CO: LAB

CO:LAB
LISA CAHILL | PETER BOLLINGTON

Craft ACT: Craft + Design Centre is partially supported by
the ACT Government, the Visual Arts and Craft Strategy -
an initiative of the Australia State and Territory
Governments, and the Australia Council for the Arts - the
Australian Government's arts funding and advisory body.
Craft ACT: Craft + Design Centre acknowledges the
Ngunnawal people as the tradition custodians of the ACT
and surrounding areas. We honour and respect their
ongoing cultural and spiritual connections to this country
and the contribution they make to the life of this city and
this region. We aim to respect cultural heritage, customs,
and beliefs of all indigenous people,
Craft ACT: Craft + Design Canberra
Wednesday-Saturday 12-4pm
Or by appointment.
Level 1, North Building, 180 London Circuit,
Canberra, ACT, Australia
02 6262 9333
www.craftact.org.au
Cover Image: Image: Lisa Cahill, Fluted Wall Sconce, 2023, Photo Credit: Tim Bean Photography

CO:LAB
Lisa Cahill | Peter Bollington
18 May - 1 July 2023
Craft ACT: Craft + Design Centre

Image: Peter Bollington, Lustre: Double Strip Pendant, 2023, Photo Credit: Tim Bean Photography.

Image: Lisa Cahill, Swirl Wall Sconce, 2023, Photo Credit: Tim Bean Photography

CO:LAB
EXHIBITION STATEMENT
CO: LAB is a culmination of a year-long Craft ACT
professional development and exchange program that
forges new directions in the creative industries.
Artists' Lisa Cahill and Peter Bollington were selected and
have worked with an architect and their clients to develop
a new range of lighting pieces for a residential project in
Canberra. Embracing the spirit of collaboration, these
makers have worked across disciplines and have gained
exposure to commercial environments with other
designers and clients.
During the project, Cahill and Bollington received
professional support including sustainability advice,
mentoring and technical support.

Image: Peter Bollington, Lustre: Small Pendant, 2023 Photo: Tim Bean Photography

Image: Lisa Cahill, Swirl Wall Sconce, 2023, Photo Credit: Tim Bean Photography

EXHIBITION FOREWORDS
JENNNY EDWARDS
CO:LAB provides a rare opportunity for artists to learn about design collaboration in a real-life application – it
was born in 2021. As part of their 50th anniversary celebrations, Craft ACT invited contemporary craft
practitioners to apply for a new and unique professional development opportunity to create lighting for a
freshly, architecturally designed, residential project in Canberra. Craft ACT received a high number of
outstanding applications, demonstrating a real thirst for commercial opportunities for artists, and a genuine
interest in collaboration with other design disciplines.
If successful, the plan was to make CO:LAB an annual program to support Canberra’s thriving craft and
design community. I am delighted that here we are again celebrating the second year of CO:LAB. In 2022,
the calibre of applicants was just as high and the selected artists were renowned glass artist, Lisa Cahill, and
talented and versatile timber artist, Peter Bollington of Curious Tales.
The architecture practice involved in both the first and second years of CO:LAB was Light House
Architecture and Science. The design and sustainability principles of Light House were discussed with the
artists as they explored the spaces of the home, initially on paper and then physically, during construction.
This background information and experience of the architectural spaces provided the initial seeds of
stimulus for the artists’ designs. This exhibition is a celebration of the seeds that have blossomed during the
year that was CO:LAB round two.
The CO:LAB initiative is funded in full by the new Craft ACT Circle of Hands donor circle, a group of likeminded
individuals who are committed to sustaining Australia’s high-quality studio practices. Members of the
Craft ACT donors circle contribute $5000 each year to the project. It's members fundamentally believe that
for Australia to have a healthy visual arts ecosystem, it needs a sustainable craft sector and a thriving
independent studio practice. The 2021 Craft ACT donor circle consists of: Jenny Edwards, environmental
scientist, Light House Architecture & Science; Peta Furnell, craft supporter; Graham Humphries, acclaimed
architect, Cox Architecture; Paul Kerr, respected builder, Preferred Builders;, Bob Fenderson, Designcraft
Jenny Edwards | Craft ACT Board Deputy President Director + Scientist, Light House Architecture & Science
Jenny is sole owner and director of the award-winning company Light House Architecture & Science. She
has a masters degree in science and communication and is an ACT licensed Building Energy Efficiency
Assessor. In 2019, the ACT branch of the Institute of Architects awarded Jenny the Clem Cummings prize for
“outstanding contribution to architecture and the built environment.” In her spare time, Jenny is a passionate
supporter of local artists, designer and makers and she is gradually (and enthusiastically) expanding her
personal collection of local work. Nothing excites her more than meeting the artists and learning about the
process of making each piece

Image: Peter Bollington, Lustre: Staggered Pendant, 2023 Photo: Tim Bean Photographyt.

Image: Lisa Cahill, Bronze Wall Sconce, 2023. Photo: Tim Bean Photography.

LISA CAHILL
ARTIST STATEMENT
I was delighted to be selected for the CO:LAB project
alongside woodworker Peter Bollington. It has been a very
rewarding and exciting project focused on mentorship
and research opportunities through working closely with
architecture firm Light House Architecture and Science
and their clients to develop bespoke lighting for their new
build. This project enabled me to broaden my practice into
the realm of lighting which I had been wanting to do for
some time.
The project was spread out over a year and broken into
different stages. Stage one was meeting with the team
from Light house Architecture and Science, their clients
and site and studio visits. We had site visits to the clients
home which was under construction as well as a site visit
and meeting with clients from the previous CO:LAB
project. Both these visits were invaluable enabling us to
visualise different lighting opportunities. Studio visits to
both Peter and my studio’s gave the clients an insight into
our practices and allowed us to discuss our techniques,
materials and the tools we use. This was also a great
opportunity for Pete and myself to see each other’s
different approaches and ways of working. Through the
many conversations we had with Light House and their
clients and seeing the natural materials and recycling of
materials being used in their home I felt that an element of
sustainability and a focus on natural forms and finishes
was important.
From the initial brief I began to explore ways in which I
could translate the clients ideas and needs into successful
sculptural lights that enhance the spaces they inhabit. I
looked at how I could use glass to mimic nature and
create a sculptural form that would also provide beautiful
illumination in the clients home. I worked on designs for
two different ranges of lights, one for the wall, and a long
pendant for over bench or dining table.
Glass has a unique ability to highlight, reflect and conceal
light and is therefor ideal for lighting projects. I have
always used these abilities to express the main themes of
my work, Intensity of colour, translucency and captured
light combine to evoke notions of an ephemeral
landscape. I was interested in exploring these ideas
further through this lighting project. In my artistic practice I
am known for use of strong colours, especially shades of
graduating blues and greens. For this project I pared back
my glass and decided to use minimal colour in some lights
and a crystal clear glass in other lights with subtle textures
and surface details in an effort to create lighting that was
sculptural and intriguing but could also coexist with the
other elements, furniture and artworks in a home.
The next stage of the project was an intense period of
research and development during which we worked on
the finalising the designs and then integrating the
technical aspects of lighting into these designs. We met
with formidable local designer Tom Sheehan who helped
us work through this. As per my artistic practice I was
open to using different techniques and materials for the
artworks. Working out of the Canberra Glassworks hot
shop I used molten furnace glass to create the glass for
the wall sconces. The glass for the pendant lights was cut,
kiln formed and cold worked in my studio to create soft
folds and surface textures. Using these different glass and
techniques I was able to create various effects that could
still work together as a cohesive range of lighting
products.
The Swirl range used the fluidity of molten furnace glass to
create organic swirls. It was poured onto the hot shop
bench and the white powder was added while hot. I love
this technique as the glass flows organically and it allows
me to create unique pieces every time. These opaque
swirls mimic patterns found in nature and adds texture
and depth, creating interest in the shadows or where the
emitted light is obstructed by the opacity of colour. I cold
worked the surface of the glass to create a satin finish
which helps the glass to hold and soften the emitted light
from the light source. For the pendant version of the Swirl
range I kiln formed gentle folds into a white and clear
streaky glass. This design mimics clouds, a billowing
curtain or light filtering through trees. The surface was cold
worked and fire polished to again create a satin finish.
My other range is the Flute glass range. For this range I
used a crystal clear glass and melted strips of glass to the
surface to create a fluted pattern which mimics patterns
found in nature. This pattern is effective in catching and
reflecting the emitted light from the light source creating

ARTIST BIOGRAPHY
depth and intrigue. My Fluted wall sconce is an oval shape
that has been kiln formed in a curve away from the wall.
The Double Fluted Wall Sconce consists of two organic
shapes overlayed on different angles creating a cross
over effect which reflects the light in different directions
and makes an intriguing sculptural form. For the over
bench pendant in the Flute range I kiln formed the glass
into soft folds and cold worked and fire polished to create
a satin finish, a surface detail which softens the emitted
light from the light source. The glass is reminiscent of
fabric folds, light filtering through trees or wind rustling
though long grass. The final stage of the project is an
exhibition at Craft ACT in May 2023.
My arts practice has grown immensely from this
experience and I wanted to wholeheartedly thank Craft
ACT, Light House and Architecture, the clients involved in
this project and the generosity of the sponsors. It was an
incredible project that will have a long lasting effect on my
arts practice.
Lisa Cahill is an award-winning, independent studio artist
well known internationally for her kiln formed glass
sculptures and installations. For over twenty years, since
graduating from Monash University in 2000, Cahill has
been refining and developing her kiln forming glass
practice and exhibiting nationally and internationally.
Cahill’s large scale installations and site specific artworks
can be found in public and private collections worldwide
including artworks for Tiffany & Co boutiques in Australia
and China and The Sir John Monash Centre at the
Australian National Memorial in Villers-Bretonneux, France.
Recent commissions include Vacheron Constantin,
Sydney, and Nobu Hotel, Atlanta, Georgia, USA.
Cahill’s work has been published widely including entries in
the books Australian Glass Today by Margot Osborne,
Contemporary Glass by Black Dog Publishing, UK, Art
Glass Today 2 by Sandra Korinchak and magazines New
Glass, Art and Architecture, Craft Arts International and
New Glass Review.
Artist residencies at the Northlands Creative, Scotland and
Bullseye Glass, USA have been formative and in 2018 she
was awarded the Art Group Creative Fellowship at the
Canberra Glassworks. Having lived and worked in
Melbourne, Sydney, UK, France, and Denmark, she now
works from her own fully equipped glass kiln and cold
working studio on the outskirts of the bush capital,
Canberra, Australia

Image: Peter Bollington, Lustre: Large Table Lamp, 2023 Photo: Tim Bean Photography

Peter Bollington
ARTIST STATEMENT
The lighting developed for the CO:LAB exhibitions primarily
explore the qualities of reflected lighting to conceal and
minimise the impact of the direct light itself and play off
negative spaces created within the designs.
This option has lent itself as an extension of my Lili
furniture range which utilises large chamfers to the
underside of elements along with curves to the corners
allowing a softened minimal aesthetic while retaining the
strength and structure of the material. This approach has
allowed for the interaction between these elements and
the reflection of the lighting elements on these chamfers.
The lighting within the designs focusses on a warm white
light to enhance the natural warmth of the timber and the
brass finishes.
ARTIST BIOGRAPHY
Furniture Designer Peter Bollington blends a background in
Interior and Graphic Design with Fine Furniture
manufacturing, to create handcrafted works which focus
on a harmony between the object and the built
environment they inhabit.
Primarily focusing on the beauty and warmth of solid
timber for his craft, Pete also compliments this material
with snippets of plywood, and accents of colour, to
provide the viewer with added levels of engagement with
the works. His work seeks to balance clean lines and
strong geometric shapes with a softness and refined
touch enabled through the chosen materials.
Having studied at various design schools with Australia
and gained additional experience working in interior design
and furniture manufacturing, Pete launched his own
furniture and design label 'Curious Tales' in Melbourne in
2013 and continues this practice in Canberra today.

Image: Lisa Cahill, Double Fluted Wall Sconce , 2023 Photo: Tim Bean Photography.

EXHIBITION TITLE
LIST OF WORKS
Lisa Cahill, Swirl Wall Sconce, 2023,
Kiln formed glass, brushed brass fitting
210 h x 210 w x 70 d
$990
Lisa Cahill, Swirl Wall Sconce 2 , 2023
Kiln formed glass, brushed brass fitting
240 h x 230 w x 70 d
$990
Lisa Cahill, Brass Wall Scone, 2023
Kiln formed glass, brushed brass fitting
230 h x 225 w x 70 d
$900
Lisa Cahill, Double Fluted Wall Sconce , 2023
Double Fluted Wall Sconce,
Kiln formed glass, brushed brass fitting
335 h x 270 w x 70 d
$1, 100
Lisa Cahill, Fluted Wall Sconce , 2023
Kiln formed glass, brushed brass fitting
335 h x 270 w x 70 d
$1000

Lisa Cahill, Fluted Pendant , 2023
Kiln formed glass, matt black powder coated aluminium,
140 h x 1220 w x 65 d
$5,500
Lisa Cahill, Swirl Pendant , 2023
Kiln formed glass, matt black powder coated aluminium,
140 h x 1220 w x 65 d
$5,500
Peter Bollington, Lustre: large wall sconce, 2023
American Oak, Brass, Acrylic, LED lighting
480 x 135 x 75 mm
$1, 440
Peter Bollington, Lustre: small wall sconce, 2023
Tasmanian Blackwood, Brass, Acrylic, LED lighting
360 x 135 x 75 mm
$1, 320
Peter Bollington, Lustre: Large Table Lamp, 2023
Spotted Gum, Blackened Ply, Brass, Acrylic, LED lighting
480 x 166 x 166 mm
$980

EXHIBITION TITLE
LIST OF WORKS
Peter Bollington, Lustre: small wall sconce, 2023
American Walnut, Brass, Acrylic, LED lighting
360 x 135 x 75 mm
$1, 320
Peter Bollington, Lustre: large wall sconce, 2023
Spotted Gum, Brass, Acrylic, LED lighting
480 x 135 x 75 mm
$1, 440
Peter Bollington, Lustre: small wall sconce, 2023
Tasmanian Oak, Brass, Acrylic, LED lighting
360 x 135 x 75 mm
$1, 320
Peter Bollington, Lustre: small wall sconce, 2023
American Oak, Brass, Acrylic, LED lighting
360 x 135 x 75 mm
$1, 320
Peter Bollington, Lustre: double strip pendant #1, 2023
American Walnut, Blackened Ply, Brass, Acrylic, LED lighting
87 x 200 x 1200 mm
$3,960

Peter Bollington, Lustre: double strip pendant #2, 2023
American Walnut, Blackened Ply, Brass, Acrylic, LED lighting
87 x 200 x 1200 mm
$3,960
Peter Bollington, Lustre: large pendant, 2023
American Walnut, Blackened Ply, Brass, Acrylic, LED lighting
480 x 166 x 166 mm
$980
Peter Bollington, Lustre: small pendant, 2023
American Oak, Brass, Acrylic, LED lighting
360 x 166 x 166 mm
$920
Peter Bollington, Lustre: large pendant, 2023
Black Butt, Brass, Acrylic, LED lighting
620 x 166 x 166 mm
$1080