Fresh! 1 FEB - 7 MAR 2020 - Craft Victoria
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50 YEARS | VICTORIA 1 FEB – 7 MAR 2020 Fresh!
Fresh! to make; to bring into existence by
shaping or changing.
to learn; to acquire knowledge or skill.
to continue; to go on with or persist.
— —
1. to connect; to join, link, or fasten together; 4. to mean; to have implications, metaphor,
unite or bind. intentions.
Through physically connecting lengths of sterling Through recreating the kratzbuerste as wearable form,
silver to make wearable forms, Gaia Maria Walicka Anke Kindle politicizes and reconfigures its literary,
creates a connection space between the body and visual, physical and conceptual functions. The process
the jewellery object. When worn, Walicka’s creation of meticulously constructing the brush, carrying
are activated – pieces of adornment are given human similarities to acts of embroidery, speaks to histories
agency. The body is both collaborator and material, of curtailed women’s labour. Through encountering
becoming at once a device for creating choreography the utilitarian and industrialized materials needed
and for being choreographed. for the brush, Kindle seeks, reclaims and redefines
female power through craft.
—
2. to pleasure; to give pleasure to, gratify, please. —
5. to construct; to build or form by putting together
In the complex realms of making, viewing and
parts; frame; devise.
experiencing an artwork, there are many stages of
pleasure. Nikolina Brown’s coiled and thrown ceramic 6. to deconstruct; to break down into constituent
creations are born from a process of play – akin to parts; dissect; dismantle.
masturbation – enabling the creation of work that
Moving through modes of making and un-making
speaks to the pleasure of making and celebrates the
Alice Ramsden reconfigures painted surface into
limitless possibilities of female self-love. She seeks
woven object. The text of the original painting,
pleasure through craft, enabling us to find pleasure
created through laborious studio practice, becomes
through viewing.
erased through the act of un-threading. The formal
— language of the work shifts as the threads of canvas
3. to care; 1. to be concerned about, have an interest are re-woven. Ramsden connects and deconstructs
in. 2. to look after. the canons of painting and weaving to form a new
visual language. Moving in-between disciplines,
Duncan Young’s practice embodies a deep sense
she creates space for new conversations.
of commitment and care towards the act of making.
Through the labour of producing furniture, he
has focused on building knowledge and skill to
create designs that foremost value material and
process. Through the high level of care taken when
creating these bespoke contemporary designs,
Young encourages us to think about and respect
the origins of the materials used – we are reminded
that all materials originally come from the earth.
Craft Victoria | Fresh!
— —
7. to find; to come upon by chance, meet with. 10. to wear; to carry or have on the body or about
the body.
Through experimenting with materials Casey Chong
challenges the functionality of objects, creating Heather Daniel’s Dystopian Military is a result of
tactile forms that seek physical encounter. Chong lets reconfiguring and deconstructing the practicality
the in-flux nature of the materials used redefine the of garment design. Daniel rearticulates traditional
possibilities of the function and aesthetic of the work. garments into contemporary form, through
The use of transparent resin has led to investigations experimenting with alternative material choices and
of light; unexpected moments in the moulding process through challenging notions of practical detailing.
have enabled new textures; and fabrics that were Working through modes of deconstruction and
intended to be taut have become pleated. Through embracing mistakes in the process, Daniel has
material-exploration, Chong finds new form. created bold and innovative designs.
— —
8. to transform; to change in form, appearance, 11. to carry; to act as a bearer.
or structure; metamorphose.
As a Trawlwoolway woman from North-East Tasmania,
Through reclaiming materials that would otherwise Edwina Green creates work that carries custom,
be disposed of, such as discarded steel, broken glass knowledge and pride. The physical act of forming the
and reclaimed glazes, Anni Hagberg comments on the bull kelp sculpture, with wattle tree branches and
waste crisis we are currently living in. She gives a new natural fibre string, speak to Green’s lineage and the
voice to these materials, examining notions of integrity resolute strength and resistance of Indigenous story,
through physical form and societal structure. Hagberg place and craft. I’ll carry my own water is a testament
reminds us that considerate resourcefulness can result to the power of the reclamation of Indigenous cultural
in moments of transformation and beauty. practices, in the face of post-colonialism.
— Josephine Mead,
9. to sense; to perceive (something) by the senses; Artist and writer
become aware of.
Ellie Godworth’s highly polished metal objects move ABOVE Nikolina Brown
Pleasure Flesh 2019
through modes of sensoriality, forming a chorus that Terracotta
sings of sonic, visual, spatial and haptic possibility. variable dimensions
Examining the tension between binaries – such as Photography Janelle Low
movement and stillness, point and curve, light and
void – Godworth considers the potential of space,
creating small scale works that allow for moments
of intimacy and openness.
Craft Victoria | Fresh!
Finalists
Craft Victoria | Fresh!
Alice Ramsden
Anke Kindle
Bachelor of Fine Arts (Honours), Advanced Diploma of Jewellery and
Victorian College of the Arts Object Design, Melbourne Polytechnic
— —
She Will Destroy You is the result of a cyclical and ‘KRATZBUERSTE’ (scrubbing brush) is a simple abrasive
labour intensive process in which the language of craft wooden brush historically used to clean surfaces to
is utilised to interrogate the definition of a painting, reduce the risk of potentially fatal infectious diseases.
and questions the possibility of if or when it can In the 19th century, ‘KRATZBUERSTE’ became a
cease to be one. An existing painting was carefully politicised term in my German mother tongue to
unthreaded and woven back together on a mechanism describe outspoken early feminists who sought to
resembling a loom, distorting and partially erasing improve the oppressive conditions in homes and
the original imagery. The emotional and physical factories. The abrasive, harsh and simple attributes
relationship between artist and artwork becomes of the scrubbing brush were seen to aptly describe
intertwined with the arduous process of making. these forthright women.
The original painting’s existing timeline, a condensed The imagery of the scrubbing brush informs this
representation of time and thought, is dismantled series of work inspired by stories of hardship, injustice
and reconstructed to create a secondary timeline. The and sacrifice endured by women throughout history.
result is an exhausted and somewhat anthropomorphic The pieces speak the visual language of military
form; a palimpsestic record of material destabilisation. accolades yet are an invented, arbitrary value system
through which I seek to acknowledge the contributions
BIOGRAPHY / Alice Ramsden is an emerging
and sacrifices women make to ensure our existence.
Melbourne artist who graduated from the Bachelor
of Fine Art (First Class Honours) at the Victorian BIOGRAPHY / Anke Kindle holds an honours degree
College of the Arts in 2019, and also completed the in Fine Arts (Furniture Design) from the University
Bachelor of Design (Fashion) with Honours at RMIT of Tasmania and a Master in Design from Edinburgh
in 2013. Combining knowledge gained from both College of Art. Her practice explores the meaning
fields of study, her practice focuses primarily on the and stories of inanimate objects, particularly rituals
possibilities that exist within the genre of painting, and objects within the domestic realm. Kindle has
and the intimate relationship that forms between artist researched ideas and methodologies that cross
and artwork within her process-based explorations. boundaries between fine art, craft, sculpture and
Alice Ramsden design. In 2019 Kindle’s interest in cross-disciplinary
She Will Destroy You 2019 practice led her to complete an Advanced Diploma
oil paint, acrylic gesso, cotton duck in Jewellery Design enabling the formation of new
canvas thread, nylon thread, oak ideas in the form of wearable objects.
Image courtesy the artist
Anke Kindle
scrubber rings 2019
sterling silver, timber, horsehair
20 × 40 mm
Photography Fred Kroh
Craft Victoria | Fresh!
Casey Chong
Anni Hagberg
Bachelor of Fine Art, Associate Degree in Design (Furniture),
RMIT University RMIT University
— —
The Integrity series represents a material exploration The Collapsed Stool references the pressure of sitting,
within the ceramic firing process, as well as a and intentionally appears collapsed and fragile. Its
meaningful interaction with the human environment textured transparent surface allows light to penetrate
and the waste crisis we are living in. from different directions, creating a sculptural object
Built from porcelain and gold lustre combined which is decorative as well as comfortable.
with discarded steel, broken glass and left-over wood The Weight juxtaposes materials to portray a
ash glazes, these materials are chosen intentionally balance of curves and a new perception of timber.
to aesthetically explore ‘integrity’ as a structural A collage of soaps digitally printed onto acrylic adds
and physical feature as well as a societal value. visual texture to the grain of American Oak, and fine
In the 1280°C ceramic firing process, the fine, hand-painted lines on Myrtle emphasise its grain.
malleable porcelain vitrifies to a rock-hard precious The Macaroni challenges the common perception
object, while the steel warps and reticulates into of silk, a sheer and delicate material, by stiffening
brittle and disfigured remnants of its former strength it without changing its defining characteristics.
and resilience. In this same transformation, these Juxtaposing two-dimensional printed collages and
found waste objects become objects of aesthetic three-dimensional pleated texture adds dynamism
value in their combination with traditionally valuable and exaggerates the digitally printed patterns. The
materials of porcelain and gold. deformed stainless-steel plate also offers a new
perception of a mirror.
BIOGRAPHY / Anni Hagberg is a visual artist and
ceramicist based in Naarm/Melbourne. She completed BIOGRAPHY / Casey Chong is a recent graduate from
a Bachelor of Fine Art (Ceramics) at RMIT in 2019 and RMIT with an Associate Degree in Furniture Design.
was a recipient of an RMIT Student Association Award With a background in Fashion Retailing, she holds
(2019) and an Australian Ceramics Association Prize a Bachelor of Arts (Honours) in Fashion and Textiles
(2018). Hagberg’s practice explores how material, from Hong Kong Polytechnic University, as well as
structural and textural metamorphosis occurs through Fashion Branding (Amsterdam Fashion Institute
the ceramic process. Exchange Program). Refusing to be categorised by
Anni Hagberg a particular style or identity, Chong’s work focuses
Integrity II & III 2019 on the ambiguity and contradiction found throughout
porcelain, glass and steel the creative process.
dimensions variable
Photography by Janelle Low Casey Chong
The Macaroni 2019
Photography Kevin Cheung
Craft Victoria | Fresh!
Edwina Green
Duncan Young
Associate Degree in Design (Furniture), Bachelor of Fine Arts (Visual Arts),
RMIT University Victorian College of the Arts
— —
Having begun my exploration into timber as a climbing Exploring concepts of culture, religion, Indigenous
arborist my work strives to do justice to the beauty of erasure and the post-colonial paradigm and its effects
our native trees, and this collection represents a great on people and place, the artist creates narratives that
leap forward in my understanding and ability to create. engage, provoke, and question our place within society
Each of these works signifies a desire to learn a new and our interaction with Indigenous Australia. I’ll carry
process, be that a style of timber bending, of joinery, my own water is a sculptural work that replicates
or of 3D printing and CAD design. As each new process the Tasmanian Aboriginal bull kelp water carriers.
is added to my repertoire, the way I see the world The bull kelp sculpture, held together by wattle tree
changes. Objects that once seemed so fully formed branches and natural fibre string, has been hand
and permanent are suddenly broken down into the sewn together and allowed to dry. The work explores
materials and processes from which they were created. both the practice of creating the piece alongside the
Just as an understanding of ecology shifts your gaze process of drying, and of bringing the sculpture from
from the mass of a forest to the myriad of trees and Lutruwita (Tasmania) to Naarm (Melbourne) as a tool
animals from which it is made, as I learn and develop for an art piece.
my practice my view of the world becomes more
BIOGRAPHY / Working across installation, film,
focused and interesting.
painting, photography and sculpture, Edwina Green’s
BIOGRAPHY / Duncan Young is a furniture maker based practice is informed by her Aboriginal heritage as a
in Melbourne. In 2019 he completed an Associate Trawlwoolway woman, from North-East Tasmania.
Degree in Design (Furniture) from RMIT, and has Growing up between a mining town on the west coast
been nominated for the Australian Institute of Design of Tasmania and Naarm (Melbourne), she explores
Graduate of the Year Award. Through his experience the environmental damage that is relative to place,
as an arborist Young is driven by the waste seen in the an abrupt necessity, alongside questioning institutional
timber industry, and seeks to repurpose this resource Indigenous erasure, Indigenous reclamation of cultural
through the creation of fine furniture pieces. Young is practices, and how blak presence is inherently
currently undertaking a residency at the Jam Factory political. Edwina’s work has been exhibited across
in South Australia. Naarm, and internationally.
Duncan Young Edwina Green
Drafters’ Stool 2019 I’ll carry my own water 2019 (detail)
European Beech and Rattan bull kelp, natural fibres
Image courtesy the maker Photography Eliza Tiernan
Craft Victoria | Fresh!
Ellie Godworth
Bachelor of Fine Art (Gold and Silversmithing), Gaia Maria Walicka
Bachelor of Fine Art (Gold and Silversmithing),
RMIT University RMIT University
— —
Symphony in Space 2019 is a visual composition Networked Bodies is a series of jewellery objects
of silversmithed objects. The design of the forms made from bundles of tiny wire that create cable-like
and their arrangement imply a liminal, timeless structures running along the body. Networked Bodies
space. Each object exists as an entity, contained explores our entanglement with new technologies,
and complete. In the spatial arrangement, the how they have reconstructed our bodies and changed
pieces are unified and form a chorus. our perception of self. The work challenges dualities
Highly polished surfaces reflect visual soundscapes, between human and technology, new and old, and
while light absorbing pigments reference the void. inside and outside of the human body. Networked
Scale is diminutive and denotes a tension between Bodies also references jewellery histories, exploring
movement and stillness. The forms embody traces how the jewellery object, as an extension of the body,
of sound; geometrical and lyrical patterns, floating expresses our connections to a network of people
in harmony through the cosmos. and places. Through performance Gaia investigates
Rhythm and repetition delicately illustrate gestures how the objects choreograph the body, exploring
of movement, a meditation in space. the boundaries and interplay between external and
internal worlds.
Silence is the backdrop, the readiness to perceive.
An expansion of space, through moments, in movement. BIOGRAPHY / Gaia Maria Walicka has an
light, sound, rhythms, interdisciplinary practice primarily in jewellery as well
an exhalation. as media including video and performance. With a
background in theatre, she studied Visual Arts at CAE,
BIOGRAPHY / Ellie Godworth embraces traditional
Melbourne, prior to completing a Bachelor of Fine Arts
silversmithing techniques to create sculptural forms
(Gold and Silversmithing) at RMIT in 2019. Her practice
that imply sound and light, movement and rhythm;
investigates the entanglement of the body with
composing object poems that float in harmonic
technology, and in the process considers the themes of
arrangements. In 2019 she completed a Bachelor of
contemporary bodies, identity and the in-between. Her
Fine Art (Gold and Silversmithing) from RMIT. She
practice is an ongoing research into the relationship
holds an Advanced Diploma of Jewellery and Object
between self and world.
Design from the Enmore Design Centre, Sydney, has
undertaken an internship in Decorative Arts and Design Gaia Maria Walicka
at the Powerhouse Museum and has spent several Networked Bodies 2019
months based at the Italian National Trust, Milan. Art direction by Gaia Maria Walicka
Photography Tomer Domb
Ellie Tessa Godworth
Symphony In Space 2019
objects
Photography Andrew Barcham
Craft Victoria | Fresh!
Nikolina Brown
Heather Daniel
Bachelor of Design, Bachelor of Fine Art (Ceramics),
Whitehouse Institute of Design RMIT University
— —
Dystopian Military is based on ideas of originality, My practice has always revolved around the personal
deconstruction and practicality, and a practice of and shared experiences of women regarding their
pulling out elements and reconstructing them to be body and social standing. My current practice is a
completely transformed from their initial appearance. reflection of my interest in female sexual pleasure
The Mollar Jacket emphasises the idea that and the predominant representation of women’s
beauty comes from flaws. The jacket was created sexual gratification being placed second to men’s.
by using imperfectly bleached blue denim to create My sculptural vessels examine the role of body
each pattern piece. Once assembled, the jacket was politics, gender and sexuality, celebrating pleasure
washed, attacked with a cheese grater and then spray while also questioning the pleasure gap between
painted. The piece is based on its deconstruction men and women.
INSTEAD of its construction. My thrown and coiled ceramics communicate
The Shoe Corset follows a similar concept, but aims how precious self-love is as a way of normalising
for perfection and the total transformation of an object sexual expression among women. Soft curves, warmly
from one form to another. Created from separate parts flushed tones, breasts and genitalia come together to
of a grey shoe, the final form of the corset revealed represent the feminine, the flush of pleasure and the
itself through the experimental making process. flesh we use to achieve it.
BIOGRAPHY / Heather Daniel is a Melbourne-based BIOGRAPHY / Nikolina Brown is a ceramist based
fashion designer, working under the label Haniel. west of Melbourne. She completed a Bachelor of
In 2019 Daniel completed a Bachelor of Design from Fine Art (Ceramics) at RMIT in 2019, where she was
the Whitehouse Institute of Design. Focusing on the the recipient of the Ceramics Students Association
idea of futuristic armour, her work emphasises the Award. Brown’s practice has a strong focus on the
concept of deconstruction in a practical sense, and experiences of women and their bodies within society.
focuses on bringing forth items and creating something Brown has recently exhibited work at Brunswick Street
completely new to the table. Gallery, as well as the newly opened CLAD Gallery at
Heather Daniel Bendigo Pottery.
Mollar Jacket – Dystopian Military 2019 Nikolina Brown
Image courtesy the maker Pleasure Flesh 2019 (detail)
Terracotta
variable dimensions
Photography Janelle Low
Craft Victoria | Fresh!
Heather Daniel
Mollar Jacket – Military Dystopia 2019
bleached denim, gun metal, fantasy
leather. Photography Lawrence Bernt
Craft Victoria | Fresh!Presented annually since 1993, Fresh! showcases
the energy, skill and innovation of some of the best
graduating students from craft, design and fine art
disciplines throughout the state. Fresh! provides
an important opportunity for graduates beginning
their career as makers. The exhibition fosters their
potential and provides an insight into new directions
of contemporary craft.
—
JUDGING PANEL PRIZES
Craft’s invited team of professional The John Wardle Architects Sofitel Melbourne
craft practitioners, curators and Craft Prize On Collins Prize
industry experts attend graduate $1000 Cash Prize An exhibition in their exclusive
exhibitions within tertiary and TAFE Judged by: John Wardle Architects gallery/foyer space, valued
institutions across Victoria. From at $3000.
these exhibitions, the freshest Judged by: Clive Scott,
works that explore contemporary General Manager, Sofitel
craft and design practice are Melbourne On Collins, and
selected to become part of the Lisa Warrener and Donald
The Design Files
Fresh! exhibition program. Williams, Global Art Projects
Emerging Maker Award
A photoshoot, interview and
feature on The Design Files website.
Judged by: Lucy Feagins,
Editor & Founder of TDF
e.g.etal Prize
$500 cash prize and professional
ADAM ADRIANE development and mentoring with
MARKOWITZ HAYWARD Emma Goodsir.
The Future Leaders Award
$1000 Cash Prize Judged by: Emma Goodsir,
A philanthropic initiative promoting Director of e.g.etal
leadership, achievement and
potential among young Australians.
Judged by: Dr Helen Sykes AM
LOUISE YU FANG
MEUWISSEN CHI Rose Chong Costumiers Prize
An exhibition in Gertrude
Street shop window
Judged by: Rose Chong,
Owner of Rose Chong Costumiers
ZHU ELIZA
OHMU TIERNAN
Craft Victoria | Fresh!50 YEARS | VICTORIA
CRAFT VICTORIA
Watson Place (off Flinders Lane)
Melbourne VIC 3000
+61 3 9650 7775
craft.org.au
HOURS
Monday to Friday, 11am–6pm
Saturday, 11am–4pm
Closed Sunday & public holidays
Craft Victoria is supported by the Victorian
Government through Creative Victoria.
Craft Victoria is assisted by the Visual
Arts and Craft Strategy, an initiative
of the Australian, State and Territory
Governments. Craft Victoria is also
assisted by the Australian Government
through the Australia Council, its arts
funding and advisory body.
COVER Gaia Maria Walicka
Networked Bodies 2019 (detail)
LEFT Ellie Tessa Godworth
Symphony In Space 2019 (detail)You can also read
