This program is part of Australian Design Centre’s ongoing research into object, furniture, lighting and industrial design, fashion design, architecture, crafts, ceramics, jewellery, textile arts, glass, timber and mixed media.
This digital archive of the magazine is a work in progress. We are progressively uploading the key articles and contents pages of each of the 59 issues of the magazine as a record of 20 years of craft and design in Australia.
26 November – 27 January 2021
Isolate Make explores how creative practice has adapted to isolation, associated restrictions and production challenges, or in response to the year’s tragic global events. Through images, text, video and final work on exhibition Isolate Make gives a unique insight into a wide range of contemporary art, craft and design practice.
Design/Isolate is an Australian Design Centre initiative to show how creative thought can help lead the way for change. Over 60 designers/creative thinkers have captured their thoughts in sketches, diagrams, drawings, text or collage on COVID-19, isolation, what ‘a new normal’ in Australia might look like, how they are affected and how design might contribute to recovery post-pandemic.
Isolate Make: Creative Resilience in a Pandemic explores how creative practice has adapted to isolation, associated restrictions and production challenges, or simply in response to the tragic global events.
Watch the films made by creative practitioners: Glenn Barkley | Crossing Threads | Kathy Elliot | Benja Harney | Liz Payne | Donna Sgro | Lucy Simpson | Melinda Young
After a career working in community development and later as a family therapist, Nicole Robins now devotes herself full-time to her fibre art and basketry practice, one that is almost completely materials-driven. Inga Walton writes about her work.
YOU ARE DOING IT AGAIN by Zoe Brand is an exhibition where general musings about an unprecedented time are put front and center, multiplied, divided, made colourful and offered anew. Catalogue Essay by Melinda Young.
Incorporating glass processes with photography and the moving image, Kate Baker creates deeply introspective and highly emotional work that touches the transcendent, ethereal realm of raw human emotion. Kathleen Linn explores her work.
Myf Doughty explores the work of contemporary jewellery designers Susan Cohn, Julia deVille and Kyoko Hashimoto in this essay, included in NGV publication She Persists: Perspectives on Women in Art and Design.
Yvonne Koolmatrie works at the intersection of past and present. She creates works at the same river where her ancestors once met, using the same traditional rush grasses they harvested. And yet her works speak of revival, innovation and the personal journey of a modern Ngarrindjeri woman, who has lived in constant connection with her homeland and its long, ancient history, writes Louella Hayes.
Concrete stands for progress, it is the building block of our cities and has been used by architects as a defining material of Modernism and Brutalism and by artists as one of the defining materials of Minimalism. This essay by Penny Craswell is republished from the exhibition catalogue of CONCRETE: Art Design Architecture.
CONCRETE: art design architecture is a major exhibition exploring innovative ways that concrete is being used by artists, designers and architects in Australia in the 21st century. This essay by JamFactory Senior Curator Margaret Hancock Davis is republished from the exhibition catalogue.
Australian Design Centre partnered with The Indigenous Jewellery Project’sEmily McCulloch Childs and contemporary jeweller, Melinda YoungandYuwaalaraay sisters Lucy and Nardi Simpson on a week of workshops in the regional NSW town of Walgett. This essay by Emily McCulloch Childs captures that joy and cultural connection that the project created.
Anita Larkin reconfigures everyday objects to explore our relationship with the physical world.By combining found objects with each other, sculpted pieces, or her own cast body parts, she explores how language, memory and human experience influence how we interact with our surroundings. Bridget MacLeod writes about her hybrid objects.
Contemporary jewellery has evolved as an artform, often exploring materiality and form, and the relationship of objects to the body. For many contemporary jewellers, the term “wearable art” feels more relevant to their practice, while others find their work very much connected to the jeweller’s bench and others, again, are looking at their work in relation to the body, rather than necessarily worn on it.
This is an extract of an essay by ceramicist Neville French, published in the exhibition monograph Living Treasures: Masters of Australian Craft \ Prue Venables, reflecting on the quality and significance of Prue Venables’ work. For the full essay, the book is available to purchase from Object Shop.
This project examines how shifts in technology, society and the environment are impacting the jobs of the future. It invites the next generation to imagine their place in a future world of work where automation, AI and robots are part of everyday life. What jobs will we have in 2030 and how will they be different to the jobs of today? Read short essays from guest writers including Laurie Aznavoorian, Jess Scully, Balder Tol, Sasha Alexander, Melissa Silk, Natalie Parker and Kate Dunn.
Four films were produced for Ideas Intersecting: Innovation and Design, an online exhibition that explores a single project within the practice of designers Alia Parker, Bic Tieu, Carly Vickers and Harriet Watts. Through visually documenting each practitioner’s processes and design methods for a selected project, the exhibition illuminates, and makes tangible, the moments in creative practice when seemingly disparate ideas intersect.
Guy Keulemans from the University of New South Wales and Niklavs Rubenis from the Australian National University are researchers interested in the power of design-led repair to change the way we think about waste, consumption and the life of objects.
Oliver Smith, Senior Lecturer at Sydney College of the Arts, writes about a creative exchange between silversmiths Kenny Son and Hendrik Forster characterised by intensive activity, sustained effort and prodigious creative output.
Examining issues related to a lack of diversity in the craft sector and the fact that black women receive more online abuse than anyone else, a new report by Karen Patel of Birmingham City University in the UK asks what can be done to support greater diversity in the UK craft sector.
Matthew Martin and Ewan McEoin discuss SO–IL: Viewing China, a presentation of more than thirty white porcelain items within a vibrant architectural display by US/China architecture practice SO-IL, currently on show at the NGV in Melbourne.
Part architectural pavilion and part sound installation, 80Hz is a project that turns paintings from the State Library of NSW into music using data. Sydney-based British designer and architect Thomas Wing-Evans talks to ADC’s Penny Craswell about the installation, which he designed in collaboration with DX Lab, the library’s experimental design research group.
Emily McCulloch Childs writes about her first trip to the Torres Strait Islands as part of the Indigenous Jewellery Project, with artist and workshop leader Melinda Young teaching the lost wax technique for metals to participants at the Gab Titui Cultural Centre.
Soraya Abidin, textile artist, explores in this essay and in her exhibition Hypersensitive/ Hipersensitif, the double consciousness and ‘in-between’ space of a bi-cultural identity. Her solo textile exhibition is part of Sydney Craft Week at Gaffa Gallery, Sydney.
Making is not just a creative outlet – it also generates a focused, thoughtful state of mind similar to meditative practice. Sydney maker and psychiatrist Megan Kalucy from Shared Threads explores the benefits of mindful making.
Joshua Smith’s miniatures of overlooked buildings offer a street artist’s perspective of the city and raise questions about the spatial politics of Sydney, according to Luke Tipene and Campbell Drake from UTS.
This newspaper-style publication includes articles by some of Australia’s leading experts on 3D printing, including features by Berto Pandolfo and Jennifer Loy (UTS) and jeweller Bin Dixon Ward, and interviews with Kate Dunn (UNSW) and Melbourne ceramics studio Alterfact.
Melbourne jeweller Bin Dixon Wardis fascinated by the relationship between digital technology, jewellery and its maker. She discusses the development of 3D printed jewellery including her own work in this field.
ADC’s Lisa Cahill spoke to Kate Dunn, designer and research leader in Digital Fabrication and Material Innovation in the Creative Robotics Lab at UNSW Art and Design, about the intersections between the traditional craft of ceramics using clay and the use of 3D printing to explore cross disciplinary collaborations.
3D printing has promised to
significantly impact the way objects
are realised. Berto Pandolfo, an
industrial designer and Senior
Lecturer at the University of
Technology Sydney, examines the
evidence that this prophecy is
coming to fruition.
Join a team of experts discuss the future application of 3D printing (or additive manufacturing), exploring not only the latest in new technologies, but also how these technologies are used across manufacturing, business and solo practice.