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Opening 6.00pm Thursday 24 July 2014
In 2014, Craft ACT: Craft and Design Centre will present the fourth instalment of the exhibition series, Embracing Innovation Volume 4, an exhibition showcasing innovation in the creative arts, with a particular focus on craft and design. Craft practitioners and designer makers are continually embracing digital technologies, research and design thinking, with innovation and advances in these areas changing the way they engage, design and create. The exhibition showcases makers who are exploring these new areas of practice.
The exhibition is a selected group exhibition and will present work from artists and researchers from leading Australian and international research and academic institutions. Artists will be selected from a national and international call for expressions of interest which closes in March 2014.
In paying homage to the utilitarian history of glass blowing Kristel Britcher explores the traditional Italian glass processes of murrine and cane and the sculptural potential of the pattern making material. Britcher designs various utilitarian pieces with the idea that these traditional forms have in their own time evolved, with cane and murrine no longer being a pattern to be seen in a glass form but to become a form in itself. This body of work is a celebration of the evolutionary potential of sculptural glassmaking processes; independent structures, developing over generations into new hybrids of form and function, a new murrine aesthetic.
Phoebe Porter presents a series of works made from 2007–14 illustrating her ongoing preoccupation with material and structure in contemporary jewellery.
Demonstrating rigorous attention to details such as scale, proportion and surface finish, the works highlight Phoebe's ongoing interest in exploring industrial processes and mechanical parts, where each design is reduced to its necessary elements. Some of the designs use the fastening mechanism as a starting point, which then becomes integral to the design, while others employ geometric abstraction and bold colour. Connections and joins in the pieces are clearly expressed, highlighting the method of construction used in each design.
Uniting all the pieces is an underlying commitment to the structural elements of jewellery and the beauty inherent in each of the chosen materials.
Image: Phoebe Porter, Hidden Line necklace, photo: courtesy of the artist.
Opening 6.00pm Thursday 11 September 2014
Each year Craft ACT Accredited Professional Members (APMs) are invited to participate in a curated group exhibition. Many local craft artists and designer makers are internationally renowned and form the rich vein of Canberra's cultural identity. This exhibition aims to showcase the strong, vibrant and highly skilled community of practitioners that represent Craft ACT's Accredited Professional Membership.
Lesa Farrant's work in clay explores her fascination with detritus in our natural environment. Using plastic, rubbish and found objects from the beach in Port Willunga in South Australia, she moulds and casts porcelain to make plant-like forms to represent the unnatural looking natural.
Canberra Potters' Society Award Exhibition
Each year the guest judge of the Canberra Potters' Society Members' exhibition awards a Craft ACT: Craft and Design Centre Crucible Showcase exhibition. The 2013 award showcases new work by ceramicist Cathy Franzi .
Opening 6.00pm Thursday 6 November 2014
Inspired by Canberra's innovative design sector, the DESIGN Canberra exhibition is a celebration Canberra's vibrant and diverse design community. The exhibition will launch Craft ACT: Craft and Design Centre's inaugural DESIGN Canberra festival in November. Stay tuned for more information. To learn more about the festival, visit our events blog.
Image: S K E E H A N, KI – CHAIR. Photograph: Courtesy of SKEEHAN
Moraig McKenna is a skilled ceramicist working primarily with Anagama style kilns and unglazed porcelain surfaces. McKenna is drawn to the juxtaposition involved with firing porcelain, a traditionally precious and often fragile material, in such an overtly physical and dramatic process as long Anagama wood firing. The result of this process allows McKenna to achieve a broad range of surface colours and textures. Her wood fired porcelain vessels will explore ideas of function, form, utility and space and how domestic utilitarian vessels relate to the human body. Marks of McKenna's making process are left evident on the surfaces of her work and the wood firing process further highlights these marks. For McKenna these marks become a record of the making process that forms a link between the hand of the maker and the hand of the user.
April Phillips is an Australian artist working predominantly with leather, setting herself apart from the fashion industry through a particularly artistic and symbolic focus on her bespoke shoes. Phillips' leatherwork articulates her interest in form and function, and the melding of these to reach the viewer of art in new ways. This exhibition features her most recent work: a series of shoes adorned with hand illustrated, carved and painted imagery, that serve to explore that which which explore how the objects we use in our everyday lives shine a light on our history, who we are and what it means to be a 'human being'.
Image: April Phillips; 'Imaginary Happenings of Hospitalfield' series, Thieving Crows (side view), 2013; hand carved vegetable tanned leather, paint; stain; pigskin; cotton, rabbit fur; gold foil; Dimensions variable. Photo by Alyssa Evans