Threaded Ed.10 'The Double-Check ++ Issue' by Threaded Magazine

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edition x The ‘double-check’ issue ++

Double-check There’s a pattern here, and it’s not chequered or plaid because we’re not talking about check on check, on tartan golf pants or on any other garment. Plaid trousers are the furthest thing from our minds. Unless, that is, they’re a work of art. Or they epitomise great design. In which case, we’re pretty sure someone will have double-checked the checks, to make sure they all check out.

“

The Devil is hiding in the details as they say. And what’s he up to while he’s in there? Sneaking around and crossing is and dotting ts, when you’re not looking. You have to pay attention to those nagging details if you want to get it just right. You have to care. You have to doublecheck and, even then, not take success for granted.

Well, what was the lesson there? Not to tempt fate by flying too high? Or perhaps it might have been to have checked the point at which wax and feathers melt, and to have considered an alternative technology. But there are dangers too, in overdoing perfectionism. For when you plan with truly meticulous detail, only one thing is ever certain – and that is mixed results. “The artist who aims at perfection in everything achieves it in nothing,” Delacroix once said, between masterpieces. So, balance in all things, or at least checks Printed Free and balances. That’s knowing that youIPA have to double-check anything that you sign your name to, unless you want a chequered past. But knowing also when it’s time to let go and, hey, if you’ve planned well, to let the cheques roll on in… Just be sure and check they’re in the mail.

Creating a more sustainable world requires an unwavering focus on the effects our actions will have on future generations. Remember the myth of the Greek God Icarus, who flew too close to the sun and whose wings, made of wax and feathers, melted in the heat?

Scott Alexander Young himself@scottayoung.com

P 09 849 8313 F 09 849 8314 A 11 McDonald Street, Morningside, Auckland W www.centurionprint.co.nz

Editor Fiona Grieve DESIGN Kyra Bradcock Art Direction Kyra Bradcock Fiona Grieve COVER design Monkey – Militia NZ guest DESIGNERs Alan Deare Adam Turnbull Penny Thomson technical assistance Lucas Milner Shane Eriwata PRACTITIONER SHOWCASE Fuman & Creative Organism Resn Frost* Inkahoots Richard Parker & Richard Fahey BEST IN PRINT Showcase Carly Van Winkel Lance Pearce Lisa Stirling Penny Thomson Craig McClure Deborah Duffield Emily Russell Jacqui Belcher Celia Harrison Amber Pearson Talita Tolutau Tatiana Tavares Brad Tipper Nathan Ram ¯ Rebecca Sandlant Samuel Kemp proofing All About Words ADVERTISING/Sponsorship info@threaded.co.nz SPONSORSHIP Unitec Institute of Technology Spicers Paper Limited Centurion Print SUBMISSIONS We welcome contributions for Ed.11 and submissions are now open for Exhibition Alley if you are an emerging creative Special thanks To our mothers, partners, friends and whanau who support us Matt Blomeley – Objectspace Philip Clarke – Objectspace Alan Deare – Area Design PRODUCTION Threaded Media Limited PO Box 79 382 Royal Heights Waitakere 0656 Auckland, New Zealand No part of this publication can be copied or reproduced in any way/form or by electronic means without written permission from Threaded Media Limited

ouble-check

ED.X – The ‘d

++’ issue

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06. THREADED

pigeon-hole

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This building is now + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + ++++++++++++++++++++++++++++++++++ for an eclectic + ++NZ ++Fashion +++++Week ++++debuted ++++++ ++ +++++++++one +++++++stockists, +++++++++++the +++++Palace. ++++++++++++++++++++++++++++++++++++ + ++++++of ++clogs, ++++especially +++++++made ++++to ++++++++++of++our +++++++++called +++++++Tin ++++++++++++++++++++++++++++++++++++++ collection + ++++++++the ++++++++collection. ++++++++++++++++++–++ ++purchase +++++++ ++upcycle ++++++++++++++++++++++++++++++++++++++++++ complement We and + +++++++++++Starfish +++++++++++++++++++Reuse ++++++ +++++++++ ++++++++pre++++++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++loved ++++clogs ++++giving ++++them ++++new +++soles ++++and ++++++++++++++++++++++++++++++++++++ “This exciting collaboration with +++++++++++++++++++++++++++++++uppers, +++++breathing +++++++new +++life +++into +++them. ++++We ++++++++++++++++++++++++++++++++++ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + ++++++++++++++++++++++++++++++++++++ Starfish has been especially important + ++++++++++++++++++++++++++++++believe +++++in ++reducing ++++++the +++number +++++of ++shoes ++++++++++++++++++++++++++++++++++++ to+us + ++considering ++++++++their ++++commitment +++++++++to +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ sites. + +++++++clothes +++++made ++++in++New ++++++++++++thrown +++++into +++landfill ++++++ +++++++++++++++++++++++++++++++++++++++++++++ producing ++++++++++++++++++++++Zealand ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ and reduce our + ++following +++++++a+sustainable ++++++++philosophy.” ++++++++++++Reduce +++++–+We +++aim +++to++ +++++ ++++++++++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++environmental ++++++++++footprint +++++++by++choosing ++++++++++++++++++++++++++++++++++++++++ + +++aotearoa ++++++ ++++ ++++++++++++++++++++++++++++++++++++++++to++++++++++++++++++++++++++++++++++ moki is+a+New Zealand-owned + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + ++++++++++++++++++++++++++++++++++++++++ use local labour, handmade processes, company, here Aotearoa. + ++++++based +++++ +++in++ ++++++It++has ++++++and +++source +++++our +++ ++++++in ++New ++++++++++++++++++++++++++++++++++++++++ materials + +++born ++++++of +++++ ++++to++keep ++++++++++++++++++++++++++++++++Zealand. +++++++++++++++++++++++++++++++++++++ been desire + +++++++out ++++the +++ +++++++++the +++++++We +++do++not ++use +++plastic +++++bags +++for +++ ++++++++++++++++++++++++++++++++++++++ our footwear + ++++++industry ++++++alive +++in ++New +++Zealand ++++++++++packaging, ++++++++ + + + + + + + + + + + + + + ++ +++++++++++++++++++++++++++++++++++ use and + ++as ++++ +++++to ++++++++production +++++++++++++++++++ ++chlorine-free +++++++++tissue +++++ +++++++++++++++++++++++++++++++++++ and reaction + ++++a++ +++++++overseas +++++++++++++++++partly +++++ +++++boxes, +++++and +++endeavour +++++++to ++++++++++++++++++++++++++++++++++ recycled processes. “I have worked in China as part +++++++++++++++++++++++++++++++minimise +++++++and +++recycle +++++all ++incoming +++++++ +++++++++++++++++++++++++++++++++++ and + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + ++++++++++++++++++++++++++++++++++ of+my + +++design ++++life +++and +++feel +++very +++strongly ++++++++++outgoing ++++++packaging. ++++++++Unlike +++++ +++mass+++++++++++++++++++++++++++++++++++++ most that it is now time to commit to producing ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +++locally.” +++++++++++++++++++++++++++produced +++++++shoes, ++++our +++footwear ++++++can +++be ++++++++++++++++++++++++++++++++++++ more + ++++++++++++++++++++++++++++++resoled +++++by ++us ++for +++ ++++as++ ++choose, ++++++++++++++++++++++++++++++++++++++ as+long you + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + ++++++++++++++++++++++++++++++++++++ The about than your + ++company +++++++is++ ++++more ++++ +++just +++a+++++giving +++++ +++moki +++aotearoa ++++++shoes ++++another ++++++++++++++++++++++++++++++++++++++ + +++++for ++making ++++++beautifully +++++++designed ++++++++++amazing +++++++++life! ++++++++++++++++++++++++++++++++++++++++++++++++++ passion + ++++++++shoes, +++++ +++ +++++in +++++++++++++++new +++++++++++++++++++++++++++++++++++++++++++++++++++++ handcrafted and believes + +++++++++++++ +++ ++++++++++++++Rethink ++++++– +We ++are +++++++to +++++++every ++++++++++++++++++++++++++++++++++++ + +++++++the ++++++New +++++++++++++++++++++++++++++trying ++++++rethink +++++++++++++++++++++++++++++++++++++++++ supporting + ++++++++++local +++++++Zealand +++++++++++++process ++++++ ++action +++++we ++take; ++++there ++++is++++++++++++++++++++++++++++++++++++ and economy. aotearoa committed + ++++++moki ++++ +++++is++ +++++++++++++always +++++++++to++improve. ++++++++believe ++++++++++++++++++++++++++++++++++++++++ + +++++++footwear +++++++with +++a+more ++++++++++++++++room ++++++++++++We +++++++in +++++++++++++++++++++++++++++++++++ to+producing +++++++++++++++++++++++++++++++New ++++ ++++++++++products ++++++and +++are ++++++++++++++++++++++++++++++++++++ Zealand-made ‘ethical’ approach. We believe that we ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + ++fight ++++++++++waste ++++++++ ++to++++++++100% ++++committed ++++++++to+keeping ++++++footwear ++++++++++++++++++++++++++++++++++++++++ can try + ++++++excessive +++++++++++and +++ ++++++++++made ++++in ++Aotearoa. +++++++We ++regularly +++++++ +++++++++++++++++++++++++++++++++++++ remove away from disposable ‘throwaway +++++++++++++++++++++++++++++++++++++++++++++++++++++ +++++++++++++++++++++++++++++++++++++ evaluate what we can do to minimise + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + +++++++++++++++++++++++++++++++++++++ fashion.’ more + +++++We +++use +++a+variety +++++of++ +++eco++++++++toxin ++++use. +++We ++choose +++++to ++collaborate ++++++++with +++++++++++++++++++++++++++++++++++ + +++++processes +++++++and +++materials +++++++and +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ friendly companies and individuals who value + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + ++our +++++++++++++++++++++++++++++++++ believe we + +++++ ++have +++successfully +++++++++reduced +++++++++++more-sustainable +++++++++++++++++++to++ ++++++++++++++++++++++++++++++++++++++ fashion + ++environmental ++++++++++footprint. +++++++The +++++++++++++++++++++++approach +++++++++ ++++++++++++++++++++++++++++++++++++++ our + +++industry ++++++++++++that ++++++ +++++++++footwear. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ shoe totally + +++++++++believes +++++++++the +++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + ++++++++ +++is++ ++a++long +++way +++off, +++++++www.mokiaotearoa.com +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ sustainable shoe still + ++we +++++trying ++++++recycle, ++++++++++reduce ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ but + ++++are +++++++to +++++++reuse, ++++++++++++laura@mokiaotearoa.com +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + ++rethink ++++++what ++++ ++can +++ ++ ++++our +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ and we do to+make ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ footwear + ++++++more ++++sustainable. +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +++Share ++++++++++share +++++++ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++ alike + +++++++++and +++++++++++ +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ + +++++++++++is+New ++++ ++++++newest ++++++++++++++++offices +++++++ +++Zealand. +++++++++++++credible +++++++++++and +++++++++presence ++++++++ sharedspace.co.nz Zealand’s New + ++++++++++++++++ ++++++++++++++throughout +++++++++++++in++ +++++++++He ++++++++++++address +++++++++business ++++++++++++at ++ listing for + ++++website ++++++ ++shared +++++commercial +++++++++++++believed ++++++this +++could ++++be ++a+great ++++way +++to++help ++++++a+low +++cost. ++++++++++++++++++++++++ + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + ++ space + ++++and +++pop-up +++++shops. ++++The +++website ++++++has +++++businesses ++++++++make ++++up ++for ++some ++++of ++their +++lost ++++++There ++++are +++ +++of ++new +++listings +++++appearing ++++++++ loads been + +++designed ++++++to ++be ++a+simple, +++++hassle-free +++++++++++revenue ++++++during +++++tough ++++times. +++++++++++++++++++so ++++++it +++++++++++++++++++ + +++ ++++++people ++++++++are +++ +++++to+++++++++++++++++++++++++++++++++++daily +++++check ++++++out... +++++++++++++++++ way to+ looking + +++ +connect +++++++++++who ++++++ +++++++++Along ++++with ++++increased +++++++ ++++++it+appears +++++++++++++++++++++++++++++++++++++ revenue, www.sharedspace.co.nz + ++++ +++workspace. ++++++++++++++++++++++++++sharing +++++++++workspace ++++++++++a++ +++++++++++++++++++++++++++++++++++ share their range +++++++++++++++++++++++++++++++that +++++++++your +++++++++++has ++++ +++++++++++++++++++++++++++++++++++ + ++sharedspace ++++++++concept ++++++was +++born +++after ++++++++of ++other ++++benefits +++++including +++++++flexible +++++terms, ++++++++matt@sharedspace.co.nz ++++++++++++++++++++++++++++ The + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + + ++a+++++++++++++++++++++++++++++++++ website noticed and networking. + +++++founder, ++++++Matt +++Knight, ++++++ +++++an +++++sustainability ++++++++++ +++ ++++++++It+is++not +++++++++++++++++++++++++++++++++++ + ++++++ ++++++++of +++++++desks +++++++++++way +++++a++ +++++business +++++++ ++++++++++++++++++++++++++++++++++++ increase in+the start-up to+find + ++++++ ++++number +++++++empty +++++++++++++bad ++++++for ++++ ++++++++++++ ++++a+++++++++++++++++++++++++++++++++

08. THREADED

pigeon-hole

Free The Sea Winter 2010

++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++ Telling Stories on Cloth ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ The foundations of Miranda Brown’s The winter collection uses authentic ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ collections always start with nature New Zealand merino wool, tencel/merino ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ and her Free The Sea Winter 2011 blends, Fair-trade organic cotton and ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ collection is typical of the Miranda silks with original artwork and special ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Brown Conscious Cloth brand’s hand-dyed pieces. Miranda Brown’s range ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ desire to tell stories on cloth. includes the shibori style of dyeing ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ with dipped dyed Kaftans and merino ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ “As an artist, I’m yarning about ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ star scarves – absolute treasures. nature and our deep connection to all ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ life; with this understanding, we are Miranda Brown will be partnering with ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ inspired to value and respect all life.” Enviroschools to raise money for their ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ sustainable education programmes ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ The topic of this collection is our ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ which inspire young people to value oceans and beautiful marine world, ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ life including our oceans and the effect ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ which are being hampered by human ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ of human activity on land and sea. activity. The printed artworks include ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ an Avatar look featuring an oversized www.enviroschools.org.nz ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ starfish design and the pointed slogan www.mirandabrown.co.nz ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ‘Free The Sea’ in camouflage. ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Aotearoa ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++ ANZAAE Conference 20 – 22 July 2011 ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ New Zealand ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Association of ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ In 2011, the Aotearoa New Zealand network, upskill and update academic ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Art Educators ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Association of Art Educators (ANZAAE) and professional knowledge. ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ (ANZAAE) Conference will be held at the Waikato ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ The selected themes are: ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Institute of Technology, Hamilton, ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Power – Relations of discourse; Membership 2011 New Zealand, from Wednesday 20 July – ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ pedagogy; critique and assessment; Friday 22 July. An early registration and ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ contests of categories; domains, values welcome event is planned for the early ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Subscriptions are now due for 2011 ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ and standards; inclusion; visual culture evening of Tuesday 19 July. ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ and renewal of your membership ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Community – intersections; interactions The ANZAAE Conference 2011 will will ensure continued receipt of ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ and viewpoints; communities of ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ the ANZAAE Journal. 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The schedule includes embodiment; reflections and sharing of ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ Treasurer ANZAAE keynote papers, workshops, seminars, ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ experience c/- Dr David Bell ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ conference papers, studio sessions and ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ University of Otago College of Education, The conference committee invites you ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ discussion round tables which will PO Box 56, Dunedin 9054, New Zealand ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ to visit us at: be streamed and clustered for these ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ anzaaeconference2011.org.nz sectors. 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fUMAN & CREATIVE ORGANISM. PAST, PRESENT, FUTURE

STEP INTO CULTURE ON STEP INTO CULTURE ON YOUR LEFT CROSSING YOUR LEFT CROSSING OVER TO INNOVATION OVER TO INNOVATION LEADING TOWARDS LEADING TOWARDS COLLABORATION GIVING COLLABORATION GIVING WAY TO CREATIVITY WAY TO CREATIVITY ELEVATE TO TECHNOLOGY ELEVATE TO TECHNOLOGY AND FASTFORWARD WITH AND FASTFORWARD WITH ENTERPRISE ENTERPRISE

Faculty of Creative Industries and Business. Faculty of Creative Industries and Business.

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author: article name

WHAT? HOW? WHERE? WHY? WHEN?

Design four separate [but related] 263x193mm advertisements that link biomimicry and innovation to InterfaceNZ Must include the InterfaceNZ logo, web address and key endorsement logos â&#x20AC;&#x201C; NZRIA, NZGBC, ECNZ, Kidney Society, carboNZero These mandatory elements and inspiration are available for download from www.interfacenz.com

$1,000 prize money for the winning entry and publishing of the ads in ArchitectureNZ and/or Prodesign and/or Threaded CREATIVE CONCEPTS MUST BE RECEIVED BY 5PM 18/04/2011 Email to Steve@interfacenz.com in pdf format with no single email being bigger than 4MB; low-res files are fine

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author: resn. presn article resents name

Instructions for Synchronised Subject Transmogrification are as follows: 0.01 Enable your webcam 0.02 Enter this URL: in your preferred browser 0.03 Once at the site̦ await further instructions. JOIN MY EXPERIMENTIA NOW!

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frost*. FROSTICLE*

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objectspace. best in show

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

Objectspace receives major public funding from:

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author: article name

MATT BlOMElEY

The Best in Show exhibition series is an annual fixture in the Objectspace calendar. Inaugurated in 2005, the aim is to showcase Objectspace’s selection of talented emerging applied arts graduates from tertiary institutions around New Zealand. Areas of practice covered in 2011 by these ‘diamonds in the rough’ include graphic design, digital design, textiles, ceramics, contemporary jewellery and furniture.

OBjECTSPACE PROgRAMME COORDINATOR

These sixteen bachelor-level graduates display a consistent level of polish that belies the relatively limited amount of time spent in their respective fields. Each of these exhibitors displays either a limitededition, one-off or specialist type of production and this approach entails few compromises when it comes to construction materials, aesthetic decisions and other artistic concerns. Some of the concepts addressed include: the energy within objects; randomness; contrasts and purposes within natural materials; popular traditions; class; graffiti; commercial branding; digital communication; apocalypse; ruins; obsolescence; nurturing; growth; and the visual language of experimental music. Aside from offering a foot on the ladder with an exhibition following soon after their end-of-year graduate showcase exhibitions, Best in Show 2Ø11 provides an additional professional development opportunity, with participation involving makers preparing an artist statement that has been subject to critique and editing. For contemporary makers, an elegant understanding of critical discussions, the ability to position their work and having the language to talk about what they do are important components of a successful career. Objectspace would like to congratulate all the exhibitors featuring in Best in Show 2Ø11 and wish them great success in their creative careers. We would also like to acknowledge the following institutions and their staff for supporting this important ongoing exhibition project and without whom Best in Show 2Ø11 would not have been possible: AUT University (Te Wa-nanga Aronui o Ta-maki Ta-maki Makau Rau), Hungry Creek Art & Craft School, Manukau School of Visual Arts (Te Whare Takiura o Manukau), Massey University (Te Kunenga ki Pu-rehuroa), Unitec Institute of Technology (Te Whare Wa-nanga o Wairaka) and Whitireia (Te Kura Matatini o Whitireia).

for contemporary makers, an elegant understanding of critical discussions, the ability to position their work and having the language to talk about what they do are important components of a successful career.

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objectspace. best in show

Abi Woollcombe mail@abiwoollcombe .com www.abiwoollcombe .com Unitec dept of design & visual arts

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

Reminiscent of domestic vessels wildly distorted by the addition of thrown and extruded appendages, Abi Woollcombe’s recent graduate work, Painterly Pitchers and Vibrant Vessels, investigates what she sees as painterly conventions applied to ceramic forms. In Woollcombe’s work, heavy black lines play on the dimensional conventions of drawing, defining and exaggerating space. As a maker of pots, Woollcombe is drawn to Jane Bennett’s theory, The Force of Things: Steps toward an Ecology of Matter. Bennett refers to ‘Thing-Power’, which Woollcombe describes as “the force of energy that pulses through all matter, the vibrant interactivity that resonates through and between all things, considering materiality as human and nonhuman”. Over the past year, Woollcombe has also looked towards and found inspiration in the work of renowned US ceramicist Betty Woodman.

Amy Yall and amyyall and@yahoo.com AUT University school of art + design

Amy Yalland’s Dialog is a graphic design project that aims to demystify the esoteric language of experimental music notation. It is an investigation of various people’s immediate and automatic responses to graphic scores or ‘funny marks’ in the form of two books and a series of videos. The project was originally undertaken with the intention of documenting the ‘betweenness’ of the aural and the visual: a betweenness made tangible in the creation of a visible/ audible dialogue between viewer and score. The project questions: how people read and vocalise graphic marks; how ambiguous a mark can be; and to what extent technical details (thickness/size/placement, etc) are taken into consideration by the reader. Yalland’s books Dialog: Reading Through and Graphic Score: Presently Processing document the investigation and are accompanied by a DVD, which shows a number of musicians and non-musicians reading the same visual material, with very different responses.

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

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objectspace. best in show

Carol Leung carol .carl .leung@gmail .com Manuk au School of Visual Arts

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

Carol Leung‘s digital interactive works, entitled Thomas, Delin, Laura, reflect her understanding of the confusion and frustration commonly experienced during screen-based communication. Ultimately aiming to reveal a full portrait of the person speaking on screen, the viewer becomes an active participant, who, upon clicking and dragging the mouse, experiences fragments of facial expressions and speech. These fragments interfere, interject and interlace with one another, creating a picture that, in the viewer's mind, is populated by simultaneous information overload and deficit. A fitting analogy for this is the contemporary experience of web browsing, where our search for essential information is often easily diverted or buried under layers of audiovisual chaos.

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author: article name

Corrina Hoseason corrina .hoseason@gmail .com Unitec dept of design & visual arts

Corrina Hoseason’s ceramics practice is connected both to beaux-arts tradition and popular culture. She is intrigued by the romanticisation of the pastoral landscape, its inhabitants, and how this informs unrealistic aesthetic expectations of a benign, idealised agrarian society. As a ‘farm girl’ from good country stock, Hoseason finds these notions to be somewhat humorous, especially in the context of New Zealand, a small geographically isolated country built upon an iconic green agricultural brand. Recent examination of the eighteenth-century Sèrves porcelain tradition has highlighted for Hoseason that romanticised sociocultural ideals of class, livelihood and status are not confined to our contemporary notions of ‘lifestyle’. Knowingly combining topics related to agriculture, including status, inheritance, livelihood and wealth, Hoseason’s work plays within a ‘topsy-turvy’ world of pony-club charm, pompous agricultural field days and genuine rural pride.

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

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objectspace. best in show

Erin Cretney erin.cretney@gmail .com Massey University

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

Growing up near the beach in Nelson, Erin Cretney has drawn upon this experience in her practice as a textile designer. The seashell is a particularly important source of inspiration for Cretney. This is due to the shell’s purposeful design as a place of shelter, repose and refuge, protecting the soft mollusc inside from external elements. It is this simple contrast of successfully combined oppositions which is the focus for her work. Cretney also recognises that the interior and exterior surfaces of a seashell are inherently rich with visual information. For instance, the interior generally portrays smooth, shiny and soft qualities which are a distinct contrast to the rough, matte and hard exterior. Cretney has worked with a range of materials and techniques, including ceramics, Waitaha schist rock, natural fleece and felted yarns, to replicate these opposing, yet inherently related, contrasts.

K vetosl ava Flor a Sekanova k vietok50@gmail .com www.k vetosl ava-florasek anova .weebly.com Hungry Creek School of Arts

Flora Sekanova works with laminated newspaper to make new jewellery statements. Although it may elicit subjective responses from the wearer or viewer, the actual information embodied in the newspaper fragments is not an aspect of primary interest in her work, as Sekanova is more intrigued by formal qualities of the reconstituted material such as colour, texture, flatness and layering. Once the reconstituted material is formed and reshaped into objects, the making process then involves recognition of the dialogue between objects and their influence upon one another. Equal importance is given to the backs of the pieces and to their outward appearance and, when worn, Sekanova’s brooches enable only the wearer to know the full shape of the object. Image courtesy Allan Johnston

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

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objectspace. best in show

Julia Middleton juliamid@gmail .com Whitireia Polytechnic

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

Julia Middleton imagines her contemporary jewellery creations as “recent relics of the apocalypse of the industrial age”. These objects, imagined and carefully ‘recreated’ by the artist as once-new things, reflect a society that leant too far in the direction of a technological precipice. Now outmoded, perhaps ancient, the meaning we derive from these found objects naturally propels us to imagine overarching issues relevant to current society. Middleton suggests her work is post-industrial art. Like many relics, her objects contain hints of grandness, lost religions and faded architecture, among other things. In one work, for instance, the Phoenician sun appears in a fragment of a speaker cone while, in another work, the reflective bases of a double-headed lightbulb emerges from a charred and gnarly fitting. These fragments of old technology are our legacy.

Krist y Johnstone johnstonekristy@gmail .com www.kristyjohnstone .com Massey University

Kristy Johnstone produces graffiti The ubiquitous glimpses of living things found growing in the cracks and walls of our urban environments – temporary, unexpected and unwanted – are the signifiers for her series, Urban Nature. Exploring graffiti’s typically impermanent qualities through the use of organic materials instead of spray cans, Johnstone’s ephemeral works are designed to change over time: weathering, growing, dying or being cleaned away. Her knitted graffiti forms are embedded with grass seed and they are brought to life and encouraged to emerge, like weeds, from the unexpected. Over time, Johnstone’s graffiti is transformed as the grass grows and then fades away.

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

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objectspace. best in show

Lucy Pierpoint lusim@clear .net.nz Manuk au School of Visual Arts

Lucy Pierpoint’s jewellery practice is centred on a premise of defying obsolescence. She notes that technological changes may improve our lifestyles, but at a cost, as uncalculated demands on finite resources result in discarded piles of perfectly functional yet technologically obsolete products. Pierpoint, in a previous career, was involved in the waste-management industry, so it is fitting that her career as a contemporary jeweller involves resurrecting materials from redundant ‘analogue’ technologies.

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

Pierpoint combines her interest in sustainability with the intention to unearth beauty within these materials. She creates objects that, unlike many mass-produced technological goods proliferating our shelves, are invested with a great deal of time and skill and, in the instance of analogue technologies, redouble upon the original content-bearing purpose of the material. Image courtesy Mark McClean

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author: article name

Mark Seeney markseeneyblog@gmail .com www.madeprogress.blogspot.com Unitec dept of design & visual arts

My Ruins is a conceptual furniture design project which came about when designer Mark Seeney attempted to materialise two differing visions: the architecture of a ruin versus that of a newly built form. The construction of each work in this series varies in the making process due to simple structural differences and finishing treatments of the fragmented sections of mild steel that heÂ employs to complete the object. Seeney relates each object as a metaphor for the built environment and our potential capacity to adapt and rebuild with limited means in extenuating circumstances. A collection of contemporary furniture built in a seemingly haphazard manner, resembling wildly constructed yet ultimately sound scaffolded structures, Seeneyâ&#x20AC;&#x2DC;s My Ruins reflect his interests in reuse and consumerism. Image courtesy Dominic Emeschajmer

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

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objectspace. best in show

Mat thew Broodryk beyondimagery@gmail .com Unitec dept of design & visual arts

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

Matthew Broodryk observes that in our everyday routines we often breeze monotonously through a multitude of encounters with objects and surfaces. To the extent that genuine satisfaction with everyday objects can seem like a rarity, it could be claimed that we lack engagement with the objects we encounter. So can we be enlightened to these kinds of encounters? In the digital realm, Broodryk observes, the ‘hover state’ occurs when a mouse cursor becomes positioned over a piece of text or image that has a link to another location assigned to it. When in the hover state, the link will appear underlined in a specified colour. This functionality is designed to get attention and prompt the user to select and follow the link. His project asks whether, if we were able to somehow engage a hover state in our everyday lives, would this lead to enriched encounters with objects?

Rafe Copel and rafe@rafecopel and.co.nz www.rafecopel and.co.nz AUT University SCHOOL OF ART + DESIGN

Rafe Copelandâ&#x20AC;&#x2122;s DIASPAR publication project comprises forty-five reactions to randomness, generated by internationally recognised experts from dozens of different fields. These articles overlap each other in complex ways, drawing lines of connection that cross-hatch into a map. He notes that in the project there is no beginning and there is no end â&#x20AC;&#x201C; it is a labyrinth which must be navigated, and these connections are its corridors. Similarly, there are no contents, index or statements of intent: the book is all of these things itself, slowly explaining and indexing itself as you travel through it.

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

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objectspace. best in show

Sar ah Read sarah.read@xtra .co.nz www.sarahread.wordpress.com Whitireia Polytechnic

Sarah Read’s recurring theme is power and nuance within relationships. She is fascinated by the bonds we form and the way they shape our lives.

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

Read’s practice plays with the conventions of jewellery and the associative properties of materials to evoke intimacy in all its flavours – from protective, through symbiotic, to parasitic and beyond. Read’s series entitled Nestle is all about nurturing and growth – watching out for the vulnerable and treasuring the imperfect. Her aim was to develop a collection of pieces that, despite being unfamiliar, would trigger our instinct to hold and protect. The starting point of the project was the notion of jewellery as a sentient force, a separate species that has been humankind’s companion down through the ages. As with so many species, generations of domestication have taken their toll on the creatures’ natural defence mechanisms, leaving them reliant on us to meet their most basic needs: transportation, nourishment and safety.

Sar ah Walker-Holt Whaletail@kol .co.nz www.Sarahwalker-holt.blogspot.com Manuk au School of Visual Arts

Sarah Walker-Holt reconfigures collected materials to create jewellery that consists of multiple components, which she terms Situational Personalities. These components engage the wearer by offering numerous discoveries as to their combinations, wearability and connection to the garment. She aims to initiate an intimate relationship between the wearer and the object. Avoiding traditional jewellery fastenings, the wearability of Walker-Holt’s works is not immediately obvious. Elements within the work suggest a function and fit that the viewer may not see or understand, unless shown, so that what each wearer brings to her objects is individual and due to their own learnt subconscious. A bricoleur, she utilises materials that are at hand; the non-precious materials and their construction test the perceptions and limits of jewellery, suggesting that it is not the materials that make jewellery into jewellery, but how we perceive the object.

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

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objectspace. best in show

Sophie Laurs

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

sophiel aurs@gmail .com Whitireia Polytechnic

Our world is saturated with logos. They mark our place in social hierarchies and uniform the fashion world. The 'brand’ is not only synonymous with utilitarian retail goods such as clothing but also with contemporary art. Sophie Laurs’ WHY SL? series is intended as a satirical commentary and critique of the modern notion of the pop artist. Interpreting branded objects as contemporary jewellery, her work references the commercial ideals of high-end fashion labels. WHY SL? comprises elegant, restyled versions of previous items, forging her own designs from the skeletons of others. Laurs’ works suggest she is experimenting with the wearer, asking: are you really making a unique statement, or are you, yet again, branded?

Yang Zhang stklgg@gmail .com Unitec dept of design & visual arts

Informed by her social observations, Yang Zhang’s jewellery practice constitutes a synergistic, looping system. Using the leftover material and detritus from three years of jewellery study, in the Loop series, Zhang has recycled these otherwise wasted materials to create new work. This investigation involving the reuse of materials communicates her concept of interconnectivity. Zhang cites Julia Morison’s recent painting as an inspiration for her practice, referencing Morison‘s work RoCoco, which Justin Paton has described as “a painted world in which things never stop recombining and ramifying”.1 She relates the two-dimensional map-like meanderings in Morison’s work as akin to her jewellery-making process. Zhang‘s focus in the Loop series also involves recording her environment, taking note of how she moves through it and relating these observations structurally within her jewellery. She encourages the wearer to feel as though they are participating in this process. 1. Justin Paton, Jennifer Hay and Anna Smith, Gobsmack and Flabbergast, Julia Morison: A Loop around a Loop, Christchurch Art Gallery Te Puna o Waiwhetu, 2006, (pp164–65).

Objectspace 8 Ponsonby Rd Auckland 09-376-6216 www.objectspace.org.nz Mon to Sat 10 to 5

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adam turnbull. call for submissions

WE’VE BEEN ALL AROUND THE WORLD WITH WHERE YOU WANT TO GO AND WHAT YOU WANT TO DO. THANKS HEAPS FOR SHARING AND SENDING IN YOUR SAMPLES PRINTED ON SPICERS PAPERS.

Fiona Grieve Fiona Grieve

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tertiary institutions to lead and present an array of graduates that they that that positions positions their their pro p believe reflects the distinct nature of their awards across Craft, Design ners ners selected selected for Best Be When Threaded collaborated with Designworks back When in 2006 Threaded tofor re co and Fine Arts subject areas. Best in Print offers a curated insight into an position both our editorial position and look and feel position we had seriou our th e Threaded Threaded isboth hopeful is to hopeful expanded field of practices at undergraduate, honours and postgraduate re consider our intentions and audience. This highlighted re consider our desire our inte to bookends bookends Objectspac Objectspa levels of achievement. In doing so, Best in Print is a collaboration bridge the gap between emerging and established bridge practice. the Initially gap bet tertiary tertiary institutions institutions and aw between Threaded, academics and graduates/students at AUT University, set about achieving this by presenting profiles of principal set about practitioner achieving inSchool in curating curating this this section sectio School of Art + Design, Wintec, Waikato Institute of Technology, side by side and offering graduates the opportunity side to submit by side their and off of Media Arts, UCOL – Whanganui School of Design, The University of portfolio to receive a one-page profile in our Exhibition portfolio Alley tosection. receive Waikato and Unitec, Institute of Technology, Department of Design & Visual Arts. For ED X’s Best in Print section of this issue we decided For ED toX’s subvert Best in our P own selection criteria and deepen the value of thisown section selection by inviting criter Each institution has taken up the opportunity to reflect on the tertiary institutions to lead and present an array of tertiary graduates institutions that theyt characteristics that define their approach to tertiary education within the believe reflect the distinct nature of their awards across believe Craft, reflect Design the d creative industries and contextualise their philosophy to studio practice. Fine Arts subject areas. Best in Print offers a curated Fine insight Arts into subject an ar Each practitioner profiled has been responsible for articulating a expanded field of practices at undergraduate, honour expanded and postgradua field of p statement that positions their project work and has been one of the four levels of achievement. In doing so Best in Print is alevels collaboration of achieveme practitioners selected for Best in Print by their respective institution. between Threaded, academics and graduates / students between at Threaded AUT University School of Design and Art, to WINTEC, Waikato University School of o Threaded is hopeful that Best in Print can continue be a feature thatInstitute Technologies Media Arts School, UCOL –thanks Wanganui Media bookends Objectspace's annual exhibition and sincerely allTechnologies ofSchool the of Design andand Unitec, Newthat Zealand, Design and andVisual Unitec, Arts. New Ze tertiary institutions students have Department collaboratedof and participated in curating this section for ED.X. Each institution has taken up the opportunity to reflect Eachon institution the charact has istics that define their approach to tertiary education istics within that the define creativ the Threaded Threaded Ed10 Ed10 Inside Inside v3.indd v3.indd 50-51 50-51 industries and contextualise their philosophy to studio industries practice. andThe conte practitioners profiled have been responsible for articulating practitioners a stateme profile that positions their project work and have been one that of positions the four practit their ners selected for Best in Print by their respective institution. ners selected for Be

Threaded is hopeful that Best in Print can continueThreaded to be a feature is hopefu tha bookends Objectspaces annual exhibition and sincerely bookends thanks Objectsp all of t tertiary institutions and students that have collaborated tertiary and institutions participata in curating this section for ED X. in curating this sect

PR st b PR st e in P in s I I beN R t i N PR stT IN n T T IN in T be PR st

ollaborated with Designworks back in 2006 to re editorial usly position and look and feel we had to seriously entions o and audience. This highlighted our desire to we tween emerging and established practice. Initially we grsthis by presenting profiles of principal practitioners fering graduates the opportunity to submit their e a one-page profile in our Exhibition Alley section.

Print r section of this issue we decided to subvert our ria key and deepen the value of this section by inviting key yto lead and present an array of graduates that they distinct and nature of their awards across Craft, Design and reas. Best in Print offers a curated insight into an practices ate at undergraduate, honour and postgraduate ent. In doing so Best in Print is a collaboration d, academics and graduates / students at AUT of Design and Art, WINTEC, Waikato Institute of nia Arts School, UCOL â&#x20AC;&#x201C; Wanganui School of Design ealand, Department of Design and Visual Arts.

e Best in Print section in ED X initially bookend y to the Best in Show, the annually ion on that showcases Objectspaceâ&#x20AC;&#x2122;s selection ent s emerging within the applied arts. This about the possibility of designing and e within a publication which might enable ne the way in which we think about the visions d offered in tertiary craft, design and g cation. By gaining a better understanding on s particular institutions unique, this section nto graduates, their environments, and a aches to studio practice.

stertaken up the opportunity to reflect on the characterve eir approach to tertiary education within the creative textualise their philosophy to studio practice. The ent ed have been responsible for articulating a statement tioproject work and have been one of the four practitioest in Print by their respective institution.

at ul that Best in Print can continue to be a feature that paces the annual exhibition and sincerely thanks all of the ted and students that have collaborated and participated tion for ED X.

2/7/2011 3:52:35 PM

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Carly Van Winkel carlyvanwinkel@hotmail .com C arly Photography on Facebook Unitec dept of design & visual arts

“The practice of bringing wildness into the human domus has been underpinned by impulses not only of fear and control, but also of care and curiosity – by affection as well as domination.” – Kay Anderson, Animal Domestication in Geographic Perspective.

Carly Van Winkel’s photographic series Domus, 2010 captures the oddity of the situation, where the ‘inhabitants’ (human and canine) live together and the boundaries between the two species are somewhat blurred. Under close scrutiny of the camera, the shared habitats of the domestic animal and the human have a ‘defamiliarising’ effect. The images aim to expose the paradox between our everincreasing shift from the natural environment, and our decision to live so intimately with a chosen animal. They seem to question the reasons we feel such a close affiliation with dogs and why we find it necessary to live so intimately with them. Maybe it is about care and curiosity – by affection as well as domination but perhaps it is an anomalous way for us to connect with the nature that we are now so detached from.

Lance Pearce messagefile@gmail .com Unitec dept of design & visual arts

Lance Pearceâ&#x20AC;&#x2122;s raw and precarious forms convey a sense of both quietude and contingency. The sculptures and installations appear both unfinished and highly resolved, and mimic everyday objects; these material iterations display an unusual interplay of crude materiality and meticulous design. The exhibition I know very well... but all the same is comprised of mimetic sculpture, which resembles familiar domestic objects. These works address the implications of contemporary social changes for the meaning of home and the social interactions that take place within it. Pearce describes the idea of home as ambiguous: where persistent ideals like security and certainty are constantly renegotiated through familial breakdown, economically determined domesticity and social mobility. His objects are merely stand-ins â&#x20AC;&#x201C; through an errant materiality and construction their utility is denied â&#x20AC;&#x201C; instead, they speculate on contingent sociality within the context of contemporary domestic arrangements.

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Lisa Stirling lis.stirling@gmail .com Unitec dept of design & visual arts

Lisa Stirlingâ&#x20AC;&#x2122;s design of interiors is not confined to the inside of a building; by going beyond the traditional volumetric frame, her practice extends to embrace the urban interior.

One can visualise the city as being composed of three types of spaces: the solid (architecture), the void (interior of a building) and the in-between (urban interior). Through the investigation of social and climatic atmospheres, Life between Architecture activates the in-between spaces of Ironbank, which problematically sat partially unoccupied on Aucklandâ&#x20AC;&#x2122;s Karangahape Road for some time. The coffee machine process filters through each space, amplifying its atmospheric condition. The peculiar qualities of the in-between space offer an inhabitation that engages with outside conditions, whilst using materials that allow passage through both interior and exterior. On the one hand, it reveals the sensuous qualities of climatic and human behaviours. On the other, it reveals the ambiguous role that the solid form plays in our urban interior.

Penny Thomson penny.thomson@ihug.co.nz Unitec dept of design & visual arts

Penny Thomson’s practice of enquiry is about everyday life: how do we even begin to notice and appreciate what is most familiar: the insignificant, the routine, the banal, the boring? Thomson employs everyday imagery and language as a Trojan Horse to draw attention to our own existence, drawing us in and surprising us. Like a bite from a small domestic dog, her publications provide an intimate view of small everyday things: personal treasures, confined living spaces, personal indulgences, preferences and local tendencies. Thomson’s combination of photography, typography and colour evokes an interesting postmodernist aesthetic, a mash-up of 1970s’ home decor magazines, school journals and 1990s’ coffee-table books. She uses the concept of détournement to enable us to connect with the aspects of the everyday that we all share, using the micro aspects of life to make macro observations. As Andy Warhol ironically stated “I like the boring things”.

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Cr aig McClure mcclure85@gmail .com WINTEC waik ato INSTITUTE of technology

Using images of men in distress with ties, Craig McClure’s Real Men project comments on the reflections of masculinity coming from current pop culture. His research was grounded in how men in society today feel about what it takes to be a ‘real man’ and whether men can be both themselves and ‘real men’ at the same time – or if it’s necessary for men to have dual personalities. This led on to investigation into the relationships and connotations taken from ‘businessmen’, focusing primarily on ideas around identity. Real Men is a series of humorous portrait illustrations in the form of screen-printed images of busts on polyurethaned wood, exploring the broad spectrum of readings that can be made from a business tie.

Debor ah Duffield degduffield@yahoo.co.uk WINTEC waik ato INSTITUTE of technology

Deborah Duffield’s work investigates the role of flâneur, defined by Baudelaire in the 19th century as a person who walked the streets, understanding the city as both observer and detached participant. This series, Ce qu’on voit dans les rues (That which one sees in the streets) took Duffield to London, to experience and photograph the mix of cultures and classes browsing the street markets. She observes urban life, covertly taking photographs from the hip: creating a voyeuristic, dysfunctional relationship with her subjects as she captures them lost in thought. Duffield’s works offer a resemblance to the world that is less direct, more mediated by material touch, technology and tradition as she experiments with Photoshopic and painterly conventions, creating hazy dreamlike paintings that shift between abstraction and representation. The photograph’s relationship to the moment merged with the unfolding present of painting generates a provocatively ambiguous temporality, reminiscent of faded memories.

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RIFF RAFF 1

RiffRaff: Issue #01 2010

H A M I L T O N ’ S

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C R E A T I V E

P E O P L E

I s s u e : on e W i n t e r 2 01 0

ARTICLES BY WINTEC STUDENTS STUDENT’S GUIDE TO OPSHOPPING IN HAMILTON. AFFORDABLE AND FUN!

Illustration by Wendy Richdale

MAKE YOUR OWN PROJECTS RECIPE SHARE SECTION GREAT PLACES TO EAT IN HAMILTON

Emily Russell

PROFILES ON MEDIARTS STUDENTS FROM WINTEC

issue one

emily_russell56@hotmail .com WINTEC waik ato INSTITUTE of technology

Emily Russell is based in Hamilton, New Zealand and her bachelor of Media Arts (Honours) project, entitled Riff Raff, is a regular e-magazine dedicated to celebrating creative people and sharing their projects. It offers a place for Wintec students and Hamiltonians in general to share their artistic endeavours with the wider community.

Russell incorporated the look of print-based material into her concept in an engaging way, and the enthusiasm and honesty of her endeavour gives it currency. During the year, We hope you enjoy reading our first issue... Russell worked through complex issues and design options, arriving at an end product that has the fluidity of design to keep re-inventing itself, maintain momentum and gather readers in a viral underground way. This project started with a passionate aim of sharing ideas and giving people opportunities, and has been truly rewarding.

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author: article name

Jacqui Belcher jbelcher@clear .net.nz WINTEC waik ato INSTITUTE of technology

Jacqui Belcherâ&#x20AC;&#x2122;s design thrives on attitude and she uses this to challenge peopleâ&#x20AC;&#x2122;s perceptions; her work is informed and inspired by the small everyday things that most people fail to notice. Belcher is eager to explore different mediums to produce stimulating designs with a point of difference. She is interested in how graphic design can be integrated into niche tactile products and has developed a bespoke designer lamp company, combining her love for hands-on design with graphic elements to form stunning pieces of leather artistry conveying a sense of intimate beauty and harmony.

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Celia Harrison celialogsang@gmail .com www.artinthedark .co.nz AUT university SCHOOL of ART + DESIGN

Celia Harrisonâ&#x20AC;&#x2122;s event Art in the Dark was an honours research project that investigated the formation of community through participatory design practices and the broader implications of contemporary urban sociality. Art in the Dark was an outdoor festival for which sculptural, installation, performance and filmic art practices were the attracting medium. The event was a collaboration between artists, businesses and residents of Aucklandâ&#x20AC;&#x2122;s Western inner-city suburbs and, over the course of two nights, a temporary collection of illuminated artworks was installed in Western Park. The light acting as a commonly shared bond aimed to make evident a different kind of collective body by transforming a park designed primarily to facilitate solitude and singularised circulation into a place of assembly. As such, approximately 8,000 individuals, couples, families, locals and visitors alike traversed Western Park taking part in the inaugural Art in the Dark event. A unique and amiable sense of community was evident across the park over both nights. The project demonstrated that public event and installation design can enable something other than distanced participation.

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Amber Pearson amberpea@hotmail .com bedcritic .tumblr .com AUT university SCHOOL of ART + DESIGN

Objects that perform and carry the weight of our labours are the focus of Amber Pearson’s visual investigations. Whether it be through the creation of obscure technologies that are designed to take away the need for ‘unnecessary’ human effort, or her experimentation with haphazard handcraft techniques, the aim is to draw attention to the gradual loss of body consciousness inherent in the passive use of machines. Her reuse of discarded textiles and construction materials points to a strong interest in sustainable politics. As a Visual Arts postgraduate student at AUT University, she has been developing an interdisciplinary practice that explores modes of performance, installation, object and documentation. In 2010, she competed for, and won, a place on a team of students representing New Zealand at the 2011 International Performance Quadrennial in Prague. Top: Only one day to go until the next day, 2010, Live Repeat Playback, Performance Exhibition at St Paul Street Gallery, Auckland. Bottom: Seuss, from Old Baby Series, 2009.

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Talita Tolutau talita .tolutau@myldsmail .net AUT university SCHOOL of ART + DESIGN

Talanoa e Fonua is a creative examination of Tongan paradigms of narrative and representation. Talita Tolutau has developed her research in this area through an awardwinning MA thesis and is now expanding the research into a PhD by creative practice. Her thesis is concerned with fundamental ideas relating to talanoa [storytelling]. In this regard, her work orchestrates photography, animation, sound design and film into a unique inquiry that seeks to move the parameters of documentary beyond the visual interview. The work presented here, Siniua is one of a series of large photographic prints on tapa featuring Tongan women whose narratives and approaches to narration formed the substrate of Tolutauâ&#x20AC;&#x2122;s first series of documentaries. Siniua [Photographic print onto tapa] From the thesis Talanoa e Fonua

Tatiana Tavares taty.tavares@gmail .com AUT university SCHOOL of ART + DESIGN

Carnival Land is a body of work formatted as a graphic novel that interplays photomontage and storytelling. Using Carnival as a metaphorical vehicle, Tatiana Tavares uses the book to discuss her experiences of emigration from Brazil to New Zealand. Carnival Land tells of the journey transformations of a young girl in a foreign land where true wishes appear as costumes in the annual carnival parade. Using an auto-ethnographic approach to storytelling, the work encodes feelings of hope and confusion as they are experienced in a new cultural context. The graphic novel that opens as theatricised, multi-page spreads comprises part of Tavaresâ&#x20AC;&#x2122; MA thesis in graphic design. Carnival Land [Photomontage]

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BR AD TIPPER BL .TIPPER@GMAIL .COM Whanganui School of Design

Brad Tipper explores a physical connection in the zine Convene utiliSing non-digital processes to enhance and add value to the concept of ‘convenient’ design. Convene dually investigates the notion of ‘convenience’ for both consumers and designers. In three sections of the zine, Tipper explores: Identity; – the creation and influences of an Identity. Integrity – the ways concept can be structured and reinforced; and lastly Non-design; – the mistake and the global population of technology.

Whanganui

School of Design

Here ‘the mistake’ is not the opposite of the answer for Tipper, it is merely an alternative opportunity: where the process of making work leads and incorporates mistakes adding to the originality of the output. By placing a greater conceptual stake in the work, Tipper elicits a stronger connection, forcing the viewer to re-evaluate their perceptions. Whilst continuing his studies in BCGD (Honours), Tipper aims to establish his identity as a freelance designer and participate sustainably in a consumptiondriven industry, while maintaining the highest quality of work.

kareti a iwi

Whanganui

School of Design

kareti a iwi

A conjoint degree with Waikato University A School of UCOL - Universal College of Learning

A Unique Voice in Design Education

Nathan Ram gnathanimal@gmail .com Whanganui School of Design

Nathan Ram’s join-the-dots manifesto critically reflects on the role of graphic design and the designer’s capacity to move, challenge, inspire and confront people through the visual - is interested in expression of ideas. Ram conscientious design, commenting on the subject of graphic design and developing projects where message and meaning determine aesthetic solutions. The join-the-dots manifesto is one of his projects that developed from this way of thinking. The publication uses the metaphor of ‘joining the dots’ to illustrate the role designers play within our society. - challenges the designer to explore new Ram horizons, to realise their capacity to bridge gaps in the world and to understand the other ‘dots’ in the pictures they are a part of – “To design is to join the dots”.

Whanganui

School of Design

kareti a iwi

Whanganui

School of Design

kareti a iwi

A conjoint degree with Waikato University A School of UCOL - Universal College of Learning

A Unique Voice in Design Education

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Rebecc a Sandl ant rebecca .sandl ant@live .com Whanganui School of Design

Whanganui

School of Design

Rebecca Sandlant utilises a range of diverse mediums in her work, Bad Habits, Better Design incorporating techniques such as silk-screen printing and hand lettering. Seeing a project through from concept to production, and being able to engage with both handmade artefacts and digital technologies is intrinsic to Sandlant’s process. She creates much of her imagery off the computer, editing and compiling it together digitally at the end. It’s the integrity and honesty which is intrinsic to Sandlant’s methodology that appeals to her most, inspiring her to continue in this direction.

kareti a iwi

Whanganui

School of Design

Bad Habits, Better Design was created as a personal manifesto and is a set of five handlettered prints packaged into an envelope. The prints encourage self-reflection into the way designers work best and, following that, knowing what inspires you and staying interested in your work.

kareti a iwi

A conjoint degree with Waikato University A School of UCOL - Universal College of Learning

A Unique Voice in Design Education

Samuel Kemp

sam.kemp.nz@gmail .com Whanganui School of Design

Type does not speak but stands in for speech, having a life of its own. From this perspective, the way typography is used is very important to Samuel Kempâ&#x20AC;&#x2122;s Define the Line publication. Kemp believes if life is gone in a moment â&#x20AC;&#x201C; what is said must count. In a single moment, Kemp was challenged to define his personal design style whilst undertaking studies in BCGD (Honours). This experience quickly grew into a journey to discover a personal narrative that defined him, the whole him. This project is a small window into the thoughts, questions and findings Kemp has discovered up to a point and situated on a timeline that is his life. Define the Line included a ten-metre fold-out publication created using the results of his minimalist typographic experiments. Kemp is excited about getting into a position where he can make a meaningful contribution to projects he believes in and utilise the immense power of visual communication to shape and influence the world.

Whanganui

School of Design

kareti a iwi

Whanganui

School of Design

kareti a iwi

A conjoint degree with Waikato University A School of UCOL - Universal College of Learning

A Unique Voice in Design Education

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department of design and visual arts WWW.UNITEC .AC .NZ

Here at Unitec Institute of Technology, in the Department of Design and Visual Arts, works of art, craft and design are sites in which students learn to make, debate and skillfully extend the criteria that shape convention and practice in relation to contemporary life. The distinctiveness of the six subject pathways in Interior Design, Product and Furniture Design, Visual Arts, Photography and Media Arts, Contemporary Craft and Graphic Design and Animation generate a diverse culture of creative practice. The question of how meaning and value are constituted, represented and mediated within design and visual art practice lies at the very heart of our educational enterprise. These recently graduated Design and Visual Arts students together represent the best of what a creatively diverse culture of learning can produce. You might recognise in their work a keen intelligence that can make productive connections between ideas, technologies and relevant theoretical and cultural contexts. What may not be so apparent when looking at the work represented here, is how they can remain receptive to new ideas throughout the development of a work in progress and can judge when they have reached a satisfactory conclusion and developed an appropriate conceptual framework and the means to test the work’s reach, quality and significance. Our students are flexible in the ways that they work and with whom they can work, and can create and locate environments in which they can apply themselves productively. The maturity of these graduates can be measured not in years but through the integrity of their creative work: in the various ways they choose to make their work, what they choose to make their work about and whom for they make it. Tanya Eccleston Associate Head of Design and Visual Arts

school of media arts WWW.WINTEC .AC .NZ

Wintec’s School of Media Arts has a strong reputation for its music, fine arts, visual communication, moving image and written media-related undergraduate and postgraduate degrees. Programmes in the school are structured to reflect the convergence of practices and new media in the Arts and other cultural domains. Students specialise in a particular discipline, having a wide range of options to choose from: graphic design, moving image, digital media, painting, sculpture, photography, animation, interior design, fashion design, journalism, radio, public relations and advertising, songwriting and commercial music. This range of subjects offered in the same suite of programmes offers students situations where they work across and between disciplines, and absorb new ideas and techniques. The synthesis of theory and practice is reflected in course design and teaching. Theoretical and practical research and critical thinking are shown to be intrinsic to the process of “making” – a prerequisite for creativity and innovation. Students in the School of Media Arts are provided with the best and most up-to-date resources and facilities, and the full attention of tutors who are all experts in their fields. At the same time, there is a strong focus on independent learning as well as on the ability to work collaboratively, ensuring that students are well prepared to achieve professional success in their careers. Media Arts equips them with new knowledge but, importantly, it also fosters informed and critical reflection with a view to meeting the highest standards within the creative industries. Ed Hanfling, Theory lecturer Tim Croucher , Painting and Sculpture lecturer

Whanganui

School of Design

kareti a iwi

Whanganui

School of Design

school of art + design

kareti a iwi

WWW.AUT.AC.NZ

Whanganui

The six students profiled in this issue are indicative of the culture and success of the School of Art + Design at AUT University. They represent a wide diversity of cultural A conjoint degree with Waikato University background, and explore and construct A School of UCOL - Universal College of Learning A Unique Voice in Design Education narratives around their own personal kāreti a iwi experiences and thoughts. The School is a place of challenge, where our students engage in intense research, thinking and studio practice in the broad context of contemporary art and design practices. Each of these students has had significant success, and amazing career a unique voice in education Whanganui WWW.UCOL .AC .NZ / www.wsd.ac .nz opportunities, within the wider arts and design community, including inclusion in national and For more than twenty years, the Whanganui international projects, exhibitions, awards and School of Design has produced awardscholarships. kareti a iwi winning graduates – who get great jobs. The In the School, there is a dynamic and Computer Graphic Design degree is jointly productive relationship between theory and awarded by the Whanganui School of Design. practice; our studios are places of constant The University of Waikato and UCOL. dialogue, testing, experimentation and making. This boutique design school has an We have close to 1,300 students enrolled in a international reputation for award-winning wide range of programmes, including Fashion, experimental work in new media and Textiles, Graphic, Spatial and Digital Design, graphic design with a respectful passion for Product Design and Visual Arts, at all levels great typography and a unique approach from pre-degree to PhD. From the central hub to research innovation in communication of the studios, our students migrate out to use design. The dynamic studio environment our world class facilities in the School and the continues to attract highly motivated wider University and as we are in the heart of students and staff from around the world. the city, the galleries, museum and theatres. Our dynamic studio culture is supported by a Alumni Charlie Mckay [Art Director of Metro range of high-end facilities, research centres magazine] feels strongly about the focus and technical expertise, including 3D printers the school has on thinking, design and art and rapid prototyping technology, state of the history and theory. He says that without it “the art fashion and textiles technologies, digital designer becomes more of a technician…” photography suites and 3D workshops. Across and according to Charlie,“… in a job like mine the School we have developed very sound and it's all about ideas… knowledge is power”. innovative curriculum structures and content, The ethos of the School is to develop the and strong links between research and learning, questions that will fuel and inspire the field allowing our students the freedom to of design. Alumni Tyrone Ohia states in his experiment, to create and to explore new and book The Duo Dynamica [awarded a Type interdisciplinary practices. Directors Club 55 USA, Certificate of Excellence RON LEFT in 2009], “Never don’t ask a question”.

School of Design

Whanganui School of Design

School of Design

HEAD OF SCHOOL FACULT Y OF DESIGN & CREATIVE TECHNOLOGIES

Jo Giddens Lecturer

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richard parker & richard fahey. Master of craft

Vase: Black with cream brush lines, 2006, 180mmh x 165mmw x 105mmd. Courtesy of the Nan Parker collection.

Objectspace’s Masters of Craft What is a Master of Craft? Objectspace Chair, and internationally renowned jeweller, Warwick Freeman, has written, “A Master of Craft is someone who has acquired a deep understanding around a particular making practice. They make work that is honed by the experience of doing something very well for a very long time. We recognise this assuredness as extraordinary.” Objectspace is dedicated to provoking new assessments about the making, functioning and value of works and practices. Celebrating the accomplishments and story of master practitioners is an engaging way of provoking new assessments because it involves making an assessment of their practice within a broad context and because it naturally involves considering the nature of craft practice itself. Richard Parker Master of Craft, authored by Richard Fahey, is the first publication of Objectspace’s Masters of Craft series. Northland potter Richard Parker and Otago jeweller Kobi Bosshard are the first two makers selected as Masters of Craft subjects. The work of these makers exemplifies the value of craftsmanship. Richard Fahey has curated a retrospective exhibition Richard Parker Objectspace Master of Craft which opens 5 March 2011 at Objectspace as part of the Auckland Festival and which draws on private and public collection holdings from around the country. There has been great interest in the series and this is evidenced by the fact that the exhibition will tour to eight public galleries in the North and South Islands after being presented at Objectspace. Philip Clarke Objectspace Director

Richard Parker, Omaunu, Kaeo, 1989. Photograph: Cara Nicholson

Afterword: Positioning the Artist Richard Fahey The art of Richard Parker has been shaped by a serendipity that might usefully be understood as a national cultural condition. As many New Zealanders will attest, making contact with the well-informed in any field is almost as inevitable as visiting the local dairy. By its size and demographic, New Zealand is a place where too many people know too many people – a particular reality that is all but invisible to New Zealanders themselves. Richard Parker’s good fortune was to come within the orbit of luminaries in the field of art education and educational

philosophy early on in his life. At this time, he also encountered a work made by someone whom he would later recognise as one of the most revered studio potters - Hamada. The most of the modern Japanese era – Shoji fortuitous encounter that punctuated Parker’s story, however, was his meeting with the inimitable Yvonne Rust in Parua Bay, Northland, in the summer of 1973 – an event that, in the space of an afternoon, transformed him into a full-time professional potter.

Timeliness has also been a hallmark of Parker’s success. He was fortunate to begin producing domestic ware by the vanload when New Zealand studio pottery was at its most marketable. His abrupt renouncing of this line of work also cannily anticipated the evisceration of the market for locally produced, utilitarian pottery that was soon to occur. It would be some years before a commercial infrastructure was in place to deal with the shift in Parker’s practice. However, influential advocates were beginning to gain a new kind of foothold in the culture and would eventually promote the art of craft to a reified audience who, in collecting the work of artists such as Parker, believed something truly significant was at stake. Serendipity is not a word usually associated with the exercise of intractable determination but, in Parker’s case, these forces irrefutably align. All the random opportunities that came his way would count for little had he not been willing to go to extraordinary lengths to pursue elusive aspirations. One aspect of the wilfulness with which Parker has pursued his artistic practice is his unerring self-criticism. A midden-like hill of shards at Kaeo is testimony. This author recollects trudging towards the brow of the hill behind the studio, through waist-high vegetation, and pausing to consider how to navigate the unusually uneven terrain underfoot. Parting the vegetation revealed that the hillock was entirely made up of broken shards. Frequent visitors to the studio knew where to freely rummage in order to unearth live pots lying amid the death camp of deceased ceramics – which they would subsequently come to cherish. That Parker has chosen to destroy so many pots is not because they failed to live up to an ideal; it is because the ideal in his view is not something that can be adequately encapsulated. His interest lies more in understanding how we perceive than in what we might actually apprehend. Our eyes are attuned to any irregularity within the physical environment, which is why disturbances in the visual field are compelling. Parker’s fugitive forms look to capture inquisitive attention through defiance of predictability. His decorative glaze schemes appear like purposefully ill-fitting sets of clothes, worn to play havoc with the form. Parker’s ‘ideal’ is therefore not a classical pursuit of purity, but a productive entanglement with uncertainty. What he pursues is a deep sensory appreciation analogous to that which is possible when we become attuned to the infinite variety of the natural world.

“I am interested in an area our instincts acknowledge, that the real poets know – recognising when our hackles rise – the area Robert Graves described as being ‘between delight and horror’. It is an area I feel we knew more about before we became obsessed with logic and christianity.” Parker’s work is comfortably situated within normative traditions of craft practice, related to the making of utilitarian objects; yet he has reconfigured the role his ceramics perform. He embraces historical precedent, yet to some extent unhinges from it. Edith Ryan, when asked whether she thought Richard Parker was a significant New Zealand potter, paused momentarily and responded, “No. I don’t regard him as a classic New Zealand potter – but one day he will be. I think he will be remembered long after all those others, because he’s so different, so unique and so focused. The other ones, that we could call classic New Zealand potters, were unconfident in themselves and therefore had to have these role models to help them to make. They loved clay, but theydidn’t quite know what to d o with it. They had these pictures in their minds of what a pot should look like.“ Parker’s distinctive aesthetic – his rippling riffs on the ornamental vase adorned with the simplest of decorative rhythms via the stripe, dash and dot – first became evident in the late 1980s. In the twenty years since, he has relentlessly pursued his inclinations unencumbered by suggestions of what he should do to succeed. Parker has become master of his superlative decorative arsenal. Where the earlier works manifest robustness and enthusiasm of expression, more recent works achieve feats of economy and adventurousness. Parker has deepened and enriched this pleasure park of his own devising, discovering new frontiers and nubs of pleasure within, sustaining his own interest and constantly returning to it afresh. His production is born of a time and place yet, glimpsed in a museum case, these works might be taken for relics of an ancient Persian or Chinese culture. What is clear, however, is that Parker has his own picture in mind of what a pot should look like. This is an excerpt from the final chapter of the book: Richard Parker Objectspace Master of Craft, Richard Fahey published by Objectspace 2011, www.objectspace.co.nz, ISBN: 978-0-9876-502-0-7. Text copyright © Richard Fahey 2011, photographic copyright © Haru Sameshima and Studio La Gonda 2011. W

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78. THREADED

Black, Red & Gold: Colonisation & Visual Resistance

INKAHOOTS. BLACK, RED & GOLD

/ I was at the local markets this morning and out of the crowd came a guy wearing a blue T-shirt printed with the Australian flag and the text: ‘This is Australia / We eat meat / We drink beer / We speak f#ckin’ English’. I’ve never had much luck arguing with racists but always figure racism needs to be confronted wherever you find it: What’s with the racist t-shirt mate? It’s not racist. Yes it is. No it’s not. Well some of us don’t speak fucking English. So? So before the British invasion, Australians spoke hundreds of languages and none of them were English, and you know there’s a lot of cultural diversity here that needs to be celebrated, not insulted. So? So what’s with the racist T-shirt? It’s not racist, it’s Australian. And he walked off...

PREVIOUS PAGE – LEFT: photo by Rachel Cobcroft. RIGHT: Inkahoots, Unsettled/Redback Graphix, offset printed poster 2007. Holding up a map on national television in 1997 in an attempt to scare Australians into fearing an avalanche of Aboriginal land claims, ex-Prime Minister John Howard reasserted Terra Nullius. Part of Howard’s motivation for denying the racial character of the Cronulla riots in 2005 was the masking of his, and his government’s, responsibility for it.

FROM LEFT TO RIGHT: Stephen Nothling (Black Banana), I want your food, screen-printed poster, 1988. Courtesy the artist. 1988 was the year of Australia’s Bicentennial celebrations.

Inkahoots, Pillars of Society by Kev Carmody, painting by Paul Hoyne, CD cover, 1999.

x Aboriginal voices have always been suppressed by their white colonisers. We should start by acknowledging that white-folk talking for and about Aboriginal culture is problematic because that’s been the dynamic since invasion. But instead of marginalisation, this is an attempt at understanding, however clumsy, and it comes with deep respect and admiration. x Until very recently the European colonisation of Australia has been romanticised by white Australians through heroic expressions of denial such as ‘discovery’, ‘settlement’ and ‘explorers’, whitewashing (pun intended) the brutal realities of the invasion. – How does that Kev Carmody song go? “In 1788 down Sydney Cove the first boat people land / sorry boys, our gain’s your loss – we’re gonna steal your land.”

/ It’s only in the last decade or two that Aboriginal history has been introduced into school history classes, challenging racist mythologies and forcing Australians to confront an alternative narrative of colonisation. The historical fact of genocide is increasingly gaining academic and popular acceptance (in spite of trenchant revisionism1), as is a corresponding history of tenacious adaptation and resistance by Aboriginal people. + British claims to sovereignty over Australia were founded on the doctrine of Terra Nullius, or the notion that the entire country was legally unoccupied.2 This is at the heart of historical tensions between white and black Australians – this denial of Aboriginal existence and of a culture that goes back 50,000 to 70,000 years: the longest living culture on the planet.

+ The entrenched refusal of ‘native title’ motivated some of Australia’s most important political struggles focused on social justice and land rights, which in turn inspired a rich legacy of visual defiance. x Land that was the basis of intimate indigenous coexistence, custodianship and spiritual custom was to the British brutishly harsh and difficult terrain. The initial visual responses to these alien landscapes by the colonisers were both symbolic and symptomatic of colonisation itself. Have you seen the paintings of Sydney scrubland by early botanists? They were rendered as lush rolling English hills, and native fauna, such as kangaroos and platypus, were transformed into caricatures of familiar English animals. Imposing European cultural sensibilities on an exotic setting tamed the incomprehensible country and asserted imperial

Inkahoots, Never Again, illustration, 1998. Then Prime Minister John Howard and State Premier Rob Borbidge re-enacting the first landing. The Howard Government renewed indigenous dispossession by introducing racist legislation to hinder legal land claims.

Gordon Bennett, Preston + de Stijl = Citizen (black swan of trespass), digital print, 1996. Courtesy the artist and National Gallery of Australia.

Chips Mackinolty, Land rights dance, screen-printed poster, 1977. Courtesy National Gallery of Australia.

rights: the realities of the Australian landscape were denied along with the traditional owners of the land. / Yet for many Aboriginal people the land is linked to a complex visual language of tribal mythology. In 1971, the Papunya desert settlement was the first community to translate the ancient ephemeral patterns of circles and dots into art objects embodying ‘dreaming’ stories and sites. The success of Central and Western Desert artists such as Clifford Possum, Emily Kngwarreye and Minnie Pwerle has been phenomenal. The dot paintings that have become Australia’s pride in the international contemporary art market have been used paradoxically to resist infringement by white culture through the coded concealment of sacred cultural knowledge, and as revelatory documents to support land claims and cultural sovereignty.

Simultaneously, however, hasn’t the commercial success of traditional Aboriginal art served to mask persistent injustice and disadvantage? x Many contemporary urban Aboriginal artists challenge the dominant idea of ‘authentic’ Aboriginal art as a confinement of their practice to ‘traditional’ pre-colonial culture. Artists such as Gordon Bennett, Judy Watson, Sally Morgan, Fiona Foley and Tracey Moffatt reject as racist the imposed categories of ‘Aboriginal’ and ‘contemporary’ art. x Others, such as Richard Bell, highlight neocolonialist practices in the art market itself. In 2003, Bell won a national prize for a painting emblazoned with the words, “Aboriginal Art/ It’s a White Thing”. In this work, Bell discloses the inequities of an art market in which Aboriginal artists produce works for gallery

owners who are mostly white. These gallerists then interpret and ‘colonise’ the works for a broader audience – another mitigation of the Aboriginal voice. – One of the most prominent and potent modern indigenous symbols is the Australian Aboriginal Flag. It was designed by artist Harold Thomas and first flown for National Aboriginal Day in 1971. The black half of the flag represents the Aboriginal people of Australia, the red half represents the red earth, the red ochre used in ceremonies, and spiritual relationships to the land, and the central yellow disk represents the sun, the giver of life and protector. + Joe Geia, wrote a beautiful song, Yil Lull, inspired by the flag: “I sing for the black and the people of this land / I sing for the red and the blood that was shed / Now I’m singing for the gold of a new year growing old.”

/ The Aboriginal flag is now recognised as an official flag by the Australian Government, but its role as a symbol of resistance and unity for Aboriginal people began when it was adopted as the official flag of the Aboriginal Tent Embassy in Canberra (an enduring makeshift protest camp on the lawns of the Old Parliament House) in 1972. Today, the Aboriginal flag flies in front of government buildings, schools and sportsgrounds alongside the Australian flag, itself a tired symbol of colonisation with the Union Jack stuck in the top left corner. – But following Cathy Freeman’s somehow controversial flying of the Aboriginal flag at the 1994 Commonwealth Games, didn’t the Sydney 2000 Olympic committee attempt to ban the flying of flags other than the Australian National Flag in the stadium?

Uluru at sunset. Photo by Jane Bligh.

T-shirt commemorating the partial handback of Uluru-Kata Tjuta National Park to traditional owners in 1985. The Uluru graphic reinterprets the Aboriginal flag. Photo by Jane Bligh.

+ Yeah, which would have meant bloody true-blue Aussies couldn’t even fly the boxing kangaroo mate!3 Ah, racism’s collateral damage… + I’ve just been on a road trip to the majestic Uluru and I thought a lot about the flag. The behemoth sandstone mass stands against the relentless desert backdrop – a landscape that was formed, according to the Anangu people, in an ancient process of creation and destruction. The rock formation shares an awe-inspiring symbiotic visual relationship with all that surrounds it, from its everchanging rapport with the sun, to the red earth that circles its base and beyond. There are endless echoes of the Aboriginal flag in the landscape. – Did you climb the rock?

+ Well, they reckon 100,000 people a year ignore the signs from traditional owners requesting tourists not to climb. It’s still an irresistible rite-of-passage for many nonIndigenous Australians, and international travellers alike. But it wasn’t a big effort for us to respect the Anangu people’s wishes and stay on the ground. The land rights for Uluru were partially passed over to the traditional owners 25 years ago, yet the Government continually refuses to ban the climb. This isn’t just disengaged cultural insensitivity, but also a deeper sort of stubborn cultural dominance and arrogance. – But at the same time though, racism has always been challenged. x The ’70’s and ’80’s in Australia saw the rise of the street poster as a medium for the

Australia Come Walkabout, Commercial directed by Baz Luhrmann for Tourism Australia, 2008.

grass roots mass-communication of political comment and social action. Along with indigenous practitioners, many non-indigenous artists and poster collectives produced screenprinted images in support of Aboriginal land rights, health and education initiatives, and issues around cultural awareness. Workshops such as Redback Graphix, Garage Graphics and Earthworks Poster Collective, and printmakers such as Michael Callaghan, Chips Mackinolty and Marie McMahon made significant contributions to campaigns for indigenous rights with graphic expressions of solidarity and reconciliation: all really important inspiration for Inkahoots. / In modern Australia, the images generated by the tourism industry, corporate advertising, and state propaganda to project an idealised national identity often appear to ‘embrace’ Aboriginal culture. I’m thinking now of

Baz Luhrmann's emotionally manipulative Come Walkabout advert where a young white couple has their crumbling urban relationship saved by an indigenous spirit who magics them down under for metaphysical rejuvenation. Such representations of indigenous culture continue to be fixed in relation to the ingrained discourse of colonial entitlement and dominance. + The last word goes to artist Gordon Bennett: “If I were to choose a single word to describe my art practice, it would be the word question. If I were to choose a single word to describe my underlying drive, it would be freedom. This should not be regarded as an heroic proclamation. Freedom is a practice. It is a way of thinking in other ways to those we have become accustomed to. To be free is to be able to question the way power is exercised, disputing claims to domination. Such

questioning involves our ‘ethos’, our ways of being, or of becoming who we are. To be free, we must be able to question the ways our own history defines us.”4 A studio conversation between Jason Grant, Ben Mangan, Angela Bliss and Bretton Bartleet. For more information about Inkahoots, go to www.inkahoots.com.au Angela x Jason / Bretton + Ben – 1. For example Keith Windschuttle’s book The Fabrication of Aboriginal History, 2002. 2. A ‘legal fiction’ that wasn’t overturned until the High Court’s 1992 Mabo decision. 3. A flag regarded as Australia’s sporting flag. 4. Gordon Bennett, ‘The manifest toe’ in Ian McLean & Gordon Bennett, The Art of Gordon Bennett, Craftsman House, 1996, pp. 10 –12.

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THREADED 10, 2011