Favourites from 2015

JANUARY – Oh Lorikeet 2015. Photography Christina Waterson.

FEBRUARY – Nomenclature 2015. Photography Christina Waterson.

MARCH – Plexa Projection (William Jolly Bridge) 2015. Photography Christina Waterson.

APRIL – Beach haze days 2015. Photography Christina Waterson.

MAY – Dream Lichen Tree 2015. Photography Christina Waterson.

JUNE – Yellow Tailed Black Cockatoo Descending 2015. Photography Christina Waterson.

JULY – Flourish Parts Await Finishing 2015. Photography Christina Waterson.

AUGUST – Glass Light Shadow 2015. Photography Christina Waterson.

SEPTEMBER – Brisbane Silhouette 2015. Photography Christina Waterson.

OCTOBER – Palm Memory of Growth 2015. Photography Christina Waterson.

NOVEMBER – Delicate Yet Everlasting 2015. Photography Christina Waterson.

DECEMBER – Striated Pardalote 2015. Photography Christina Waterson.

See these and all photos from 2015 at my instagram.

 

 

 

Next Level – Jan Feb March 2014

January 2014 – Shortlisting for Major Public Artwork.

In January, February and March I worked on a diverse mix of projects that demanded a next level approach and work ethic. I really hit the ground running in January. I was shortlisted, along with three other Australian Artists, for a 500sqm Public Artwork Building Facade Project in Brisbane. The Artists included the talented Mandy Ridley (Brisbane), Stuart Green (Perth), Alexandra Knox (Melbourne) and yours truly. The project result is still pending so I can’t share the details with you just yet. Fingers crossed on the outcome!

Space + Moooi 2014 Design Residency Flyer featuring the iconic 5 O’Clock Chair
by Nika Zupanc. Image courtesy of Space.

In January I was also shortlisted for the Space + Moooi 2014 Design Residency along with eight other talented Australian Practitioners. While I didn’t take home the gong I gained some great perspective and insight into my own practice through the process. Congratulations to Tom Fereday for being awarded the Residency!

In the making – Celestial Analogue (Stellar) 2013/14. Photography Christina Waterson.

Celestial Analogue 2013/14. Photography Christina Waterson.

Throughout January and February I was busy in the studio making the finishing touches to Celestial Analogue (Stellar) 2013-14 for the exhibition Chain Reaction, that opened at artisan on 20 February 2014. Read more about the exhibition and the work here!

The 2014 AIDA jury (L-R): Paul Kelly, Susanna Bilardo, Hamish Guthrie, Joanne Cys (jury convenor), Geraldine Maher, Victoria Judge, Matthew Blain, Christina Waterson and Ryan Russell. Not pictured is jury sustainability advisor, John Gertsakis. Photography Jonathan Butler. Courtesy of ArchitectureAU.

It was a pleasure to be a return jury member and Co-Chair for the 2014 Australian Interior Design Awards in March. The awarded projects will be announced at a special event in Melbourne in May 2014. Visit the AIDA website for details.

Tracemetal 2014 released in February 2014. Photography Christina Waterson.

In March I launched Tracemetal, a special edition of Tracelet in metal. Tracemetal is stocked with the amazing Fashion Designer and creative genius Gail Sorronda, in Brisbane. Read more about Tracemetal and stay tuned for more stockists to be announced.

1st year Bond University Architecture students parade their mixed media assignment ‘Complexity and Contradiction’ hats for Philosophy of Design coordinators Haig Beck and Jackie Cooper. Photography Christina Waterson.

In March I assisted the truly legendary Haig Beck and Jackie Cooper (UME magazine) as they coordinated and presented the Philosophy of Design Subject for 1st Year Architecture students at Bond University, Gold Coast.

On 26 March 2014 I joined members of the visual arts community in celebrating the outstanding contribution and achievements of Fiona Foley (Artist and Adjunct Professor at UQ) and Julie Ewington (Curator and Head of Australian Art at QAGOMA) as they were awarded the Australian Arts Council’s 2013 Visual Arts Award. I had the pleasure of working with both Fiona and Julie during time at UAP and The Queensland Art Gallery. It was great to witness such talented, intelligent and committed women receive the awards. See the event in a slide show format here by Photographer Mick Richards.

The Escape for One Can, exhibited at artisan. Photography Christina Waterson.

Keeping it fun and simple I contributed the work ‘The Escape’ for the One Can exhibition that opened at artisan on the 31 March 2014. More about the brief set by Quench, the exhibition and work here.

Early morning work in the studio. Photography Christina Waterson.

During January, February and March the studio was abuzz with an eclectic mix of new work, equipment, meetings, bids, tenders, collaborations and partnerships and lots and lots of making. I look forward to sharing with you these projects as they are realised, made public and formally launched over the coming months.

 

Groovy Stuff – DETAIL daily

Plexa#1 Screen from The Komodo Series 2008. Photography Aidan Murphy.

I always find it insightful to receive feedback and hear what other people draw from my artworks and designs. Recently Christopher Hill, online editor of DETAIL daily, posted about my work. Here I share with you a portion of the post:

“…Interpreting this ancient knowledge with her contemporary design sensibilities, gives her work a particular quality. No doubt informed by her architectural training, and knowledge of three dimensional geometry, it is also spatial.

The weavings and foldings of hard materials that she creates, are beautiful, full of skill, and utterly mesmerising.

The artist often finds beauty in repetition. It is this that transports the viewer deep into the spatial and rhythmic qualities of her work. It is almost impossible to resist being drawn into a kind of groove, an aesthetic state of bliss that involves being lost in their often delicate complexity…”

X-Screen from The Komodo Series 2008. Photography Jon Linkins.

Thank you Christopher Hill for your unique insights! Visit DETAIL daily for the full post.

 

 

RECENT 2002

RECENT 2002 Exhibition Invitation – A beautiful transparency designed by the talented Angela Layton, now Practice Director/Interior Designer at Arkhefield.

Who can believe it’s eleven years, this week, since I had my first solo exhibition entitled RECENT 2002 at Palace Gallery in Brisbane. Definitely not me. It seems like only yesterday!

RECENT 2002 represented my debut as an artist. The exhibition featured four large-scale installations and three smaller studies. It shared my love of materials and their inherent properties; ephemeral and disposable materials, as well as commercially mass-produced products and self mass-produced forms; each with a unique lightness, thinness, reflectivity, or translucency.

I am presently making a series of new large-scale installations to be presented in the coming spring and summer. In readiness (and to make room and bring order to my studio) I have been filing, packing, and making space for these new works. During this process I came across photographer David Sandison’s original medium scale format transparencies, and friend Angela Layton’s photos of RECENT 2002. Here I share their photography of my major installations from this exhibition!

Near Far 1996 – 2002, (Two Parts, Dimensions Variable). Photography Angela Layton.

Near Far 1996-2002 was installed in the forecourt of Palace Gallery so that it was the first work people saw as they arrived. Made of salvaged timber, woven and held together only by friction, Near Far inspired later studies and The Komodo Series launched in 2008 – shortlisted for The Bombay Sapphire Design Discovery Award that same year. These artworks also formed the basis of Tracelet – my beautiful bracelet released in 2012.

Collection 1996 – 2002. Photography David Sandison.

Collection 1996 – 2002 was made up of hundreds of hand cut and folded mylar sleeves suspending cherished found and constructed objects, collected over many years. Each object marked a point of inspiration or potential work within my practice. Collection today continues to grow and be a reference point for my future work.

Collection 1996 – 2002 (Detail). Photography David Sandison.

What I found most enjoyable was seeing people looking at this work in-depth, from outside on opening night. The gallery’s lights created a light box effect and illuminated and created delicate silhouettes of each object.

Remember 2000 – (Drafting Film). Photography David Sandison.

Remember 2000- formed part of my Ocular Series and to this day remains a very personal work. The process of making it was a meditation on tactility and memory; inspired by my Father’s possible blindness. Remembering and forgetting for me are interconnected and almost one and the same; an ongoing process of fragmentation and re-assembly of a whole.

All of my work is very beautiful to touch. What ever happened, I always wanted my family to experience my work in any form. Remember 2000- marked this very conscious approach.

Rest 2002 (Stainless Steel Ties. 3000 x 3000x 3000mm). Photography David Sandison.

People were intrigued by Rest 2002. Made of interlocking stainless steel elements it was suspended in a captured moment above the ground. Just out of reach, Rest’s elements quivered with slight changes in air flow or surrounding movement.

Rest 2002 (mid view). Photography David Sandison.

Their thin edges reflected even the smallest presence of light; like dew or a web in the moonlight. It was a very quiet and meditative work. On opening night people lay underneath the work and appreciated it from below.

Rest 2002 (Detailed up close view). Photography David Sandison.

Rest 2002 was reconfigured into other formations including Fall (wall installation) and Align (stacked in line horizontally). It was a pivotal work in my career and today forms part of my personal collection. Rest 2002 importantly inspired another major work entitled Array 2007 – a large-scale 20 x 30 x 1m installation realised for the 2007 RAIA Queensland Architecture Awards Event.

Hundreds of people enjoyed the opening night of RECENT 2002; experienced the artworks; stayed on; and gave amazing feedback. Reviews of the work were included in Object Magazine, Artlink and the Inaugural Edition of Artichoke. RECENT 2002 was generously supported by Panduit; an international company that makes high quality items for the mining and industrial industries.

In the decade that has passed these same works have been featured in countless National and International books and magazines as well as online; and have informed future works, commissions and collaborations. So many things have grown from RECENT 2002.

I hope they inspire you today!

Kampong Glam Collage

Kampong Glam Collage 01

Kampong Glam Collage 02

Kampong Glam I love! Relaxed cooling oasis with colour, life and kindness! XXX

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.

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!!!

The Design Museum: London

Entry to the Kenneth Grange Exhibition: Design Museum London

I viewed the Kenneth Grange: Making Britain Modern exhibition at the Design Museum. The exhibition showed his products, prototypes, sketches and models made throughout his diverse and fruitful career.

Exhibition view showing prototypes and process...

...signage, symbols...

... hidden detail within some of his design classics.

I also visited the Design Museum’s Designers in Residence 2011 exhibition. It offered a great insight into the work and design process of four British Designers: Jade Folawiyo, Simon Hasan, Will Shannon and Hye-Yeon Park. The designers were selected for the strength of their response to the brief ‘In Pursuit of Imperfection’. The exhibition showed their sketches, models, tests, working drawings, and prototypes, as well as the final developed commissions.

Will Shannon's furniture from his Autonomous Workplace no004: Mobile Particle Board Factory

The designers explored concepts of the imperfect surface and value: the connection yet difference between the craftsman and volume production; the revaluing of existing mass-produced materials to make crafted furniture; and our imperfect ability to control time. Jade Folawiyo’s work exploring the imperfect surface through tarnishing and rusting of a patterned surface was moving, along with Simon Hasan’s melding of leather craft and mass production techniques through material to make a seat.

Simon Hasan’s Work using Cuir Bouilli (Boiled Leather)

Liberty of London Archives

St Martins College Students between lectures

Mark of the Old Shed Roofline, St Martins College

Liberty of London Archives was recently re-located to a new home at Central St Martins College of Arts and Design. St Martins College (presently undergoing redefinition and  major redevelopment), is one of The University of the Arts of London’s campuses. It offers a range of courses including Performance, Product and Furniture Design, Photography, Sculpture: Fashion, Textiles Design, Marketing, and Architecture Object and Spatial Design.

St Martins College Fashion Graduates work on Show

I met with Anna Baruma (Archivist of Liberty of London) on Campus at St Martins College. Anna showed me many of the old sample books from the Liberty archives as well as more contemporary works. There were unusual examples of paisley, floral and geometric designs influenced by the popularity of exotic textiles and the process of making from the East.

A dream come true! Thank you Anna and Thank you Liberty of London!

Anna Baruma at Liberty Archives, St Martins College of Art and Design

One of the many Liberty Fabric Books within the Archive

Istanbul Modern

Istanbul Modern Entry (Yes that is a Cruise Liner in the left of the photo). Unfortunately no photos were allowed to be taken inside The Istanbul Modern.

I visited The Istanbul Modern on several occasions to enjoy their extensive collection and see the Istanbul Biennial. The Istanbul Modern, through its collection, exhibition and discussion of work via extensive public programmes, shares Turkey’s Cultural Identity (both contemporary and historical) within the context of International art, design architecture, new media and film. I saw artworks (installations, sculpture and moving image) by artists including Inci Eviner, Kuzgun Acar, Osman Dinc, Olufur Eliasson, and Canan Dagdelen.

Olufur Eliasson’s work was meditative as it enabled me to feel the space with the transformation of light radiating through his geometric form and the void of space, to cast shadows on the surrounding walls.

Inci Eviner’s work was really interesting in the context of my research, as it questioned attitudes about traditional representations (especially those used in Ottoman tiles). She aimed to make evident the motif and pattern’s role to relay political meaning. She replaced elements within traditional European wallpapers with personal ideograms and symbols found within traditional patterns; also incorporating the moving image into the compositions.