HOME:MADE features a curated selection of new furniture, homewares and jewellery by some of the most exciting early-career designers and makers from across Australia. HOME:MADE is a signature exhibition for DESIGN Canberra presented by Craft ACT: Craft + Design Centre. In 2020, we will present this showcase exhibition in association with the Australian Craft + Design Centre network.

HOME:MADE features a curated selection of new furniture, homewares and jewellery by some of the most exciting early-career designers and makers from across Australia.

HOME:MADE is a signature exhibition for DESIGN Canberra presented by Craft ACT: Craft + Design Centre. In 2020, we will present this showcase exhibition in association with the Australian Craft + Design Centre network.


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<strong>HOME</strong> <strong>MADE</strong>

One city<br />

200+ events<br />

DesignCanberraFestival.com.au<br />

Exhibition on display at Canberra Contemporary Art Space as part of the<br />

DESIGN Canberra festival (9-29 November 2020).<br />

Tuesday-Sunday, 11am-5pm<br />

44 Queen Elizabeth Terrace, Parkes ACT 2600<br />

Cover image: Mavis Marks, Women’s business fabric and Chi Yusuf, The<br />

Branch desk and chair, 2019. Photo: Lean Timms<br />

This page: Kristin Burgham, Aberration (Loving cup), 2020. Photo: Lean Timms<br />


9—29 November<br />


<strong>HOME</strong>:<strong>MADE</strong><br />

Exhibition statement<br />

<strong>HOME</strong>:<strong>MADE</strong> 2020 features a curated<br />

selection of new furniture, homewares<br />

and jewellery by some of the most exciting<br />

early-career designers and makers from<br />

across Australia. The exhibition features<br />

work by emerging and established<br />

designers from almost every state and<br />

territory, as part of an important strategy<br />

to build support for local independent<br />

studio practice and small-scale Australian<br />

manufacturing. It promotes Australian<br />

contemporary design and supports<br />

designers to earn a living from their<br />

practice.<br />

Craft ACT gratefully acknowledges<br />

generous support from Canberra<br />

Contemporary Art Space for making their<br />

new gallery on the shores of Lake Burley<br />

Griffin available for this beautiful and<br />

important exhibition.<br />

<strong>HOME</strong>:<strong>MADE</strong> is a signature exhibition for<br />

DESIGN Canberra presented by Craft ACT:<br />

Craft + Design Centre and supported by<br />

the Australian Craft and Design Centre<br />

network which includes JamFactory,<br />

Design Tasmania, Central Craft, Artisan,<br />

Sturt School for Wood, Canberra<br />

Glassworks and Craft Victoria, among<br />

others. These acclaimed organisations<br />

advocate for craft practitioners and<br />

designers. The exhibition has been curated<br />

by the festival’s artistic director, Rachael<br />

Coghlan, with support from Madisyn<br />

Zabel, Craft ACT gallery manager.<br />

Image: Calum Hurley, #3 Chair001 (Grey), Minqi Gu,<br />

Cloud necklace, Jenna Lee, Story carriers 1-3.<br />

Photo: Lean Timms<br />


Exhibition essay<br />

Penny Craswell<br />

What makes a designer or a maker<br />

choose to create an object from scratch?<br />

Home: Made 20 is an exhibition of new<br />

works by early career designers and<br />

makers that presents the breadth of<br />

furniture, homewares and jewellery being<br />

created in Australia today.<br />

The act of creation, of actualising a<br />

three-dimensional form, starts with an<br />

idea. Faced with the seemingly infinite<br />

possibilities of creating something<br />

from nothing, designers and makers<br />

take inspiration from a huge variety of<br />

sources. Home: Made 20 is an exhibition<br />

of new works by emerging designers<br />

and makers that shows the diversity of<br />

creative practice and the imaginative<br />

power of young creatives.<br />

Decolonising history is a driving force<br />

for the work of Indigenous women<br />

Jenna Lee (Larrakia, Wardaman and<br />

Karajarri) and Krystal Hurst (Worimi).<br />

Jenna Lee’s Story Carriers are woven<br />

vessels made from the pages of a<br />

book and bound with red thread that<br />

symbolises the retrospective addition of<br />

First Nations authority to the pages of<br />

books “in the same way in which red pen<br />

is used to correct and edit documents<br />

prior to publishing,” explains the artist.<br />

Jeweller Krystal Hurst’s work also<br />

explores themes of resilience and power.<br />

Resilience is a necklace with imitation<br />

echidna quills and wattle seeds made<br />

from bronze metal. It was created in<br />

response to the attempt to hide and<br />

remove First Nations perspectives from<br />

Australian history.<br />

Culture, Country and storytelling are<br />

behind the work of three Indigenous<br />

textile designers, Eunice Napanangka<br />

Jack (Ngaanyatjarra), Mavis Nampitjinpa<br />

Marks (Luritja and Pintupi) and Keturah<br />

Zimran (Luritja and Pintupi). Created<br />

in collaboration with Ikuntji Artists and<br />

screen printed by Publisher Textiles and<br />

Papers, these designs are deeply linked<br />

to the landscape. Eunice Napanangka<br />

Jack’s textiles depicts her father’s<br />

Tjukurrpa (Dreaming) and show the<br />

country at Kuruyultu near Tjukurrla in<br />

Western Australia – a deep waterhole<br />

in a small mountain range. For Keturah<br />

Opposite: Chi Yusuf, Branch chair. Krystal Hurst, Echidna<br />

quills necklace. Samantha Dennis, Untitled studies -<br />

Coleoptera series. Photo: Lean Timms<br />


Zimran, the natural rock formations<br />

(puli) found in and around Haasts Bluff<br />

230km west of Alice Springs are her<br />

inspiration. And Mavis Nampitjinpa<br />

Marks’s work is inspired by women’s<br />

Ceremonial Dancing at Mt Liebig,<br />

depicting body painting, as well as the<br />

story given to her by her grandfather of<br />

Kalipinpa the Water Dreaming.<br />

Australia’s landscape and unique flora<br />

and fauna are also the inspiration<br />

for non-Indigenous jewellery artists<br />

Danielle Barrie, Samantha Dennis<br />

and Zoe Grigoris. Danielle Barrie’s<br />

fascination with nature was heightened<br />

during the COVID-19 lockdown, when she<br />

found herself retreating to nature and<br />

spending time to notice details “from<br />

lichen on tree branches to geometric<br />

cactus growth”. Her work Wistful Small<br />

Earrings is inspired by the complexity of<br />

the wisteria plant. For Zoe Grigoris, the<br />

patterns of flowers and other plants are<br />

pressed into a sheet of precious metal,<br />

creating a subtle effect informed by<br />

illustration. And Samantha Dennis’s work<br />

focuses on insects rather than plants.<br />

Coleoptera is a series of oversized bugs<br />

cast in porcelain, hand detailed, fired<br />

and glazed and then pierced with sterling<br />

silver oxidised to resemble a dark<br />

underbelly.<br />

Timothy Robertson’s Lande Chair brings<br />

forms inspired by Australian flora to<br />

his design, whose curved shell form is<br />

reminiscent of Mid-Century modernist<br />

chairs. Colours selected for the moulded<br />

leather are brown and green also<br />

reflecting the colours of nature.<br />

From the universality of landscape to<br />

the whimsical. Minqi Gu is a jewellery<br />

and small object designer whose<br />

work cannot be bound by one material<br />

or technique. Her curious approach<br />

playfully embraces failure, while<br />

exploring concepts of cultural difference,<br />

consumerism and health. Bold in colour<br />

and form, her work is light-hearted<br />

and defies definition. Cloud is made<br />

from copper, steel, string and enamel<br />

paint – a necklace with a simple almost<br />

cartoonish shape that will certainly put a<br />

smile on your face.<br />

Similarly playful is the work of Kazu<br />

Quill, whose prototype for a modular<br />

self-massage chair features a square<br />

seat with round red leather insert and<br />

red balls on sticks inserted into the chair<br />

to act as part chair back and part back<br />

massager – these can be moved around<br />

at whim. Reminiscent of the works of<br />

Memphis and the postmodernist period<br />

Image: Jenna Lee, Story carriers, 2020, pages of<br />

‘Aboriginal Words and Place Names’, bookbinding thread,<br />

varnish, dimensions varible. Photo: Lean Timms

in furniture design, the result is not so<br />

much a functional massage chair as<br />

a playful interactive interrogation of a<br />

chair.<br />

From the playful to the functional, Rene<br />

Linssen’s design for a Sola coffee table<br />

with recessed shelf is a tweak on a<br />

universal form that allows it to be utilised<br />

in a new way. With two contrasting<br />

materials – steel and marble – and<br />

simple geometries, the table is made<br />

interesting by an interactive element – a<br />

marble disc can act as a tabletop but,<br />

when removed, reveals a recessed shelf<br />

for placing drinks.<br />

Calum Hurley’s #3 Chair001 was inspired<br />

not by its use, but by a trip to Japan.<br />

Captivated by the Japanese architecture<br />

and urban landscapes, Calum took<br />

thousands of photos and then chose<br />

six as inspiration for his stool, made of<br />

powder-coated steel, jesmonite (an eco<br />

lightweight substitute for cast concrete)<br />

and hand-spun woollen upholstery.<br />

Still in furniture design, two beautiful<br />

objects in wood show there is still<br />

significant passion for this basic yet<br />

universal material. Jordan Leeflang’s<br />

#3 Loft Chair is made using jigs<br />

and templates to create a series of<br />

repeatable elements, creating angles,<br />

folds and joins for the luscious walnut<br />

wood of the chair. Likewise, Chi Yusuf’s<br />

desk is another love letter to walnut –<br />

this time the timber is combined with<br />

black leather to create a luxurious object<br />

for the home. The shape of the legs<br />

inspired by tree branches, give the desk<br />

and chair their name – Branch.<br />

Also interested in materials in new<br />

furniture design is Scott Van Tuil<br />

and Chloe Goldsmith. Scott Van<br />

Tuil’s ‘Turbine bowl’ table is inspired<br />

by Tasmania’s engineering history.<br />

This pieces is a reference to Hydro<br />

Engineering with its sharp form and<br />

mirror finish stainless steel construction.<br />

Chloe Goldsmith’s plant pots are inspired<br />

by the materiality of architecture rather<br />

than engineering. And it is the use of<br />

that favourite material of architects –<br />

terrazzo – that brings these objects from<br />

the architectural scale down to the level<br />

of an object.<br />

Kristin Burgham and Peta Berghofer,<br />

both ceramicists, also use materials as<br />

an important starting point in their work.<br />

Kirstin collects found objects and uses<br />

their forms to create a cast – the objects<br />

that are then made using this cast create<br />

a simulacrum of the original, complete<br />

with seams and scars of their prior life.<br />


Peta’s work also subverts expectations<br />

in ceramics, starting with traditional<br />

ceramic forms and disrupting their<br />

functionality to explore the line<br />

between art and craft.<br />

For Madisyn Zabel, materials are also<br />

vital – this time glass. She plays with<br />

shifting geometries, perception and<br />

illusion, creating objects whose forms<br />

are inspired by the shapes created<br />

when viewing a simple wire-frame cube<br />

from a number of different oblique<br />

angles.<br />

Australians are opening their homes<br />

up to contemporary craft and<br />

design like never before – original<br />

handmade pieces bring with them<br />

stories, authentic materiality and<br />

pride in the local. This story of what<br />

inspires a designer or maker to create<br />

is ultimately what makes an object<br />

resonate with us, forging a personal<br />

connection borne from a single kernel<br />

of inspiration.<br />

Penny Craswell<br />

Sydney-based editor, writer and curator<br />

specialising in design and architecture<br />

Opposite: René Linssen, Sola Coffee Table, powdercoated<br />

steel, marble, 85 x 85 40 cm. Photo: Lean Timms<br />


Image: Peta Berghofer, Leaky Bottles, 2020, dimensions variable. Photo: Courtesy of the artist

Guildhouse + JamFactory<br />

Australian Craft + Design Centre network

Danielle Barrie<br />

Artist statement<br />

“During the pandemic I found myself like<br />

many others retreating into nature, going<br />

for longer walks and noticing details that<br />

I previously rushed past. From lichen on<br />

tree branches to geometric cactus growth<br />

I was fascinated by the complexity of such<br />

small seemingly trivial natural details”,<br />

explains Barrie,<br />

Having more time at home, an excuse to<br />

slow down whilst simultaneously having a<br />

vague notion of what this year could have<br />

been, with changed plans and individual<br />

stories of sorrow, Barrie found parallels<br />

in this experience. Rushing from one job<br />

to the next, one meeting to another the<br />

reasons for your actions become faded<br />

and ambiguous, they are simply things<br />

that must be done or checked off.<br />

With this moment that is so<br />

‘unprecedented’ we have been forced to<br />

idle – having moments of leisurely joy<br />

mixed with a notion of wistfulness. Playing<br />

with this emotion and the structure<br />

of a wisteria plant, Barrie wanted to<br />

create a piece that was both simplistic<br />

in wearability and look, but complex in<br />

componentry and construction.<br />

Biography<br />

Danielle Barrie is a jewellery and object<br />

designer and maker currently based in her<br />

shared studio at the JamFactory, Adelaide<br />

South Australia. Having graduated from<br />

the University of South Australia with a<br />

Bachelor of Visual Arts Specialisation<br />

(Jewellery & Metal) in 2015 she was<br />

grateful to be accepted into the world<br />

renowned JamFactory associate program<br />

which she completed in 2017.<br />

Her first experiences with jewellery was<br />

watching her mother get ready each<br />

morning. From small detailed boxes she<br />

would pull out beautiful, intricate and<br />

precious remnants from years gone by.<br />

Each had a unique design and story of<br />

its own - some of these objects had been<br />

passed down and held memories of<br />

generations. She aims to create innovative<br />

and contemporary pieces that elude to<br />

a sense of history and time. I hope to<br />

handcraft timeless pieces that evoke<br />

an understated luxury with a refined<br />

playfulness.<br />

Image: Danielle Barrie, Wistful necklace, 2020, sterling<br />

silver and freshwater pearls, dimensions variable.<br />

Photo: Lean Timms

Artisan<br />

Australian Craft + Design Centre network

Peta Berghofer<br />

Artist statement<br />

Within two months of the First Fleet<br />

arriving to Australia, clay was dug to<br />

makes bricks and soon after, domestic<br />

ceramics. Bring a Plate #1 is a<br />

developmental series of sculptures which<br />

initiate long term practice-led research<br />

into colonial, Australian ceramics.<br />

The everyday functions of these ceramics<br />

are disrupted to re-position the colonial<br />

forms as cultural objects, signifying lesser<br />

known impacts of British colonialism<br />

on Aboriginal Australians. The forms<br />

represent the mimicking of British food<br />

practices, aiding in the colonist’s division<br />

from Aboriginal people and their practices.<br />

Featuring abstracted ginger beer bottles,<br />

a demijohn, a bowl, and a Wedgwood<br />

influenced vessel, the ceramics come<br />

together as a fictional table setting for<br />

Jonathan Leak, one of the first convict<br />

potters.<br />

Biography<br />

Peta Berghofer completed a Bachelor<br />

of Creative Arts (Visual Arts) at the<br />

University of Southern Queensland in<br />

2016, receiving First Class Honours. She<br />

began developing her practice at First<br />

Coat Studios in Toowoomba preceding<br />

this. After being awarded the Bellmaine<br />

French Appreciation Travelling Scholarship<br />

from USQ in 2017, Berghofer spent 2019<br />

attending artist residencies throughout<br />

France and Denmark to continue her<br />

creative development.<br />

Image: Peta Berghofer, Bring a plate, 2020, dimensions<br />

variable. Photo: Courtesy of the artist

Craft Victoria<br />

Australian Craft + Design Centre network

Kristin Burgham<br />

Artist statement<br />

Industrial ceramic production methods<br />

inspire Kristin Burgham’s practice.<br />

Working with found objects she spends<br />

time sorting and observing each object<br />

she finds. This allows her to consider the<br />

making process and contemplate the<br />

things themselves.<br />

The solid found object is transformed<br />

through the casting process into an empty<br />

void lined with seams and scars. It sits<br />

devoid of emotional connection or context<br />

and without the sensory distractions of<br />

material matter and colour.<br />

Biography<br />

Kristin has recently completed a BFA at<br />

RMIT majoring in Ceramics. She is uses<br />

industrial ceramic production methods<br />

such as mould making to work with and<br />

explore found objects. Burgham subverts<br />

the process of making by revealing not<br />

hiding production seams. Her porcelain<br />

assemblages evoke not only the<br />

memory of an object but the memory of<br />

anonymous makers within an industrial<br />

context.<br />

Burgham sees her finished works as a<br />

reflection of the anonymous industrial<br />

makers. These altered simulacra reflect on<br />

memory, loss and the ephemeral.<br />

Image: Kristin Burgham, Aberration (Middle bottle),<br />

Aberration (Tall bottle), Aberration (Loving cup) 2020,<br />

porcelain, dimensions variable. Photo: Lean Timms

Design Tasmania<br />

Australian Craft + Design Centre network

Samantha Dennis<br />

Artist statement<br />

Samantha Dennis’ work made for the<br />

<strong>HOME</strong>:<strong>MADE</strong> exhibition continues from<br />

a recent series titled ‘Coleoptera’. This<br />

series examines the unique and bizarre<br />

form of insects through hybrid, imagined<br />

and hyperbolic brooches. These one-off<br />

pieces juxtapose the usual trepidation<br />

or repulsion felt towards insects with the<br />

tactile and desirable nature of jewellery.<br />

The brooches are modelled and cast<br />

in porcelain, hand detailed and then<br />

layered with glazes which have metallic<br />

and crystalline elements. Once fired, a<br />

base is hand pierced from sterling silver,<br />

which is later oxidised to resemble a dark<br />

underbelly. Where possible, the pieces<br />

are made from a single sheet with legs<br />

or antennae folded out, leaving a window<br />

which mimics how beetles curl their legs<br />

under when found perished in nature,<br />

adding an unexpected curiosity at the<br />

brooch back.<br />

Biography<br />

Samantha Dennis is an early career<br />

Tasmanian artist inspired by biology and<br />

natural history, working with a range of<br />

materials including silver, ceramics and<br />

glass from her Launceston studio. She has<br />

received grants, residencies and project<br />

based funding from the Australia Council<br />

for the Arts, Regional Arts Fund and Arts<br />

Tasmania, and has been the recipient of<br />

the Design Tasmania Award (2019) FIND<br />

Contemporary Jewellery Bursary (2019)<br />

and Artentwine Small Sculpture Prize<br />

(2016).<br />

Image: Samantha Dennis, Untitled studies - Coleoptera<br />

series, 2020, cast and altered porcelain, hand pierced<br />

sterling silver (oxidised), various glazes and epoxy,<br />

approx 10 x 7 x 2 cm. Photo: Lean Timms

Australian Design Centre<br />

Australian Craft + Design Centre network

Chloe Goldsmith<br />

Artist statement<br />

Goldsmith’s ‘Pieces Planter’ applies the<br />

honest, tactile and elemental materials<br />

of architectural design, through the<br />

typology of the pot plant. Formed by<br />

rocks, minerals and precious metals,<br />

Pieces Planter is composed of simple<br />

terrazzo slabs, stacked together in perfect<br />

geometry, protecting the foundation of the<br />

plant and generously framing the foliage.<br />

Shoots cascade out and over; a glistening<br />

undercroft.<br />

Biography<br />

Chloe Goldsmith is a Newcastle<br />

based Architectural Designer currently<br />

undertaking a Master of Architecture at<br />

the University of Newcastle where she<br />

also tutors undergraduate students of<br />

architecture and performs academic<br />

research. She founded studio coeō<br />

through which she collaborates with<br />

others to work on residential, object and<br />

spatial design and making. She reveres a<br />

humble scale of residential architecture;<br />

intimate, rigorous and of simple delight.<br />

After completing her bachelor degree in<br />

architecture, she travelled to Tokyo to<br />

work with a studio exploring urban renewal<br />

and intervention, public installation<br />

and responsive environments. Since<br />

returning she has spent several years as<br />

an Architectural Designer at Tribe Studio<br />

Architects in Sydney while also designing<br />

and fabricating furniture and objects.<br />

Goldsmith has presented work in various<br />

international architectural workshops.<br />

Image: Chloe Goldsmith, Pieces planter, terrazzo, brass,<br />

20 x 29 x 29 cm. Photo: courtesy of Australian Design<br />


Guildhouse + JamFactory<br />

Australian Craft + Design Centre network

Zoe Grigoris<br />

Artist statement<br />

Zoe Grigoris’s work is informed by<br />

illustration. She uses mark-making<br />

techniques to replicate her detailed<br />

patterns and floral motifs in precious<br />

metal.<br />

Biography<br />

Zoe Grigoris is a contemporary jeweller<br />

and artist based in Adelaide, South<br />

Australia. She graduated from Flinders<br />

University in 2011 with a Bachelor of Arts<br />

Degree before completing a Bachelor of<br />

Visual Arts Specialisation (Jewellery &<br />

Metal) at the University of South Australia<br />

in 2014. In 2014 Zoe worked as a teaching<br />

assistant within the Jewellery and Metal<br />

studio at the University of South Australia.<br />

She worked with Adelaide jeweller Sarah<br />

Rothe in her studio and retail outlet in<br />

Adelaide’s CBD till 2016. Zoe completed<br />

the Associate Training Program in<br />

JamFactory’s Metal Design Studio in 2016<br />

and has continued to run her practice as a<br />

tenant at JamFactory.<br />

Image: Zoe Grigoris, Painted pattern studs, 2020,<br />

oxidised silver, enamel paint, dimensions variable.<br />

Photo: courtesy of the artist.

Artisan<br />

Australian Craft + Design Centre network

Minqi Gu<br />

Artist statement<br />

Minqi Gu playfully embraces failure<br />

through her curious explorations of<br />

cultural difference, consumerism<br />

and health. Bold and deliberate in<br />

colour, simple and suggestive in<br />

form and saturated in materiality, her<br />

architectural background brings a tryst<br />

to the conceptual and a light-hearted<br />

engagement with form and composition.<br />

Her work defies definition, appearing<br />

inconsistent in style and technique.<br />

The results are open-ended indefinable<br />

wearable objects, which may indeed<br />

challenge the definition of jewellery itself.<br />

This piece is a deliberately whimsical<br />

reflection on the relationship between<br />

form and subject matter.<br />

Biography<br />

Miss Minqi Gu is a Brisbane based artist<br />

and has a masters of architecture from the<br />

University of Sydney and has worked in a<br />

number of major Australian architectural<br />

firms up until 2011. She began making<br />

and designing mixed media jewellery in<br />

her spare time and now, apart from caring<br />

for her son, is focused mainly on her<br />

jewellery practice.<br />

Image: Minqi Gu, Cloud, 2020, copper, steel, polyester<br />

string and enamel paint, 10 x 7 cm with extended string<br />

35 cm. Photo: Lean Timms

Jam Factory<br />

Australian Craft + Design Centre network

Calum Hurley<br />

Artist statement<br />

Calum Hurley is an Adelaide-based<br />

furniture and object designer. Currently<br />

working out of JamFactory’s Furniture<br />

Studio as part of the esteemed Associate<br />

Training Program, Hurley produces objects<br />

that are consciously space-sensitive and<br />

visually distinct.<br />

Chair001 was designed by Hurley<br />

in response to his photographs of<br />

metropolitan Japan, shown as part of the<br />

2020 exhibition (with Jordan Leeflang),<br />

Differing Perspectives at Craft ACT.<br />

Biography<br />

Calum Hurley is an Adelaide based<br />

furniture and object designer. Currently<br />

working out of JamFactory’s Furniture<br />

Studio as part of the esteemed Associate<br />

Training Program, Hurley produces objects<br />

that are consciously space-sensitive and<br />

visually distinct. With a strong body of<br />

exhibition work, Hurley’s current practice<br />

looks to expand this with further solo and<br />

group exhibitions, whilst developing a<br />

number of these pieces into retail ready<br />

products.<br />

The red version of this chair was a finalist<br />

in the 2020 Denfair Front Centre program.<br />

Image: Calum Hurley, #3 Chair001 (Grey), 2020, powdercoated<br />

steel, jesmonite, hand-spun woolen upholstery,<br />

45 x 68 x 51 cm. Photo: Lean Timms

Craft ACT<br />

Australian Craft + Design Centre network

Krystal Hurst<br />

Artist statement<br />

Hurst’s work ‘Resilience’ explores themes<br />

of resilience and power as an attempt to<br />

decolonise hidden and removed Australian<br />

histories from the perspectives of First<br />

Nations artists. Hurst was a finalist in the<br />

prestigious Telstra National Aboriginal<br />

& Torres Strait Islander Art Awards<br />

(NATSIAA) for her piece, “Resilience” in<br />

2019 and more recently in 2020.<br />

Biography<br />

Krystal Hurst is a Worimi artist and<br />

creative director of Gillawarra Arts,<br />

originating from Taree on NSW’s mid<br />

north coast. Krystal is a jewellery designer,<br />

painter, print-maker and workshop<br />

facilitator whose inspiration derives<br />

from Country, memories, stories and<br />

community integrated in an innovative and<br />

contemporary way.<br />

Image: Krystal Hurst, Resilience, 2019, oxidised bronze<br />

metal and silk thread, 28 x 38 x 3 cm (framed).<br />

Photo: Craft ACT

Central Craft + Ikuntji Artists<br />

Australian Craft + Design Centre network

Eunice Napanangka Jack<br />

Artist statement<br />

This design by Eunice Napanangka Jack<br />

depicts her father’s Tjukurrpa (Dreaming).<br />

It shows the country at Kuruyultu, near<br />

Tjukurrla in Western Australia, a deep<br />

waterhole in a small mountain range, a<br />

‘rockhole’.<br />

This fabric has been screen printed by<br />

hand by Published Textiles and Papers,<br />

ensuring the highest quality and longevity.<br />

Biography<br />

Winner of the 2017 Moreton Bay Region<br />

Art Awards and a consistent exhibition<br />

history, Jack has been painting for<br />

three decades. Her early works were<br />

collaboratives with her husband, the late<br />

Gideon Tjupurrula Jack; she began a<br />

solo practice in 1992 and was a founding<br />

member of Ikuntji Artists which also<br />

started around this time. She uses layers<br />

of colour to build up a vision of the bush<br />

flowers and grasses. Highly collectable,<br />

Jack is represented in leading galleries<br />

worldwide.<br />

Jack’s paintings are interpretations of<br />

her country near Lake Mackay. Amongst<br />

this landscape Jack’s personal stories<br />

are told, either of the travelling of her<br />

tjukurrpa – the Bilby – or the people who<br />

once lived in the area. Her father was<br />

Tutuma Tjapangarti, one of the first men<br />

to paint for Papunya Tula. Jack also paints<br />

his country, which includes Tjukurla, Tjila,<br />

Kurulto and Lupul. Her mother was from<br />

the Walpiri side of Lake Mackay –<br />

Winparrku – in Western Australia.<br />

Image: Eunice Napanangka Jack, Kuruyultu fabric<br />

(detail), 2020, blended pink inks on natural tencel linen,<br />

70% tencel, 30% linen, 172gsm, 600 x 145 cm.<br />

Photo: Lean Timms

Craft Victoria<br />

Australian Craft + Design Centre network

Jenna Lee<br />

Artist statement<br />

Story Carriers 1-3 seek to reclaim the<br />

act of record and story-keeping through<br />

the physical acts of deconstruction and<br />

reconstruction. Using the pages of the<br />

book, Lee has created paper string that<br />

has been woven back together with the<br />

use of book binding thread. Presenting<br />

a new and elevated story held within the<br />

creation of their forms. The red thread<br />

represents the retrospective addition of<br />

First Nations authority to the pages of this<br />

book in the same way in which red pen is<br />

used to correct and edit documents prior<br />

to publishing.<br />

Biography<br />

Jenna Lee is a mixed race Larrakia,<br />

Wardaman and Karajarri woman whose<br />

contemporary art practice explores the<br />

acts of identity/identification, label/<br />

labelling and the relationships formed<br />

between language, label and object. Being<br />

Queer, Mixed Race, Asian (Japanese,<br />

Chinese and Filipino), Anglo Australian,<br />

Aboriginal Woman, her practice is strongly<br />

influenced by these overlapping identities,<br />

childhood memory as well as maternal<br />

teachings of process.<br />

In 2020 Lee was recipient of the Wandjuk<br />

Marika 3D Memorial Award at the Telstra<br />

National Aboriginal and Torres Strait<br />

Islander Art Award (NATSIAA), as well as<br />

a finalist Ravenswood Australian Women’s<br />

Art Prize and The Libris Artist Book<br />

Prize. In 2019 Lee recieved the Australia<br />

Council’s Young and Emerging Dreaming<br />

Award, presented at the National<br />

Indigenous Arts Awards as well as one of<br />

10 finalists in the prestigious John Fries<br />

Award for emerging and early career<br />

Australian and New Zealander artists.<br />

Image: Jenna Lee, Story carriers, 2020, pages of<br />

‘Aboriginal Words and Place Names’, bookbinding<br />

thread, varnish, dimensions varible. Photo: Lean Timms

JamFactory<br />

Australian Craft + Design Centre network

Jordan Leeflang<br />

Artist statement<br />

Leeflang makes furniture and objects<br />

featuring repetitive elements. He is<br />

drawn to this repetition from his studies<br />

in interior architecture. It is both the<br />

visual result and the process required to<br />

achieve the repetition that hooks him. The<br />

repetitive elements are often the details,<br />

rather than the whole form. En masse, a<br />

sharp angle softens, and the visual tension<br />

that this creates fascinates Leeflang.<br />

Leeflang wants people to look closer, he<br />

wants to invite curiosity, and believes<br />

objects should have the power to draw<br />

people in. In his predominant medium<br />

of timber, he uses jigs and templates to<br />

create repeatable elements. These smaller<br />

objects form patterns through angles,<br />

folds and joins.<br />

Biography<br />

Jordan Leeflang is an Adelaide based<br />

designer whose multidisciplinary<br />

practice includes furniture, object and<br />

sculpture. While studying a Bachelor of<br />

Interior Architecture at the University of<br />

South Australia, Jordan took a furniture<br />

design studio and found his niche. Over<br />

the following four years he studied<br />

interior architecture and furniture design<br />

simultaneously; exploring interests in<br />

architectural history, design movements,<br />

materials, processes, and trends through<br />

his furniture and interior studio work.<br />

Following graduation in 2016, he went<br />

on to study Furniture Making at TafeSA,<br />

and experimenting in his shed until being<br />

accepted into the Associate Program at<br />

JamFactory’s Furniture Studio in 2019.<br />

Image: Jordan Leeflang, #3 Loft Chair, 2020, walnut, 60 x<br />

40 x 69 cm. Photo: Lean Timms

Craft ACT<br />

Australian Craft + Design Centre network

René Linssen<br />

Artist statement<br />

The dining experience is all about sharing<br />

food and drink in the company of close<br />

friends. The Sola outdoor coffee table<br />

was designed with this experience in<br />

mind. The table features a built in serving<br />

board which can be removed to reveal<br />

a recessed space for wine bottles and<br />

drinks on ice.<br />

Sola’s multifunctionality makes it suitable<br />

for different occasions and keeps the<br />

setting clean and organised. The table is<br />

made from materials that are both durable<br />

and honest.<br />

Biography<br />

René Linssen is a South African born,<br />

Australian Industrial Designer living and<br />

working in Canberra, Australia. Currently<br />

an Industrial Designer at Australian<br />

product design company Formswell<br />

Design, he is involved in a diverse range<br />

of design work in industries from sports,<br />

outdoors, homewares, government and<br />

more. In 2017, René co-founded the<br />

furniture company Furnished Forever with<br />

fellow Canberra designer Elliot Bastianon.<br />

The company focuses on furniture for<br />

high volume commercial and residential<br />

applications with an emphasis on local<br />

manufacturing. René has won several<br />

national design awards including Vogue<br />

Living / Alessi Emerging Designer Award<br />

(2015), Belle / Alessi Design Award (2017)<br />

and was a finalist in the Mercedes-Benz<br />

Design Award (2018). René is still involved<br />

closely with the University of Canberra<br />

since completing his Bachelor of Industrial<br />

Design in 2016. He is currently acting as<br />

a sessional lecturer for their Industrial<br />

Design program.<br />

Image: Rene Linssen, Sola coffee table (detail),<br />

powdercoated steel, marble, 85 x 85 x 40 cm.<br />

Photo: Lean Timms

Central Craft + Ikuntji Artists<br />

Australian Craft + Design Centre network

Mavis Nampitjinpa Marks<br />

Artist statement<br />

This design by Mavis Nampitjinpa Marks<br />

shows the ‘Women’s Business Story’. This<br />

fabric has been screen printed by hand by<br />

Publisher Textiles and Papers, ensuring<br />

the highest quality and longevity.<br />

Biography<br />

Marks is an accomplished Luritja Pintupi<br />

artist; born at<br />

Newhaven, 360km North West of<br />

Mpwartne (Alice Springs). She has<br />

been widely exhibited around Australia<br />

and the world. She is the sister of<br />

renowned Western Desert artists<br />

Ronnie Tjampitjinpa and Smithy Zimran<br />

Tjampitjinpa. Marks moved to Haasts<br />

Bluff as a teenager with her mother. When<br />

she married she moved to Mt Liebig with<br />

her husband and began to paint at the art<br />

centre there. Marks returned to Haasts<br />

Bluff after the death of her husband, later<br />

moving to Papunya.<br />

Marks likes to paint the women’s<br />

Ceremonial Dancing at Mt Liebig, and<br />

depicts their body painting designs.<br />

She also paints the story given to her by<br />

her grandfather of Kalipinpa, the Water<br />

Dreaming, which comes from her mother’s<br />

side.<br />

Image: Mavis Nampitjinpa Marks, Women’s business<br />

fabric (detail), white ink on black tencel linen, 70% tencel,<br />

30% linen, 172gsm, 600 x 145 cm. Photo: Lean Timms

Sturt School for Wood<br />

Australian Craft + Design Centre network

Kazu Quill<br />

Artist statement<br />

Kazu Quill has designed a prototype for<br />

a modular self-massage chair. The seat<br />

base is comprised of rock maple rollers<br />

and houses a “lacrosse” ball for lower<br />

body massages.<br />

A red leather upholstered lazy susan<br />

seat pad allows for easy movement. A<br />

symphony of red back massage balls can<br />

be height adjusted for upper middle and<br />

lower back positions.<br />

Biography<br />

Kazu Quill is a designer and maker<br />

currently based in Sydney, after receiving<br />

a Bachelor of Fine Arts at the University<br />

of New South Wales in 2016 he went on to<br />

study the craft of fine furniture making at<br />

the Sturt School for Wood in the Southern<br />

Highlands. Currently Kazu splits his time<br />

between work with an accomplished<br />

Cabinet Maker and developing his own<br />

professional design practice.<br />

Location holes also allow for future<br />

interchangeable back and armrest<br />

components.<br />

Image: Kazu Quill, Massage chair, 2020, american rock<br />

maple, birch plywood, Red Leather, 45 x 45 x 90 cm.<br />

Photo: Craft ACT

Australian Design Centre<br />

Australian Craft + Design Centre network

Timothy Robertson<br />

Artist statement<br />

The Lande chair playfully explores the<br />

cultural values and native elements of the<br />

Australian people and landscape. A poetic<br />

and organic form ties into a narrative that<br />

emphasises natural, honest and ethical<br />

materials and manufacture. Taking playful<br />

cues from local flora, these sources adds<br />

a refreshing original and inventive value to<br />

the design response.<br />

Lande is a new aesthetic language of<br />

deceptively simple, playful, sublime and<br />

subtle qualities into material play with<br />

the purpose of meaningfully redefining<br />

comfort. The design elements of the<br />

chair are sensorial and poetic, using<br />

line gracefully, colour metaphorically,<br />

an inviting form, comfortable and<br />

aesthetically balanced in a harmonious<br />

shape.<br />

Biography<br />

Timothy Robertson is a Sydney based<br />

Industrial Designer, taking a material<br />

minded design process explored through<br />

furniture and object design. Using<br />

nature and the built environment for<br />

inspiration, his research process has a<br />

strong focus on place, people, identity<br />

and sustainability. Timothy’s previous<br />

career as a motorcycle mechanic was the<br />

catalyst for his transition into industrial<br />

design. His unique skill set forms the<br />

basis of a deep understanding of process<br />

and materiality combined with a clear<br />

and deliberate design thinking approach.<br />

He emphasises the need to prototype<br />

and refine through making, by combining<br />

digital manufacturing and traditional<br />

handcraft. Using photography as an initial<br />

medium for the design process, capturing<br />

emotion and colours in the natural<br />

environment that later resonates in the<br />

design solution<br />

Image: Timothy Robertson, Lande, leather, steel, 60 x 60<br />

x 73 cm. Photo: Craft ACT

Design Tasmania<br />

Australian Craft + Design Centre network

Scott Van Tuil<br />

Artist statement<br />

Drawing inspiration from Tasmania’s<br />

industrial heritage, Van Tuil’s Turbine<br />

Bowls reference pioneering Hydro Electric<br />

engineering.<br />

Fabricated in mirror finish stainless<br />

steel, the bowls will continue to make a<br />

statement wherever they are placed for<br />

generations to come.<br />

Biography<br />

VAN TUIL Design Studio was established<br />

by Scott van Tuil upon graduating from the<br />

University of Tasmania, with a Bachelor of<br />

Environmental Design. Working across a<br />

diversity of modes, materials and scales,<br />

the desire is always to create objects that<br />

are beautiful in form and function, and<br />

meaningfully contribute to the spaces<br />

they inhabit. Located in Hobart, Tasmania,<br />

this small island at the edge of the world<br />

continues to inspire and influence.<br />

Image: Scott Van Tuil, Turbine bowl, stainless steel, 38 x<br />

11 cm. Photo: Courtesy of the artist

Sturt School for Wood<br />

Australian Craft + Design Centre network

Chi Yusuf<br />

Artist statement<br />

Hand-shaped legs that mimic branches<br />

connect to two angled drawers with a<br />

raised top to allow for shelf space. Lined<br />

black leather drawers and lathe turned<br />

legs create a pairing of beauty and<br />

balance between The Branch Chair and<br />

Desk.<br />

Biography<br />

Chi Yusuf combines influences across<br />

different eras and cultures, producing<br />

furniture which is thoroughly unique and<br />

emphasises the natural beauty of the<br />

materials and techniques.<br />

A joinery method traditionally used to<br />

make wine barrels was modified with a<br />

compound coopering angle to create a<br />

rounded backrest. This flows into the arms<br />

of the chair, complimented with ebony<br />

spines and tapered lathe turned legs.<br />

Image: Chi Yusuf, The branch desk and The branch chair,<br />

walnut and black leather, 2019, dimensions variable.<br />

Photo: Lean Timms

Craft ACT + Canberra Glassworks<br />

Australian Craft + Design Centre network

Madisyn Zabel<br />

Artist statement<br />

Zabel explores ideas of perception and<br />

illusion through transparent solid glass.<br />

She takes particular inspiration from<br />

Louis Albert Necker’s Necker cube - a<br />

simple wire-frame drawing of a cube<br />

that is a bistable illusion with multiple<br />

interpretations. Through a series of<br />

geometric glass shapes, Zabel attempts<br />

to create her own three-dimensional<br />

versions of the Necker cube. The shifting<br />

quality of the work is activated through<br />

both perception and the vantage point of<br />

the viewer. Each piece is carefully created<br />

from solid, transparent, glass billets that<br />

are cut, ground and hand-finished to a<br />

satin surface, creating a luminous quality.<br />

Biography<br />

Madisyn Zabel is a Canberra-based artist<br />

who investigates the growing dialogue<br />

between craft and digital technology.<br />

Using glass and mixed media, she<br />

extrapolates the dynamic relationships<br />

between three-dimensional objects and<br />

their two-dimensional interpretations.<br />

Zabel has a Bachelor of Visual Arts<br />

(Glass) (Hons) (2015) from the Australian<br />

National University School of Art &<br />

Design, Canberra. She has participated in<br />

residencies at Berlin Glas e.V., Canberra<br />

Glassworks and the Glass Studio at the<br />

Chrysler Museum of Art, Norfolk, USA.<br />

Zabel was awarded Warm Glass UK’s<br />

Glass Prize (Bullseye Artists) in 2016, the<br />

Jutta Cuny-Franz Foundation’s Talent<br />

Award from the Museum Kunstpalast,<br />

Düsseldorf in 2017 and most recently<br />

was awarded the Fuse Glass Prize, David<br />

Henshall Emerging Artist Prize in 2020.<br />

Image: Madisyn Zabel, Untitled (Illuminate series), 2020,<br />

coldworked glass, 20 x 10 x 5 cm. Photo: Lean Timms

Central Craft + Ikuntji Artists<br />

Australian Craft + Design Centre network

Keturah Zimran<br />

Artist statement<br />

his design by Keturah Zimran depicts the<br />

natural rock formations (puli) found in and<br />

around Haasts Bluff which is 230km west<br />

of Alice Springs in the West MacDonnell<br />

Ranges. This fabric has been screen<br />

printed by hand by Published Textiles and<br />

Papers, ensuring the highest quality and<br />

longevity.<br />

Biography<br />

Zimran is an established Luritja and<br />

Pintupi artist, who comes from a long line<br />

of acclaimed artists. Her grandmother<br />

Narputta Nangala Jugadai was painting<br />

from the beginning of the desert painting<br />

movement in the 1970s, and was the<br />

founding artist of Ikuntji Artists. Zimran’s<br />

grandfather’s brother - Uta Uta Tjangala -<br />

was also a founding member of the acrylic<br />

paint movement Ikuntji Artists, Haasts<br />

Bluff NT at Papunya. Her mother - Molly<br />

Napaltjarri Jugadai – and grandmother<br />

have both passed away, leaving Zimran as<br />

the only remaining daughter to be painting<br />

their country and stories.<br />

Image: Keturah Zimran, Puli Rocks fabric, mint and<br />

mustard orange ink on blush pink tencel linen, 70%<br />

tencel, 30% linen, 800 x 145 cm. Photo: Lean Timms

List of works<br />

Works marked with (*) are part of the DESIGN Canberra auction. Bid online. Details page 56.<br />

1 Kristin Burgham<br />

Aberration (Loving Cup) (*),<br />

2020, porcelain, 11 x 17 x 8 cm<br />

6 Peta Berghofer<br />

Within Two Months (plate),<br />

2020, earthenware, under glaze<br />

and glaze, 19 x 19 x 5cm<br />

$120<br />

2 Kristin Burgham<br />

Aberration (Tall bottle) (*),<br />

2020, porcelain, 43 x 16.5 x 6<br />

cm<br />

7 Peta Berghofer<br />

Within Two Months (bowl),<br />

2020, porcelain, under glaze<br />

and glaze, 26 x 24 x 2 cm<br />

$120<br />

3 Kristin Burgham<br />

Aberration (Middle bottle) (*),<br />

2020, porcelain, 33 x 7.5 cm<br />

8 Peta Berghofer<br />

Medium Beaker, 2020, stained<br />

stoneware and glaze, 8 x 8 x<br />

9 cm,<br />

$50<br />

4 Peta Berghofer<br />

Leaky bottles (#1, #2, #3), 2020,<br />

porcelain and glaze, 7 x 7 x 17.5<br />

cm each<br />

$90 each<br />

9 Peta Berghofer<br />

Small Beaker, 2020, stained<br />

stoneware and glaze, 8 x 8 x<br />

6.5 cm,<br />

$40<br />

5 Peta Berghofer<br />

Demijohn, 2020, stained<br />

stoneware and glaze, 10cm x<br />

9cm x 16cm<br />

$390<br />

10 Danielle Barrie<br />

Wistful Small Earrings (*), 2020,<br />

sterling silver and freshwater<br />

pearls, dimensions varible<br />


11 Danielle Barrie<br />

Wistful necklace (*), 2020,<br />

sterling silver and freshwater<br />

pearls, dimensions varible<br />

16 Chloe Goldsmith<br />

Pieces Planter, 2020, terrazzo,<br />

brass, 20 x 29 x 29 cm<br />

NFS<br />

12 Danielle Barrie<br />

Wistful Large Earrings (*), 2020,<br />

sterling silver and freshwater<br />

pearls, dimensions varible<br />

17 Zoe Grigoris<br />

Floral drops, 2020, oxidised<br />

sterling silver, enamel paint,<br />

6.5 x 1.2 cm<br />

$210<br />

13 Samantha Dennis<br />

Untitled Studies - Coleoptera<br />

Series (*), 2020, Cast and<br />

altered porcelain, hand<br />

pierced sterling silver<br />

(oxidised), various glazes and<br />

epoxy, approx 10 x 7 x 2 cm<br />

18 Zoe Grigoris<br />

Hearties In Flight - Necklace,<br />

2020,oxidised sterling silver,<br />

fine silver, 45 cm length<br />

$400<br />

14 Samantha Dennis<br />

Untitled Studies - Coleoptera<br />

Series (*), 2020, Cast and<br />

altered porcelain, hand<br />

pierced sterling silver<br />

(oxidised), various glazes and<br />

epoxy, approx 10 x 7 x 2 cm<br />

19 Zoe Grigoris<br />

Painted Pattern Drops, 2020,<br />

oxidised sterling silver,<br />

enamel paint, 5 x 2.5 cm<br />

$200<br />

15 Samantha Dennis<br />

Untitled Studies - Coleoptera<br />

Series (*), 2020, Cast and<br />

altered porcelain, hand<br />

pierced sterling silver<br />

(oxidised), various glazes and<br />

epoxy, approx 10 x 7 x 2 cm<br />

20 Zoe Grigoris<br />

Floral Drops, 2020, oxidised<br />

sterling silver, enamel paint,<br />

6.5 x 1.2 cm<br />

$210<br />


List of works<br />

Works marked with (*) are part of the DESIGN Canberra auction. Bid online. Details page 56.<br />

21 Minqi Gu<br />

Blue heart (*), 2020, copper,<br />

steel, polyester string and<br />

enamel paint, each approx 10 x<br />

7cm with extended string 35cm<br />

26 Krystal Hurst<br />

Echidna quills necklace (*),<br />

2020, echidna quills , gum<br />

seeds, wooden beads and<br />

tigerwire<br />

22 Minqi Gu<br />

Cloud (*), 2020, copper, steel,<br />

polyester string and enamel<br />

paint, each approx 10 x 7cm<br />

with extended string 35cm<br />

27 Krystal Hurst<br />

Resilience, 2019, oxidised<br />

bronze metal and silk thread,<br />

280 x 380 x 30 mm (framed)<br />

NFS<br />

23 Minqi Gu<br />

Lemon (*), 2020, copper, steel,<br />

polyester string and enamel<br />

paint, each approx 10 x 7cm<br />

with extended string 35cm<br />

28 Eunice Napanangka Jack<br />

Kuruyultu fabric (*), 2020.<br />

Blended pink inks on natural<br />

tencel Linen (70% Tencel, 30%<br />

Linen) 172gsm, 600 x 145 cm<br />

24 Minqi Gu<br />

Love pill (*), 2020, copper, steel,<br />

polyester string and enamel<br />

paint, each approx 10 x 7cm<br />

with extended string 35cm<br />

29 Jenna Lee<br />

Story Carriers 1 (*), 2020,<br />

pages of ‘Aboriginal Words and<br />

Place Names’, bookbinding<br />

thread, varnish<br />

25 Calum Hurley<br />

#3 Chair001 (Grey) (*), 2020,<br />

powder-coated steel, jesmonite,<br />

hand-spun woolen<br />

upholstery, 45 x 68 x 51 cm<br />

30 Jenna Lee<br />

Story Carriers 2 (*), 2020,<br />

pages of ‘Aboriginal Words and<br />

Place Names’, bookbinding<br />

thread, varnish<br />


31 Jenna Lee<br />

Story Carriers 3 (*), 2020,<br />

pages of ‘Aboriginal Words and<br />

Place Names’, bookbinding<br />

thread, varnish<br />

36 Timothy Robertson<br />

Lande, leather, steel<br />

60 x 60 x 73 cm<br />

$3,200<br />

32 Jordan Leeflang<br />

#3 Loft Chair (*), 2020, walnut,<br />

600 x 400 x 690mm<br />

37 Scott Van Tuil<br />

Turbine bowl, stainless steel,<br />

38 x 11 cm<br />

$1,895<br />

33 Rene Linssen<br />

Sola Coffee Table (*),<br />

powdercoated steel, marble,<br />

85 x 85 x 40 cm<br />

38 Chi Yusuf<br />

The Branch chair (*), walnut<br />

and black leather,<br />

2019, 53 x 73 cm<br />

34 Mavis Marks<br />

Women’s business fabric<br />

(*), white ink on black tencel<br />

linen (70% Tencel, 30% linen)<br />

172gsm, 600 x 145cm<br />

39 Chi Yusuf<br />

The Branch chair (*), walnut<br />

and black leather, 2019, 53 x<br />

73 cm<br />

35 Kazu Quill<br />

Massage chair, 2019, American<br />

Rock Maple, Birch Plywood,<br />

Red Leather, 45 x 45 x 90 cm<br />

NFS<br />

40 Madisyn Zabel<br />

Untitled (Illuminate series) (*),<br />

2020, coldworked glass, 20 x<br />

10 x 5 cm<br />

41 Keturah Zimran<br />

Puli Rocks fabric (*), mint and<br />

mustard orange ink on blush<br />

pink tencel Linen (70% Tencel,<br />

30% Linen), 600cm x 145cm<br />


DESIGN Canberra auction<br />

Many items in the <strong>HOME</strong>:<strong>MADE</strong> exhibition<br />

will be the focus of our popular annual<br />

DESIGN Canberra online auction.<br />

The DESIGN Canberra auction gives<br />

design-lovers the chance to own their<br />

own piece of contemporary design. It is<br />

a popular event which generates strong<br />

interest among media, collectors and the<br />

general public.<br />

Bid online at: www.32auctions.com/<br />

designcanberra2020<br />

Bids open Fri 20 Nov, 6pm and close Fri 28<br />

Nov, 7.30pm.<br />

Auction artists:<br />

René Linssen / Minqu Gu / Samantha<br />

Dennis / Krystal Hurst / Chi Yusuf / Sam<br />

Gold / Harriet McKay / Sarah Annand (Oat<br />

Studio) + Nick Harper Design / Chelsea<br />

Lemon / Jenna Lee / Pete Bollington<br />

/ Kristin Burgham / Calum Hurley /<br />

Jordan Leeflang / Annie Parnell / Danielle<br />

Barrie / Jenna Lee / Kirstie Rea / Eunice<br />

Napanangka Jack / Mavis Marks / Keturah<br />

Zimran / Madisyn Zabel<br />

Image: Auction works by Mavis Marks, Kristin Burgham,<br />

Sam Gold and Jenna Lee. Photo: Lean Timms


9—29 November<br />

One city<br />

200+ events<br />

DesignCanberraFestival.com.au<br />

DESIGN Canberra is the major outreach activity for Craft ACT: Craft + Design Centre — a not-forprofit<br />

membership based organisation which supports local artists, designers and makers at<br />

every stage of their careers. The festival is delivered in collaboration with industry, associations<br />

and educational institutions committed to the design arts and creative industries in Canberra.

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