Strung tells the stories of fibre from a diversity of cultures within our region. It celebrates the translation of techniques honed in ancient weaving crafts into contemporary forms: the weaving of new narratives through fibres looped upon themselves.
The exhibition brings together works from diverse locations and differing sensibilities, from the steamy pandanus forest of the Top End and sand hills of the Central Desert to across the Strait in Papua New Guinea and back to the urban jungles of Australia. To create these works, the artists collect raw materials from their environment, design and redesign traditional and innovative weaving processes, and with nimble hands craft objects of purpose and great beauty that express unique contemporary stories.
Curated by Lisa Beilby and artisan.
Artists: Casselle Mountford, Florence Jaukae and the Goroka Bilum Weavers, Girringun Aboriginal Arts Centre, Injalak Arts, Lucy Irvine, and the Tjanpi Desert Weavers.
Exhibition continues to 3 September 2016.
This exhibition is a continuation of Andy Lowrie’s 2014 brooch series Sentinels and Spectres. Informed by historic jewellery and craft objects, Sentinels and Spectres captures Andy’s interpretation of landscapes he experiences by fusing natural and manmade elements. The exhibition features new pieces created in Tallinn, Estonia during an internship with Tanel Veenre, renowned jeweller and Associate Professor of Jewellery at the Estonian Academy of the Arts. Sentinels and Spectres reflects on the personal, political and spiritual connections Andy has with his surroundings, and explores how place can be represented through the craft of jewellery making.
Please find the digital catalogue for Sentinels and Spectres here.
Born from a diminishing cube, the curvaceous forms of Mundanity Continued have been individually sculpted from solid offcut pieces of foam. The original form, which was developed while Tom was studying at Central Saint Martins in London, has progressed to take on different scales and functions. Handcrafted and industrial processes converge in these pieces, with the forms being individually carved yet modular with an industrially applied coating. Additionally, the polystyrene foam is commonly associated with packaging rather than traditional craft. These pieces aim to pose questions about the relationship between handcrafting and industrial design manufacturing, and explore the possibilities of sculpting for design and industry.