JamFactory – 40 Fruitful Years of Craft and Design

This year marks the 40^th Anniversary of JamFactory Contemporary Craft and Design. Founded in Adelaide JamFactory has ensured some of Australia’s most talented craft and design practitioners have realised their full creative potential. On any given day the quality and diversity of practitioners working within JamFactory’s walls are a reflection of its contribution over such a long period of time.

It’s Monday and I decide to visit JamFactory Studios to see who is at work.

Natalie Gock working at her bench within JamFactory’s Metal Design Studio, Adelaide.

Natalie hand sawing copper sheet into test forms.

Natalie’s previous work – Black Cockatoo Neck piece. Image Courtesy of JamFactory.

At the Metal Design Studio, I find Natalie Gock hand sawing copper sheet into fine petal like test forms. She is working on an exhibition piece for Maker/Wearer/Matchmaker – part of Art Month Sydney 2013. The necklace will be made in silver for one of the Directors of Nine Galleries (at 2 Dank St) to wear and be displayed at Studio 20/17 from 26th until the 28th March 2013. Natalie is an Alumna Resident having completed the Associate training programme in 2012.

Nadja Maher working on a new collection in JamFactory’s Metal Design Studio.

Nadja works her small earring prototypes on JamFactory’s anvil.

Nadja’s previous work – Overnight Earrings. Image Courtesy of JamFactory.

Jeweller Nadja Maher (a 2^nd Year JamFactory Associate) is working on a new collection. Nadja, having cut and annealed her little silver earrings prototypes, is now gently working them on the JamFactory’s prize anvil. The JamFactory structures the Associate’s week by engaging them to work with staff in the making of Studio pieces for wholesale and retail sale and contributing to public program’s via workshops, exhibitions and talks, while also enabling them to work on their personal practice and commissions.

Kate Sutherland making finishing touches to a commission.

Kate’s bench within Jam Factory’s Metal Design Studio.

Kate’s previous work. Image Courtesy of JamFactory.

Diversity in material and form is encouraged in the Studios. Second year Associate, Kate Sutherland, is finishing a special commission. Kate’s fluid forms draw on the Art Deco and Art Nouveau periods as well as the relationship between metal elements and the human body.

Alice Potter and Christian Hall (the Metal Design Studio’s Project Manager and Creative Director, respectively), are running errands the day I do my rounds. Luckily I sat down with Christian Hall a few days earlier and discussed the history of JamFactory.

“JamFactory is very much like building an aeroplane while it is in flight…you can’t stop the plane, it has to keep going and is always in a state of incremental change…it has been built little by little over time. To start something like JamFactory today would be such a massive undertaking… it would be near impossible.” Christian affirms, “JamFactory Contemporary Craft and Design is in a unique position.”

What may have started 40 years ago to support craftspeople and change the manufacturing production industry has evolved into a place that bridges tertiary study and practice. Through the large-scale commissions the JamFactory wins, Associate’s are exposed to different scales of working – often working in teams and combining many of the Studios (Glass, Metal, Furniture and Ceramics) together in one project. Associates and Staff also attend special master classes given by National and International visiting artists-in-residence.

Eddie Ferguson in Studio 3 – sourcing materials.

Window Jug and Tumblers by Eddie Ferguson. Image Courtesy of Eddie Ferguson.

Down stairs in Studio 3 is Eddie Ferguson (2nd Year Associate) who spent the day before in the Glass Studio blowing his elegant Window Vase for stockists around Australia. When I call in he is sourcing materials and designing work that embraces the limitations of the glass blowing process.

Jeweller Regine Schwarzer sets a ring with a stone.

Jewellers Regine Schwarzer and Jessamy Pollock are hard at work in Studio 5. With a passion for the rocks and minerals of Australia, Regine is setting a ring with a stone as we speak. She trained in jewellery making and metalwork at the Zeichenakademie Hanau, Germany, moved to Australia in 1993 and has exhibited in countless exhibitions nationally and internationally.

Jessamy Pollock making paper and aluminium tests in Studio 5.

One of Jessamy’s previous works Fold Brooch in anodized aluminium from her recent exhibition Shrink and Explore – a beautiful collection of wearable and unwearable sculptures.

Jessamy Pollock (Alumna in Residence) invites us to “shrink within our imagination and explore her work at an architectural scale”. Jessamy has just embarked on designing a new wearable range of brooches and neck pieces and is in the process of testing her ideas in paper and aluminum. It’s great to see Regine and Jessamy working side by side on their individual work.

The JamFactory’s studio model is unique and sees experienced professional practitioners working alongside Associates in a studio environment. The program equips them with business knowledge, sustainable practice guidelines as well as all of the OHS of the technology they have grown up with. Alumni often stay on and work from rented share studio tenancies. They contribute to the depth of knowledge and strength of the JamFactory programmes.

Furniture Designer/Maker – Andrew Bartlett greets me in Studio 6.

Andrew applying finishing coat to a commission before final assembly.

In Studio 6 is furniture designer/maker Andrew Bartlett (Alumnus) applying finishing coats to a furniture commission. After installing the WOOD: art design architecture exhibition Andrew is content to be in the studio. We discuss his great respect for clients in the commissioning process and the importance of collaboration on such projects as the Penfold’s Ampoule Project. John Quan (Furniture Designer Alumnus) shares Studio 6 with Andrew but is out sourcing electrical supplies for his new lamp design when I visit.

A meeting in session within JamFactory’s Furniture Studio.

Furniture Maker – Daniel Guest having a break from the workshop. Admin is a necessary part of any business.

Next-door a meeting in the Furniture Design Studio headquarters is in session. Furniture Maker Daniel Guest (2nd Year Associate who also assisted on the WOOD: art design architecture install) is quietly working away on a computer. Daniel moved to Adelaide to become a JamFactory Associate and sharpen his skills after completing fine furniture design and construction at the Australian School of Fine Wood in Western Australia. Like Daniel many practitioners are prepared to move cities and live in Adelaide to attend JamFactory.

Associates today differ from those attending the JamFactory 40 years ago. Then the practitioners were generally older with a diverse wealth of life experience and travel under their belt – as well as their own sense of identity and practice. Today’s Associates are more likely to be in that process while completing their JamFactory Associate training programme.

I sit down with Karen Cunningham (Glass Studio Creative Director) as the other glass practitioners including Tom Moore (Production Manager) stop for the day to enjoy frozen cordial and time away from the hot furnaces.

The resources that go into glass making are costly and finite. The Glass Studio’s Program emphasizes training through production while supporting the distinct parts of practice (experimental exhibition work and highly resolved production pieces). It encourages practitioners to think of glass in new ways such as through computer-based technology and sustainable practice.

Step by step – the practitioners work together to form the piece.

At times there have been up to 50 independent glass artists who regularly hire the hot glass studio. Making glass objects is a creative pursuit that needs to be undertaken with someone to assist throughout the process.

The glass form goes back into the furnace.

Further forming – the process is repeated until the glass tumbler form is perfect.

The process is mesmerizing to watch. I particularly enjoy the movement of the practitioners working together as they glide around each other to transfer the glass back and forth from furnace to forming area. On this day Liam Fleming is completing the Tumbler Exercise with Katie–Ann Houghton assisting, as George Agius prepares coloured glass with Alex Valero.

View to Glass Studio from the Observation Deck – Liam Fleming completing the Tumbler Exercise with Katie–Ann Houghton assisting.

As I make my way from the Glass Studio to the JamFactory Office I pass members of the public enjoying the glass process from a special observation deck. They have just come from JamFactory Store which stocks the objects made on site. JamFactory successfully connects people to the power and energy of making.

In the JamFactory Office its late afternoon and Claudine Young (Executive Assistant) and Anne Fenech (Administration Assistant) are holding the fort. With the exhibition launch and public programmes for WOOD: art design architecture held the previous week, many staff have gone home a little early today.

I caught up with Brian Parkes CEO, after the WOOD: art design architecture exhibition opening and discussed how he sees his role in the organisation.

“JamFactory Contemporary Craft and Design has a strong and meaningful history and an ever-growing community of esteemed Alumni. I see my primary role as spreading the word about JamFactory’s uniqueness, contribution and longevity with a wider audience”.

Brian Parkes opening the WOOD: art design architecture exhibition at JamFactory.

This is apt, because the day I visit, Brian is doing just that – spreading the word at an interstate presentation. I have to agree with Brian – there is no other place in Australia like JamFactory. The diverse practitioners I met working on this one day within JamFactory’s 40-year history are the true testimony to this.

A special exhibition entitled Designing Craft/Crafting Design: 40 Years of JamFactory opens on 19 April 2013 at JamFactory Contemporary Craft and Design, Adelaide.

MARMALADE – JamFactory’s annual publication with designer profiles, special features and reviews has just been launched.

For all details including information about JamFactory’s Studios, Associates and Staff, Store and upcoming events visit JamFactory’s Website.

TRACELET Tool Making

One half of the finished tool for Tracelet machined from tool steel.

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.

Machining the Copper Electrode

Final surface detail and finish spark eroded into tool.

All I can say is thank you Kevin! What a pleasure working with you!

Thank you How We Create and Palamont: Art in Manufacturing!

To everyone out there: SEEK OUT AND SUPPORT YOUR LOCAL MANUFACTURERS!!!

The Why We Create Launch, Victoria

Guests start to arrive for the launch of the Why We Create series within TRACE at Pin-Up Project Space, Melbourne. Photography James Braund.

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.

Yes that’s me passionately speaking at the event. Photography James Braund.

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.

Nicholas Rogers (Parameter Space) and Alexi Freeman (Alexi Freeman). Photography James Braund.

Fleur Watson in conversation (Pin-Up Project Space). Photography James Braund.

Gini Lee (Melbourne University) through Scale Screen. Photography James Braund.

Matt Ward with Martyn Hook (background). Photography James Braund.

Joanna Bosse, Gini Lee (Back) and Christina Waterson. Photography James Braund.

Simone LeAmon in focus. Photography James Braund.

Patricia Lee (Back)( Palamont), Alexi Freeman (Alexi Freeman), Norman Johnson (Back) (Palamont and How We Create) and Nicholas Rogers (Parameter Space). Photography James Braund.

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.

Special Thanks to Melbourne based photographer James Braund who documented the event exquisitely and of course to the team at How We Create.

For my Mum

Treasures within a discreet shop front

My Mum has taught me many things. To work hard at the things I love; to look deeper beyond surface; and to value all of the beautiful things in the world; from people to nature and their celebration in ceramics, glassware, jewellery and prints. During my daily walks in Istanbul I came across a little shop that had many beautiful treasures. They reminded me of my Mum and the curios that surrounded me during my childhood.

These photos are for you Mum to inspire you today! Thank you!

Thimbles, pen nibs, eyeglasses, clock faces, shell Cameos…

More spectacles, brooches, pins, amber beads…

Stamps for printing fabric…

Stamps for pressing metal…

Vintage italian glass micro-mosaic brooches…

Cufflinks, snuff boxes, glass eyes for dollies…

The Tulip

Carpet within The Blue Mosque, Istanbul, featuring blue tulips ready to blossom (central)

Silk Lattice Design with gold tulips and pomegranate superimposed with red and blue rosebuds; Turkey probably Bursa 1550 – 1600 The V&A Collection

The symbolic importance of the Tulip to the Ottoman Empire is seen within the use of the motif throughout their textiles, ceramics, tile work and rugs in a myriad of patterns formations and variations in the tulip forms. Within the Sufi language the Tulip and its parts have different meanings.

- The colors symbolise God.

- Tulips have a black/dark interior. The structure (from dark interior to colourful exterior) symbolises ‘the tolerant, respectful Dervish who overcame interior evil to become bright’.

- Tulips have six petals symbolizing the Six Articles of Faith. Often within the patterns, though, they are shown with three or four petals as they are drawn from a side view.

- The petals and their configuration in the patterns mean different things. When facing upwards, for example, they represent the Dervish opening arms to the sky praying.

Detail of Embroidered Princes Kaftan: Meandering Vine with Tulips (from side with three petals) 1590 – 1600 The V&A Collection

Tiles with repeat pattern, Turkey probably Iznik, About 1580 The V&A Collection. Tulips drawn from side view with four petals

Dhoku

Dhoku at The Grand Bazaar

Dhoku group, lead by Mehmet Gureli, produces contemporary rough-hewn, flat weave rugs. Dhoku means ‘texture’. Mehmet comes from three generations of experience in Turkish Rugs. Dhoku produces EthniCon Vintage a type of rug that blends undamaged portions of antique ethnic Turkish kilims to make contemporary rugs.

Traditional rugs salvaged, re-dyed and trimmed; New Life and New Beauty

Dhoku launched their new range with traditional kilims designed by SUPERPOOL

They also make new kilims using traditional patterns hand woven with sheep yarn on Anatolia looms. The most beautiful of these incorporate natural dyes and simple two color patterns. While in Istanbul I met with Mustafi Gureli a number of times to discuss Dhoku’s process, material qualities and limitations of weaving to pattern making and the patterned designs.

Very generous and passionate people! Special Thanks to Mustafi Gureli from Dhoku!

The Turkish and Islamic Works Museum

One of the Main Exhibition Spaces within the Turkish and Islamic Works Museum

The Turkish and Islamic Works Museum is located in Ibrahim Pasha Palace at Sultanahmet Square, Istanbul. The Palace’s large ceremony hall and second courtyard serve as the main exhibition spaces for the Museum. The Museum has an amazing collection of carpets and rugs from the diverse cultures that make up Turkey, including samples of Usak and palace carpet, and Anatolian carpets produced between the 15 to 17th Centuries.

Seljuk Carpet: 13^th – 14^th Century, from the Tomb of Saltan Alaaddin Keykubat in Konya. From afar this rug looks very simple and bold. It also has beautiful detail in texture and pattern that you appreciate up close. 

Arda standing beside Carpet with Vase Motif: Persia, Shah Abbas period 17th Century, from the Topkapi Palace Museum.

Details of Carpets L> Carpet Western Anatolia Usak, late 18th Century – early 19th Century, from the Ankara Ethnographical Museum. C > Seljuk Carpet: 13th – 14th Century, From the Tomb of Saltan Alaaddin Keykubat in Konya. R > Garden Carpet: North Western Persia 18th Century, from Mosul.

There were extensive examples of tile work, carvings, calligraphy, and religious artifacts such as cases, book-rests and drawers using mother of pearl, ivory, and tortoise-shell inlay.

L > Gilded Copper Lantern (Detail) Ottoman Period, CA 1481 – 1512. C and R > Details of Doors from the The Great Mosque of Cizre. Beaten Copper Sheet attached to wood backing with iron nails. Motifs include the Twelve pointed star with a border of the Four leaf clover, Rumi-Palmette and scrolls. The knobs incorporate the Dragon and the Lion. These are frequently used in Anatolian Artukid Art symbolising the Sun and the Moon.

Rest for The Koran

SALT

SALT Main Gallery Space/Foyer

SALT is a non-profit Institution located in Istanbul. It has Exhibition spaces, Forum, Cinema, Café, Shop and Garden within its Beyoğlu headquarters that opened in early 2011.

It’s aim is to explore issues in visual and material culture within art, design, architecture and urbanism and cultivate innovative programs for research and experimental thinking. It has become widely recognized as a site for critical debate through its public programmes.

Walk in Cinema

Looking Back Towards the Entry

Beyoğlu main mall beyond

Previously an apartment building, the redesign for contemporary use was completed by Mimarlar Tasarım, the office of Aga Khan Award for Architecture winner Han Tümertekin.

Very cool space to hang out in within the centre of Beyoğlu.

Liberty of London: An Introduction

Liberty of London: View to Entrance on Great Marlborough Street and wares

I have collected Liberty fabrics since I was eight years old. Even though I grew up in a rural Queensland town, we were lucky to have a little shop in the centre of Bundaberg that stocked only Liberty fine cottons. This was where my love for the floral and paisley patterned Liberty Tana Lawn began. I would collect little pieces of the precious cotton prints and make watchbands, hair ties, patchwork bags and purses. It was inspiring to know there were such beautiful things in the world. The color ways and patterns made a deep impression on me and were a window to distant exotic lands. I still collect Liberty fabrics to this very day, along with luscious and eclectic velvets and silks, and patterned John Kaldor viyella and jersy.

While I had arranged to meet with Anna Baruma, Liberty of London Archivist on my way back from Turkey, I decided I would take the opportunity during my stopover to visit Liberty of London the Store. I met with Brian Boyle from Japanese Prints and Fine Arts, as well as Bruce Lepere; Oriental Rug Buyer from Oriental Rugs at Liberty and a walking talking treasure for his knowledge of Liberty history. These two sections of Liberty, especially Oriental Rugs, have been a part of Liberty of London from the very beginning.

Still today a place you can find rare beauty gathered from all over the world

Through the vision of Arthur Lasenby Liberty, Liberty of London was originally conceived of as an emporium; bringing the best of the world to London. The essence of the store was to bring exotic and beautiful goods of quality from the East to the West: to stock things that no one else had seen and to make them available to discerning Londoners. Imported textiles; dyeing techniques; Japanese fans, screens and art prints; Blue and White Pottery from China: inlaid wooden boxes and carvings, metal work and rugs from Persia and Turkey filled the Emporium. The materials and richness of color and pattern, in turn, inspired a whole generation of British talent to design and produce high quality goods. In 1920 Liberty’s Tana Lawn was launched; made from a particular cotton plant from Lake Tana in Sudan. It had the feel of silk but did not come with the price of silk. Its quality was due to the long fine staple of the particular cotton and the skill of the weavers to pack a very high thread count into the fabric.

One of the Light Wells draped with Oriental Rugs

While Liberty is best known for its small floral prints, the first Liberty Tana Lawns were far more exotic. Ianthia was the first, followed by Hera (Peacock Feather) and the beautiful and complex Strawberry Thief (by William Morris). Why is this important? This process of travel and trade along the Silk Road to stores such as Liberty of London, assisted then and continues in the transmission and transformation of traditional patterns and techniques of making. They were assimilated through designers, makers and artists, inspired by the fluidity, materiality, depth and color, and especially ‘otherness’. Wallpapers, textile design, rugs, home wares, tiling patterns, furniture making and architecture were all transformed by exposure to the tradition and richness of making from the East.

(In conversation with Brian Bolye, Bruce Lepere and the generous staff at Liberty of London).

Detail

Guangdong Museum Collection…

…the contents that sit within The Guangdong Museum treasure box? The region is recognized for its carving especially in wood, ivory and jade. Within the museum there were exquisite examples of these along with embroidery, painting and ceramics.

L > R Detail of Pine Tree within Chaozhou Embroidery, Late Qing Dynasty; Painted Enamel Bowl with Lid, Qing Dynasty; Top Detail of Engraved Ivory Tusk, Qing Dynasty

A highlight was the Chaozhou Woodcarving exhibition. Chaozhou Woodcarving is a folk woodcarving that known for its detail, craftsmanship, and elaborate design. It has distinctive local characteristics that reflect the process, local customs, beliefs and way of life of the Chaozhou-Shantou people.

L > R Window Grill with Flowers incorporated in Geometric Design; Plank in openwork featuring pine and flowers, Qing Dynasty

Craftsman use the basic materials of wood, lacquer, pigment and foil. Woods used include camphor, chinafir, chinaberry, and rosewood. The works featured special techniques employed to make the screens, carvings and objects. These techniques include Intaglio, Relief, Altorelievo, and Openwork and are used individually or in combination. The actual carvings were setout using metric, perspectival and isometric composition techniques. Like stone carving; in Chaozhou Woodcarving the properties of the wood inform the carving technique, layering and composition type.

L > R Shrine door in openwork featuring pattern of Nine Bats delivering longevity; Detail of decorative panel in struck relief with patterns of dragons, phoenixes and The Eight Immortals on Ruyi heads background, Qing Dynasty; Complex plank work with figures and stories, The Republic of China 

The artisans had captured the essential features of nature within the wood. Most memorable were the peony flower and chrysanthemum, the structure and simplicity of the pine needles as well as the detailed scales and feathers of the mythical beasts (dragons, phoenixes etc.) The works using simpler techniques such as Intaglio (carving into surface) used only a few marks to capture these features.

Combinations of more complex techniques made a special space to experience within the carving. Patterned openwork for background (often including simplified and varied arrangements of clouds) used with more dimensional techniques such as altorelievo (three-dimensional carving that can be observed from any angle) gave focus, depth and completeness.