Marmalade Issue 3, 2015

ISSUE NO 03 

design + craftsmanship

A BAROSSA WINE, FOOD & ART PARADISE 

SEPPELTSFIELD.COM.AU 

T: (08) 8568 6200 A: 730 Seppeltsfield Rd Seppeltsfield Barossa Valley SA 5355

CONTENTS 

Features 

16 / Nuturing Tomorrow’s Talent 

Mentoring exceptional talent, JamFactory’s rigorous 

two-year Associate training program provides upcoming 

artists, designers and craftspeople with world-class 

professional development opportunities. 

26 / GLASS: art design architecture 

Outstanding projects by contemporary Australian artists, 

designers and architects representing a cross-section of current 

creative practices and relationships to this versatile material. 

14 

34 / Shimmer 

Shimmer highlights the continuity of practice in several forms of 

Indigenous adornment in Australia whilst showcasing new ways in 

which contemporary artists are exploring ideas of adornment in 

their practice. 

40 / The Synergy of Good Food and Design 

As demand for more than outstanding food and wine increases, 

good design has risen to become an equally important player in 

South Australia’s experience based food game. 

Profiles 

12 / Alexander Lotersztain: In Profile 

14 / Giles Bettison: Pattern and Perception 

22 

24 / Henry Wilson: Collector, Craftsman, Creative Force 

Q&A 

46 / DANIEL EMMA 

54 / Julie Fleming 

56 / Kyoko Hashimoto 

26 

48 

ISSUE 03 / 1

Marmalade 

Editorial Team 

Margaret Hancock Davis 

Brian Parkes 

Design 

Sophie Guiney with 

template by Canvas Group 

Copy Editor 

Maple Amodeo 

Feature Writers 

and Contributors 

Leanne Amodeo 

Coby Edgar 

Caitlin Eyre 

Nikki Hamdorf 


Victoria Kovacs 

Brian Parkes 

Danielle Robson 

Adele Sliuzas 

Emma Waterman 

Photographers 

Brad Bonar 

Andre Castelucci 

Andrew Dunbar 

Anna Fenech Harris 

Sean Fennesey 

John Gollings 

Florian Groehn 

Michael Haines 

Grant Hancock 

Sven Kovac 

Andy Lewis 

Janelle Low 

Johanis Lyons-Reid 

Pippy Mount 

Fernanda Pardo 

Dragan Radocaj 

Phebe Rendulić 

Tom Roschi 

Denis Smith 

Liam West 

All photography 

as indicated 

Printing 

Printed in China by Imago 

Cover 

Rings with Artichoke, 2014 

Brass, powder coated brass, 

polyurethane, pigment 

Photographer: Phebe Rendulić 

Left: Alice Potter, Metal Design Studio 

Photographer: Brad Bonar 

Measurements throughout 

have been given in millimeters, 

height x width x depth. 

Distribution Enquiries 

Emma Aiston 

emma.aiston@jamfactory.com.au 

Publisher 

JamFactory 

19 Morphett Street Adelaide SA 5000 

Office: (08) 8410 0727 

Email: contact@jamfactory.com.au 

Website: jamfactory.com.au 

JamFactory supports and 

promotes outstanding design and 

craftsmanship through its widely 

acclaimed studios, galleries and 

shops. A unique not-for-profit 

organisation located in the Adelaide 

city centre, JamFactory is supported 

by the South Australian Government 

and recognised both nationally 

and internationally as a centre 

for excellence. 

Board of Directors 

Peter Vaughan (Chair) 

Jim Carreker 

Shane Flowers 

Prof. Kay Lawrence AM 

Dr. Jane Lomax-Smith AM 

Anne Moroney 

Penny McAuley 

Libby Raupach OAM 

Chief Executive Officer 

and Artistic Director 

Brian Parkes 

Administration 

General Manager 

Kate Cenko 

Finance Manager 

Carolyn Seelig 

Executive Assistant 

Claudine Young 

Accounts Officer 

Tracy Peck 

Administration/Accounts Assistant 

Anna Fenech Harris 

Development Manager 

Nikki Hamdorf 

Communications Manager 

Lana Pearce 

Graphic Designer 

Sophie Guiney 

Sales 

Creative Director - Retail and Product 

Emma Aiston and Daniel To 

Retail and Gallery Manager 

Lucy Potter 

Retail Supervisor 

Ali Carpenter 

Retail Supervisor - Rundle Mall Plaza 

Roxanne Ambrose 

Retail and Gallery Manager - 

Seppeltsfield 

Kristy Pyror 

Retail Sales Staff 

Tessa Gravestock 

Angela Kearns 

Kate O’Leary Wroblewski 

Susan Schiller 

Bettina Smith 

Janice Vitkovsky 

Zarah Witzmann 

Exhibitions 

Senior Curator 


Assistant Curator 

Adele Sliuzas 

Assistant Curator on secondment 

from TARNANTHI Festival of 

Contemporary Aboriginal and 

Torres Strait Islander Art 

Coby Edgar 

Exhibition Installation Team 

Seb Calabretto 

Peter Carroll 

Daniel Guest 

Jaan Poldaas 

Ceramics Studio 

Creative Director 

Damon Moon 

Production Manager 

David Pedler 

Glass Studio 


Karen Cunningham 

Specialist Glass Producer 

Tom Moore 

Program Manager 

Kristel Britcher 


Liam Fleming 

Commissions Assistant 

Llewelyn Ash 

Associates 

Drew Spangenberg 

Kate Nixon 

Andrej Larson 

Laure Fradin 

Lewis Batchelar 

Alice Mahoney 

Furniture Studio 


Jon Goulder 


Adam Cantwell 

Associates 

Nicholas Fuller 

Rhys Cooper 

Stephen Roy 

Huw McConachy 

Matt Pearson 

Daniel Tucker 

Madeline Isakson 

Metal Design Studio 


Christian Hall 


Alice Potter 

Artists in Residence 

Kyoko Hashimoto 

Guy Keulemans 

Studio Tenant 

Associates 

Davide Spinoni 

Angela Giuliani 

Sylvia Nevistic 

Zoe Grigoris 

Emma Field 

Studio Tenants 

Studio 1 

Kristel Britcher 

Katie-Ann Houghton 

Madeline Prowd 

Studio 2 

Llewelyn Ash 

Andrew Baldwin 

Liam Fleming 

Alexander Valero 

Studio 3 

Tegan Empson 

Emma Klau 

Zoe Woods 

Studio 4 

Regine Schwarzer 

Jane Bowring 

Studio 5 

Liam Mugavin 

Matthew Taylor 

Studio 6 

Andrew Bartlett 

Daniel Guest 

Studio 7 

Tess Malpas 

John Richardson 

Kate Sutherland 

Studio 9 

Susan Frost 

Wayne Mcara 

Studio 10 

DANIEL EMMA 

Studio 11 

Ulrica Trulsson 

JamFactory at Seppeltsfield 

Studio 2 

Rose-Anne Russell 

Peter Tonkin 

Quinn Luestner 

Studio 3 

Julie Fleming 

Studio 4 

Barry Gardner 

Studio 6 

Brenden Scott French 

Fundraising Committee 

Denise George 

Diana Jacquillard 

Helen Nash 

Patricia Roche Greville 

Barbara Tanner 

Special thanks to Libby Raupach OAM 

Volunteers 

Rowena Allert 

Jill Cooke 

Truus Daalder 

Inta Deepers 

Steven Dewhirst 

Jo Gardner 

Keith Herbig 

Cat Lawrence 

Anne Leech 

Margaret Pearce 

Phillip Peckover 

Helen Petros 

Elaine Rischbieth 

Wendy Robins 

Diane Sparr 

Alli Symons 

Gillian Taggart 

Jasmine Van Der Byl 

Ann Veale 

JamFactory is a not-for-profit 

organisation promoting good 

design and fine craftsmanship. 

JamFactory acknowledges the 

support and assistance of Arts SA 

and is assisted by The Visual Arts 

and Crafts Strategy, an initiative of 

the Australian, State and Territory 

Governments. JamFactory Exhibitions 

Program is assisted by the Australian 

Government through the Australia 

Council, its arts funding and 

advisory body. 

Copyright © 2015. All rights reserved. 

Copyright for all completed works in 

this publication resides with the artists. 

Copyright for photographic images is 

held by the individual photographers 

as acknowledged. Copyright for written 

content resides with the individual 

authors or designers. No part of this 

publication may be reproduced, stored 

in a retrieval system or transmitted 

in any form or by any means without 

prior permission from the publisher. 

Technician 

Tim Edwards 

Assistant Technician 

Madeline Prowd 

ISSUE 03 / 3

Editorial 

WELCOME TO THE 

2015 ISSUE OF 

MARMALADE! 

I recently celebrated my fifth anniversary as 

JamFactory’s CEO. I am very proud of what 

we’ve achieved and feel enormously privileged 

to work with such a passionate and outstanding 

Board and staff. 

JamFactory continues to be a cherished cultural 

Icon in South Australia, a clear leader in craft and 

design nationally and increasingly highly 

regarded across the globe. At the beginning of 

this year the New York Times noted Adelaide as 

one of the travel destinations for 2015 and named 

JamFactory as one of the reasons to visit. 

Through our venues in Adelaide and the Barossa 

and our national touring exhibitions we now 

reach a physical audience of more than 220,000 

visitors annually, along with many more who 

engage with us through our web presence and 

printed publications. JamFactory also directly 

supports the careers and incomes of hundreds 

of artists, designers and craftspeople every 

year through our training, exhibition and retail 

programs. It’s quite a remarkable organisation! 

This is the third issue of Marmalade magazine 

and its contents are again derived from the 

smorgasbord of stories and projects emanating 

from the broader JamFactory community. 

The first feature on page 16 outlines the highly 

acclaimed two-year Associate training program 

that lies at the heart of all that we do. The article 

showcases the most recent crop of alumni 

who are each well on their way to becoming 

successful entrepreneurs utilising the creative 

and business skills they honed during their 

time in the program. 

We recently increased philanthropic support for 

the Associate training program through the 

launch of our Medici Collective, a new program 

that enables visionary patrons to engage with 

the Associates and collectively contribute more 

than $50,000 annually towards their training. 

Glass has been a central material for the 

JamFactory since our hot glass studio was 

established over 40 years ago and in February 

this year we launched a ground-breaking 

exhibition looking at the use of glass in 

contemporary Australian art, design and 

architecture. This exhibition – our fourth major 

touring show since 2013 – was a major undertaking 

for JamFactory and our Senior Curator Margaret 

Hancock Davis provides some insights in the 

feature article on page 26. 

JamFactory is an organisation committed to 

collaboration and we have many partnerships 

across many projects. One of the most dynamic 

of those this year is the Shimmer exhibition – a 

collaboration with the South Australian Museum 

presented as part of TARNANTHI, the Art Gallery 

of South Australia’s inaugural Festival of 

Contemporary Aboriginal and Torres Strait 

Islander Art. The exhibition’s co-curator Coby 

Edgar gives a taste of what we can expect to see 

when the show and festival open in October on 

page 34. 

In recent years JamFactory has pursued new and 

varied opportunities for artists, designers and 

craftspeople in relation to the growing food and 

wine sector in South Australia – with some 

fabulous outcomes. The specially commissioned 

feature by Leanne Amodeo on page 40 examines 

some of these and hints at further possibilities for 

the future. 

If you enjoy the content of this magazine you 

might like to follow JamFactory on Twitter, 

Instagram or Facebook, watch videos on our 

YouTube channel or subscribe to our free 

bi-monthly e-newsletter. Details for all of these 

are available on our website which will be 

undergoing a dramatic overhaul later this year. 

We’ve made some great changes to Marmalade 

this edition and I would particularly like to 

acknowledge the wonderful work of our Graphic 

Designer Sophie Guiney. As always we welcome 

any feedback and suggestions you might have to 

help us continue to evolve it. 

Enjoy! 

Brian Parkes 

CEO and Artistic Director 

JamFactory 

ISSUE 03 / 5

Highlights 

ASSOCIATE HIGHLIGHTS 

CULTURE 

AND DESIGN 

Glass artists Karen Cunningham, 

JamFactory Glass Studio Creative Director 

and Mandi King, Master’s student at 

University of South Australia, collaborated 

to form illumini in 2010. Both share an 

interest in Scandinavian culture and design 

and in 2014 successfully undertook a three 

month Australia Council studio residency 

in Helsinki, experiencing firsthand the 

relationship between Finnish culture and 

design. During their residency, Cunningham 

and King interviewed a series of local 

artists, designers, researchers and 

businesses, interested in understanding 

relative environmental and socio-cultural 

perspectives. The residency also provided 

inspiration for new works, including the 

concept and design for the illumini 

Greenhouse, 2015 (pictured above) on 

tour in GLASS: art design architecture 

until 2018. 

Photographer: Fernanda Pardo 

JamFactory would like to congratulate the talented Associates who completed 

the two-year Associate training program in 2014. Many Associates received 

Australia Council ArtStart Grants (providing financial support for developing 

arts practices) including: Courtney Jackson, Matt Taylor, Katie-Ann Houghton 

and Marcel Hoogstad Hay. In addition, Hoogstag Hay was awarded an 

Endeavour Executive Fellowship that will see him travel to Berlin and Houghton 

was one of four recipients to receive an Australia Council Skills and Arts 

Development – Residency Grant in 2014, for use in the USA. Associate Liam 

Mugavin was the recipient of an Australia Council New Work Grant and 

Associate Steve Soeffky collaborated with designer Stephen Goddard, on 

the exhibition display for JamFactory’s touring show GLASS: art design 

architecture. Diego Vides Borrell launched his own product collection – the 

Void series – while Alexander Valero continued in creating works for exhibition 

(pictured above), developing his technical expertise for the making of 

sculptural pieces. 

Photographer: Tom Roschi 

NARRATIVE AND 

IMAGINATION 

Danielle Rickaby (pictured left), glass 

artist and former Associate at 

JamFactory, received the Hill Smith 

Gallery/Friends of the Helpmann 

Academy Award for international 

travel, valued at $5,000. She was 

selected on the basis of her work 

exhibited at The Helpmann Academy 

Graduate Exhibition in 2015. 

Influenced by the psychoanalytical 

Rorschach ‘inkblots’ test, Rickaby’s 

work triggered the imagination 

through abstract imagery; the 

merging of a two dimensional plane 

with three dimensional objects. 

The award provides an outstanding 

opportunity for international travel 

and associated networking. It 

supports cultural experiences that 

will contribute to the future of 

Rickaby’s professional glass practice. 

Photographer: Mick Bradley 

6 / ISSUE 03

HONOURING FAMILY 

Former JamFactory Associate and Glass Studio Tenant 

George Agius, was awarded the Vicki Torr Memorial Prize at 

the 2015 States of Illumination Ausglass Conference. In 

honourable memory of much loved glass artist Vicki Torr, 

the prize is funded by proceeds raised through the biannual 

conference’s auction. Agius was awarded the prize for her 

work Whanau: A Breakfast for Ancestors, 2013 (pictured 

below) comprising six family members from her lineage, 

over breakfast made by the artist herself. It is a story and 

tribute piece that continues the legacy of Agius’ ancestry. 

Photographer: Liam West 

MASTERING TECHNIQUES 

JamFactory Associate Drew Spangenberg 

(pictured above) received a scholarship in 2014 to 

attend Seattle’s prestigious Pilchuck Glass School. 

While there, Spangenberg had the honour of 

working with glass artist and Manager of the Glass 

Studio at the Toledo Museum of Art’s Glass 

Pavilion, Jeff Mack. Best known for his application 

of Venetian techniques in goblet making, Mack 

provided Spangenberg with invaluable insight 

into his process, sharpening his skills in very 

specific ways. 

Photographer: Sven Kovac 

SACRED SPACES 

Program Manager for JamFactory’s Glass Studio Kristel 

Britcher (whose work Composizione Evoluto, 2014 is 

pictured left), is the recipient of The Stephen Procter 

Fellowship in 2015. The fellowship aims to assist Australian 

and international glass artists to work/study abroad and 

acts as a significant and exciting link between glass 

communities around the world. 

Britcher will travel to Scotland to research sacred spaces 

and mineral collections, continuing her creative research 

into natural spaces and the sublime. She will then 

undertake a residency in the Glass Studio at the Australian 

National University School of Art in Canberra, to develop 

new sculptural glass works. 

Photographer: Michael Haines 

ISSUE 03 / 7

Highlights 

CELEBRATING 

30 YEARS 

Adelaide’s renowned Gray Street Workshop 

celebrates its 30th anniversary in 2015. Gray 

Street is an artist run studio and access facility 

providing contemporary jewellers and object 

makers the opportunity to learn, create and 

exhibit their work. Many renowned jewellers 

have been connected with the workshop 

including former JamFactory Creative Director 

for Metal, Sue Lorraine (one of the founding 

partners of Gray Street Workshop) and former 

JamFactory Associates including Kath Inglis, 

Erin Keys, Michelle Taylor and Sim Luttin. In 

celebration of the workshop’s 30 years, Theatre 

of Details, an exhibition by the three current 

partners Jess Dare, Sue Lorraine and Catherine 

Truman (whose work In Preparation for Seeing: 

Cell Culture Glove, 2015 is pictured left) opened 

in Adelaide in March before touring nationally 

and internationally. 

Photographer: Grant Hancock 

STEPHEN BOWERS: 

BEYOND BRAVURA 

Stephen Bowers is one of Australia’s foremost 

contemporary ceramic artists. His work has been 

celebrated in JamFactory’s Icon series, a showcase 

of the achievements of South Australia’s most 

outstanding and influential craft and design 

practitioners. As part of the series and after two 

years of successful touring, Stephen Bowers: 

Beyond Bravura will come to a close in September 

2015. In 2014 Bowers (whose work White Cockatoo, 

2010 is pictured right) was awarded both a Churchill 

Fellowship and Arts SA fellowship to continue 

his research into blue and white ceramics from 

around the world. 


BESPOKE DESIGN 

Andrew Bartlett, furniture designer and JamFactory 

Studio Tenant, completed a wine packaging project 

with South Australia’s family owned Taylors Wines. 

A premium wine, Taylors released The Visionary 

Cabernet Sauvignon 2009 with a bespoke luxury gift 

box (pictured left) handcrafted out of a single piece of 

Tasmanian blackwood. Each bottle was hand labelled, 

numbered and boxed, and the fixtures – the Spanish 

crafted locking mechanism – finished in rhodium to 

ensure that they safely last into the second half of this 

century, like the wine housed within. 

Photo courtesy of Taylor Wines 

8 / ISSUE 03

SIMPLICITY AND FORM 

PRICELESS COLLECTIONS 

Ceramist and JamFactory Studio Tenant Susan Frost, 

worked on a major project for the South Australian 

Tourism Commission (SATC), which included gift 

sets for the Santos Tour Down Under. The gift sets 

(pictured below) were made up of Frost’s signature 

espresso cups, saucers and bowls. Each piece was 

handmade; wheel thrown, trimmed and fired multiple 

times. The project was challenging due to the tight 

turnaround and sheer volume of the order. The pieces, 

as with most of Frost’s work, were influenced by the 

simplicity of form and function. 

Photographer: Anna Fenech Harris 

JamFactory Studio Tenant and internationally acclaimed 

ceramic artist Bruce Nuske, was one of the successful 

recipients awarded an Australia Council Skills and Arts 

Development – Residency Grant in 2014. The grant 

facilitates excellent development opportunities for 

craftspeople, designers, media artists and visual artists, 

through time abroad in select major cities. Nuske (whose 

work Teapot, 2008 is pictured above) chose 

the London studio, using the time to focus on British 

industrial ceramics. He was given rare access to priceless 

collections at the Victoria and Albert Museum, at liberty 

to explore his fascination with mass production techniques 

of the Industrial Revolution. 


JAMFACTORY FURNITURE 

COLLECTION 

A major initiative for JamFactory in 2015 will be the development of an 

exciting new furniture collection. Under the leadership of the Furniture 

Studio’s Creative Director Jon Goulder (pictured left), the collection will 

include pieces designed by Henry Wilson, DANIEL EMMA and by Goulder 

himself; all three leading Australian designers and previous winners of the 

prestigious Bombay Sapphire Design Discovery Award. 

The pieces in development include: a storage system, a dining chair and 

table, a stool, a light and an occasional chair. The designers are working 

closely with JamFactory’s Furniture Studio, providing valuable experience 

for Associates in design development, prototyping and working with 

manufacturers. The collection will grow over time and provide a pathway 

for emerging designers to access manufacturing and mainstream 

distribution. 

This initiative will strengthen JamFactory’s relationships with highly 

skilled local industry and stimulate value-added growth in the furniture 

design and manufacturing sector of South Australia. The collection will 

be available from May 2016. 


ISSUE 03 / 9

Clockwise from left: Session 3 - Happy Motel Warehouse. Photographer: Brad 

Bonar; Session 1 - Stylecraft Photographer: Andre Castelucci; Session 2 - BNKR 

Photographer: Brad Bonar; Session 3 - Happy Motel Warehouse Photographer: 

Brad Bonar; Session 1 - Stylecraft Photographer: Andre Castelucci

FUTURE 

DESIGN 

FRIDAY 

JamFactory joined forces with Stylecraft and 

CityMag in 2014 to present Future Design Friday 

- a series of four design events across the city 

showcasing some of Adelaide’s most creative, 

innovative and entrepreneurial designers. 

With a focus on the future of design in South 

Australia, sold out audiences came together 

to hear from industry representatives across 

fashion, landscape architecture, graphic, 

furniture, interior and product design. 

We kicked off the series at Stylecraft with 

a discussion on the role of art and design in 

creating successful public spaces, headed to 

the latest fashion hub BNKR to talk all things 

Adelaide, looked at the pop-up trend and 

marriage of food and design at Happy Motel’s 

city warehouse and finished the series talking 

furniture design at JamFactory. 

Dont miss our 2015 series: 

10 JULY 

14 AUGUST 

11 SEPTEMBER 

9 OCTOBER 

Check our website for more details 

jamfactory.com.au

Profile 

ALEXANDER 

LOTERSZTAIN 

IN PROFILE

“It Boy” Alexander 

Lotersztain is leading 

the way in innovative 

contemporary Australian 

design and is fast en route 

to becoming an international 

household name. 

Words by Adele Sliuzas 

Adele is Assistant Curator at JamFactory. 

Within the world of contemporary Australian design, Alexander Lotersztain 

has established himself as a design leader. Described as one of the most 

versatile designers in the country, he was named amongst one hundred of 

the most influential young designers worldwide by Phaidon in their 2007 

publication &fork. Graduating in 2000 from Design at Griffith University, 

Queensland College of Art, Lotersztain went on to found multifaceted 

design studio Derlot. Based in Brisbane, the studio has since become a 

hub from which Director Lotersztain collaborates with both local and 

international industry specialists in the disciplines of furniture design, 

interior design, art direction, branding and product design. Seeking to 

extend the scope of his studio, Lotersztain introduced Derlot Editions; 

a co-brand project that merges custom design and local production with 

a viable commercial mentality. 

Driven by the intellectual process of design, Lotersztain views innovative 

thinking as core, ‘Design is about giving shape and resolve to an idea’ he 

says. ‘It is about how to connect new dots. Once the idea is strong, design 

comes easy’. His design vernacular combines repetition of shapes and lines, 

with a contrast of colours and materials. This aesthetic can be seen in works 

such as Lotersztain’s Twig, 2012. The design is characteristically industrial 

in materiality and modularity, while referencing nature through the organic 

natural forms; the softened curves of the benches invite human interaction. 

Twig has several iterations utilising different materials: concrete, recycled 

LDPE plastic (that can be internally illuminated), an upholstered version and 

a latter form with backrest. The streamlined, bold design is characteristic of 

Lotersztain’s aesthetic. 

Moving beyond product design, Lotersztain’s Limes Hotel fit-out in Brisbane 

is a perfect example of the breadth of his practice. The large-scale project 

saw design thinking integrated throughout the building and provides a 

curated experience for guests. Lotersztain worked with the architect to 

design the entire building, including the external façade. Within the hotel, 

the level of design ranges from structural, spatial elements, to furniture and 

details such as clothes hooks and bathroom hardware/fittings. 

Local manufacture is key to Lotersztain’s design ethos and he believes it is 

the responsibility of the design industry to engage Australian manufacturers; 

“It’s important to support local. We as designers have a responsibility to our 

industry.” Supporting Australian industry within a global world is a way to 

build and develop business and with this incentive in mind, he encourages 

manufacturers to implement an innovative approach, to take risks and to 

believe in design. 

Relationships between designers and manufacturers are fundamental to 

staying competitive in a global market and Lotersztain’s collaboration on the 

ONE/THIRD project has this principle at heart. In 2012 Loterzstain was invited 

by Tasmanian manufacturer Designs in Timber to create a new brand and 

design direction for the company. Taking on the role of Artistic Director of 

the ONE/THIRD brand, Loterzstain brings together a team of designers from 

around the country to create products which are manufactured in Tasmania 

and distributed throughout Australia and the world. 

In 2014 Lotersztain continued his commitment to industry relations when 

he visited Adelaide to run a workshop with JamFactory Associates based 

on thinking outside of the square. He worked with the group to encourage 

innovation and new ways of thinking when designing product. This kind 

of educational leadership is what Lotersztain sees as essential to his own 

practice, offering insight and alternative approaches to design matters. 

Left: Twig Backrest, 2012 

Recyclable UV Stable LDPE 

various dimensions 

Photograph courtesy of the artist 

Working closely with clients, designers and manufacturers has allowed 

Lotersztain to develop a multifaceted practice and a solid, energetic brand 

in Derlot. His approach, with its focus on innovation and design thinking, is 

changing the landscape of contemporary Australian design. 

ISSUE 03 / 13

Profile 

GILES BETTISON 

PATTERN & PERCEPTION

Adelaide glass artist Giles 

Bettison has been selected 

as the feature artist for 

the 2015 South Australian 

Living Artist (SALA) 

Festival. In conjunction with 

SALA, JamFactory will be 

presenting Bettison’s solo 

exhibition as the latest in 

our annual Icon series. 

Words by Caitlin Eyre 

Caitlin Eyre is an emerging arts writer and 

curator. She is the South Australian Living 

Artist Festival Emerging Writer for 2015. 

Bettison was first introduced to murrine when he attended a demonstration 

of United States glass artist Richard Marquis’ adaption of the technique at 

JamFactory’s Glass Studio. Up until this time, the tradition of murrine was 

seldom practised outside of Italy since its 16th century revival and rarely 

seen in contemporary glass studio practices. However, murrine instantly 

struck a chord with Bettison, whose experimental approach to developing 

this technique would breathe new life into its largely unchanged methods 

and forms. 

In 1995, Bettison undertook a position as a Technical Assistant at the 

Latitudes 1 workshop. Using the workshop’s leftover sheets of Bullseye 

compatible coloured glass, he began cutting, stacking and fusing them 

together, before stretching the glass to create long murrine canes. Cutting 

the canes into pieces, the resulting tiles bore an intricate cross section of 

colours and patterns, which he then fused together to form a flat sheet. At 

the final stage of the process, glass was blown and shaped into plates or 

vessels and Bettison’s talent for making outstanding works set. 

This innovative use of compatible sheet glass to make murrine pieces 

caused a stir amongst contemporary glass circles in Europe and America. 

Bettison had effectively reinvented and transformed murrine well beyond 

its traditional conventions. As a result, he received immediate recognition 

and was catapulted into the contemporary international glass limelight, 

launching what would inevitably become an ongoing, dynamic career. 

The patterns Bettison depicts in his complex and distinctly unique 

contemporary forms, are largely drawn from aerial photographs of both 

natural and agricultural landscapes, particularly those of his family’s 

property in rural South Australia and areas of the United States. The visual 

references for many of these pieces have been sourced on road trips and 

flights, Bettison gathering ideas through photographing and sketching the 

vivid array of patterns as they unfold around him. In this way, the complex 

and intricate patterning, colours and topographical nuances, become both 

the inspiration and abstracted subjects of Bettison’s carefully constructed 

glass works. 

During the course of his artistic career, Bettison has worked relentlessly to 

perfect his modernised technique of murrine glass making and to recreate 

it for a contemporary audience. Poised to inspire a new generation of glass 

artists and with almost two decades of expertise in glass making, Bettison 

will exhibit his mastery in JamFactory’s 2015 Icon exhibition. 

JamFactory Icon 2015 

Giles Bettison : Pattern and Perception 

JamFactory, Adelaide, SA 

17 July - 12 September 2015 

Riddoch Art Gallery, Mt Gambier, SA 

3 October - 16 November 2015 

JamFactory at Seppeltsfield, Seppeltsfield, SA 

29 November 2015 - 16 February 2016 

Left: Vista 2015 #3, 

Cold assembled hot worked murrini, blown and cold finished 

260 x 170 

Photographer: Andrew Dunbar 

ISSUE 03 / 15

Feature 

NUTURING 

TOMORROW’S 

TALENT 

Mentoring exceptional talent, JamFactory’s 

rigorous two-year Associate training program 

provides upcoming artists, designers and 

craftspeople with world-class professional 

development opportunities. 

Words by Brian Parkes 

Brian is CEO and Artistic Director at JamFactory.

18 / ISSUE 03

At the core of JamFactory’s broad range of activities is our 

widely acclaimed two-year Associate training program. 

Targeting talented emerging artists and designers, the 

Associate program aims to provide chosen Associates with 

technical skills, business knowledge, first-hand experience 

and professional networks. 

The program is offered in four studio areas: ceramics, glass, 

furniture and metal design. Entry is highly competitive 

with applicants having typically completed tertiary level 

study in one of the four areas or a closely related discipline. 

Applications are shortlisted and interviews conducted to 

select up to four Associates within each studio every year. 

Exceptional recent graduates from local TAFE and university 

courses compete with interstate and overseas applicants for 

these limited places. 

Led by outstanding Creative Directors Damon Moon 

(Ceramics Studio), Karen Cunningham (Glass Studio), 

Jon Goulder (Furniture Studio) and Christian Hall 

(Metal Design Studio), the program prepares Associates 

to become successful creative entrepreneurs in their 

chosen field. 

The Associates spend half of the time each week developing 

their own work under the guidance and mentorship of the 

Creative Directors and other studio staff. This work can include 

the development of products for retail markets, undertaking 

private commissions or research and experimentation towards 

major works for exhibitions and competitions. Visiting artists 

and designers in residence, tenants in the building and other 

Associates provide additional feedback, critique and peer to 

peer learning. 

All first-year Associates complete a series of design marketing 

seminars with Daniel To, who is one half of celebrated design 

duo DANIEL EMMA and Co-Creative Director of Retail and 

Product at JamFactory (see page 46). By the end of the year, 

each first-year Associate will have an established graphic 

identity and a functioning website with e-commerce capability. 

Associates learn about working with galleries and curators 

and the contractual and logistical requirements of public 

exhibitions through various projects, most notably the 

annual Generate exhibition; a curated show of work by 

finishing second-year Associates. Generate is presented in 

JamFactory’s main gallery in Adelaide, before touring to the 

new JamFactory gallery at Seppeltsfield in the Barossa Valley. 

This annual showcase of exceptional work and new ideas is a 

celebration of JamFactory’s role in nurturing emerging artists 

and designers, and pays tribute to the breadth of experience 

Associates gain over two years in JamFactory’s globally 

unparalleled program. 

We are very proud of the achievements of the eight 

Associates who completed the program at the end of 2014 

and whose works are showcased on the next spread. Like so 

many of the JamFactory alumni that have gone before them, 

these dedicated emerging artists and designers will go on to 

establish successful and influential careers. Building on strong 

foundations, they will continue to refine their design, craft 

and business skills. They will create new opportunities for 

themselves, they will extend their networks around the globe 

and they will always be part of JamFactory’s core community. 

The remaining half of the Associates’ time is spent working 

on commercial, operational or speculative projects for 

JamFactory. These activities provide valuable hands-on 

vocational training and include: design development and 

fabrication of JamFactory products; collaborative design 

and completion of major commissions (including 

management of budgets, timelines and client 

relationships); maintenance of studio equipment; and 

development and delivery of educational workshops. 

Practical seminars on marketing and business administration 

are also conducted throughout the year, along with special 

projects that promote innovative thinking. In July last year, 

Brisbane-based designer Alexander Lotersztain (see page 12), 

ran an intensive product design workshop with the Associates 

and in September 2015, jewellery designer Susan Cohn, will 

challenge them in a completely different way. 

Previous page: 2014 final year JamFactory Associates left to right: Marcel Hoogstad 

Hay, Katie-Ann Houghton, Diego Vides Borrell, Courtney Jackson, Steve Soeffky, 

Liam Mugavin, Alexander Valero and Matt Taylor Photographer: Sven Kovac 

Left: Liam Fleming at work in the Glass Studio Photographer: Brad Bonar 

ISSUE 03 / 19

CLASS OF 2014 

2 

3 

4 

1 

1 MATT TAYLOR 

2 KATIE-ANN HOUGHTON 3 COURTNEY JACKSON 4 MARCEL HOOGSTAD HAY 

FURNITURE DESIGNER/MAKER 

FURNITURE STUDIO 

ARTIST/DESIGNER/MAKER 

GLASS STUDIO 

JEWELLER/ILLUSTRATOR 

METAL STUDIO 

GLASS ARTIST 

GLASS STUDIO 

Matt Taylor has developed 

a portfolio of works that 

gently explore the tone and 

textures of raw materials, 

and maintains the quality 

and integrity of hand 

craftsmanship. 

Katie-Ann’s work 

incorporates minimalism, 

subtle forms and often 

includes multiple pieces 

that come together to 

form a silhouette, playing 

with the interactions of 

boundaries in blown forms. 

Play and experimentation 

are key aspects to 

Courtney’s creative 

process. Her exhibition 

work looks at the concept 

of the souvenir, and 

how objects are used as 

receptacles for memories. 

An interest in Venetian 

glass blowing techniques 

led Marcel to experiment 

with pattern making. Using 

traditional cane working 

methods he plays with form, 

colour and repetition. 

20 / ISSUE 03

6 

8 

5 

7 

5 ALEXANDER VALERO 6 DIEGO VIDES BORRELL 7 LIAM MUGAVIN 8 STEVE SOEFFKY 

GLASS ARTIST 

INDUSTRIAL DESIGNER/MAKER DESIGNER/MAKER/CREATOR DESIGNER 

GLASS STUDIO 

GLASS STUDIO 



Exploring the science 

and magic of deep space, 

Alexander Valero is 

interested in capturing 

elements of the universe 

through the materiality of 

glass. His small sculptural 

works incorporate 

geometry, pattern and 

optical illusion. 

Diego’s Void series looks 

at the transparency of 

glass, joining components 

and overlapping shapes 

to playfully combine hues 

of coloured glass. 

Liam’s aesthetic is largely 

informed by Japanese 

design, in particular, 

Japanese townhouse 

architecture known as 

Machiya. Making one-off 

and limited edition 

production pieces, he 

works with elements 

including linearity, negative 

space and intervals. 

In developing a number 

of products, Steve engaged 

with the prototyping 

process and has learnt 

through testing about the 

importance of feasibility 

within product design. 

Steve’s design aesthetic 

focuses on clean lines, 

functional detail and elegant 

craftsmanship. 

ISSUE 03 / 21

Tomorrow. Talent. 

MEDICI 

COLLECTIVE 

In early 2015 JamFactory launched a 

dynamic new donor program enabling 

visionary patrons to collectively 

invest in and directly engage with 

the talented emerging artists and 

designers undertaking JamFactory’s 

acclaimed Associate training program. 

2015 MEDICI COLLECTIVE MEMBERS 

Wendy Alstergren and John Kirkwood 

Kent Aughey 

Anne Barker and Peter Vaughan 

Noelene Buddle and David Shannon 

Anita and Randolph Bowen 

Jim and Helen Carreker 

John Chambers and Dawn Taylor 

Annette Coleman, Gate Uniques 

Adrian and Dianne Evans 

Shane and Kate Flowers 

Denise George 

Elaine Golding and Neil Smith 

Colin Goodall 

Steve Grieve and Dr Christine Putland 

Philippe and Diana Jaquillard 

Professor Kay Lawrence AM 

Nicholas Linke 

Mark Lloyd and Elizabeth Raupach OAM 

Penny McAuley 

Paul and Fatima McHugh 

David and Pam McKee 

Anne Moroney 

Gavin and Carolyn Moss 

Alan and Sue Young 

Adelaide Casino 

Australian Decorative and Fine Arts Society 

Hedges Asset Planning 

Mossop Group Pty Ltd 

The Hosking Foundation 

Through their vision, influence and support of the humanities, 

the Medici family played a major role in the Renaissance. 

Commissioning artists and scientists like Michelangelo, 

Leonardo da Vinci and Galileo, the Medici’s influence on the 

world can be felt even today. If one family can influence culture 

so significantly over 500 years, we asked why can’t a new 

generation of visionaries and leaders of change do the same? 

The Medici Collective represents a new genesis of vision and 

influence. A group of sophisticated and educated investors 

who are part of a growing culture of giving and who wish to 

have greater impact and involvement in nurturing the careers 

of those they support. 

There couldn’t be a better time to celebrate the talent behind 

the creative economy and its impact on Australia. The building 

momentum of creative entrepreneurs here is being noted 

globally, and people want more. 

The passionate influencers who make up the inaugural Medici 

Collective will have the rewarding opportunity to see the 

results of their investment and involvement as they witness the 

development of individual artists and designers. 

JamFactory has been investing in tomorrow’s talent for over 

40 years. Our success and the generous support of community 

and government has ensured JamFactory and the emerging 

artists and designers whose careers we nurture play a key role 

in the creative economy locally, nationally and internationally. 

Our two-year Associate training program is the most 

significant career development opportunity in Australia for 

emerging creative entrepreneurs working in ceramics, glass, 

furniture or metal design, attracting applicants from across the 

country and around the world. 

Medici Collective donations directly support JamFactory’s 

Associate training program and the Medici will learn about, 

hear from and engage with individual Associates throughout 

the year. 

We sincerely thank the 2015 Medici Collective members and 

warmly welcome interest in the program for 2016. For further 

information please contact JamFactory’s Development 

Manager Nikki Hamdorf on (08) 8410 0727. 

22 / ISSUE 03 

Right: First year Glass Studio Associate Laure Fradin 

Photographer: Sven Kovac

Tomorrow. Talent.

Profile 

HENRY WILSON 

COLLECTOR, 

CRAFTSMAN, 

CREATIVE FORCE

Henry Wilson, intelligent 

thinker and captain of 

purposed design, has a 

Masters in Man and 

Humanity from the Design 

Academy Eindhoven 

(DAE). He established his 

multidisciplinary design 

studio in 2010 with a focus 

on locally produced furniture, 

lighting and interiors. 

Words by Danielle Robson 

Danielle Robson is an independent curator, 

creative producer and writer based in Sydney. 

Henry Wilson opens a canvas satchel and upends its contents onto the 

table in front of us. Out tumbles a motley collection of objects; carefully 

selected bric-a-brac that the Sydney-based designer keeps as a reminder 

of the ingenuity of design. “I have a love affair with shape,” says Wilson, 

picking up a bespoke vintage cheese cutter. “That’s every designers 

dream; to find a resolution using shape alone.” 

For Wilson, less is undoubtedly more. Philosophically, he’ll avoid 

designing product for products’ sake. In practice, his designs are driven 

by a desire to do more with less. Fewer materials, reduced parts, limited 

tooling. This exacting and deliberate restraint creates objects with an 

earthy and tactile sensibility, where embellishment is the by-product of 

process: the surface pitting of cast objects, the discolouration of aged 

raw leather, or the varying hues of natural timber. 

Under the tutelage of Aldo Bakker and Dick van Hoff at DAE, Wilson was 

required to defend his every project. This gruelling training cemented 

his resolve to only design where there is need. “If I can find something 

that already exists and is really nice, I’ll avoid designing that thing,” 

says Wilson. “When you can isolate a need and then design something 

utilitarian, resolved and beautiful, that’s the holy trinity for getting that 

object right.” 

Wilson is mindful of his predecessors, and isn’t afraid to embrace 

collective design knowledge and flaunt it in his work. His most successful 

project to date, the award-winning A-joint series, unashamedly reinvents 

a cheap plastic sawhorse bracket that the designer stumbled across in a 

hardware store. “I realised that there was an inherently very good idea in 

it, but that it was resolved at the minimum,” explains Wilson. 

Discovering that the patent on the wedge mechanism had expired, 

Wilson got to work unleashing the potential of the core idea, 

transforming the old mechanism into a versatile contemporary design 

object that has been rapidly embraced by the market. In stark contrast 

to the disposable plastic bracket, his aluminium and bronze cast A-joint 

is sold with a lifetime guarantee, highlighting Wilson’s determination to 

future-proof consumption. 

When naming designers that inspire him – Achille Castiglioni, Jean 

Prouvé, Jasper Morrison, the Bouroullec Brothers – Wilson summates, 

“Anyone with a strong practice that can isolate what they are good at and 

who has had time to focus on a path or ideology.” Fittingly, it is precisely 

Wilson’s own focus that saw him invited to design the interior of personal 

care brand Aesop’s retail space in Balmain, Sydney. 

Opening in early 2014, Wilson was commissioned to design the entire 

shop fit-out, despite having never tried his hand at interior design before. 

“I’m of the thought that once you have a conceptual basis, you can apply 

that to lots of situations. The Aesop store interior unlocked another skill 

set that I always thought I could do, but had never really investigated,” 

Wilson explains. 

While Wilson’s trajectory into interiors is just beginning, his signature 

talent for combining industrial and craft-based techniques are currently 

being employed by JamFactory’s Furniture Studio. Wilson is developing 

a piece of furniture that will be part of the inaugural JamFactory 

Furniture Collection; a modular unit that will work in both domestic 

and commercial settings. 

Left: A3 Joint, 2013 

cast aluminium 

450 x 340 

Photographer: Andy Lewis 

JamFactory’s branded furniture collection will launch in Spring 2015. 

It will showcase Wilson’s collaborative contribution – a locally 

manufactured piece in keeping with the pragmatic ethos of his 

multidisciplinary design practice. 

ISSUE 03 / 25

Feature

GLASS: 

ART DESIGN 

ARCHITECTURE 

Words by Margaret Hancock Davis 

Margaret is Senior Curator at JamFactory.

Having premiered at JamFactory 

Adelaide, GLASS: art design 

architecture is touring nationally 

to both metropolitan and regional 

galleries, sharing the compelling 

magic that is glass in all its 

many forms. 

Glass has been an important medium in the history of 

civilisation. Archaeologists have found that early peoples 

used obsidian (naturally occurring volcanic glass) to make 

spear tips, while evidence shows that hand-made glass was 

produced as a form of glaze from 3500 BC in Mesopotamia. 

Rudimentary forms of hollow glass containers have been 

made using sand casting processes since 1500 BC and 

glass blowing, as we know it today, emerged in the first 

century BC. 

Since these earliest times, we have used this malleable, 

deeply seductive material in increasingly refined ways and 

today we see glass as part of sophisticated structures and 

used in cutting edge technologies. It is a material that has 

been favoured by artists, designers and architects over the 

centuries, for both its formal and conceptual qualities. The 

history of art, design and architecture is peppered with 

extraordinary achievements of human endeavour, ingenuity 

and audacity, in which glass has been a central feature. 

GLASS: art design architecture brings together twenty 

three products, projects and works of art, that reflect current 

preoccupations with glass within the fields of contemporary 

Australian art, design and architecture. Those exhibiting 

represent a wide range of approaches to working with 

glass and many have a strong personal association with 

the material. 

The range of work in the exhibition is varied – from fine, 

handcrafted jewellery to a highly technical glass skyscraper 

– and strikes at encouraging audiences to think expansively 

about the human connection with glass and to consider 

familiar glass objects through a new lens. 

Glass is a multifaceted material and appeals to designers, 

artists and architects for its almost unlimited capabilities; to 

transform or transmit light, to reflect, project or distort, and 

for its ability to be recycled. 

Previous Page: Jess Dare, Conceptual Flowering plant 

series, 2013-14 lampwork glass dimensions variable 


Left: Yhonnie Scarce, Not Willing to Suffocate, 2012 

blown glass, painted metal 650 x 150 x 200 

Photographer: Janelle Low 

An example of this recycling is Ruth Allen’s Sustainable 

Stubbies. Allen has taken glass bottles in their original form 

and hot manipulated them, working each into a new utilitarian 

shape – carafes, glasses, vases – effectively turning her studio 

into a waste eliminating, green workshop. 

KeepCup is similarly about sustainability and reusability. Born 

out of desire to encourage multiple use behaviour amongst 

coffee drinkers, KeepCup is a barista-standard, reusable coffee 

ISSUE 03 / 29

cup, manufactured in Australia and sold all over the world. 

Five years after launching the original KeepCup at a 

Federation Square design market, a new version in glass has 

since been released. Titled KeepCup Brew, the reusable 

glass design comes in two sizes with a mixed selection of 

coloured lids/bands/plugs, is dishwasher proof and 

contains recycled content. 

Also committed to minimizing negative environmental impact 

through design, Architectus in association with Ingenhoven, 

embraced the technical and functional qualities of glass when 

designing Australia’s most sustainable office tower 1 Bligh 

Street, Sydney. Recipient of the 6 Star Green Star Office 

Design v2 and Office As-Built v2 Certified Ratings from the 

Green Building Council of Australia, the Bligh Street offices 

feature a double-layered glass skin. Depending on the time of 

day, the glass layering shrouds and protects occupants from 

the sun, or either channels light inwards, illuminating the very 

heart of the building. 

From the modern skyscraper to the historical, grand 

structures of glass and cast iron built to celebrate the spoils 

of colonisation and our industrialised world, Blanche Tilden’s 

sophisticated glass jewellery is informed by her desire to 

understand how things work and her interest in the interface 

between the hand-made and the machine-made. Her Graded 

Palais necklace, 2014 looks to architecture for inspiration, in 

particular the great exhibition buildings of the 19th century 

(The Crystal Palace, 1851, and The Palais des Machines, 

1889). Superbly utilising glass in their design, these buildings 

emphasised German architect Bruno Taut’s statement that 

glass was the quintessential material for the modern world, 

due to its capacity to hold and disperse light. 

Combining aspects of craft, design and architecture, the 

design duo of illumini, Karen Cunningham and Amanda 

King, created the illumini Greenhouse, 2015, to function 

as equal parts garden space and artwork. Keen to realise 

what a greenhouse would look like if made by a glass artist 

or craftsperson, illumini considered both pragmatics and 

aestheticism in developing the design of their user-friendly 

greenhouse. It is able to capture rainwater whilst providing 

ideal conditions in terms of oxygen and humidity levels for 

plants to thrive. 

In Conceptual Flowering Plant Series, 2013, Jess Dare draws 

inspiration from the powerful lamp-worked glass pieces of 

deceased glass artists Leopold and Rudolf Blaschka. Inspiring 

ideas of time and the fleeting nature of memory, Dare 

investigates the works of the father-son artists, applying their 

approach to brilliant colour and soft forms to her own practice, 

as is beautifully showcased in GLASS: art design architecture. 

As a material, glass can be both incredibly strong and intensely 

fragile. For Yhonnie Scarce, this has been a perfect metaphor 

for the impact of colonisation on Aboriginal culture; having 

been brought to its breaking point, it has managed to sustain 

itself. As Scarce states,“If glass breaks, it’s always going to 

leave something behind”. 

Squeezed to near breaking point, the glass bush bananas 

of Not Willing to Suffocate 2012, are held intact by the tight 

metaphorical grip of colonisation. They reference highly 

controversial studies carried out on Aboriginal people — 

including members of Scarce’s own family — by researchers 

during the 1920s and 1930s. The black-lustre bruising on the 

fruit suggests suffocation, as experienced by Aboriginal 

people through government/missionary cultural denial 

and restrictions. 

Combining the genres of art, design and architecture in 

an exhibition such as this, GLASS: art design architecture 

provides an extensive view of glass in its many forms as seen 

in our current contemporary visual culture. New connections 

between works, fresh and unfurling perspectives of the 

importance of glass in our daily lives, its value expressed 

in light of who we are, are all represented in this vibrant 

exhibition, that brings together a diverse portfolio of 

talented practitioners. 

glass-exhibition.jamfactory.com.au 

The exhibition was curated by Brian Parkes and Margaret 

Hancock Davis and designed by Stephen Goddard in 

association with JamFactory’s Metal Design Studio. 

GLASS: art design architecture is touring nationally to 

JamFactory at Seppeltsfield, Murray Bridge Regional Gallery, 

Signal Point Gallery, Wagga Wagga Art Gallery, ANU School 

of Art Gallery, Bathurst Regional Art Gallery, Western Plains 

Cultural Centre, Lake Macquarie City Art Gallery, QUT Art 

Museum, Cairns Regional Gallery, Caboolture Regional Art 

Gallery, UTS, Sydney Art Gallery, Design Centre Tasmania 

and Mornington Peninsula Regional Art Gallery. 

Top right: Architectus + Ingenhoven, 1 Bligh Street, Sydney, 2009–11 

Building owned by Dexus Property Group and Cbus Property 

Photographer: H.G. Esch 

Far right: Blanche Tilden, Grand Palais necklace, 2014. water-jet cut, 

cold worked and lampworked borosilicate glass, oxidised 925 silver 

40 x 380 dia Photographer: Grant Hancock 

Left: Clare Belfrage, Awash in black, 2014 blown glass with cane drawing, 

hand sanded and polished 

460 x 470 x 60 Photographer: Pippy Mount 

30 / ISSUE 03

ISSUE 03 / 31

JAMFACTORY 

EXHIBITIONS ON TOUR 

ACROSS AUSTRALIA 

2014 - 2018 

DESIGNING CRAFT/CRAFTING DESIGN: 

40 YEARS OF JAMFACTORY 

WOOD: ART DESIGN 

ARCHITECTURE 

Curated by Brian Parkes and Elliat Rich WOOD: 

art design architecture explores innovative and 

outstanding uses of wood in contemporary 

Australian art, design and architecture. It 

represents modes of thinking and relationships to 

this fundamental material. A total of 28 exhibitors 

have contributed to the exhibition providing rich, 

diverse and inspiring examples of the use of wood 

in the creative arts, design and architecture. 

Lake Macquarie City Art Gallery, 

Booragul, NSW 

14 Feb - 28 April 2014 

QUT Art Museum, 

Brisbane, QLD 

9 May - 6 July 2014 

Kick Arts, Cairns, QLD 

18 July - 14 Sept 2014 

Object: Australian Design Centre, 

Sydney, NSW 

4 Oct - 14 Dec 2014 

In 2013 JamFactory celebrated 40 years of nurturing and 

promoting contemporary craft and design in Australia with the 

landmark exhibition Designing Craft/Crafting Design: 40 Years 

of JamFactory. Curated by Margaret Hancock Davis, Margot 

Osborne and Brian Parkes, this exhibition presents new work 

by 40 selected artists, craftspeople and designers who have 

had a significant involvement with the JamFactory during its 

40 year history. 

Tweed River Art Gallery, 

Murwillumbah South, NSW 

29 Nov 2013 - 19 Jan 2014 

Ipswich Art Gallery, 

Ipswich, QLD 

3 Feb - 23 March 2014 

Artspace Mackay, 

Mackay, QLD 

4 April - 16 May 2014 

Gold Coast City Gallery, 

Gold Coast, QLD 

31 May - 13 July 2014 

Moree Plains Gallery, 

Moree, NSW 

28 July - 7 Sept 2014 

ANU School of Art Gallery, 

Canberra, ACT 

26 Sept - 1 Nov 2014 

Wagga Wagga Art Gallery, 

Wagga Wagga, NSW 

6 Dec 2014 - 25 Jan 2015 

Latrobe Regional Art Gallery, 

Morwell, VIC 

6 Feb - 5 April 2015 

Design Centre Tasmania, 

Launceston, TAS 

24 April - 19 July 2015 

Riddoch Art Gallery, 

Mt Gambier, SA 

3 August - 13 Sept 2015 

Murray Bridge Regional 

Gallery, Murray Bridge, SA 

27 Sept - 22 Nov 2015 

Signal Point Gallery, 

Goolwa, SA 

7 Dec 2015 - 31 Jan 2016 

Port Augusta Cultural Centre 

- Yarta Purtli Gallery, 

Port Augusta, SA 

15 Feb - 10 April 2016 

Above left: Greer Honeywill, This housing estate is not to scale 

#2, 2011 Houn pine, American cherry wood, American redwood 

1260 x 210 Photographer: Peter Whyte 

32 / ISSUE 03 

Above right: Designing Craft/Crafting Design: 40 Years of 

JamFactory installation view, JamFactory 

Photographer: Grant Hancock

GLASS: ART DESIGN ARCHITECTURE 

JAMFACTORY ICON 

STEPHEN BOWERS: 

BEYOND BRAVURA 

Curated by Brian Parkes and Margaret Hancock Davis, 

GLASS: art design architecture showcases 23 outstanding 

projects by contemporary Australian artists, designers and 

architects. It represents a cross-section of current creative 

practices and relationships to this versatile material. 

Stephen Bowers is one of Australia’s foremost 

contemporary ceramic artists. His work is celebrated in 

JamFactory’s Icon series, showcasing the achievements of 

South Australia’s most outstanding and influential craft and 

design practitioners. Each Icon exhibition is presented 

annually during the SALA (South Australian Living Artist) 

Festival before touring nationally. 

Watson Arts Centre, 

Canberra, ACT 

7 March - 13 April 2014 

Artisan, 

Brisbane, QLD 

2 May - 28 June 2014 

Caboolture Regional Art Gallery, 

Caboolture, QLD 

12 July - 6 Sept 2014 

Cairns Regional Gallery, 

Cairns, QLD 

17 Oct - 30 Nov 2014 

Cowra Regional Gallery, 

Cowra, NSW 

12 Dec 2014 - 1 Feb 2015 



7 Feb - 22 March 2015 

Manly Art Gallery and Museum, 

Sydney, NSW 

27 March - 3 May 2015 

JamFactory at Seppeltsfield, 

Barossa Valley, SA 

9 May – 19 July 2015 

Murray Bridge Regional 

Gallery, Murray Bridge, SA 

24 July – 13 Sept 2015 

Signal Point Gallery, 

Goolwa, SA 

16 Oct – 4 Dec 2015 



19 Dec 2015 - 6 March 2016 

ANU School of Art Gallery, 

Canberra, ACT 


Bathurst Regional Art Gallery, 

Bathurst, NSW 

13 May - 16 June 2016 

Western Plains Cultural 

Centre, Dubbo, NSW 

1 July - 18 Sept 2016 

Lake Macquarie City Art 

Gallery, Lake Macquarie, NSW 

30 Sept - 6 Nov 2016 

QUT Art Museum, 

Brisbane, QLD 

18 Nov 2016 - 5 March 2017 

Cairns Regional Gallery, 

Cairns, QLD 


Caboolture Regional Art 

Gallery, Caboolture, QLD 

12 May 2017 - 16 June 2017 

UTS Art, 

Sydney, NSW 

30 June 2017 - 18 Sept 2017 

Design Tasmania, 


29 Sept 2017 - 6 Nov 2017 

Mornington Penisula Gallery, 

Mornington, VIC 

13 Nov 2017- 19 Jan 2018 

Queen Victoria Museum and Art Gallery, 


29 May - 19 July 2015 

JamFactory at Seppeltsfield 

Barossa Valley, SA 

1 August - 4 October 2015 

Above left: Stephen Bowers, Blu Roo: Antipodean, 2010 

wheel-thrown earthenware, underglaze, clear glaze 

70 x 640 Photographer: Grant Hancock 

Above right: GLASS: art design architecture 

installation view, JamFactory Photographer: Grant Hancock 

ISSUE 03 / 33

Feature

SHIMMER 

Shimmer is an innovative and collaborative exhibition that 

will present new works of art by Australian based artists, as 

part of the inaugural TARNANTHI Festival.

Words by Coby Edgar 

Coby is Assistant Curator of 

TARNANTHI the Art Gallery of 

South Australia’s inaugural Festival 

of Contemporary Aboriginal and 

Torres Strait Islander Art. 

Shimmer. The word itself suggests 

movement, energy and light. When 

something shimmers, it transcends into 

the future, while retaining a present 

manifestation. There is a trace that 

stays with you, but you can’t hold onto 

it forever. Beauty is much the same; 

the physical morphs into a memory 

of what it once was, transforming into 

something else. The process of adorning 

– both ritualistic and representative of 

identity, time, and place – intertwines 

the physical with the mental and sacred. 

Shimmer is a collaborative project 

between JamFactory and the South 

Australian Museum presented by 

TARNANTHI, the Art Gallery of 

South Australia’s inaugural Festival of 

Contemporary Aboriginal and Torres 

Strait Islander Art. The Festival will be 

held from the 8th - 18th of October 

2015 and will encompass a series 

of exhibitions, public programs and 

community events across Adelaide 

with an art fair on the opening-weekend 

at Tandanya National Aboriginal 

Cultural Institute. 

will give artists the opportunity to 

investigate a collection in the South 

Australian Museum and create works of 

art in response. The works will be shown 

amongst the Museum’s permanent 

collections and also displayed in 

JamFactory’s main gallery space. 

Some of the works of art will continue 

the traditions of the artists’ own people, 

showing changes (or otherwise) in 

cultural practices over time, while others 

will use the opportunity to create new 

works of art. Ranging from emerging 

to established, this unique selection of 

artists is certain to create an engaging 

contemporary view of adornment, while 

challenging and interrogating the spaces 

their work will inhabit. 

At the heart of TARNANTHI, Artistic 

Director Nici Cumpston, will be working 

with Aboriginal and Torres Strait Islander 

artists from across the country and with 

key cultural institutions, to showcase 

and challenge preconceptions of 

Aboriginal art. The Festival’s supporting 

public programs and community 

events will give artists opportunity 

to voice their vision with a broad 

audience of international and local 

guests, from curators and fellow artists, 

to students, academics and industry 

professionals alike. 

A Kaurna word, TARNANTHI 

encompasses the idea of new 

beginnings and means to come forth 

or appear, referencing a sprouting 

seed or dawn-breaking sunlight. 

The participating artists in Shimmer 

have been invited to create works of 

art around the concept of adornment, 

with a brief to express the true nature 

of adornment as both an idea and 

physical manifestation. The exhibition 

will incorporate a mixture of practices 

from ceramics to fashion design and 

Previous page: Maree Clarke, Men in Mourning, 2013 

digital print on polypropylene 1200 x 2000 

Courtesy the artist and Vivien Anderson Gallery, 

Melbourne 

Right: Maree Clarke, Kimberly wearing river reed 

necklace with cockatoo feathers, 2014 

digital print on polypropylene 2000 x 1200 


Melbourne 

36 / ISSUE 03

38 / ISSUE 03

Respected artist and curator, Melbourne 

based Maree Clarke, is one of the 

established artists involved in the project. 

Clarke will build on her work researching 

Kopi, otherwise known as a Widow’s Cap; 

a plaster headpiece made from gypsum. 

Historically worn while mourning 

for a period lasting two weeks to six 

months and with extra gypsum added 

periodically, the final weight of these 

headpieces could escalate up to seven 

kilograms. Kopi were customarily placed 

on the grave of the related deceased 

once the period of mourning had ended. 

The concept of mourning adornment 

is not a new field of research for Clarke 

and the inclusion of her work within the 

museum is sure to shed new light on 

their collection, drawing fresh attention 

to this emotive, historically significant 

ritual. 

Young emerging fashion designer, Grace 

Lillian Lee, will investigate the Museum’s 

neckpieces and other feminine objects 

of adornment. Lee creates textural, 

intricately woven works of art by use 

of a traditional Torres Strait Islander 

weaving technique. Her pieces are 

aesthetically beautiful and when worn, 

offer a sculptural element that resonates 

beyond fashion and into fine art. Living 

in Cairns and surrounded by ocean, there 

is no doubt Lee will find an affinity with 

the many objects held in the Museum’s 

marine collection. 

Janet Fieldhouse is a multi-award 

winning Torres Strait Islander ceramicist 

creating delicate porcelain forms 

referencing the worn objects and 

artefacts of the Torres Strait region. 

Previously inspired by arm bands and 

wedding pendants, Fieldhouse is drawn 

to the flat ground clamshells decorated 

with intricately carved turtle shell 

overlay, known as Kap Kap, in the South 

Australian Museum’s World Cultures 

Collection. Worn by Melanesians around 

the neck or as a head piece these 

adornment are a symbol of social rank. 

Their white iridescent surface with 

contrasting silhouetted fret work of 

brown and tan create highly crafted 

designs that vary from island to Island. 

Looking at the similarities in design and 

medium of such objects throughout 

Melanesia, Fieldhouse examines crosscultural 

exchange in her research and 

practice. 

Other artists included in this project 

are Vicki West (TAS), Dale Harding 

(QLD), Sebastian Arrow (WA), Nicole 

Foreshew (NSW), and Tamara Baillie 

(SA). Bringing together such a variety 

of practitioners to examine the objects 

in the South Australian Museum enables 

the collection to be addressed through 

differing cultural and personal lenses. 

This unique project gives voice to the 

diversity of Aboriginal and Torres Strait 

Islander art practices whilst facilitating 

cross institutional engagement and 

knowledge sharing, strengthening the 

collective and creating new relationships 

and understandings. By forging such 

relationships the project aligns with the 

broader aims of TARNANTHI, to come 

forth and create new opportunities. 

Shimmer is co-curated by Assistant 

Curator of TARNANTHI, Coby Edgar and 

JamFactory’s Senior Curator, Margaret 

Hancock Davis and will be on show at 

JamFactory and the South Australian 

Museum from 2 October – 

28 November 2015. 

Top left: Janet Fieldhouse, Bride Pendant Series 4, 2014 

white raku, shells, string, cassowary feathers, beads 

700 x 700 


Melbourne 

Bottom left: Janet Fieldhouse, Baskets, 2014 

Porcelain 100 x 280 x 180 


Melbourne 

ISSUE 03 / 39

Feature 

The Synergy of 

Good Food 

and Design 

As demand for more than 

outstanding food and wine 

increases, good design has risen 

to become an equally important 

player in South Australia’s 

experience based food game. 

Words by Leanne Amodeo 

Leanne is a freelance writer and editor specialising in 

design and architecture.

In any serious discussion on fine wine and dining, South 

Australia’s wines are lauded as some of the best in the world 

and its wine regions praised for their heritage and tradition. 

Frequent appearances on top ten lists continue to boost 

their reputation, and the Barossa Valley’s recent inclusion 

in US-based magazine Wine Enthusiast’s 10 Best Wine 

Travel Destinations for 2014, is bound to result in an influx of 

international tourists within the next year. And it won’t take 

them long to figure out South Australia’s other great offering; 

exquisite food and the quality of its produce. 

But of course, this State’s food culture is as deeply 

entrenched as its love of a full-bodied Shiraz. Adelaide 

Central Market has been servicing local foodies for over 

one hundred years and Gepps X Market is unmatched as 

South Australia’s largest open-air market, providing Sunday 

morning goers a myriad of fresh produce. While some of 

South Australia’s best restaurants can be found in its wine 

regions, there are equally fine dining experiences to be had 

in the suburbs. Adelaide’s CBD also continues to expand its 

notable restaurant offerings with chefs the calibre of Jock 

Zonfrillo, Duncan Welgemoed and Sean Connolly opening 

Orana, Africola and Sean’s Kitchen, respectively. 

The recent launch of these and many other popular eateries 

simply reiterates our culinary credentials at an international 

level and incidentally reveals South Australia’s growing 

investment in high-end design. Some of the country’s best 

interior designers have been engaged to work on local 

hospitality fit-outs within the past two years, including 

Alexander & Co who completed Sean’s Kitchen in late 2014. 

Around the corner from Connolly’s New York style brassiere 

is the new Bates Smart designed Madame Hanoi, while 

designer Pascale Gomes-McNabb is behind the outstanding 

refurbishment of Magill Estate. Good food and wine may be 

what South Australia has long based its reputation on, but 

the value good design adds to the dining experience is now 

taking that reputation one step further. 

It’s a wholistic approach that has not been lost on 

powerhouse designer Alexander Lotersztain, who, along 

with business partner chef Erik van Gederen, opened Depo 

in the heart of Brisbane’s West End in 2012. “The game 

has changed in the hospitality industry,” he explains. “As 

a designer you now have to create environments where 

customers feel great, they feel loved and they can enjoy an 

entire experience.” Lotersztain designed the restaurant’s 

interior and wanted the same level of consideration to be 

given to the tableware, so he called up JamFactory’s Chief 

Executive Officer Brian Parkes. 

The resulting collaboration saw JamFactory’s Ceramics 

Studio design five different plates, manufacturing a total 

of five hundred items, for exclusive use by the restaurant. 

Lotersztain was quick to identify JamFactory’s value-add 

potential and Parkes was even quicker to realise the wide 

recognition such an opportunity could bring the craft and 

design organisation. Unsurprisingly, the Depo commission 

set the ball rolling for a number of other high-profile 

JamFactory hospitality commissions. 

Amongst these is the Furniture Studio’s recent design of 

five different dining tables for the new Fino restaurant 

at Seppeltsfield, which was designed by local architect 

Max Pritchard. Located on the same site as JamFactory’s 

satellite venue, it made sense Fino owners Sharon Romeo 

and David Swain (who is also head chef) chose to work with 

JamFactory. The commission was undertaken by Furniture 

Studio Associate Rhys Cooper and overseen by the Furniture 

Studio’s Creative Director Jon Goulder, resulting in a total of 

forty tables, each consisting of a metal pedestal base and 

timber tabletop. 

Romeo and Swain’s strict brief called for an understated 

design that doesn’t detract from the overall fit-out and this 

allowed Cooper to exercise his industrial design skills. It also 

gave him the opportunity to develop product in a real world 

scenario, which is something Goulder is particularly keen 

to nurture in the furniture Associates. “This studio is more 

of a design incubator or design lab,” explains the Creative 

Director. “We’re not set up for large scale production, so 

we’ve had to develop relationships with local manufacturers.” 

Interestingly, it’s commissions such as the Fino dining tables 

that have provided Goulder and the Associates with the 

means by which to reach out to industry and engage in that 

necessary dialogue on manufacturing. As Goulder continues, 

“Those relationships are pivotal in our long term future as a 

furniture design studio; our economic sustainability is based 

on them.” 

On the other hand, JamFactory Ceramics Studio’s Fino 

commission involved supplying approximately twelve 

hundred tableware items, including dinner and side plates, 

most of which were adapted from the existing JamFactory 

product range. Unlike the Furniture Studio, the Ceramics 

Studio manufactures all its products in-house either by or 

under the watchful eye of Creative Director Damon Moon. 

But perhaps one of the organisation’s most significant 

hospitality commissions came Moon’s way shortly after he 

took up the role in early 2014. 

Magill Estate’s head chefs Scott Huggins and Emma McCaskill 

approached him wanting a special service of tableware for 

their degustation menu, which can range from five to nine 

courses (each served with a specially selected Penfolds wine). 

Certainly for Moon, the scope and range of the project was 

Previous page: Tableware designed and made by Damon Moon for Magill Estate 

Photographer: Andre Castelucci 

Right: Africola chef Duncan Welgemoed wears the Dressed to Digest series of six 

sterling silver lapels designed by Angela Giuliani winner of the Drink Dine Design 

Emerging Designer Award 2014 


42 / ISSUE 03

44 / ISSUE 03

unlike anything he had ever undertaken. “The thing about 

Magill Estate is they have a particular food philosophy,” 

e says. “They either grow a lot of the food they use 

themselves or source it locally and they pay a lot of 

attention to seasonality, so they wanted tableware which 

reflected that ethos.” 

The clay and glazes Moon used were not only made from 

local materials, but quite often he literally hand gathered 

them himself. You couldn’t get any closer connection to the 

Magill Estate kitchen than actually using the ash from the fire 

upon which they burn the vineyards’ prunings for a glaze. 

Moon also hand gathered and hand-ground local copper ore 

to achieve the green colour in one of the plates, while another 

was made from clay he dug up from the Fleurieu Peninsula. 

It should come as no surprise to learn the project took him 

a year to complete, especially considering that most of the 

pieces were hand thrown by Moon. 

“Scott and Emma wanted a progression through the courses, 

so as the items would become larger they also became 

darker,” he says. “It’s kind of a dramatic setting for the food, 

but certainly as the maker, I always had to keep in mind that 

a particular item is only complete when food is placed on it.” 

Moon’s designs may have a high level of interest, but they are 

also elegantly restrained in order to allow the food to make 

its own aesthetic statement. “I don’t want the tableware to 

be competing with the food,” he reflects. “When the two 

are placed in front of someone they should see it as one 

cohesive picture.” 

In this respect there is no better example to highlight the 

synergy between food and design. It also makes sense that 

JamFactory introduced their annual Drink Dine Design 

emerging designer award to promote South Australia’s 

strong connection between food, design and wine. Last 

year’s winner Angela Giuliani, charmed the judges with her 

Dressed to Digest series of six sterling silver lapel pins, 

featuring miniature cooking utensil motifs. They would 

look completely at home on the lapel of any world-class 

chef and should they eventually go into production, would 

undoubtedly be well received. 

Top left: Tables designed by JamFactory’s 

Furniture Studio for Fino at Seppeltsfield 


Far left: Depo Dinnerware commission, 2013 

Photographer: Florian Groehn 

Left: Plate from Penfolds Magill Estate commission 2014 

Photo courtesy of Penfolds Magill Estate 

Food and design may simply be trending at the moment 

and we can be excused for thinking this based on the glut of 

cooking and home improvement shows currently flooding 

our television screens. But the more likely scenario is people 

are beginning to demand that good food and design be 

integrated into their everyday lives – an approach that 

cities like Copenhagen have proven works – for long-term 

social and cultural benefits. This renders a continual need to 

promote South Australia’s key artisanal traditions, making 

JamFactory’s position as unofficial ambassador a very 

important one. 

ISSUE 03 / 45

Q &A 

DANIEL EMMA

Late 2009 JamFactory was thrilled to announce the 

appointment of Daniel To and Emma Aiston as joint Creative 

Directors - Product and Retail. Having met while studying 

Industrial Design at University of South Australia, Daniel To and 

Emma Aiston, otherwise known as DANIEL EMMA, undertook 

two years of invaluable experience (following their 2007 

graduation) at London design studios Marc Newson, Thorsten 

van Elten and Committee. After establishing their own studio, 

they launched their first celebrated collection, Shapes, showing 

in London and Tokyo. Off the back of this initial success, 

DANIEL EMMA extended their range beyond understated desk 

accessories to include furniture, lighting and installations. 

Named by Wallpaper* in 2009 as design graduates to watch, 

DANIEL EMMA have gone on to build a strong international 

following for their innovative work. Collaborating with 

renowned brands such as Field, Hay and Tait and through 

active participation in exhibitions and design shows in 

Paris, New York, Milan and Berlin, this creative pair are 

seemingly unstoppable. 

JamFactory’s Senior Curator Margaret Hancock Davis caught 

up with them to discuss their vision for Product and Retail. 

MHD How do you feel your experiences to date inform the 

way you see your new position at JamFactory? 

DE We haven’t come from a traditional retail background, 

which is why our approach is slightly unconventional. As 

designers, we enjoy creating experiences and for us, we see 

JamFactory retail as an extension of this. We want visitors 

to come in, feel inspired and walk away with a greater 

knowledge and understanding of what it is to be a part of 

the organisation and why JamFactory’s positioning is so 

important in the Australian design scene. 

MHD In 2011 JamFactory launched its own range and as part 

of your new role, you will be stewarding these products into 

production with studio Creative Directors, as well as finding 

exciting market places for the works. How will your “just 

make it” ethos, combined with your practical industrial design 

training, help direct and inform the new products produced 

as part of JamFactory’s range ? 

DE We see great value in being able to see a piece in its 

final material and finish. Many of the creative teams within 

JamFactory work with their material of choice first as a 

way of prototyping, which suits our style perfectly. In local 

industry and within our personal practice, generally the costs 

involved in prototyping are high which means we have to 

thoroughly plan before launching into making. 

MHD Positioning is often talked about in retail. What are the 

unique features of JamFactory retail outlets that enable them 

to be destination retail stores? 

DE JamFactory has the potential to offer an unrivalled retail 

experience. We have to look at the operations wholistically 

but on the other hand, realise that each store can offer 

something different. We see the Morphett Street store as our 

flagship store, a destination, where visitors can get the entire 

JamFactory experience; Rundle Plaza as the General Store, 

offering goods and services aimed at everyday living; and 

Seppeltsfield as the Regional Lifestyle Store, which is not only 

responsible for sharing JamFactory’s story throughout the 

local area, but also to showcase local makers and producers. 

The online shop is also a main focus for us, as we see the huge 

potential in this being our point of contact to wider Australia 

and the world. 

MHD As part of your role, you present a series of market 

seminars to JamFactory Associates. What do you view as the 

greatest potential for emerging designers and craftspeople in 

the market place? 

DE The market is in a state of transition. When we first began 

our studio there was generally much less awareness (especially 

in Australia) of design. This was the main reason we began 

to show our work internationally as we felt it was far better 

received, not only in the flesh, but also through media, retailers 

and manufacturers overseas. Over the past 6 years we have 

seen design become far more mainstream in Australia, which 

in turn is proving to be very beneficial for up and coming 

designers and studios. Now there are far more magazines, 

blogs and galleries celebrating design. 

MHD Part of the changing customer experience in JamFactory 

retail spaces is the introduction of practical workshops. Can 

you tell us about them? 

DE The idea of these workshops is to offer the public a tactile 

designer-maker experience without the commitment of a six 

week course. We like the idea of participants being able to 

walk away at the end of two hours with something they are 

proud of. Workshops we are currently rolling out are Wearable 

Art with jeweller Alice Potter and a weekend textile class with 

Melbourne screen printers Homework. 

MHD To finish, what are the next big plans for DANIEL EMMA? 

We are in the process of developing new work for The Rigg 

Design Award exhibition, which is being held at the National 

Gallery of Victoria in September 2015. 

Left: BIG & SMALL, 2014, 

dimensions variable 

Photographer: Sean Fennesey 

ISSUE 03 / 47

DONATING TO HISTORY 

When two of South Australia’s leading cultural institutions 

came together to realise a special project, the result was an 

invaluable, one-of-a-kind object and some. 

Words by Emma Waterman 

Emma is an Adelaide based writer with a passion for the Australian arts community. 

It was a welcomed collaboration between JamFactory and 

the South Australian Museum that resulted in a new donation 

box for the museum. “We needed something bespoke; it 

needed to be totally reflective of the museum, both in terms 

of its collections and history,” explains Museum Director Brian 

Oldman. And while there was no doubt in Oldman’s mind 

JamFactory was the perfect group for the commission, he 

had no preconceptions as to how the new donation box 

would look. “We knew we wouldn’t find what we were looking 

for off the shelf…we put a brief together based on what we 

needed the box to achieve and left it to the designers to 

respond,” Oldman says. 

The new donation box needed to have a presence, engage 

and represent the values of the South Australian Museum. 

With these goals in mind, JamFactory’s Metal Studio led by 

Creative Director Christian Hall, set about doing their 

homework to fulfil the straightforward yet excellent brief. 

“There was a lot of conceptual exploration by the Metal 

Studio team, including field trips to the Museum, to 

understand its collections,” Hall details. 

The end product, which was unveiled in December 2014, uses 

an 18th century handle to turn a surface of mirrored stainless 

steel etched with fossils. Suspended above this undulating 

surface is a metal rendering of the Museum’s plesiosaur 

skeleton; the finest example of an opalised fossil in the world. 

And as authenticity is critical within museum contexts, the 

Metal Studio worked on the final design for the plesiosaur in 

close consultation with the Museum’s paleontologists. 

The sculptural value of the box is evident and what especially 

sets it apart from other boxes is the donation pit. This 

tangible aspect acts as a measure to how audiences feel 

about the box and indeed the Museum. For Oldman, it was 

important to communicate the fact that the Museum is in 

need of financial support, “We open our doors for free and 

always have. But if we are to do all of the things the public 

would like a museum to do – have exhibitions, programs and 

educational activities – we need funding.” 

In the short time the donation box has been in place, it’s 

clear the commission has delivered on both qualitative and 

financial goals. “I’m absolutely delighted with the results. It 

certainly exceeds customer expectations,” Oldman exclaims. 

Just as the commission process was a two-way relationship 

between JamFactory and the South Australian Museum, so 

too was the legitimate teaching and learning opportunity 

that resulted. “The educational opportunities presented 

through this commission for our studio Associates were 

second to none,” Hall reflects and further notes, “Plus, the 

Museum had absolute trust in us from the very first time we 

pitched our idea, so that gave us the confidence to create 

something exceptional.” 

Top right Detail showing stainless steel plesiosaur within the Donation Box 

at the South Australian Museum 


Far right: Detail of the etched stainless steel surface. 


Right: South Australian Museum Director Brian Oldman 

Photographer: Denis Smith 

48 / ISSUE 03

ISSUE 03 / 49

A NEW WAY 

JamFactory’s Furniture Studio has undergone 

somewhat of a revolution over the past twelve months. 

Words by Emma Waterman 

Emma is an Adelaide based writer with a passion for the Australian arts community. 

Appointed as the Furniture Studio’s Creative Director in 2014, 

Jon Goulder has certainly made his mark in the short time 

he’s been in the role. While commission work plays an 

important role in all JamFactory studios, Goulder has taken 

this one step further. The studio now enlists the support 

of leading local manufacturers to execute some of the 

commissions, developing ranges of furniture and 

homewares designed within the studio. 

Bringing with him more than 20 years’ experience as a 

professional designer-maker, the studio has been advanced 

by Goulder’s renowned practice and his established position 

as a leader in the field of Australian contemporary furniture 

design. “We design domestic and commercial commissions 

and whilst we maintain our artistic license, we’re also willing 

to collaborate with architects, artists and designers to 

develop ideas for public and private commission,” Goulder 

says in explanation of the studio’s direction. 

In line with this new model, the program has shifted to cater 

for a more contemporary skill set, conducive to the practices 

of the new Furniture Studio Associates. 

“The learning of craft skills at universities and technical 

colleges is slowly being eroded as the teaching of these skills 

is no longer seen as relevant,” says Goulder “Increasingly 

we’re taking on Associates who are industrial designers, 

architects and tradespeople. We don’t teach them to become 

fine woodworkers but instead, to conduct a professional 

furniture and object design practice that’s relevant to today’s 

industry, technologies, and marketplace.” 

And as Goulder continues this new way, it places the 

Furniture Studio in a uniquely advantageous position on 

a national scale. “There aren’t many design businesses in 

Australia that have our capability; we’re both designers and 

makers. It’s very hard to find a designer who can make and 

a maker who can design,” he points out. 

The heartbeat of this studio is commission work and its 

importance as a training tool for Associates must not be 

undervalued. With the studio running as a professional 

practice, the Associates work on the design and development 

of real-world projects, within real-world budgets and time 

frames, resulting in a professional rate of pay for their work. 

One example of this was last year’s project for Beach Energy 

in conjunction with Walter Brooke Architects. In partnership, 

Associates developed numerous bespoke items for the new 

Beach Energy head office including a twelve metre long 

boardroom table and complete fit-out of the Managing 

Director’s office. 

Looking forward, 2015 promises to be just as busy – if 

not busier – with the team working on several large-scale 

commissions, JamFactory’s homewares, a collection of 

JamFactory branded furniture for national distribution and 

several high profile national exhibitions. “We’re designing 

sculptural bench seating for the new Royal Adelaide Hospital 

and developing furniture for the entry foyer of the Brookfield 

Multiplex head office in Perth with Woods Bagot. We’re also 

part of the design team, with Norwegian practice Snøhetta 

and local firm JPE Design Studio, working on the University 

of South Australia’s Great Hall project,” Goulder enthuses. 

It’s clear to see why Goulder is so excited about the fresh 

direction the Furniture Studio is taking, including the 

exceptional work Associates are producing. As mentor, 

he is expectant that this current approach will deliver five 

key qualities in graduating Associates: a view to economic 

feasibility, an individual professional profile, work ethic and 

proficiency, design skills and making skills. 

And as the commission work continues to flow through their 

studio doors, it looks as though this new model is going 

to deliver on each of these expectations. “Associates will 

have the complete package that will allow them to have an 

economically sustainable and culturally viable professional 

practice beyond this studio,” Goulder firmly believes. 

Top right: Rhys Cooper, CUSP Dining Chair, 2014, American White Oak, Kvadrat 

Maharam Fabric 600 x 500 x 750 Photographer: Andre Castelucci 

Far right: Nicholas Fuller, Phil Chair, 2015 soap finished American White Oak and 

Kvadrat Maharam fabric Photographer: Daniel Tucker 

Right: Stephen Roy, Hansha Stool, 2014 American White Oak, 

Photographer: Johanis Lyons-Reid 

50 / ISSUE 03

ISSUE 03 / 51

JAMFACTORY 

PRODUCTS 

JamFactory studio production focusses 

on the design of useful, well made products. 

These objects highlight the craft methods 

behind their production and the specific 

characteristics of the materials used. 

JamFactory products are designed 

in-house by creative staff or through 

collaboration with independent 

designers. Each piece is manufactured 

or hand finished within one or more of 

the JamFactory’s four Adelaide based 

studios in ceramics, glass, furniture, 

and metal design. 

This range of products is designed by 

Daniel . Emma, Jon Goulder, Christian Hall, 

Deb Jones, Tom Mirams, Damon Moon 

and Brian Parkes. 

All products are available through 

JamFactory’s online shop. 

jamfactory.com.au 

design + craftsmanship

KINK 

Oil Bottle 

$125 

KINK 

Vinegar Bottle 

$95 

GRIND 

Pepper Mill 

$175 

GRIND 

Salt Mill 

$175 

THROWN 

Cup & Saucer 

$75 

THROWN 

Cup 

$24.95 

Olive 

Lime 

Clear 

Smoke 

Aubergine 

Clear 

Black 

Natural 

White / Sand 

Natural / Black 

White Speck 

Sand Speck 

THROWN 

Side Plate 

$35 

THROWN 

Dinner Plate 

$49.95 

THROWN 

Dessert Bowl 

$29.95 

THROWN 

Pasta Bowl 

$39.95 

THROWN 

Platter 

$99.95 

THROWN 

Salad Bowl 

$99.95 

White Speck 

Sand Speck 

White Speck 

Sand Speck 

White Speck 

Sand Speck 

White Speck 

Sand Speck 

White Speck 

Sand Speck 

White Speck 

Sand Speck 

CHOP 

Board 

$180 

SERVE 

Board 

$195 

SHARE 

Board 

$255 

STORE 

Desk Tidy 

$165 

BLOCK 

Bookends 

$120 

Natural 

Natural 

Natural / White 

Natural / Sand 

Natural / Black 

Black 

CUBE 

Paperweight 

$90 

ECLIPSE 

Pinch Bowls 

$59.95 

ECLIPSE 

Nesting Bowls 

$220 

CURVE 

Salad Servers 

$95 

JAMJAR 

Storage Jar 

$250 

Brass 

Stainless Steel 

Stainless Steel 

Stainless Steel / 

Black 

Smoke 

Amber 

Clear 

ISSUE 03 / 53

Q &A 

JULIE FLEMING

JamFactory’s Seppeltsfield facility provides highly sought 

after independent studio spaces. Adele Sliuzas, JamFactory’s 

Assistant Curator, spoke with one of our new tenants at 

Seppeltsfield, milliner Julie Fleming. 

Fleming’s millinery studio adds a sense of vintage glamour 

to the Seppeltsfield village. One of Australia’s most prolific 

hat makers, she started her business in Melbourne in 1989. 

Studying fine arts at the University of Southern Queensland 

and Monash University, she majored in painting and 

printmaking, prior to becoming interested in millinery in the 

mid 1980s. Fleming trained in London under famed Royal 

Milliner, the late Philip Somerville, before making a name for 

herself in Melbourne and more recently in the Barossa Valley. 

AS Tell me a little about your training in London. 

JF I landed in London in late 1987 and knew I needed to get a 

job straight away. My girlfriend and I went to a phone box and 

rang every business in the phone book that related to textile 

design and millinery. I was offered a job at Philip Somerville. 

They taught me how to work with fabrics and many other skills 

that I was later able to build on. Two years later, I came back to 

Australia and started my own business in Melbourne. 

AS You worked with Alannah Hill recently on some accessories 

for her new label Louise Love. How was it working with her? 

JF I’ve known Alannah for many years and we’re both very 

much in sync. When she decided to start her new label she 

asked me to get on board and do the accessories. I’ve ended 

up making giant upside down bows and Mickey Mouse ears 

which were pretty nutty but have sold amazingly well. 

AS You’ve just moved from the heart of Melbourne to the 

Barossa Valley. What made you decide to make the move? 

JF It was time for me to move away from manic metropolitan 

life in Melbourne. My sister has lived in Angaston for 15 years 

and told me about JamFactory at Seppeltsfield, so I got in 

contact with them. I still plan to do pop-up shops in Melbourne 

during Spring Racing and will be recommending that interstate 

clients come for weekends to the Barossa Valley. Who wouldn’t 

want to do that! 

AS Millinery is a very tactile process, with so many beautiful 

fabrics at your disposal. Can you share a bit about the 

materials you use? 

JF I have always loved heavy beading, proper crystal 

decorations and French embroidery. Everything I do is 

based around my personal taste. A lot of the materials I 

source come from America and I’ve collected countless 

abrics over the years. 

AS When you set out to design and make a piece, what is 

your process? 

JF My designs evolve from the pieces of material I have around 

me. I might put a group of things together that are of the same 

colourway and go from there. I don’t plan a lot. I like to see 

how things evolve and enjoy getting into a meditative rhythm 

where my mind drifts while I’m making. I work quite slowly 

and work on several pieces consecutively. There is a lot of 

waiting around; waiting for things to dry. This allows me to put 

something down and leave it and then come back to it later. 

AS Where do you draw inspiration from? 

JF I am inspired by the elegance and style of the 1940s and 

1950s. I love Dior. If you had told me when I was finishing art 

school that I would have ended up in the fashion industry, I 

would have told you that you were crazy! I’m still not sure 

how it happened. 

Left: Julie Fleming in her Seppeltsfield studio. 

Photographer: Dragan Radocaj 

ISSUE 03 / 55

Q &A 

KYOKO 

HASHIMOTO

Alongside JamFactory’s highly sought after independent 

studio spaces, JamFactory Adelaide provides artist residency 

opportunities. Adele Sliuzas, JamFactory’s Assistant Curator, 

spoke with the Metal Design Studio’s Artist in Residence, 

Kyoko Hashimoto. 

Kyoko Hashimoto is an Adelaide based jeweller whose bold, 

colourful designs make use of strong graphic elements and 

nontraditional materials. Hashimoto studied jewellery at the 

College of Fine Arts in Sydney and has travelled extensively 

throughout Europe and Asia. In 2014 she held the position of 

Production Manager in JamFactory’s Metal Design Studio and 

is currently an Artist in Residence. 

AS Can you tell me how you became a jeweller? What made 

you decide to become a designer-maker? 

KH Both my parents are ceramists, so I was exposed to art 

from a young age. They owned a stationery shop in Japan, so I 

had access to an endless supply of paper and coloured pencils. 

I always wanted to be an artist, except for when I wanted to 

become a professional speed skater! 

AS Can you tell me about the materials you are drawn to 

and how they inform your practice? 

KH I like to explore various materials along with their tactile 

qualities. My purpose as a designer is to make things different, 

unique and a little bit fun. I believe this is why I’m attracted to 

working with nontraditional materials like acrylic, sponge and 

powder coated brass. 

AS And your current wearable series, The Endcap Project. 

What was/is your thinking behind this? 

KH The project began when I purchased a bag of endcaps to 

finish off a piece. An endcap is a jewellery component typically 

used to ‘cap’ the end of rope or chain to prevent fraying. I 

could only buy them in bulk from China and afterwards, had 

thousands of endcaps left over. One day I was cleaning my 

studio and found them again. Their find made me think about 

problems of globalisation, industrial mass-production and I felt 

sad. As I reflected over the many industrial components in our 

daily lives that are similarly mass-produced, shipped around 

the world and too often discarded, I decided to use the surplus 

endcaps in my new jewellery collection. Each design from 

the new collection has an endcap component and each piece 

varies in appearance, colour and shape, which I feel revitalises 

the otherwise standardised quality of industrialised objects. 

AS You are currently an Artist in Residence in JamFactory’s 

Metal Design Studio. What are you working on there? 

KH I’m working on a new range of jewellery that combines 

semi-precious stones, locally sourced marble and precious 

metals. As part of my residency, I’ve been invited to give a 

workshop to the Metal Associates on the conceptual design 

of rings, together with my partner Guy Keulemans, a furniture/ 

object designer also in residence at JamFactory. Guy has a 

very conceptual approach to his designs, so the topic of this 

workshop is perfect for us. 

AS What is your process when designing and making a piece? 

KH I am often drawn to a material first, then research and 

experiment with the capabilities and limitations of that 

material. At the moment, I’m interested in combining marble 

elements with silver or gold. Marble behaves differently to any 

other material I’ve ever worked with. I like the idea of using 

local off-cuts from industry and making them into wearable 

objects. 

AS You’ve lived in Sydney, Tokyo, Berlin, Eindhoven and last 

year made the move to Adelaide. From your exposure, do 

you think people from different cities wear their jewellery in 

different ways? 

Different cities definitely wear their jewellery differently. My 

jewellery appealed to the younger crowd in Tokyo. But when I 

was living in Berlin, the general fashion was sort of minimalistic 

– Street Grunge – and not many people wore statement 

jewellery. So I modified my jewellery in response, particularly 

in regards to size, scale and subtlety. 

Left: The End Cap Project, 2014 

Brass, powder coated brass, sterling silver, polyurethane, pigment 

dimenisions variable 

Photographer: Kyoko Hashimoto 

ISSUE 03 / 57

JamFactory is delighted to be collaborating with Stylecraft – 

one of Australia’s leading commercial furniture suppliers – to 

present the first Australian Furniture Design Award (AFDA), 

a prestigious biannual award for excellence in innovative 

Australian furniture design. 

The new AFDA award is open to both Australian designers 

(locally based or otherwise) and designers residing within 

Australia. It aims to raise the profile of Australian furniture 

designers, to encourage innovation in furniture design and to 

foster an increase in production of Australian made furniture. 

The winner of the AFDA will receive a $20,000 cash prize 

and a residency at Adelaide’s JamFactory to develop a design 

through to commercial production for national distribution 

through Stylecraft. 

JamFactory’s Chief Executive Officer Brian Parkes says, 

“The opportunity for the winner to work with Jon Goulder 

and the team in our Furniture Studio and to access our local 

manufacturing networks is a significant value-add for the 

prize.” Stylecraft’s Managing Director Anthony Collins agrees, 

“The guaranteed distribution outcome will provide real longterm 

benefits for the winning designer.” 

As part of the residency, JamFactory will assist with 

prototyping the winning design, or a related piece, and 

facilitate negotiations with appropriate local manufacturers. 

The resulting piece, or pieces, will be represented nationally 

and in Singapore by Stylecraft and the designer will earn a 7% 

wholesale royalty on all sales. 

Another major element of the Award will see the winner’s 

prototype acquired by the Art Gallery of South Australia. The 

Gallery’s Director Nick Mitzevich says, “The purchase of work 

through this important new award will enable the Gallery to 

continue to build its design holdings,” which currently includes 

several important prototypes such as the Lockheed Lounge by 

Marc Newson. 

Six finalists will be chosen to present their prototypes before 

the judging panel and the winner announced at a special 

event in Adelaide in July. An exhibition of finalists’ works will 

be displayed at Stylecraft showrooms in Adelaide, Sydney, 

Melbourne, Brisbane, Canberra and Perth over the following 

twelve months. 

Australian Furniture Design Award: 2015 Judging Panel 

Jon Goulder 

Creative Director, Furniture Design Studio, JamFactory 

Jon Goulder founded his own studio in 1996 and his unrivalled 

work has featured in significant exhibitions and publications 

around the world. Goulder was the inaugural winner of the 

Bombay Sapphire Design Discovery Award in 2003 and his 

work is held in major public collections, including the National 

Gallery of Australia and Powerhouse Museum. 

Tony Russell 

Brand Director Stylecraft 

Tony Russell has been with Stylecraft since 2000. His current 

role encapsulates product selection with European suppliers 

and the development of Australian design and manufacturing 

exclusively for the Stylecraft collection. 

Nick Mitzevich 

Director, Art Gallery of South Australia 

Since his appointment at the Art Gallery of South Australia in 

2010, Nick Mitzevich has significantly enriched the Gallery’s 

collections with major acquisitions, dramatically increased 

private benefaction and broken audience attendance records. 

He has curated notable international and national exhibitions, 

including the 2014 Adelaide Biennial of Australian Art. 

Fenella Kernebone 

Presenter, By Design, ABC Radio National 

Fenella Kernebone is a television and radio presenter 

and producer, MC, interviewer and writer. In 2010 to 2011, 

Kernebone hosted Art Nation on ABC TV and presented 

and produced on Sunday Arts. Prior to that, she was one of 

the hosts and film reviewers on The Movie Show, SBS TV. 

Rosina Di Maria 

Principal, Woods Bagot, Adelaide Studio 

Rosina Di Maria returned to Adelaide after leading the interiors 

portfolio in the Woods Bagot, London Studio. Since returning 

she has completed the interiors of the South Australian Health 

and Medical Research Institute, Hilton’s Collins Bar and the 

Adelaide Convention Centre redevelopment. 

Jon Goulder. Splay Chair, 2011 Tasmanian Oak 720 x 720 x 660 

Photo courtesy of the artist

“No other award offers such 

a substantial prize pool and 

rigorous mentoring programme. 

The professional advice means 

that a designer can transform 

their great idea into a resolved, 

market place product. There are 

very few platforms that nurture 

Australian designers in such a 

practical, career-defining way.” 

Adam Goodrum, Sydney, 

November 2014

Join us! Become a member of JamFactory and 

help nurture and promote good design and 

fine craftsmanship in Australia. Support a world 

class Associate training program and receive a 

great range of discounts, exclusive event 

invitations, information and offers. 

INDIVIDUAL MEMBERSHIP 

JamFactory Membership is for someone who has everything... 

but wants more. 

Cost: $45 

/ 10% discount at JamFactory shops and online 

/ 10% discount on gallery purchases 

/ 10% discount on gift membership 

/ 10% discount on JamFactory workshops 

/ Exclusive offers and invitations to openings and other events 

/ Delivery of the JamFactory magazine Marmalade worldwide 

/ Delivery of the JamFactory event program (4 annually) 

/ Bi-monthly electronic newsletter with exclusive member offers 

/ 10% discount at Seppeltsfield Cellar Door and FINO at Seppeltsfield 

(Conditions apply) 

/ A premium suite upgrade for JamFactory members staying at 

The Louise with gas-log fireplace and outdoor private rain shower 

(subject to availability) 

/ NEW Members Circle program of events and activities 

CORPORATE MEMBERSHIP 

Be original... Inspire staff and clients with unique, high quality and 

beautifully wrapped corporate gifts and experiences. 

Cost: $120 

/ 20% discount at JamFactory shops and online 

/ 10% discount on gift membership 

/ 10% discount on JamFactory workshops, team building sessions 

and venue hire 

/ Exclusive offers and invitations to openings and other events 

/ Delivery of the JamFactory magazine Marmalade worldwide 

/ Delivery of the JamFactory event program (4 annually) 

/ Bi-monthly electronic newsletter with exclusive member offers 

MEMBERS’ CIRCLE 

The Members’ Circle is available to all members and was established 

to offer further immersion in JamFactory and its far reaching network. 

The Members’ Circle offers a selection of exclusive social and insightful events 

and activities, talks, tours, wining, dining and an exclusive annual shopping 

experience. 

GIFT MEMBERSHIP 

Tick Gift Membership on the application forms, and the recipient will 

receive their 12 month membership enclosed in a limited edition 

JamFactory greeting card from you. 

ISSUE 03 / 61

MAJOR 

PARTNERS 

SUPPORTING 

PARTNERS 

JamFactory is a unique, iconic 

and important South Australian 

organisation, and ANZ is proud 

to be a sponsor again in 2015. 

With a priceless legacy dating back 

to 1851, Seppeltsfield is one of 

Australia’s finest wine estates and 

JamFactory’s exclusive wine 

partner. Their partnership with 

JamFactory brings together two 

significant South Australian icons – 

both with a commitment to 

premium quality and bespoke 

production, providing a unique hub 

for craft and design in the Barossa. 

The University of South Australia 

is a progressive international 

university, and through the School 

of Art, Architecture and Design has 

a long history of leading the way in 

arts education and contributing to 

the vitality of the creative economy. 

The University of South Australia is 

pleased to be working closely with 

JamFactory to further enhance 

opportunity and viability for 

creative entrepreneurs. 

Established in 2003, Canvas Group 

is a multi-award-winning creative 

agency based in Sydney. With over 

9,000 projects for clients around 

Australia, Europe, Asia and the 

Americas, they are proud partners 

in the JamFactory brand, website 

design and Marmalade. 

A leader in the design industry, 

Stylecraft has been providing 

furniture of original contemporary 

design for over 60 years. Now 

together with JamFactory, they are 

proudly presenting the Australian 

Furniture Design Award, Australia’s 

richest and most prestigious award 

for furniture design that encourages 

innovation in furniture design and 

will foster new opportunities for 

furniture manufacturing in Australia. 

62 / ISSUE 03

GOVERNMENT 

PARTNERS 

CORPORATE 

COMMISSION 

CLIENTS 

Adelaide Botanic Gardens 

Adelaide Cabaret Festival 

Adelaide Casino 

Adelaide City Council 

Adelaide Film Festival 

Adelaide United Football Club 

Adelaide Wine Show 

Articolo Architectural Lighting 

Arts SA 

Athletics Australia 

Australia Council for the Arts 

Barossa Grape & Wine Association 

Beach Energy 

Bradley Cole Lighting 

Brand South Australia 

Brookfield Multiplex Australasia 

Centennial Park 

Department of Further Education, 

Employment, Science and Technology 

Department of State Development 

Evright Trophies 

FINO at Seppeltsfield 

Food South Australia 

Glass and Glazing Association of 

Australia 

Hot 100 South Australian Wines 

JPE Design Studio 

Kojo Productions 

Koskela 

Le Cordon Bleu Australia 

Maybe Mae 

Meals on Wheels SA 

Media Resource Centre 

Museums and Galleries of NSW 

National Gallery of Australia 

National Pharmacies 

Penfolds Magill Estate Restaurant 

Renewal SA 

Robinson Institute 

Ross Gardam Design 

Royal Adelaide Show 

SA Health 

SA Media Awards 

Santos 

Santos Tour Down Under 

Schiavello 

Seppeltsfield Wines 

Simulation Australia 

South Australian Museum 

South Australian Tourism Commission 

Stylecraft 

The Louise & Appellation 

Traegermunt Pty Ltd 

University of South Australia 

Walford Anglican School for Girls 

Walter Brooke 

Woods Bagot 

2KW Enterprises 

ISSUE 03 / 63

JamFactory is a not for profit organisation promoting 

good design and fine craftsmanship. All donations to 

JamFactory directly support our education, training 

and exhibition activities. JamFactory would like to 

acknowledge and sincerely thank the following donors 

for their support: 

Adey Lawyers 

James Allen 

Helen Bell 

Alexandrea Cannon 

Everglades Fund 

Farm Follies 

Catherine Flemming 

Grant Hancock 

Lyndall Hughes 

Diana Jaquillard 

Victoria Jennings 

Lisa Lavan 

Professor Kay Lawrence AM 

Nicholas Linke 

Jane Lomax-Smith 

Kathie Massey 

Dr Doug McEvoy 

David McKee 

Janette Nicholls 

Brian Parkes and Imogen Landau 

Helen Petros 

Anne Skipper 

Jim Spiker (ADFAS) 

Carol Treloar 

W N J Wells 

Jane Yuile 

To donate visit jamfactory.com.au and go to the Donations page. 

JamFactory is approached for support by countless 

charities, not for profits and community groups annually. 

We strive to support those who support us, and celebrate 

generous and valuable individuals in our community. 

Below are some of the groups we supported in 2014/15. 

Adelaide Festival Centre Foundation 

Australian Institute of Architects 

Barossa District Football & Netball Club 

Barossa Visitor Information Centre 

Channel 9 Telethon 

Connecting Up Inc 

Conservation Council SA 

Feast Festival 

Flinders Medical Centre Foundation 

Friends of the State Opera 

Hang it up for Poverty 

Lions Club Australia 

Loreto College 

Mary Potter Foundation 

Media Resource Centre 

Mercury Cinema 

Quarter Club Premier’s Games Appeal 

Red Faces Supporting Mental Health 

Ronald MacDonald Charity Ball 

Seppeltsfield Road Business Alliance 

South Australian Museum 

St Ignatius College 

Starlight Foundation 

Tasting Australia 

The Adelaide Youth Orchestraa 

The Hospital Research Foundation 

The Repat Foundation 

Urban Myth Theatre 

Womens & Childrens Hospital 

64 / ISSUE 03

Naomi Hunter, PhD candidate, 

Fragments 2013 

Photography by Steve Wilson 

Finalist in the 2014 National 

Student Art Glass Prize 

Leading the way in 

arts education since 1856 

The School of Art, Architecture and Design at the University of South Australia has led the 

way in arts education for more than 150 years and is proud of its contribution to the vitality 

of the arts locally, nationally and internationally. 

Our award-winning students, graduates and academics excel in their chosen fields and 

aim to inspire the next generation. 

unisa.edu.au/aad 

USA10058_CRICOS PROVIDER NO 00121B

JamFactory thanks our 

major sponsors. 

Proudly investing in 

Tomorrow. Talent. 

Second year Associate Courtney Jackson Photographer: Sven Kovac

Marmalade Issue 3, 2015

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