HOME:MADE

HOME MADE

One city 

200+ events 

DesignCanberraFestival.com.au 

Exhibition on display at Canberra Contemporary Art Space as part of the 

DESIGN Canberra festival (9-29 November 2020). 

Tuesday-Sunday, 11am-5pm 

44 Queen Elizabeth Terrace, Parkes ACT 2600 

Cover image: Mavis Marks, Women’s business fabric and Chi Yusuf, The 

Branch desk and chair, 2019. Photo: Lean Timms 

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

2

9—29 November 

3

HOME:MADE 

Exhibition statement 

HOME:MADE 2020 features a curated 

selection of new furniture, homewares 

and jewellery by some of the most exciting 

early-career designers and makers from 

across Australia. The exhibition features 

work by emerging and established 

designers from almost every state and 

territory, as part of an important strategy 

to build support for local independent 

studio practice and small-scale Australian 

manufacturing. It promotes Australian 

contemporary design and supports 

designers to earn a living from their 

practice. 

Craft ACT gratefully acknowledges 

generous support from Canberra 

Contemporary Art Space for making their 

new gallery on the shores of Lake Burley 

Griffin available for this beautiful and 

important exhibition. 

HOME:MADE is a signature exhibition for 

DESIGN Canberra presented by Craft ACT: 

Craft + Design Centre and supported by 

the Australian Craft and Design Centre 

network which includes JamFactory, 

Design Tasmania, Central Craft, Artisan, 

Sturt School for Wood, Canberra 

Glassworks and Craft Victoria, among 

others. These acclaimed organisations 

advocate for craft practitioners and 

designers. The exhibition has been curated 

by the festival’s artistic director, Rachael 

Coghlan, with support from Madisyn 

Zabel, Craft ACT gallery manager. 

Image: Calum Hurley, #3 Chair001 (Grey), Minqi Gu, 

Cloud necklace, Jenna Lee, Story carriers 1-3. 

Photo: Lean Timms 

5

Exhibition essay 

Penny Craswell 

What makes a designer or a maker 

choose to create an object from scratch? 

Home: Made 20 is an exhibition of new 

works by early career designers and 

makers that presents the breadth of 

furniture, homewares and jewellery being 

created in Australia today. 

The act of creation, of actualising a 

three-dimensional form, starts with an 

idea. Faced with the seemingly infinite 

possibilities of creating something 

from nothing, designers and makers 

take inspiration from a huge variety of 

sources. Home: Made 20 is an exhibition 

of new works by emerging designers 

and makers that shows the diversity of 

creative practice and the imaginative 

power of young creatives. 

Decolonising history is a driving force 

for the work of Indigenous women 

Jenna Lee (Larrakia, Wardaman and 

Karajarri) and Krystal Hurst (Worimi). 

Jenna Lee’s Story Carriers are woven 

vessels made from the pages of a 

book and bound with red thread that 

symbolises the retrospective addition of 

First Nations authority to the pages of 

books “in the same way in which red pen 

is used to correct and edit documents 

prior to publishing,” explains the artist. 

Jeweller Krystal Hurst’s work also 

explores themes of resilience and power. 

Resilience is a necklace with imitation 

echidna quills and wattle seeds made 

from bronze metal. It was created in 

response to the attempt to hide and 

remove First Nations perspectives from 

Australian history. 

Culture, Country and storytelling are 

behind the work of three Indigenous 

textile designers, Eunice Napanangka 

Jack (Ngaanyatjarra), Mavis Nampitjinpa 

Marks (Luritja and Pintupi) and Keturah 

Zimran (Luritja and Pintupi). Created 

in collaboration with Ikuntji Artists and 

screen printed by Publisher Textiles and 

Papers, these designs are deeply linked 

to the landscape. Eunice Napanangka 

Jack’s textiles depicts her father’s 

Tjukurrpa (Dreaming) and show the 

country at Kuruyultu near Tjukurrla in 

Western Australia – a deep waterhole 

in a small mountain range. For Keturah 

Opposite: Chi Yusuf, Branch chair. Krystal Hurst, Echidna 

quills necklace. Samantha Dennis, Untitled studies - 

Coleoptera series. Photo: Lean Timms 

7

Zimran, the natural rock formations 

(puli) found in and around Haasts Bluff 

230km west of Alice Springs are her 

inspiration. And Mavis Nampitjinpa 

Marks’s work is inspired by women’s 

Ceremonial Dancing at Mt Liebig, 

depicting body painting, as well as the 

story given to her by her grandfather of 

Kalipinpa the Water Dreaming. 

Australia’s landscape and unique flora 

and fauna are also the inspiration 

for non-Indigenous jewellery artists 

Danielle Barrie, Samantha Dennis 

and Zoe Grigoris. Danielle Barrie’s 

fascination with nature was heightened 

during the COVID-19 lockdown, when she 

found herself retreating to nature and 

spending time to notice details “from 

lichen on tree branches to geometric 

cactus growth”. Her work Wistful Small 

Earrings is inspired by the complexity of 

the wisteria plant. For Zoe Grigoris, the 

patterns of flowers and other plants are 

pressed into a sheet of precious metal, 

creating a subtle effect informed by 

illustration. And Samantha Dennis’s work 

focuses on insects rather than plants. 

Coleoptera is a series of oversized bugs 

cast in porcelain, hand detailed, fired 

and glazed and then pierced with sterling 

silver oxidised to resemble a dark 

underbelly. 

Timothy Robertson’s Lande Chair brings 

forms inspired by Australian flora to 

his design, whose curved shell form is 

reminiscent of Mid-Century modernist 

chairs. Colours selected for the moulded 

leather are brown and green also 

reflecting the colours of nature. 

From the universality of landscape to 

the whimsical. Minqi Gu is a jewellery 

and small object designer whose 

work cannot be bound by one material 

or technique. Her curious approach 

playfully embraces failure, while 

exploring concepts of cultural difference, 

consumerism and health. Bold in colour 

and form, her work is light-hearted 

and defies definition. Cloud is made 

from copper, steel, string and enamel 

paint – a necklace with a simple almost 

cartoonish shape that will certainly put a 

smile on your face. 

Similarly playful is the work of Kazu 

Quill, whose prototype for a modular 

self-massage chair features a square 

seat with round red leather insert and 

red balls on sticks inserted into the chair 

to act as part chair back and part back 

massager – these can be moved around 

at whim. Reminiscent of the works of 

Memphis and the postmodernist period 

Image: Jenna Lee, Story carriers, 2020, pages of 

‘Aboriginal Words and Place Names’, bookbinding thread, 

varnish, dimensions varible. Photo: Lean Timms

in furniture design, the result is not so 

much a functional massage chair as 

a playful interactive interrogation of a 

chair. 

From the playful to the functional, Rene 

Linssen’s design for a Sola coffee table 

with recessed shelf is a tweak on a 

universal form that allows it to be utilised 

in a new way. With two contrasting 

materials – steel and marble – and 

simple geometries, the table is made 

interesting by an interactive element – a 

marble disc can act as a tabletop but, 

when removed, reveals a recessed shelf 

for placing drinks. 

Calum Hurley’s #3 Chair001 was inspired 

not by its use, but by a trip to Japan. 

Captivated by the Japanese architecture 

and urban landscapes, Calum took 

thousands of photos and then chose 

six as inspiration for his stool, made of 

powder-coated steel, jesmonite (an eco 

lightweight substitute for cast concrete) 

and hand-spun woollen upholstery. 

Still in furniture design, two beautiful 

objects in wood show there is still 

significant passion for this basic yet 

universal material. Jordan Leeflang’s 

#3 Loft Chair is made using jigs 

and templates to create a series of 

repeatable elements, creating angles, 

folds and joins for the luscious walnut 

wood of the chair. Likewise, Chi Yusuf’s 

desk is another love letter to walnut – 

this time the timber is combined with 

black leather to create a luxurious object 

for the home. The shape of the legs 

inspired by tree branches, give the desk 

and chair their name – Branch. 

Also interested in materials in new 

furniture design is Scott Van Tuil 

and Chloe Goldsmith. Scott Van 

Tuil’s ‘Turbine bowl’ table is inspired 

by Tasmania’s engineering history. 

This pieces is a reference to Hydro 

Engineering with its sharp form and 

mirror finish stainless steel construction. 

Chloe Goldsmith’s plant pots are inspired 

by the materiality of architecture rather 

than engineering. And it is the use of 

that favourite material of architects – 

terrazzo – that brings these objects from 

the architectural scale down to the level 

of an object. 

Kristin Burgham and Peta Berghofer, 

both ceramicists, also use materials as 

an important starting point in their work. 

Kirstin collects found objects and uses 

their forms to create a cast – the objects 

that are then made using this cast create 

a simulacrum of the original, complete 

with seams and scars of their prior life. 

10

Peta’s work also subverts expectations 

in ceramics, starting with traditional 

ceramic forms and disrupting their 

functionality to explore the line 

between art and craft. 

For Madisyn Zabel, materials are also 

vital – this time glass. She plays with 

shifting geometries, perception and 

illusion, creating objects whose forms 

are inspired by the shapes created 

when viewing a simple wire-frame cube 

from a number of different oblique 

angles. 

Australians are opening their homes 

up to contemporary craft and 

design like never before – original 

handmade pieces bring with them 

stories, authentic materiality and 

pride in the local. This story of what 

inspires a designer or maker to create 

is ultimately what makes an object 

resonate with us, forging a personal 

connection borne from a single kernel 

of inspiration. 

Penny Craswell 

Sydney-based editor, writer and curator 

specialising in design and architecture 

Opposite: René Linssen, Sola Coffee Table, powdercoated 

steel, marble, 85 x 85 40 cm. Photo: Lean Timms 

11

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

Guildhouse + JamFactory 

Australian Craft + Design Centre network

Danielle Barrie 

Artist statement 

“During the pandemic I found myself like 

many others retreating into nature, going 

for longer walks and noticing details that 

I previously rushed past. From lichen on 

tree branches to geometric cactus growth 

I was fascinated by the complexity of such 

small seemingly trivial natural details”, 

explains Barrie, 

Having more time at home, an excuse to 

slow down whilst simultaneously having a 

vague notion of what this year could have 

been, with changed plans and individual 

stories of sorrow, Barrie found parallels 

in this experience. Rushing from one job 

to the next, one meeting to another the 

reasons for your actions become faded 

and ambiguous, they are simply things 

that must be done or checked off. 

With this moment that is so 

‘unprecedented’ we have been forced to 

idle – having moments of leisurely joy 

mixed with a notion of wistfulness. Playing 

with this emotion and the structure 

of a wisteria plant, Barrie wanted to 

create a piece that was both simplistic 

in wearability and look, but complex in 

componentry and construction. 

Biography 

Danielle Barrie is a jewellery and object 

designer and maker currently based in her 

shared studio at the JamFactory, Adelaide 

South Australia. Having graduated from 

the University of South Australia with a 

Bachelor of Visual Arts Specialisation 

(Jewellery & Metal) in 2015 she was 

grateful to be accepted into the world 

renowned JamFactory associate program 

which she completed in 2017. 

Her first experiences with jewellery was 

watching her mother get ready each 

morning. From small detailed boxes she 

would pull out beautiful, intricate and 

precious remnants from years gone by. 

Each had a unique design and story of 

its own - some of these objects had been 

passed down and held memories of 

generations. She aims to create innovative 

and contemporary pieces that elude to 

a sense of history and time. I hope to 

handcraft timeless pieces that evoke 

an understated luxury with a refined 

playfulness. 

Image: Danielle Barrie, Wistful necklace, 2020, sterling 

silver and freshwater pearls, dimensions variable. 

Photo: Lean Timms

Artisan 


Peta Berghofer 


Within two months of the First Fleet 

arriving to Australia, clay was dug to 

makes bricks and soon after, domestic 

ceramics. Bring a Plate #1 is a 

developmental series of sculptures which 

initiate long term practice-led research 

into colonial, Australian ceramics. 

The everyday functions of these ceramics 

are disrupted to re-position the colonial 

forms as cultural objects, signifying lesser 

known impacts of British colonialism 

on Aboriginal Australians. The forms 

represent the mimicking of British food 

practices, aiding in the colonist’s division 

from Aboriginal people and their practices. 

Featuring abstracted ginger beer bottles, 

a demijohn, a bowl, and a Wedgwood 

influenced vessel, the ceramics come 

together as a fictional table setting for 

Jonathan Leak, one of the first convict 

potters. 

Biography 

Peta Berghofer completed a Bachelor 

of Creative Arts (Visual Arts) at the 

University of Southern Queensland in 

2016, receiving First Class Honours. She 

began developing her practice at First 

Coat Studios in Toowoomba preceding 

this. After being awarded the Bellmaine 

French Appreciation Travelling Scholarship 

from USQ in 2017, Berghofer spent 2019 

attending artist residencies throughout 

France and Denmark to continue her 

creative development. 

Image: Peta Berghofer, Bring a plate, 2020, dimensions 

variable. Photo: Courtesy of the artist

Craft Victoria 


Kristin Burgham 


Industrial ceramic production methods 

inspire Kristin Burgham’s practice. 

Working with found objects she spends 

time sorting and observing each object 

she finds. This allows her to consider the 

making process and contemplate the 

things themselves. 

The solid found object is transformed 

through the casting process into an empty 

void lined with seams and scars. It sits 

devoid of emotional connection or context 

and without the sensory distractions of 

material matter and colour. 

Biography 

Kristin has recently completed a BFA at 

RMIT majoring in Ceramics. She is uses 

industrial ceramic production methods 

such as mould making to work with and 

explore found objects. Burgham subverts 

the process of making by revealing not 

hiding production seams. Her porcelain 

assemblages evoke not only the 

memory of an object but the memory of 

anonymous makers within an industrial 

context. 

Burgham sees her finished works as a 

reflection of the anonymous industrial 

makers. These altered simulacra reflect on 

memory, loss and the ephemeral. 

Image: Kristin Burgham, Aberration (Middle bottle), 

Aberration (Tall bottle), Aberration (Loving cup) 2020, 

porcelain, dimensions variable. Photo: Lean Timms

Design Tasmania 


Samantha Dennis 


Samantha Dennis’ work made for the 

HOME:MADE exhibition continues from 

a recent series titled ‘Coleoptera’. This 

series examines the unique and bizarre 

form of insects through hybrid, imagined 

and hyperbolic brooches. These one-off 

pieces juxtapose the usual trepidation 

or repulsion felt towards insects with the 

tactile and desirable nature of jewellery. 

The brooches are modelled and cast 

in porcelain, hand detailed and then 

layered with glazes which have metallic 

and crystalline elements. Once fired, a 

base is hand pierced from sterling silver, 

which is later oxidised to resemble a dark 

underbelly. Where possible, the pieces 

are made from a single sheet with legs 

or antennae folded out, leaving a window 

which mimics how beetles curl their legs 

under when found perished in nature, 

adding an unexpected curiosity at the 

brooch back. 

Biography 

Samantha Dennis is an early career 

Tasmanian artist inspired by biology and 

natural history, working with a range of 

materials including silver, ceramics and 

glass from her Launceston studio. She has 

received grants, residencies and project 

based funding from the Australia Council 

for the Arts, Regional Arts Fund and Arts 

Tasmania, and has been the recipient of 

the Design Tasmania Award (2019) FIND 

Contemporary Jewellery Bursary (2019) 

and Artentwine Small Sculpture Prize 

(2016). 

Image: Samantha Dennis, Untitled studies - Coleoptera 

series, 2020, cast and altered porcelain, hand pierced 

sterling silver (oxidised), various glazes and epoxy, 

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

Australian Design Centre 


Chloe Goldsmith 


Goldsmith’s ‘Pieces Planter’ applies the 

honest, tactile and elemental materials 

of architectural design, through the 

typology of the pot plant. Formed by 

rocks, minerals and precious metals, 

Pieces Planter is composed of simple 

terrazzo slabs, stacked together in perfect 

geometry, protecting the foundation of the 

plant and generously framing the foliage. 

Shoots cascade out and over; a glistening 

undercroft. 

Biography 

Chloe Goldsmith is a Newcastle 

based Architectural Designer currently 

undertaking a Master of Architecture at 

the University of Newcastle where she 

also tutors undergraduate students of 

architecture and performs academic 

research. She founded studio coeō 

through which she collaborates with 

others to work on residential, object and 

spatial design and making. She reveres a 

humble scale of residential architecture; 

intimate, rigorous and of simple delight. 

After completing her bachelor degree in 

architecture, she travelled to Tokyo to 

work with a studio exploring urban renewal 

and intervention, public installation 

and responsive environments. Since 

returning she has spent several years as 

an Architectural Designer at Tribe Studio 

Architects in Sydney while also designing 

and fabricating furniture and objects. 

Goldsmith has presented work in various 

international architectural workshops. 

Image: Chloe Goldsmith, Pieces planter, terrazzo, brass, 

20 x 29 x 29 cm. Photo: courtesy of Australian Design 

Centre

Guildhouse + JamFactory 


Zoe Grigoris 


Zoe Grigoris’s work is informed by 

illustration. She uses mark-making 

techniques to replicate her detailed 

patterns and floral motifs in precious 

metal. 

Biography 

Zoe Grigoris is a contemporary jeweller 

and artist based in Adelaide, South 

Australia. She graduated from Flinders 

University in 2011 with a Bachelor of Arts 

Degree before completing a Bachelor of 

Visual Arts Specialisation (Jewellery & 

Metal) at the University of South Australia 

in 2014. In 2014 Zoe worked as a teaching 

assistant within the Jewellery and Metal 

studio at the University of South Australia. 

She worked with Adelaide jeweller Sarah 

Rothe in her studio and retail outlet in 

Adelaide’s CBD till 2016. Zoe completed 

the Associate Training Program in 

JamFactory’s Metal Design Studio in 2016 

and has continued to run her practice as a 

tenant at JamFactory. 

Image: Zoe Grigoris, Painted pattern studs, 2020, 

oxidised silver, enamel paint, dimensions variable. 

Photo: courtesy of the artist.

Artisan 


Minqi Gu 


Minqi Gu playfully embraces failure 

through her curious explorations of 

cultural difference, consumerism 

and health. Bold and deliberate in 

colour, simple and suggestive in 

form and saturated in materiality, her 

architectural background brings a tryst 

to the conceptual and a light-hearted 

engagement with form and composition. 

Her work defies definition, appearing 

inconsistent in style and technique. 

The results are open-ended indefinable 

wearable objects, which may indeed 

challenge the definition of jewellery itself. 

This piece is a deliberately whimsical 

reflection on the relationship between 

form and subject matter. 

Biography 

Miss Minqi Gu is a Brisbane based artist 

and has a masters of architecture from the 

University of Sydney and has worked in a 

number of major Australian architectural 

firms up until 2011. She began making 

and designing mixed media jewellery in 

her spare time and now, apart from caring 

for her son, is focused mainly on her 

jewellery practice. 

Image: Minqi Gu, Cloud, 2020, copper, steel, polyester 

string and enamel paint, 10 x 7 cm with extended string 

35 cm. Photo: Lean Timms

Jam Factory 


Calum Hurley 


Calum Hurley is an Adelaide-based 

furniture and object designer. Currently 

working out of JamFactory’s Furniture 

Studio as part of the esteemed Associate 

Training Program, Hurley produces objects 

that are consciously space-sensitive and 

visually distinct. 

Chair001 was designed by Hurley 

in response to his photographs of 

metropolitan Japan, shown as part of the 

2020 exhibition (with Jordan Leeflang), 

Differing Perspectives at Craft ACT. 

Biography 

Calum Hurley is an Adelaide based 

furniture and object designer. Currently 

working out of JamFactory’s Furniture 

Studio as part of the esteemed Associate 

Training Program, Hurley produces objects 

that are consciously space-sensitive and 

visually distinct. With a strong body of 

exhibition work, Hurley’s current practice 

looks to expand this with further solo and 

group exhibitions, whilst developing a 

number of these pieces into retail ready 

products. 

The red version of this chair was a finalist 

in the 2020 Denfair Front Centre program. 

Image: Calum Hurley, #3 Chair001 (Grey), 2020, powdercoated 

steel, jesmonite, hand-spun woolen upholstery, 

45 x 68 x 51 cm. Photo: Lean Timms

Craft ACT 


Krystal Hurst 


Hurst’s work ‘Resilience’ explores themes 

of resilience and power as an attempt to 

decolonise hidden and removed Australian 

histories from the perspectives of First 

Nations artists. Hurst was a finalist in the 

prestigious Telstra National Aboriginal 

& Torres Strait Islander Art Awards 

(NATSIAA) for her piece, “Resilience” in 

2019 and more recently in 2020. 

Biography 

Krystal Hurst is a Worimi artist and 

creative director of Gillawarra Arts, 

originating from Taree on NSW’s mid 

north coast. Krystal is a jewellery designer, 

painter, print-maker and workshop 

facilitator whose inspiration derives 

from Country, memories, stories and 

community integrated in an innovative and 

contemporary way. 

Image: Krystal Hurst, Resilience, 2019, oxidised bronze 

metal and silk thread, 28 x 38 x 3 cm (framed). 

Photo: Craft ACT

Central Craft + Ikuntji Artists 


Eunice Napanangka Jack 


This design by Eunice Napanangka Jack 

depicts her father’s Tjukurrpa (Dreaming). 

It shows the country at Kuruyultu, near 

Tjukurrla in Western Australia, a deep 

waterhole in a small mountain range, a 

‘rockhole’. 

This fabric has been screen printed by 

hand by Published Textiles and Papers, 

ensuring the highest quality and longevity. 

Biography 

Winner of the 2017 Moreton Bay Region 

Art Awards and a consistent exhibition 

history, Jack has been painting for 

three decades. Her early works were 

collaboratives with her husband, the late 

Gideon Tjupurrula Jack; she began a 

solo practice in 1992 and was a founding 

member of Ikuntji Artists which also 

started around this time. She uses layers 

of colour to build up a vision of the bush 

flowers and grasses. Highly collectable, 

Jack is represented in leading galleries 

worldwide. 

Jack’s paintings are interpretations of 

her country near Lake Mackay. Amongst 

this landscape Jack’s personal stories 

are told, either of the travelling of her 

tjukurrpa – the Bilby – or the people who 

once lived in the area. Her father was 

Tutuma Tjapangarti, one of the first men 

to paint for Papunya Tula. Jack also paints 

his country, which includes Tjukurla, Tjila, 

Kurulto and Lupul. Her mother was from 

the Walpiri side of Lake Mackay – 

Winparrku – in Western Australia. 

Image: Eunice Napanangka Jack, Kuruyultu fabric 

(detail), 2020, blended pink inks on natural tencel linen, 

70% tencel, 30% linen, 172gsm, 600 x 145 cm. 

Photo: Lean Timms

Craft Victoria 


Jenna Lee 


Story Carriers 1-3 seek to reclaim the 

act of record and story-keeping through 

the physical acts of deconstruction and 

reconstruction. Using the pages of the 

book, Lee has created paper string that 

has been woven back together with the 

use of book binding thread. Presenting 

a new and elevated story held within the 

creation of their forms. The red thread 

represents the retrospective addition of 

First Nations authority to the pages of this 

book in the same way in which red pen is 

used to correct and edit documents prior 

to publishing. 

Biography 

Jenna Lee is a mixed race Larrakia, 

Wardaman and Karajarri woman whose 

contemporary art practice explores the 

acts of identity/identification, label/ 

labelling and the relationships formed 

between language, label and object. Being 

Queer, Mixed Race, Asian (Japanese, 

Chinese and Filipino), Anglo Australian, 

Aboriginal Woman, her practice is strongly 

influenced by these overlapping identities, 

childhood memory as well as maternal 

teachings of process. 

In 2020 Lee was recipient of the Wandjuk 

Marika 3D Memorial Award at the Telstra 

National Aboriginal and Torres Strait 

Islander Art Award (NATSIAA), as well as 

a finalist Ravenswood Australian Women’s 

Art Prize and The Libris Artist Book 

Prize. In 2019 Lee recieved the Australia 

Council’s Young and Emerging Dreaming 

Award, presented at the National 

Indigenous Arts Awards as well as one of 

10 finalists in the prestigious John Fries 

Award for emerging and early career 

Australian and New Zealander artists. 

Image: Jenna Lee, Story carriers, 2020, pages of 

‘Aboriginal Words and Place Names’, bookbinding 

thread, varnish, dimensions varible. Photo: Lean Timms

JamFactory 


Jordan Leeflang 


Leeflang makes furniture and objects 

featuring repetitive elements. He is 

drawn to this repetition from his studies 

in interior architecture. It is both the 

visual result and the process required to 

achieve the repetition that hooks him. The 

repetitive elements are often the details, 

rather than the whole form. En masse, a 

sharp angle softens, and the visual tension 

that this creates fascinates Leeflang. 

Leeflang wants people to look closer, he 

wants to invite curiosity, and believes 

objects should have the power to draw 

people in. In his predominant medium 

of timber, he uses jigs and templates to 

create repeatable elements. These smaller 

objects form patterns through angles, 

folds and joins. 

Biography 

Jordan Leeflang is an Adelaide based 

designer whose multidisciplinary 

practice includes furniture, object and 

sculpture. While studying a Bachelor of 

Interior Architecture at the University of 

South Australia, Jordan took a furniture 

design studio and found his niche. Over 

the following four years he studied 

interior architecture and furniture design 

simultaneously; exploring interests in 

architectural history, design movements, 

materials, processes, and trends through 

his furniture and interior studio work. 

Following graduation in 2016, he went 

on to study Furniture Making at TafeSA, 

and experimenting in his shed until being 

accepted into the Associate Program at 

JamFactory’s Furniture Studio in 2019. 

Image: Jordan Leeflang, #3 Loft Chair, 2020, walnut, 60 x 

40 x 69 cm. Photo: Lean Timms

Craft ACT 


René Linssen 


The dining experience is all about sharing 

food and drink in the company of close 

friends. The Sola outdoor coffee table 

was designed with this experience in 

mind. The table features a built in serving 

board which can be removed to reveal 

a recessed space for wine bottles and 

drinks on ice. 

Sola’s multifunctionality makes it suitable 

for different occasions and keeps the 

setting clean and organised. The table is 

made from materials that are both durable 

and honest. 

Biography 

René Linssen is a South African born, 

Australian Industrial Designer living and 

working in Canberra, Australia. Currently 

an Industrial Designer at Australian 

product design company Formswell 

Design, he is involved in a diverse range 

of design work in industries from sports, 

outdoors, homewares, government and 

more. In 2017, René co-founded the 

furniture company Furnished Forever with 

fellow Canberra designer Elliot Bastianon. 

The company focuses on furniture for 

high volume commercial and residential 

applications with an emphasis on local 

manufacturing. René has won several 

national design awards including Vogue 

Living / Alessi Emerging Designer Award 

(2015), Belle / Alessi Design Award (2017) 

and was a finalist in the Mercedes-Benz 

Design Award (2018). René is still involved 

closely with the University of Canberra 

since completing his Bachelor of Industrial 

Design in 2016. He is currently acting as 

a sessional lecturer for their Industrial 

Design program. 

Image: Rene Linssen, Sola coffee table (detail), 

powdercoated steel, marble, 85 x 85 x 40 cm. 

Photo: Lean Timms



Mavis Nampitjinpa Marks 


This design by Mavis Nampitjinpa Marks 

shows the ‘Women’s Business Story’. This 

fabric has been screen printed by hand by 

Publisher Textiles and Papers, ensuring 

the highest quality and longevity. 

Biography 

Marks is an accomplished Luritja Pintupi 

artist; born at 

Newhaven, 360km North West of 

Mpwartne (Alice Springs). She has 

been widely exhibited around Australia 

and the world. She is the sister of 

renowned Western Desert artists 

Ronnie Tjampitjinpa and Smithy Zimran 

Tjampitjinpa. Marks moved to Haasts 

Bluff as a teenager with her mother. When 

she married she moved to Mt Liebig with 

her husband and began to paint at the art 

centre there. Marks returned to Haasts 

Bluff after the death of her husband, later 

moving to Papunya. 

Marks likes to paint the women’s 

Ceremonial Dancing at Mt Liebig, and 

depicts their body painting designs. 

She also paints the story given to her by 

her grandfather of Kalipinpa, the Water 

Dreaming, which comes from her mother’s 

side. 

Image: Mavis Nampitjinpa Marks, Women’s business 

fabric (detail), white ink on black tencel linen, 70% tencel, 

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

Sturt School for Wood 


Kazu Quill 


Kazu Quill has designed a prototype for 

a modular self-massage chair. The seat 

base is comprised of rock maple rollers 

and houses a “lacrosse” ball for lower 

body massages. 

A red leather upholstered lazy susan 

seat pad allows for easy movement. A 

symphony of red back massage balls can 

be height adjusted for upper middle and 

lower back positions. 

Biography 

Kazu Quill is a designer and maker 

currently based in Sydney, after receiving 

a Bachelor of Fine Arts at the University 

of New South Wales in 2016 he went on to 

study the craft of fine furniture making at 

the Sturt School for Wood in the Southern 

Highlands. Currently Kazu splits his time 

between work with an accomplished 

Cabinet Maker and developing his own 

professional design practice. 

Location holes also allow for future 

interchangeable back and armrest 

components. 

Image: Kazu Quill, Massage chair, 2020, american rock 

maple, birch plywood, Red Leather, 45 x 45 x 90 cm. 

Photo: Craft ACT

Australian Design Centre 


Timothy Robertson 


The Lande chair playfully explores the 

cultural values and native elements of the 

Australian people and landscape. A poetic 

and organic form ties into a narrative that 

emphasises natural, honest and ethical 

materials and manufacture. Taking playful 

cues from local flora, these sources adds 

a refreshing original and inventive value to 

the design response. 

Lande is a new aesthetic language of 

deceptively simple, playful, sublime and 

subtle qualities into material play with 

the purpose of meaningfully redefining 

comfort. The design elements of the 

chair are sensorial and poetic, using 

line gracefully, colour metaphorically, 

an inviting form, comfortable and 

aesthetically balanced in a harmonious 

shape. 

Biography 

Timothy Robertson is a Sydney based 

Industrial Designer, taking a material 

minded design process explored through 

furniture and object design. Using 

nature and the built environment for 

inspiration, his research process has a 

strong focus on place, people, identity 

and sustainability. Timothy’s previous 

career as a motorcycle mechanic was the 

catalyst for his transition into industrial 

design. His unique skill set forms the 

basis of a deep understanding of process 

and materiality combined with a clear 

and deliberate design thinking approach. 

He emphasises the need to prototype 

and refine through making, by combining 

digital manufacturing and traditional 

handcraft. Using photography as an initial 

medium for the design process, capturing 

emotion and colours in the natural 

environment that later resonates in the 

design solution 

Image: Timothy Robertson, Lande, leather, steel, 60 x 60 

x 73 cm. Photo: Craft ACT

Design Tasmania 


Scott Van Tuil 


Drawing inspiration from Tasmania’s 

industrial heritage, Van Tuil’s Turbine 

Bowls reference pioneering Hydro Electric 

engineering. 

Fabricated in mirror finish stainless 

steel, the bowls will continue to make a 

statement wherever they are placed for 

generations to come. 

Biography 

VAN TUIL Design Studio was established 

by Scott van Tuil upon graduating from the 

University of Tasmania, with a Bachelor of 

Environmental Design. Working across a 

diversity of modes, materials and scales, 

the desire is always to create objects that 

are beautiful in form and function, and 

meaningfully contribute to the spaces 

they inhabit. Located in Hobart, Tasmania, 

this small island at the edge of the world 

continues to inspire and influence. 

Image: Scott Van Tuil, Turbine bowl, stainless steel, 38 x 

11 cm. Photo: Courtesy of the artist

Sturt School for Wood 


Chi Yusuf 


Hand-shaped legs that mimic branches 

connect to two angled drawers with a 

raised top to allow for shelf space. Lined 

black leather drawers and lathe turned 

legs create a pairing of beauty and 

balance between The Branch Chair and 

Desk. 

Biography 

Chi Yusuf combines influences across 

different eras and cultures, producing 

furniture which is thoroughly unique and 

emphasises the natural beauty of the 

materials and techniques. 

A joinery method traditionally used to 

make wine barrels was modified with a 

compound coopering angle to create a 

rounded backrest. This flows into the arms 

of the chair, complimented with ebony 

spines and tapered lathe turned legs. 

Image: Chi Yusuf, The branch desk and The branch chair, 

walnut and black leather, 2019, dimensions variable. 

Photo: Lean Timms

Craft ACT + Canberra Glassworks 


Madisyn Zabel 


Zabel explores ideas of perception and 

illusion through transparent solid glass. 

She takes particular inspiration from 

Louis Albert Necker’s Necker cube - a 

simple wire-frame drawing of a cube 

that is a bistable illusion with multiple 

interpretations. Through a series of 

geometric glass shapes, Zabel attempts 

to create her own three-dimensional 

versions of the Necker cube. The shifting 

quality of the work is activated through 

both perception and the vantage point of 

the viewer. Each piece is carefully created 

from solid, transparent, glass billets that 

are cut, ground and hand-finished to a 

satin surface, creating a luminous quality. 

Biography 

Madisyn Zabel is a Canberra-based artist 

who investigates the growing dialogue 

between craft and digital technology. 

Using glass and mixed media, she 

extrapolates the dynamic relationships 

between three-dimensional objects and 

their two-dimensional interpretations. 

Zabel has a Bachelor of Visual Arts 

(Glass) (Hons) (2015) from the Australian 

National University School of Art & 

Design, Canberra. She has participated in 

residencies at Berlin Glas e.V., Canberra 

Glassworks and the Glass Studio at the 

Chrysler Museum of Art, Norfolk, USA. 

Zabel was awarded Warm Glass UK’s 

Glass Prize (Bullseye Artists) in 2016, the 

Jutta Cuny-Franz Foundation’s Talent 

Award from the Museum Kunstpalast, 

Düsseldorf in 2017 and most recently 

was awarded the Fuse Glass Prize, David 

Henshall Emerging Artist Prize in 2020. 

Image: Madisyn Zabel, Untitled (Illuminate series), 2020, 

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



Keturah Zimran 


his design by Keturah Zimran depicts the 

natural rock formations (puli) found in and 

around Haasts Bluff which is 230km west 

of Alice Springs in the West MacDonnell 

Ranges. This fabric has been screen 

printed by hand by Published Textiles and 

Papers, ensuring the highest quality and 

longevity. 

Biography 

Zimran is an established Luritja and 

Pintupi artist, who comes from a long line 

of acclaimed artists. Her grandmother 

Narputta Nangala Jugadai was painting 

from the beginning of the desert painting 

movement in the 1970s, and was the 

founding artist of Ikuntji Artists. Zimran’s 

grandfather’s brother - Uta Uta Tjangala - 

was also a founding member of the acrylic 

paint movement Ikuntji Artists, Haasts 

Bluff NT at Papunya. Her mother - Molly 

Napaltjarri Jugadai – and grandmother 

have both passed away, leaving Zimran as 

the only remaining daughter to be painting 

their country and stories. 

Image: Keturah Zimran, Puli Rocks fabric, mint and 

mustard orange ink on blush pink tencel linen, 70% 

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

List of works 

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

1 Kristin Burgham 

Aberration (Loving Cup) (*), 

2020, porcelain, 11 x 17 x 8 cm 

6 Peta Berghofer 

Within Two Months (plate), 

2020, earthenware, under glaze 

and glaze, 19 x 19 x 5cm 

$120 


Aberration (Tall bottle) (*), 

2020, porcelain, 43 x 16.5 x 6 

cm 


Within Two Months (bowl), 

2020, porcelain, under glaze 

and glaze, 26 x 24 x 2 cm 

$120 


Aberration (Middle bottle) (*), 

2020, porcelain, 33 x 7.5 cm 


Medium Beaker, 2020, stained 

stoneware and glaze, 8 x 8 x 

9 cm, 

$50 


Leaky bottles (#1, #2, #3), 2020, 

porcelain and glaze, 7 x 7 x 17.5 

cm each 

$90 each 


Small Beaker, 2020, stained 

stoneware and glaze, 8 x 8 x 

6.5 cm, 

$40 


Demijohn, 2020, stained 

stoneware and glaze, 10cm x 

9cm x 16cm 

$390 

10 Danielle Barrie 

Wistful Small Earrings (*), 2020, 

sterling silver and freshwater 

pearls, dimensions varible 

54


Wistful necklace (*), 2020, 



16 Chloe Goldsmith 

Pieces Planter, 2020, terrazzo, 

brass, 20 x 29 x 29 cm 

NFS 


Wistful Large Earrings (*), 2020, 



17 Zoe Grigoris 

Floral drops, 2020, oxidised 

sterling silver, enamel paint, 

6.5 x 1.2 cm 

$210 

13 Samantha Dennis 

Untitled Studies - Coleoptera 

Series (*), 2020, Cast and 

altered porcelain, hand 

pierced sterling silver 

(oxidised), various glazes and 

epoxy, approx 10 x 7 x 2 cm 


Hearties In Flight - Necklace, 

2020,oxidised sterling silver, 

fine silver, 45 cm length 

$400 









Painted Pattern Drops, 2020, 

oxidised sterling silver, 

enamel paint, 5 x 2.5 cm 

$200 









Floral Drops, 2020, oxidised 

sterling silver, enamel paint, 

6.5 x 1.2 cm 

$210 

55

List of works 

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

21 Minqi Gu 

Blue heart (*), 2020, copper, 

steel, polyester string and 

enamel paint, each approx 10 x 

7cm with extended string 35cm 

26 Krystal Hurst 

Echidna quills necklace (*), 

2020, echidna quills , gum 

seeds, wooden beads and 

tigerwire 

22 Minqi Gu 

Cloud (*), 2020, copper, steel, 

polyester string and enamel 

paint, each approx 10 x 7cm 

with extended string 35cm 

27 Krystal Hurst 

Resilience, 2019, oxidised 

bronze metal and silk thread, 

280 x 380 x 30 mm (framed) 

NFS 

23 Minqi Gu 

Lemon (*), 2020, copper, steel, 




28 Eunice Napanangka Jack 

Kuruyultu fabric (*), 2020. 

Blended pink inks on natural 

tencel Linen (70% Tencel, 30% 

Linen) 172gsm, 600 x 145 cm 

24 Minqi Gu 

Love pill (*), 2020, copper, steel, 




29 Jenna Lee 

Story Carriers 1 (*), 2020, 

pages of ‘Aboriginal Words and 

Place Names’, bookbinding 

thread, varnish 

25 Calum Hurley 

#3 Chair001 (Grey) (*), 2020, 

powder-coated steel, jesmonite, 

hand-spun woolen 

upholstery, 45 x 68 x 51 cm 

30 Jenna Lee 





56

31 Jenna Lee 





36 Timothy Robertson 

Lande, leather, steel 

60 x 60 x 73 cm 

$3,200 

32 Jordan Leeflang 

#3 Loft Chair (*), 2020, walnut, 

600 x 400 x 690mm 

37 Scott Van Tuil 

Turbine bowl, stainless steel, 

38 x 11 cm 

$1,895 

33 Rene Linssen 

Sola Coffee Table (*), 

powdercoated steel, marble, 

85 x 85 x 40 cm 

38 Chi Yusuf 

The Branch chair (*), walnut 

and black leather, 

2019, 53 x 73 cm 

34 Mavis Marks 

Women’s business fabric 

(*), white ink on black tencel 

linen (70% Tencel, 30% linen) 

172gsm, 600 x 145cm 

39 Chi Yusuf 

The Branch chair (*), walnut 

and black leather, 2019, 53 x 

73 cm 

35 Kazu Quill 

Massage chair, 2019, American 

Rock Maple, Birch Plywood, 

Red Leather, 45 x 45 x 90 cm 

NFS 

40 Madisyn Zabel 

Untitled (Illuminate series) (*), 

2020, coldworked glass, 20 x 

10 x 5 cm 

41 Keturah Zimran 

Puli Rocks fabric (*), mint and 

mustard orange ink on blush 

pink tencel Linen (70% Tencel, 

30% Linen), 600cm x 145cm 

57

DESIGN Canberra auction 

Many items in the HOME:MADE exhibition 

will be the focus of our popular annual 

DESIGN Canberra online auction. 

The DESIGN Canberra auction gives 

design-lovers the chance to own their 

own piece of contemporary design. It is 

a popular event which generates strong 

interest among media, collectors and the 

general public. 

Bid online at: www.32auctions.com/ 

designcanberra2020 

Bids open Fri 20 Nov, 6pm and close Fri 28 

Nov, 7.30pm. 

Auction artists: 

René Linssen / Minqu Gu / Samantha 

Dennis / Krystal Hurst / Chi Yusuf / Sam 

Gold / Harriet McKay / Sarah Annand (Oat 

Studio) + Nick Harper Design / Chelsea 

Lemon / Jenna Lee / Pete Bollington 

/ Kristin Burgham / Calum Hurley / 

Jordan Leeflang / Annie Parnell / Danielle 

Barrie / Jenna Lee / Kirstie Rea / Eunice 

Napanangka Jack / Mavis Marks / Keturah 

Zimran / Madisyn Zabel 

Image: Auction works by Mavis Marks, Kristin Burgham, 

Sam Gold and Jenna Lee. Photo: Lean Timms

59

9—29 November 

One city 

200+ events 

DesignCanberraFestival.com.au 

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

membership based organisation which supports local artists, designers and makers at 

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

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

HOME:MADE

Create successful ePaper yourself

Delete template?

Save as template?