1/3 Rule

Centre: Simone Steel (Pin-Up Project Space) and Right: Patricia Lee (Palamont: art in manufacturing) beside the exhibition crates. Photography Norman Johnson.

Usually it takes me about 1/3 of the original installation time to actually demount an exhibition. With the generous assistance of Simone Steel and Patricia Lee we completed the demount in just over 5 Hours!

I think that has to be a record given it took 3 Days to set up the TRACE exhibition at Pin-Up Project Space, Melbourne.

Big Thank You to Simone and Patricia. Go Girl Power!

Brisbane Sydney Cairns

James Street Fortitude Valley, Brisbane.

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…

TRACE Potential Space! Joy!

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.

On Site: One Central Park Apartments, Sydney.

Inside the Atrium

Palamont has been instrumental in designing, manufacturing and delivering external planters for the ground breaking vertical gardens that distinguish this project.

Norman inspects the site.

And then it was on to Cairns… Expression of Interest… Mission Beach… breath…rest… and relax.

Sunrise over Mission Beach.

What a great way to wake up…

TRACE The Work = Intra Screen

Looking through Scale Screen 2012 to Intra Screen 2008. Photography by Tobias Titz.

From afar: Intra Screen in a 6 x 3 Configuration. Photography by Tobias Titz.

Intra Screen (2008) was included in TRACE at Pin-Up Project Space because it is an essential key to understanding the way I think and make. Intra refers to the weave or module type. It is one of five weaving types within The Komodo Series. This series continues to inform my practice and reminds me about important relationships; scale and material; material and light; complex whole and simple parts; and ideas and their potential to inspire others.

TRACE FLASHBACK…

The Komodo Series was launched in September 2008 at Living Edge’s Brisbane Show Room. The event was part of the 2008 Brisbane Indesign celebrations.

Living Edge's Brisbane Show Room in Fortitude Valley. Photography by Aidan Murphy.

The Komodo Series Launch 2008. Photography by Aidan Murphy.

Natural forms, structures and geometries that stem from the beautiful qualities and simple properties of materials inspired me to make The Komodo Series. Through an experimental handmade process initial 3-D studies in cardboard were transformed into larger objects and surfaces in a range of materials including plywood, polypropylene and stainless steel. The Komodo Series makes visible my playful testing process.

A family of beautiful objects; my tests in cardboard, corflute and polypropylene. Photography by David Sandison.

Plexa#1 Screen Study made in reclaimed cardboard. Installation at artisan; idea skill product, Ivory Street Window 2008. Photography by Andrea Higgins for artisan.

The actual modules (such as Intra and Plexa) allow the individual to experiment, reinvent and personalize their surroundings. The parts can be assembled into multiple configurations  and objects including screens, lights and sculptural forms.  Each change in combination, size and material creates subtle variations to light, shadow, density and use.

Plexa Screen at Living Edge 2008. Photography by Aidan Murphy.

Launch Night: I am sitting (exhausted and speechless for once) in front of Plexa Screen, listening to Cameron's opening speech. Photography by Aidan Murphy.

Cameron Bruhn opens the event. He is pictured with Komodo Series Forms. Photography by Aidan Murphy.

It was great to see Intra Screen within the environment of Pin-Up Project Space for TRACE.

‘From little things big things grow’ (thank you Paul Kelly and Kev Carmody) and will continue to grow and change and reveal their true potential over time. This rings true for me every time I make, install and witness any part of the The Komodo Series.

The Komodo Series: Small things have a big Impact. Hand-Self Portrait.

The Komodo Series was assisted by an Arts Queensland Sector Project Grant in 2008. The launch was also made possible through the kind support of artisan: idea skill product and Living Edge.

TRACE The Work = Studies

The Studies 1996 - 2012. Photography by Tobias Titz

I feel all of my work is in a state of becoming. In this way each is a sketch or study for something larger, smaller, in a different material for a different function or simply to be enjoyed in a new way. Cameron Bruhn (the now Editorial Director of Architecture Media) succinctly described my process in his review of my very first solo exhibition RECENT in 2002 in the following way:

FORMS WERE GENERATED UNCONSCIOUSLY BY Waterson’s engagement with the techniques and material of her craft. Like the architect Louis Kahn, she asked the brick what it wanted to be. Waterson’s process answered the question. She probed the physical limits of her materials through a study of structural forces, repetition, spatial manipulation, and scale. She probed the metaphoric through association, subversion, and memory.

extract from The Architecture of Being by Cameron Bruhn 01/02 Artichoke

The small studies pictured above are a selection of my firsts. They are a special record of the very first time my feelings came into being through materials. They are a constant link to the essential ideas, qualities and forces that inform my process and, like a ribbon on my finger, remind me of why I make.

Within the range of studies displayed in TRACE are models for Array 2007 (that became the 20 x 30 metre RAIA Ceiling Installation for the Queensland Architecture Awards) and also little constructions for future works, maybe to become jewellery, screens, ceilings or lights… or all of the above.

Trace 2012. My quick photography as we installed the exhibition. They are so beautiful!

All of the studies are hand-made except one related set Trace 2012 and Crown 2010. They are my first experiments using SLS and 3D Printing. I worked with architect Domenic Mesiti to ‘trace’ Crown (Part of the Komodo Series),  simplifying the parts down to a continuous surface; like draping a soft material or skin over the bones of the original form. Trace at the presented scale is close to the size of a bracelet – but could be scaled up or down. Patricia Lee, Talented Product Design Officer at Palamont, prototyped TRACE bracelet for the exhibition.

Special thank you to Domenic Mesiti and Patricia Lee for their amazing skill, expertise and professionalism.

Norman Johnson (How We Create and Manager of Palamont) and Patricia Lee (Talented Product Design Officer at Palamont) prototyped TRACE bracelet for the exhibition. Photography by Tobias Titz.

TRACE The Work = Scale Screen

Scale Screen 2012 Detail. Photography by Tobias Titz.

The development of Scale Screen occurred over many years. This project was assisted by the Australian Government through the Australia Council, its arts funding and advisory body.  Scale Screen’s origins are linked to my Bloom Series Home-wares and Furniture range, launched in 2009. From the outset of the development of The Bloom Series, I had always envisioned Pixel Screen (pictured below) to be realised in coated sheet metal.

Pixel Screen part of The Bloom Series 2009. Photography by Jon Linkins.

Through the Australian Council Grant I rationalised the design of Pixel Screen in coated sheet metal to ensure modularity, as well as fabrication and installation ease. Importantly throughout this process I maintained the essential qualities of the original artwork. The streamlining of Pixel Screen however meant the adaption was different enough to warrant a new name. The name Scale Screen comes from the form of the elements that make up the screen. They look like reptile scales (especially Frilly Necked Lizards or Brown Snakes) so the name directly reflects this quality and also references my unique country Australian childhood;

The surface, colour and depth of the Scale Screen project is informed by the skin of Taipan and King Brown snakes. In my hometown of Sharon in Queensland, the remnants of shedded snakeskin on timber joists proves a reminder of the local reptilian residents – snakes rub on the rough joists to break their skin for the process of shedding. Amongst Australia’s most aggressive and poisonous snakes, the beauty of their skin belies their potential danger. I play with the duality of the notions of protective efficiency and deadly beauty as being inherent to Australian native flora and fauna.

In the foreground: Scale Screen 2012 Photography by Tobias Titz

A distant and more acute view of Scale Screen 2012 to the right. Photography by Tobias Titz.

My works are intended to be experienced in space, time and light. This is particularly clear in the development of Scale Screen 2012. The patterns within its surface are 3-dimensional; they are patterns that exist in space – new patterns are revealed and continuously evolve as you walk around the work.

I applied the knowledge I gained through the Australia Council Grant Research and Development to other subsequent commissions. Taking Flight (pictured below) uses the same fabrication techniques as Scale Screen but has dramatic differences in form and concept.

Conceptual Photography of Scale Screen's sister work Taking Flight 2011 (Folded Aluminium wall relief commissioned by Aurecon) directly used the skills and knowledge from developing Scale Screen. Photography by Jon Linkins.

Taking Flight installed in Aurecon's Brisbane Head Office Reception. This work aimed to capture a sense of action and growth; similar to birds alighting from a forest or the flourish of blooms in spring. Photography by Jon Linkins.

Scale Screen 2012 Detail within Trace at Pin-up Architecture and Design Project Space. Photography by Tobias Titz.

I would like to sincerely thank the Australian Government through the Australia Council, its arts funding and advisory body for assisting the Scale Screen project.

TRACE The Work = Shadow Set

Shadow Set (Studies) 2012. Photography by Jon Linkins.

The studio photography of this work was undertaken with the exceptional Jon Linkins. Taking studies into the vacuum like atmosphere of a photographic studio is a fantastic moment to really see the work for what it is. This step is essential in seeing with fresh eyes. It ensures the true character is witnessed and may shine through in the photography, in later text and descriptions, and even in the work’s name. Jon and I intended to play with the scale and arrangement of these particular pieces to emphasise their strong presence and character of form and material. The final descriptive text below (edited kindly by Fleur Watson from Pin-Up Architecture and Design Project Space) was informed by these important moments in the studio:

Shadow Set is made from reclaimed black rubber. The material’s darkness, fluidity and overlay suggest the transient quality of shadows moving across a surface. In Shadow Set, the objects suggest they haven’t quite settled on their final form. Like hands casting a shadow of a rabbit, the source object is allusive – one may see a hint of rhinoceros beetles, bats, jellyfish, currawongs and flowers in the overlapping arabesques.

Shadow Set (Studies) 2012. Photography by Jon Linkins.

Installing works in a gallery environment is also an important moment in the process. Every installation in a new environment is different. For Trace at Pin-Up Project Space, we installed the pieces in a hanging cluster. Light was used to throw the distinct interior forms of the pieces as beautiful shadows on the wall. This re-enforced their nature and made people aware of space itself: the space between the elements within the work, between the lights and the walls of the gallery, and between the works and their shadow. Photographer Tobias Titz documented this quality beautifully.

Trace Installation Shadow Set (Studies) 2012. Photography by Tobias Titz.

Trace Installation Shadow Set (Studies) 2012. Photography by Tobias Titz.

TRACE Installation

We Begin

We unpacked the works and laid them out within the substantial space of the gallery. Some of the works were very very new and so it was the first time I had witnessed the parts together.

Kate Riggs follows my set out drawing of the NEW work Scale Screen.

It took us three intensive days and a few late nights to install TRACE. 

At the end of a late night Martyn Hook surveys the progress. My hands shake as I take this photo. I am so tired.

The works in the exhibition ranged from very small to quite large. A team of people worked with me to complete the installation. They included Kate Riggs (RMIT Architecture Student/Pin-up Student Assistant), Simone Steel (Pin-Up In-turn), The Martyn Hook ( Pin-Up co-Founder/Architect and Melbourne Editor of AR Magazine), Fleur Watson (Pin-Up co-Founder/Curator/Former Editor of Monument Magazine), and my dear friend and jeweller; the beautiful Anna Varendorff.

THANK YOU so Much!!!

Nearly Finished...

Official Handover

Jon Tarry Officially Hands over the Space. Yes I am doing a curtsy! Photo by Martyn Hook.

I had the pleasure of meeting Western Australian artist Jon Tarry. His exhibition Arrival Departure was the previous show to feature at Pin-Up Project Space. Great Work Jon!

Official Duties over… the truck arrives with my artwork!!!

Truck Arrives on Keele Street, Collingwood

Kate Opens the Gallery Gates!!!

I was so excited when the works arrived. They left Brisbane, Queensland on Thursday and Friday of the previous week.

Seven Crates in all jam-packed with inspiration!

Special THANK YOU to Ron Jumelet from Toll Group for transporting my works to Melbourne for the exhibition. Thank you also to Tony Schutte for tracking the crates and ensuring they arrived in time.

NEED TO KNOW!!!

TRACE invite

I hit the ground running on my return to Brisbane, Queensland, Australia.

Meetings….Studio Work… Submitting my Winston Churchill Fellowship Report… Working with Pin-Up… Receiving awesome sponsorship from How We Create…THANK YOU SO MUCH AGAIN!!!

Playing with Rubber… asking myself Who am I? Who do I think I am after all of the experiences with amazing people from all over the globe… And of course, Lots and Lots of MAKING…

Well the last few weeks I have not blogged much. That’s because I have been in full prep mode for my SOLO exhibition TRACE at Pin-Up Project Space in Melbourne Australia…

TRACE maps and connects the underlying conceptual ideas that thread through the practice of Brisbane based architect and artist Christina Waterson. By physically surveying the origins of her work, the new collection embodies a 3-dimensional ‘trace’, sketch or echo of past trajectories. A softening of material and a simplification of line results in Waterson’s return to essential forms and qualities. Like a stone smoothed by the tidal waters of the ocean, sharp lines soften to tactile curves and arabesques. A palette of materials that range from rubber, leather and felt resonate with a return to artisan values within the traditions of leather work, sewing, beading and macramé.

A collection of work within the exhibition is informed by Waterson’s recent Winston Churchill Fellowship Research experiences.

I am so excited about the new work I may explode at any moment! Stay Tuned!!!

Owen Jones Research

Original Drawings by Owen Jones within the V&A Museum Collection

Back in London…. on to research at The V&A Museum. Architect and Designer, Owen Jones is celebrated for his detailed documentation and reproduction of mosaics and tile work patterns from around the world. He carried this work out during mid 19th Century. Detailed publications and original drawings for color plates of his work are part of the V&A Collection and include ‘Drawing of tiles at the Alhambra’ and ‘Original drawings for The Grammar of Ornament’ published in 1856.

I was fortunate to spend time within The Victoria and Albert Museum’s Prints Room to view first hand Owen Jones’ original drawings. His methodical care and attention to document the patterns was striking. He drew them in a way that allowed the individual elements, their repetition and the underlying structure of the pattern to be understood. There was just enough information and color to understand the very complex patterns, without too much to confuse and overload the page and the eye.

The V&A Library and Reading Room

In the V&A’s Library I viewed the published copies of Owen Jones’ ‘The Grammar of Ornament’, that they hold in their collection. The plates within the book were half the size of the original drawings but still retained the clarity, color and quality of the originals. It was great to see his work at this time. It was made all the more valuable and meaningful by my first hand experience of patterns within each of the places I had just visited through my Winston Churchill Fellowship Research.

Owen Jones' Chinese Patterns No 01 from The Grammar of Ornament , The V&A

Owen Jones' Persian Patterns No 01 from The Grammar of Ornament, The V&A