Making Waves is comprised of 12 hollow wooden surfboards individually hand crafted by Peter Walker using a variety of techniques including joinery, laminating, bending, shaping, inlay, burning, laser cutting, painting and fiber glassing. These are functional surfboards that draw on the evolution of surfboard design history from Tom Blake’s innovations of the hollow board (1929) and the fin (1936) and Bob Simmons’ theories of hydro-dynamic flow (1940’s) up to present day shaping developments and experimental design.
Three of the boards are collaborative efforts with South Australian artists Gerry Wedd (ceramicist) and Quentin Gore (Industrial designer) and Victorian painter Phil Hayes. Gerry and Phil work with traditional techniques of drawing, illustration and painting while Quentin’s work combines industrial technological process with handcrafting sensibilities.
The development of this body of was assisted with funding from The Australia Council in the form of a 2009 Project Grant for established artists.
First shown at the Jam Factory Adelaide in 2010
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korban/flaubert work across design and sculpture, exploring ideas about energy and motion in their sydney workshop.
The ductility and lustre of metal are central to the development of korban/flaubert’s forms. This exhibition illustrates their fascination with metal and how manipulation in the workshop leads to objects and sculpture with a sense of fluidity and contained energy.
Recent sculptural work explores the expressive possibilities of the travelling line, generating surprise in shifting shapes with the shifting viewpoint.
korban/flaubert have exhibited extensively internationally and are represented in museum collections in australia and germany…
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Ever wonder whether children are fatter in neighbourhoods without playgrounds? Or ponder if well-made footpaths make you walk more? Did you know that jails with gardens do a better job of rehabilitating prisoners?
BLOOM will present landscapes from across Australia and beyond which demonstrate how our built environment impacts our health and well being. Curated by Gweneth Leigh in partnership with the Australian Institute of Landscape Architects, the exhibition will discuss topics such as:
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The AGDA Poster Annual celebrates the grace and tactility of the poster and its power to engage and motivate. It is intended to captivate the general public and creative industries with the finest works of Australian graphic designers.
Entrants were invited to be inspired by the culture of music to create ideological posters. 46 Finalists were selected and exhibited at the Gaffa Gallery, Sydney in October 2011.
The poster medium is the cornerstone of graphic design. For the last century it has continued to be the purest form of graphic design for its singular voice. By celebrating the poster we force our gaze away from the fizz and glitz of the contemporary digital scene, the constant blip of the mobile phone and laptop.
Here instead are powerful and vivid images that don’t require you to plug in or log on. The posters are large and immersive, the ideas engaging and inspiring. Over the years the poster works exhibited have been sometimes fun, sometimes challenging and always thought provoking. The standard is high and posters designed in previous years have gone on to win major awards at the AGDA Biennial Awards, Warsaw International Poster Biennial and Graphis Posters New York.
2011 was AGDA’s biggest year to date with over 500 posters being received from all over the world with the overall standard of entries being outstanding.
We invite you to come celebrate the art of the poster and its power to motivate and inspire.
Be “inspired by music”.
This exhibition invites the education sector of the Australian Fashion Design industry to raise questions about a rapidly changing industry nationally and globally. By selecting students from around the nation, the exhibition offers a truly national perspective on the state of the art of Australian fashion education.
Current research shows that the dizzying speed of the global fashion industry means that Australian designers can no longer rely on copying international trends for a local market. The Australian industry is struggling to maintain viability on price, volume of manufacture and significant cultural difference. Yet, local identity and local innovation is increasingly essential in a global market place. If Australian fashion design is to be viable locally it must be able to compete internationally by offering genuine innovation and a local point of difference.
Fashion education is playing a leadership role in developing new models for a more innovative and diverse fashion industry. This exhibition offers a snapshot of how Australian fashion design education is repositioning the next generation of Australian fashion designers to compete in the fast paced global market.
Creative Director Kate Shaw proposes to showcase the best student fashion designs selected from the 11 leading Australian fashion design programs across 8 states along with 8 emerging designer labels, demonstrating the diverse strategies of innovation that are repositioning Australian Fashion Design.
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