Installation happening at the ‘MAKE it’ Precinct for Saturday Indesign, Melbourne! Excited!
I am proud to share with you an article about my practice just published within the pages of (Inside) #72 Magazine; called Depth of Field, written by Kirril Shields.
It is special to have a treasured moment like this. To share with a wide audience, listen to what other people make of my projects, to reflect, to gain perspective and celebrate the people who contribute to my practice.
Thank you to my photographers Jon Linkins, Christopher Frederick Jones, David Sandison and Tobias Titz. All have imagery featured in this article (captured over many years). Thank you to clients and collaborators such as Aurecon and Cox Rayner Architects.
Thank you to the makers and suppliers including Palamont: art in manufacturing, Rockpress, Everything Metal, B&S Washers and Reverse Garbage.
Thank you to the venues that hosted the exhibitions and installations including The Brisbane Convention Centre, The State Library of Queensland and Pin-up Project Space, Melbourne.
Thank you to the organisations that have supported research, development, realisation and exhibition of the works featured via Grants, Fellowships and Sponsorship including Arts Queensland, The Brisbane City Council, The Winston Churchill Fellowship Memorial Trust, The Australian Council for the Arts and Howwecreate.com.
Thank you to the people that inspire me; peers and confidants. My love to family and friends. Such support!
Yes the list is long. It would be remiss of me to say I did it all on my own. It does actually take many passionate individuals and organisations and in-depth conversation and massive amounts of true belief.
You can read the full Depth of Field article online at Australiandesignreview.com or BETTER STILL head to your news stand and get a copy in the flesh. I have to say (Inside) #72 presents a wealth of Australian Design talent including interviews with Kate Stokes, John Goulder, and Design by Them just to name a few…
Design’s true contribution to the wider community is something money just can’t buy.
Beyond fashion, sales, price point and the hottest-newest item for sale, there is the intrinsic worth of design that transcends market forces.
Can you buy the true belief and passion, ingenuity, and provenance built into projects over time? Can you measure the value of direct relationships and knowledge grown through design process and investigation? What’s the current asking price for meaningful places of experience that grow within the memories of future generations? What is the creative capital that creative thinkers bring to the wider community?
We may be able to buy the products and projects of design thinking, but that doesn’t ensure the acquirer values their meaning and concept. Many Australian Retailers, Designers and Architects have conveyed their clients’ focus on price rather than an understanding of the background story to products and projects. Especially since the GFC, clients and buyers are caring more about price.
At some point in the recent past sell overtook soul.
How much do you sell those for? Where can I buy one? How much did that cost to make? When one answers the barrage of questions with ‘Actually you can’t buy these anywhere”, “That’s the only one in the world”, or ‘Our business plan for this product is not to sell it’.
There is an understandable silence. And then there is a smile and often a nod, and a ‘Wow’ exclamation. I have witnessed this response through the Tracelet Project.
Tracelet is a symbol, a talisman. It took about ten years for it to evolve into its present form. You can’t buy it anywhere. These are personal gifts that are not sold. You can only receive Tracelet once the story of its origin has been shared. Yes it’s a bracelet that’s meant to be worn.
But above all, Tracelet is to be treasured and to remind the wearer of the gift of knowledge, of process and a connection with the designer/maker.
So far I have personally given 400 Tracelet sets to people. In doing this I get something far more important than a few dollars in the bank.
I get to share Tracelet’s story directly, witness peoples’ responses, hear what they see and connect in a way that is not possible within the normal retail model.
It is my personal belief that a designer’s true gift rests not just in the physical objects and places that they have made through out their career. These are merely the perspiration from an endeavour to make everyday experiences better.
Our biggest contribution is the opportunity to inspire and move others (professionals, students and people from not only the design sector but all areas of the community) to think differently.
Our philosophies, sharing our process and knowledge and (yes) how these ideas are embedded in the environments and things that we design in the world, are integral to creating a spark; a spark that challenges people to think differently about what and why they do what they do in life, work and business.
Our true value is not the price that we get for our designs or the number we sell over time, but rather the relationships between people and personal connections made within all of our thinking.
Written for DESIGN ONLINE, The State Library of Queensland’s new online resource.
Design Online is delivered and curated by the State Library of Queensland’s Asia Pacific Design Library. The Asia Pacific Design Library is a shared space (physically and digitally) for industry, academia and the public to come together in the generation of new knowledge around design in the Asia Pacific.
It started rather early on Thursday for the team at How We Create and Palamont: art in manufacturing. The 20 foot shipping container, custom fitted with a rotational moulding machine, arrived at 5.30am. They had spent the previous week fitting it out, and had commissioned local Graffiti Artist John Ryder (through Jugglers Art Space Inc), to adorn the container envelope. Nice!
With the container placed the boys set about prepping and test running the machine.
For Brisbane Saturday Indesign How We Create and Palamont made (live on site) mini planters designed by Australian Designers Andrew Berry and Helen Kontouris, as well as Alexander Lotersztain’s new Rock cup. These were given to visitors on the day. The planters came with special herb seeds and bedding mix to give them a good start.
The process was utterly mesmerizing. People from different fields and backgrounds always become entranced with the process and want to know more. Visitors waiting patiently for their mini watched the process, listened to tunes, caught up on design news and had a few awesome hotdogs!
Congratulations How We Create and Palamont: art in manufacturing for such an awesome event and sharing the joy of manufacturing! Great photos by George Dedic from How We Create and Palamont.
Check out some of John Ryder’s process and Jugglers’ review of the day at Peter Breen’s blog.
BID marked a very special day at TRACE. I personally met and spoke with hundreds of people from different streams and stages of design practice; including the inspired general community, design students, budding artists, architects, ‘Star Designers’ from Queensland and Interstate, and Creative Industry Reps.
Once the doors opened I did not have a minute to catch my breath. I personally shared Tracelet’s conceptual and manufacturing background and gave a set to each individual. The enthusiasm of everyone I met through out the day was truly inspiring. The day was a beautiful gift!
I couldn’t have made it through the day without the kind assistance of KT Doyle and Karl Hilton. Thank you so much for being my rock on Saturday! You were both so amazing.
Through the amazing support of How We Create and Palamont: Art in Manufacturing I was personally connected with specialist toolmaker and injection molder, Kevin Hopkinson from the Brisbane based Ashden Industries. With Kevin’s 25 years of experience in this area, the quality and detail of Tracelet was realised beyond expectation.
All I can say is thank you Kevin! What a pleasure working with you!
To everyone out there: SEEK OUT AND SUPPORT YOUR LOCAL MANUFACTURERS!!!
Invited guests from a diverse range of fields including Art, Design, IT, Engineering, Law, Media and Education joined the How We Create team for the Lunchtime Launch of the Why We Create Series.
The Why We Create initiative (founded by How We Create and I) seeks to spark a wider conversation about the process and value of design-led thinking in Australia. Interviews, discussions and public forums are occurring parallel to events that will take place across Australia over the next 12 months. The Launch of this series was held within TRACE at Pin-Up Project Space in Melbourne, on 16 May 2012, and marked the close of the exhibition.
Norman Johnson from How We Create and Palamont: art in manufacturing launched the series. I gave an intimate presentation into why I create, and the importance of creatives engaging with the wider business community.
Guests enjoyed good conversation and a beautiful selection of light tastes created by our special local friends Cibi (head, hands, heart) accompanied by refreshing organic apple juice and Pimms cocktails all served by the fabulous Boys and Girls team.
It’s been another world-wind week of site visits, travel, more site visits and a bit of R&R in North Queensland. Early in the week, Norman Johnson (from How We Create and Palamont) and I hit the pavement to check out potential spaces for the upcoming Brisbane Indesign installation of TRACE. And yes we might have found one…
Next it was onto Sydney to site inspect Palamont’s latest project…One Central Park.
Palamont – Art in Manufacturing is currently involved in this major construction project designed by Jean Nouvel and Sir Norman Foster.
Palamont has been instrumental in designing, manufacturing and delivering external planters for the ground breaking vertical gardens that distinguish this project.
And then it was on to Cairns… Expression of Interest… Mission Beach… breath…rest… and relax.