Marmalade Issue 5, 2017
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After 35 years of<br />
collaboration,<br />
Rose-Anne ‘Rosie’<br />
Russell and husband<br />
Mick Russell still love<br />
going to work. Lara<br />
Merrington chats to<br />
this creative couple<br />
about their co-working<br />
space at JamFactory at<br />
Seppeltsfield and how<br />
they fashioned their<br />
perfect fit.<br />
Words by Lara Merrington<br />
Lara is Assistant Curator at JamFactory.<br />
LM: Rosie, from studying Custom-Made Footwear at TAFE in 2003/4 to setting up<br />
a shoemaker’s co-operative, you then expanded and eventually re-located to a retail<br />
space and workshop in the eastern suburbs of Adelaide. Tell us a bit about your<br />
trajectory from then to your current position at JamFactory Seppeltsfield.<br />
RR: I have really grown and developed my practice as a maker since study. From<br />
a focus on custom-made shoes, I have expanded into handbags and accessories.<br />
Our hills relocation really took place as part of our dream to retire to the country.<br />
We came across a gorgeous restored carpenters workshop from the 1880s in the<br />
Barossa, at Springton. We started off there running a home studio, and that’s when<br />
Mick and I started working together too. It was pretty understated with a small<br />
A-frame sign out the front, but we found there was definitely demand here. In 2013<br />
I was approached by JamFactory to become an Artist-In-Residence at their new<br />
location in Seppeltsfield, so I delightedly accepted, with Mick sharing the space too.<br />
LM: Mick, you were obviously inspired by Rosie to some degree, but your practice is<br />
perhaps more classic in style. How would you describe your part in the business?<br />
MR: Rosie is definitely the team leader. I’m the team schmuck! I worked in real estate<br />
and sales for years but when we moved up here I was semi-retired and needed a<br />
challenge. Everyone wanted belts from Rosie – so I came on board to help out and<br />
took on another full-time job really! On the side, I guess there was a bit of mucking<br />
around in leather before then though. I love doing up old cars, like my old FJ Holden,<br />
which I reupholstered. I also did a two-year motor trimming course, so there are<br />
some applicable skills to what we do here – like pattern-making. I have a lot of fun<br />
making different requests for people. For example I recently did up a 1926 Douglas<br />
motorbike toolbox for a client – so I guess you could say my work is a little more<br />
traditional than Rosie’s style which is so colourful and diverse.<br />
LM: Between you there is such an array of wares lining your retail space.<br />
From handbags, cushions, purses, earrings and shoes, is there anything you<br />
can’t do in leather? Tell us a bit about your materials and ideas?<br />
MR: We love repurposing: I find a lot of old belt buckles at vintage shops, markets<br />
and op-shops (as well as ideas for new belts). Buckles are works of art, and I just love<br />
old things too. For instance, this here [Mick shows an old leather pouch in perfect<br />
condition: his grandfather’s compass case from 1916], the quality, 101 years old. How<br />
cool is that? How many things do you see that people still use in 100 years time?<br />
RR: The beauty of working with leather is its diversity. I’ve incorporated weaving,<br />
painting, stitching, appliqué and recently even some sculpture in the small vessels I’m<br />
making. My practice is almost compulsive. I’m not stuck to one style – I’ll do all sorts.<br />
LM: Has being at Seppeltsfield changed your direction or provided you with a<br />
different client base?<br />
RR: There has been a lot more corporate gigs. The culture is rich in wine and food up<br />
here so I make quite a few high-end menu covers for restaurants like the ones I did<br />
for Fermentasian Restaurant in Tanunda.<br />
MR: I loved doing a recent piece with furniture designer Andrew Bartlett, for which<br />
we made the leather straps for a bespoke timber collectors wine case. I really enjoy<br />
working with other artists and learning about their materials and design process.<br />
LM: What does the future look like for you both?<br />
RR: I really get a buzz out of doing exhibition work. I know Mick would love to do<br />
more carving, plaiting, that kind of thing. He was recently really inspired by an ABC<br />
program he saw on a guy who was making hand-plaited whips for example.<br />
Left: Rosie and Mick’s studio.<br />
Photographer: Lara Merrington.<br />
MR: The future? Rosie could easily keep going until she’s 75. In leather, you are only<br />
limited by your imagination, and we haven’t even scratched the surface. I’m already<br />
looking forward to coming in tomorrow.<br />
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