dr Doug McEvoy<br />
David McKee<br />
Janette Nicholls<br />
Brian Parkes and Imogen Landau<br />
Helen Petros<br />
Anne Skipper<br />
Jim Spiker (ADFAS)<br />
Carol Treloar<br />
W N J Wells<br />
Jane Yuile<br />
To donate visit jamfactory.com.au and go to the Donations page.<br />
JamFactory is approached for support by countless<br />
charities, not for profits and community groups annually.<br />
We strive to support those who support us, and celebrate<br />
generous and valuable individuals in our community.<br />
Below are some of the groups we supported in 2014/15.<br />
Adelaide Festival Centre Foundation<br />
Australian Institute of Architects<br />
Barossa District Football & Netball Club<br />
Barossa Visitor Information Centre<br />
Channel 9 Telethon<br />
Connecting Up Inc<br />
Conservation Council SA<br />
Feast Festival<br />
Flinders Medical Centre Foundation<br />
Friends of the State Opera<br />
Hang it up for Poverty<br />
Lions Club Australia<br />
Loreto College<br />
Mary Potter Foundation<br />
Media Resource Centre<br />
Mercury Cinema<br />
Quarter Club Premier’s Games Appeal<br />
Red Faces Supporting Mental Health<br />
Ronald MacDonald Charity Ball<br />
Seppeltsfield Road Business Alliance<br />
South Australian Museum<br />
St Ignatius College<br />
Starlight Foundation<br />
Tasting Australia<br />
The Adelaide Youth Orchestraa<br />
The Hospital Research Foundation<br />
The Repat Foundation<br />
Urban Myth Theatre<br />
Womens & Childrens Hospital<br />
64 / ISSUE 03
Naomi Hunter, PhD candidate,<br />
Fragments 2013<br />
Photography by Steve Wilson<br />
Finalist in the 2014 National<br />
Student Art Glass Prize<br />
Leading the way in<br />
arts education since 1856<br />
The School of Art, Architecture and Design at the University of South Australia has led the<br />
way in arts education for more than 150 years and is proud of its contribution to the vitality<br />
of the arts locally, nationally and internationally.<br />
Our award-winning students, graduates and academics excel in their chosen fields and<br />
aim to inspire the next generation.<br />
unisa.edu.au/aad<br />
USA10058_CRICOS PROVIDER NO 00121B
JamFactory thanks our<br />
major sponsors.<br />
Proudly investing in<br />
Tomorrow. Talent.<br />
Second year Associate Courtney Jackson Photographer: Sven Kovac