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DESIGN Canberra - Seventeen days to go

Posted 7 months ago.

DESIGN Canberra 2015 is the capital’s most significant design event. Held for the first time in November 2014, the inaugural DESIGN Canberra festival drew 24,000 visitors to 101 events presented by 460 participants.

This year’s festival will feature more than 750 participants involved in close to 70 activities held across 9 days.

DESIGN Canberra puts you in touch with the capital’s creative excellence. It shines a spotlight on the nation’s talent through an extensive program that sees designers and the public connect, create and collaborate. With a strong focus on accessibility and connecting with the public, many festival activities are free.

Running over two weekends, 21–29 November, this festival offers something for of all ages. The festival’s exciting program will unfold in dozens of locations across the city, including at cultural institutions, arts centres, museums, galleries, universities, design centres, studios, workshops and as well as popping up in the central civic area.

DESIGN Canberra focuses on ground-breaking collaborations between educational and collecting institutions, artists, designers, architects, design associations, manufacturing and retail business at local, regional and national levels.

The festival is divided into five event streams: ACTivate pop-up projects in empty shopfronts, Capital of Culture design tours, DESIGN Buzz lecture series, Living Artist open studios and Exhibitions.

DESIGN Canberra is authentic and playful and at the leading edge of design conversation and practice.  Visit the DESIGN Canberra website and plot your nine-day course.

Craft ACT is immensely proud to be working with so many artists, designers, businesses, professional bodies and cultural institutions to present DESIGN Canberra in 2015.

Keep an eye out for the DESIGN Canberra printed program, it will be available across Canberra in in the coming weeks.

You can sign up to the mailing list, or keep up-to-date by 'liking' DESIGN Canberra on Facebook and following us on Instagram; engage with us by using #DESIGNCanberra #DESIGNCanberrafestival.

Avi Ambesury
CEO/Artistic Director

Filed under:   DESIGN Canberra     CEO/Artistic Director                

Bodywork: Australian Jewellery 1970-2012

Posted 8 months ago.

An exhibition of exquisite Australian contemporary jewellery is a unique and rare opportunity to see the work of 42 of the country’s most influential designers.

Each piece in ‘Bodywork: Australian Jewellery 1970–2012’ was hand-selected by Dr Robert Bell AM, Senior Curator of Decorative Arts and Design, National Gallery of Australia, who wanted to ‘inspire, intrigue and inform’. The jewellery is beautifully displayed in six specially designed cases.

Bodywork has worked its way through five states, inspiring and intriguing thousands of visitors. It’s now come home to Canberra for its last appearance. Even though the collection is owned by the National Gallery of Australia (NGA), the exhibition is at Craft ACT: Craft and Design Centre, as part of its outreach program.

The jewellery is grouped under six themes— Romanticism, Interpreting the Vernacular, Encapsulating Nature, Technics, Social Message and Sculpture for the Body. All pieces come from the NGA’s jewellery collection, which is the largest collection in the country.

The diversity of design, materials and technique used to design and create each piece in this must-see collection is fascinating and so too is the short film featuring Dr Bell, which provides deeper insights.

Pieces include brooches, arm bands, lockets, rings, bangles, and pendants created out of a wide range of materials such as gold, sterling silver, copper, coral, aluminium and polypropylene.

Some pieces may take you by surprise, like Brenda Ridgewell’s ‘Space edifice’ armband (2002), made of silver and carat gold. Brenda’s jewellery is architectural in form and often articulated and adjustable, allowing it move with the body.Brenda Ridgewell, Space edifice, armband, 2002, 925 silver and 9 carat gold, National Gallery of Australia, Canberra, Purchased 2003

The bangle by Christel van der Laan, ‘Cut price red’ (2011), made of painted silver and polypropylene, uses massed plastic price tag holders which look like the tendrils of young plants. Christel is well known for her brilliant use of found and recycled materials.

The superb ‘Ocean blue’ necklace, by Helen Aitken-Kuhnen, is made with finely crushed glass mixed with other materials to form a paste. The ‘glass paste’ is then put into a mould and heated to fuse it together.

Craft ACT was a natural fit for the last show of Bodywork. ‘The National Gallery and Craft ACT are both the same age, having opened in the 1970s,’ says Dr Bell. ‘Craft ACT has been part of the national scene for a long time. It’s appropriate that Bodywork’s final showing is in its home town and with our friend CraftACT.’

Bodywork: Australian jewellery 1970–2012’ is on until Saturday 24 October 2015.

Also showing now at Craft ACT Gallery is ‘Table Tools’, a solo exhibition by gold and silversmith Alison Jackson, who is a Craft ACT Accredited Professional Member.

Header image credit: Blanche Tilden, Palais, necklace, 2010, borosilicate glass, 925 silver, National Gallery of Australia, Canberra, Gift of Sandy and Phillip Benjamin, 2010.jpg

1. Brenda Ridgewell, Space edifice, armband, 2002, 925 silver and 9 carat gold, National Gallery of Australia, Canberra, Purchased 2003Image credits: from top to bottom

2. Helen Aitken-Kuhnen, Ocean Blue, necklace, 2009, sterling sliver,cast glass pate-de-verre,stainless steel,NGA,in 2009 with funds from Meredith Hinchliffe Fund.

Filed under:       Exhibition     Bodywork: Australian Jewellery 1970 - 2012            

Craft ACT Gallery: In conversation with Mel George

Posted 9 months ago.

As the Curator of Craft ACT: Craft + Design Centre, what was it like to work with Alison on her first solo exhibition, Table Tools?

I was instantly impressed when working with Alison as she has a strong work ethic and clear vision. I visited her studio (Pocket Studio) regularly throughout the year so I could stay in touch with her ideas and to also see her exhibition work progress.

We had some great conversations, she is passionate and outspoken, like me, we often just talked over the top of one another out of excitement.  One of my favourite outcomes of our conversations was the decision to paint the top of the exhibition stands to really highlight the materials Alison is using in her work. I believe the colour we decided on is called Blue Lava.

Where does Alison fit within the national landscape of craft and design?

Contemporary metal work is not necessarily my strongest point, so I did spend a lot of time researching and talking to people about Alison and her practice. Many artist and designers in the industry working with metals are focussing on wearables. What I believe to be unique and scarce within the industry right now is to find practitioners making vessels and utilitarian objects.  I believe Alison is representative of an incredibly exciting ‘next generation’ in Australian craftspeople and designers. Jackson is very active on social media and bringing fresh, new ideas to Australian craft and design. She is 100% dedicated to silver smithing and its clear this is her passion. Watch out for this one, she is going to take over the world!

Can you include some excerpts from your opening speech?

When you look at Alison’s pieces, remember handmade, and think of the years she has spent learning her craft, and the hours involved in each piece and that she has taken on true dedication to the art of silversmithing. She designs and makes pieces to be used every day; objects that become a part of daily rituals. I am sure we have all experienced how objects become extremely significant agents as they enable our intimate, everyday processes. The repetitions of these processes collectively build the narrative of our existence.

I believe we have all felt the warmth of ladling a bowl of hot soup in winter, the destructive pleasure when using a spoon to crack through the toffee surface on a crème brulee or the sense of achievement when you’ve whisked the cream to the appropriate consistency for a pavlova.

It is the use of these objects and the rituals that come with them that makes them so necessary in our daily lives, they hold and contain memories. Her tools weave together love and memories to be passed onto the next generation. Alison is creating modern editions to the lineage of heirlooms and what will be future memories with their use.

Any last words?

For anyone out there thinking of investing in beautiful handmade objects or for those who want to support our local culture, you can’t go past acquiring an Alison Jackson. Not only does she make high calibre gallery work, but also creates accessible and affordable production work as well.

To find out more about Alison and to view her production work contact Mel George, Curator and Exhibitions Manager, Craft ACT: Craft + Design Centre. 

Image credit: Alison Jackson, Trumpet Vessels, sterling  silver. Photography: Angela Bakker.


Filed under:       Exhibition     Table Tools     Alison Jackson        

GATHEREDMADE New jewellery by Lisa Jose and Harriet Barry

Posted 9 months ago.

Tell us a little about you and your work

Harriet: I’m a Canberra-based jewellery maker and designer. This is a relatively recent ‘later-in-life’ practice for me, as my previous working life has been in a completely different field. I came into jewellery making through hand working with glass.  I’m very interested in ethnic adornment and for years I’ve been collecting natural and manmade treasures wherever I’ve found them. I’ve used this material, and my own handmade glass beads to make a collection of only-one-of-a-kind necklaces and earrings for this shop.  Hence the title. There’s a strong historical influence in this work including handmade replica Roman, Phoenician and Viking glass beads and a series of pieces inspired by ancient Egyptian necklaces.

Lisa: My background is in archaeology – my PhD looked at jewellery in 3000 year-old burials outside Rome – but I’ve always been interested jewellery from all eras.  Some of my work takes its inspiration from ancient treasures, but I am equally excited by the beauty in modern urban decay, the unexpected elegance of industrial materials, and the perfection of nature.

How will you use the pod space and what will you be showing?

H: This is our second show in pod, last year we had an exhibition Archaeologies. This time we’ll be using the space as a pop-up shop with a changing display throughout the month.

How do your different practices and bodies of work complement each other?

H: Even though we work in different mediums and our practices are slightly differently focused, we both make beautiful, striking, elegant jewellery. We both value strong shapes, balance, colour and texture.

L: We employ different skills and techniques in making our work, but our shared passions create strong connections between many of our pieces.  We work separately, but have been surprised at how well a pair of my earrings, for example, complements one of Harriet’s necklaces.  I also have a number of pieces that combine Harriet’s handmade glass beads with my own silverwork.

What do you hope visitors will take away from your show?

H: All my pieces have a back story…. the extraordinarily long history of glass bead-making going back thousands of years, trading across continents and empires and the discovery of treasures in unusual places.  I’d like visitors to discover that they are wearing history and stories when they wear my jewellery.

L: The use of ancient, historical and industrial materials in a distinctly modern aesthetic means our pieces are appealing on many levels.  I hope people find their own connections with pieces that they will cherish for many years to come.

What’s next for you two?

H: I’ll be working on a new exhibition: early next year in SA. And Christmas is coming…..

L: Stay tuned for some new designs over the coming months!

What are your opening days/hours at pod?

pod is open Thursday – Sunday, 11am to 4pm and we will be here until 27 September.

Filed under:   Pod                    

Embracing Innovation Vol 5: In conversation with Norwood Viviano

Posted 10 months ago.

Influenced by the drastic development of the automotive industry in his home towns Detroit and Michigan (USA), Norwood Viviano's created the Mining Industries Series. With a tremendous 125 hours of work going into each piece, this series emphasises on the idea of an industry's land development and population progression over time. Norwood used kilncast glass and fabricated steel, as well as Google Earth, ArcGIS software and LiDar data and more to create this series.

Tell us about yourself, where you’re from and what lead you to your Mining Industries series

My work included in Embracing Innovations represent my interest in the dynamic relationship between early American industry and the towns that grew up around it. This focus – the domestic landscape – is a direct result of my experience growing up in the city of Detroit (USA), which was devastated by changes in the auto industry, and moving to a small Michigan town that lost its primary employer in 2000 and was registered as a superfund site that same decade. Tension between historical modes of manufacturing and contemporary notions of efficiency and industry’s influence on the individual and collective narratives in the surrounding communities.

Can you briefly tell me about the making process and how long it takes to create a new work?

Typically, I start by identifying sites in Google Earth and create cropping polygons. The cropping polygons are used in ArcGIS software to crop found LIDAR data. Once the LiDar is cropped it can be converted to a 3D print ready format. The 3D prints provide the pattern for rubber mould making and lost wax casting in plaster investment moulds. Once the Bullseye Glass is kilncast into the moulds they typically anneal for up to ten days. After divesting the glass it’s cold worked and the surface is acid polished. Additionally, I also research corresponding data sets – aerial photographs and Sanborn Maps - that become incorporated into the work. The additional data sets become ways to better understand the sites as they describe historical change over time. A typical piece from start to finish can take over 125 hours.

What does it mean to you to have been invited to exhibit in the Embracing Innovation exhibition series?

It’s a tremendous honour to be a part of the exhibition and to show alongside such a talented group of artists and designers. Just the invitation encouraged me to consider the potential of my work and the way it’s contextualized within a larger framework – technology, architecture, design, craft, material, and innovation. Notions of innovation also make me question and consider the potential of progress as it relates to several concepts within the work.

How does your work embrace innovation?

There are significant challenges as an artist working with glass and also interested in the potential of emerging technology. I find during the early stages of research and development - acquiring 3D LiDar scan data from city governments can be a big part of the process. Incorporating the data as a 3D snapshot of a site/place connected to a specific time illustrates and connects to ideas related to the work. Concepts within the work ultimately create ways to consider questions of land use as connected to industry and community over time.

What is the message behind your work that you wish to convey to your audience?     

It’s also important to consider land use over time, as it relates to population and connections to industry. The works included in the exhibition explore the influence of industry and consider the notions of progress as it relates to a local community. Within my material choices - the fragility of glass also serves as a metaphor for balance between time, efficiency, and the slowness of manufacturing to adapt. The pieces aim to reconcile the past with the potential futures of urban centres in the USA including Detroit, Houston, and Seattle.

For more information about Norwood's work, visit his website.

Image: Mining Industries: Exxon Baytown Refinery, 2014, Rapid prototyped pattern kilncast glass/fabricated steel. Photography: Tim Thayer/Robert Hensleigh.

Filed under:       Exhibition     Embracing Innovation Vol 5     Norwood Viviano        

Embracing Innovation Vol 5: In conversation with Stephen Barrass

Posted 10 months ago.

While Stephen Barrass has exhibited work in the previous Embracing Innovation series', this is the second exhibition where he has worked alongside Nadege Desgenetez. Phase Change Material and Glass (PCM) is the follow-up piece from last year's submission 22C. Stephen teaches Media Arts and Production at the University of Canberra, and Nadege specialises in glasswork and teaches at the Australian National University. Stephen kindly took time out of his busy schedule to answer a few questions about PCM, on Nadege's behalf.

Tell us about yourselves and what lead you to your collaboration and practice lead research?

Nadege teaches in the glass workshop at the Australian National University School of Art. I teach Media Arts and Production in the Faculty of Arts and Design at the University of Canberra. I met Nadege at a Workshop on Cultural Spaces and Design hosted by the ANU Centre for European Studies in mid 2014, where we each presented examples of our practice led research.

You have previously exhibited work in the Embracing Innovation series, what inspired you to create the Phase Change Material and how does this link to your previous exhibited work?

I have exhibited in all 5 Embracing Innovation exhibitions, from the first in 2011 up to now. Last year I showed 22C which was a collaboration with ceramicists Joan Barrass and Linda Davy that explored the storage of warmth in a clay vessel containing a phase change material (PCM) that melts at 22C. The change in phase from liquid to solid is shown by a change in colour from blue to yellow in thermo-chromic pigments on the surface. The changes in colour led to a curiosity to observe the phase changes in the material more directly, though a glass container.

In January 2015 the Canberra Glassworks exhibition Glass X Design showcased collaborations between glass artists and designers, including a work by Nadege. The possibilities of glass were so exciting that I plucked up the courage to show her a jar containing Phase Change Material, and ask whether she might be interested in working with it.

Tell us a little about how you created the Phase Change Material and Glass.

Over the next couple of months we sketched ideas, and discussed the aesthetics of the glass and the PCM, metaphors of scientific observation and global warming, and workshopped various forms. Nadege blew several glass prototypes with different shapes, volumes, tints, and openings. I ordered 10kg of PCM material, which I expected would be 10 litres in volume. However the PCM is twice as dense as water, so there was only 5 litres. This led to the selection of one of the experimental forms which was 6 litres in volume, leaving an air gap to allow for the 5% increase in volume in the solid state. It took half a day to melt and funnel the PCM into the container through a 5mm hole.

How does your project embrace innovation?

In 2013 I heard about a new product for insulation in houses that has 10 times more thermal mass than concrete. Thermal mass is the ability of a material (like brick or concrete), to absorb and store heat energy and provide resistance to temperature fluctuations. The insulation batt contains a wax-like substance that absorbs excess heat during the day and releases it back in the evening as the building cools.

Our project explores phase change material as an artistic medium. The hands on experience of the dynamics of state transitions and energy flows provides an understanding of the aesthetics and characteristics of these materials. This insight and knowledge may allow innovations that extend beyond the purely functional energy storage applications. It may also enable innovation with dynamic materials in art, craft and design.

What is the message behind your work that you wish to convey to your audience?

Water is a Phase Change Material. Our art experiments with these materials provide an understanding of latent energy that leads to the realisation of just how catastrophic the melting of the polar ice-caps would be for the stability of the Earth’s climate. The polar caps are like the ice that keeps a cocktail cool. When the last ice block melts, the temperature will rise and the cocktail will become undrinkable.

What kind of projects do you see yourselves pursuing next?

Some future projects include more experiments with materials with unusual physical and chemical properties, 3D scanned and printed documentary objects, and digital marquetry.

For more information on Stephen's work, visit his website.

Image: Phase Change Material and Glass. Image courtesy of the artist.

Filed under:       Exhibition     Embracing Innovation Vol 5     Stephen Barrass        

Embracing Innovation Vol 5: In conversation with Stuart Walker

Posted 10 months ago.

Complex global issues such as economic disparity, social inequality and the relationship between technology and nature influence Stuart Walker's Tempo I and Memoria Porto. After working in the oil industry, he decided to attend art school to pursue practice-based creative work. With a PhD in Engineering and a Masters in Industrial Design Engineering under his belt, Stuart exhibited his previous works in North America and Europe.

What has inspired you to specialise in design for sustainability, industrial design and practice-based design research?

Design for Sustainability: Before going to art school I spent many years in heavy industry – steel, mining and oil. I saw much pollution, much destruction of the natural environment and, in the Middle East, the eradication of traditional ways of living that had been in place for thousands of years and that were in complete harmony with the natural environment. When I left the oil industry and went to art school I brought these experiences into my work.

Industrial Design: After completing a foundation course at Exeter College of Art I went to the Royal College of Art and Imperial College to study for a Master’s degree in Industrial Design Engineering – this was a joint degree between the two institutions aimed at people with engineering backgrounds who wanted to get into design. I already had a PhD in engineering, so it was a natural move – if a little unusual to do a Master’s after a PhD.

Practice-based Design Research: I took a significant change in my career direction when, in my early thirties, I left the oil industry to go to art school. I had a yearning to do practice-based creative work. Having decided on a new career path because of my love for practice, I was determined to hold on to this in my research. That’s part of it. The other part is that design is a practice-based discipline. You can only really know about design fully by doing it. There is knowledge gained through practice – knowledge about materials, form, relationships, insight, perceptions, aesthetics and so on – that you can’t know deeply or wholly without engaging in practice. It would be like writing about riding a bicycle without actually being able to do it.

What does it mean to you to have been invited to exhibit in the Embracing Innovation exhibition series? 

I was surprised and delighted to be asked to contribute some of my work to the Embracing Innovation exhibition. Having previously exhibited work in Europe and North America, it is a great pleasure to have the opportunity to show these propositional objects in Australia’s capital city. It’s also wonderful to have a show like Embracing Innovation asking – through the design work itself - critical questions about design, the nature of material culture, and where we are going.

What influenced you to create Tempo I and Memoria Porto?

Tempo I: This object is a tangible expression of the relationship between our technological society and Nature. It is electronic circuitry and a disposable battery literally bound to a natural element. I had been working on design for sustainability objects for some time – but the idea for this object just came to me one morning, in the half-light between sleep and waking – it was one of those moments of insight that, at the time, you don’t know exactly what it’s about – you feel it’s telling you something and you have to listen.

Memoria Porto: This object is about reconciliation – bringing together our globalized, technologically sophisticated, mass-produced world of innovation and material capability with the local, the familiar, the small-scale, the human. Precision and imprecision. Sterile efficiency and empathy. It’s one of a series of pieces that concern memory – cultural memory of lost innocence, place, community and digital memory that is efficient, effective but also insubstantial and remote.

What is the message behind your work that you wish to convey to your audience?

The material culture we have today is based on a consumption-based economy. The more we consume, the more the economy grows. Most people don’t benefit from this growth – according to the economist Joseph Stiglitz and others, since the 1980s and the era of market deregulation under Reagan and Thatcher, the gains of economic growth have gone to the top 10%. This has increased economic disparity and social inequity – the middle classes have stagnated and the poor have got poorer. In the process, this voracious consumption based economy is trashing the planet. Design has been part of this and, through its ability to be creative and its ability to make tangible and show other possibilities, it can be part of the solution. This kind of design work explores alternative directions – it asks questions about the future of objects, the future of making and the kinds of future we want. It asks questions about the direction we have taken and the direction we could be taking. We make the world we want and that world makes us.

For more inforation on Stuart's work, visit his website

Image: Memoria Porto. Knitted Hemp, Silk, Linen, Cord. Image courtesy of the artist.

Filed under:       Stuart Walker     Exhibition     Embracing Innovation Vol 5        

Daylights: An interview with Michelle Day

Posted 10 months ago.

Day’s exhibtion, Daylights, straddles the boundaries between the functionality and sculptural forms of lighting through experiments with diverse light diffusing materials such as paper, fabrics, fiberglass, glass and silicone.

In a short interview Day tell‘s us a little more about her creative and making process and what inspires her to create.

Firstly, tell us a little about yourself, your background and your medium/field.

I grew up on an organic fruit and veg. farm near Captain's Flat (an hour from Canberra) so I have always been in contact with nature and the organic forms that I love. As a scientist, my Dad ignited a more analytical observation of nature for me. Growing up I was constantly drawing nature, sewing or building things in the bush. I learnt to sew at a young age and have been passionate about that ever since.

In 2004 I began study in Textiles at ANU School of Art with a focus in creating soft sculpture. I then undertook Honours in Sculpture where I discovered silicone from 'The Master of Silicone', sculptor Simon Scheuerle and I fell in love with it as a material. The process of using it is pretty horrible but the resulting material is somewhere between skin, fungi, aquatics and maybe wax/glass. It is just so beautiful and unsettling that I became obsessed with it.

Over time I developed my own way of working with silicone to achieve a particular delicacy. However, as much as I love silicone I am interested in incorporating new materials into my practice. Through this exhibition I have attempted this through experimentation and exploration of aluminium, paper, paper based polymers, stainless steel and new fabrics. The incorporation of lighting has also been a consistent element in my previous sculpture and this exhibition has allowed me to experiment with light as a material in different ways both in form and functionality.

What inspires you to create work?

I am motivated to create forms that do not exist in reality or to highlight the unbelievable forms or bizarre creatures that exist. I am so gob-smacked by the weird things that happen in life forms whether they be beautiful, interesting or they turn your stomach. It is all just mind-blowing to me!

I am also in awe of how new and old technologies can alter living forms and the philosophical questions that arise for our future when we consider this.

When I make my work I aim to create a sense of disharmony in the forms illustrating the awkward relationship between the mechanical and biological.

Finally I love light, whether it's natural light pouring from the sky through my window or a Milky Way of city lights. It keeps me alive and I don't just mean literally.

Can you tell us a little about the different materials used in the exhibition?

In this exhibition I have taken a few different avenues with materials as I wanted to experiment and branch away from silicone. These materials include fabric, paper, cast aluminium, silicone, welded steel and stainless steel. This is my first experience with cast aluminium and I'm really happy with the result. Conversely, there's a lot of stitching involved in my work, which I really enjoy. Overall it was pretty overwhelming trying to keep my head in all of the different material processes at once but I'm very happy with the diversity and result.

The works seem very intricate and detailed, especially the aluminum and silicone elements in some pieces. Can you briefly tell me about the making process and how long it takes to create a new work?

Yes, my work is definitely wonderfully laborious. I used almost every waking hour (around my 1 year old son) to stitch, carve wax, braze, mould... Like most artists I could never keep going if my passion didn't drive me to obsession. Each aluminium form I carved over maybe a week or so from studying insect legs. I will let you know though that I take the parts of insect legs that I like and sort of morph them together, meaning these are not scientifically accurate legs. I love morphing everything! The wonderful Paul Hay, Nick Stranks and Anton Poon then cast the forms for me and the cast sections were welded by Dan Lorrimer. Although polishing and sandblasting went into finishing of these pieces I wanted to keep the final result quite raw, such as keeping some flashing on the cast elements and leaving the welds visible on the pipe.

The silicone pieces were made in two different ways. 'I'm Lost in the Dark, Lend Me Your Teeth I' was made by creating sheets of silicone with fabric substrates and then cutting them into sections that I stitched together over many, many nights in front of iView. They take so long that if I did them any other way I would go insane. In the spiny section of 'Too Cold in Berlin' I inserted the found stamen-like elements into the silicone one by one, like hairs, over a couple of weeks.

The piece that took the longest time to make was 'The Insects of Japan,' which was the first piece I started for this exhibition and the last to be finished.

Tell us about what you are working on next and how you see your work developing in the future?

Well, we have just moved to Chiang Mai, Thailand where I will begin my Masters in Sculpture at Chiang Mai University. My aim is to continue to create organic forms in sculpture and Installation and for the materials, philosophy, visual information and culture of Thailand to feed into my work and take it in new and unforeseen directions. In the distant future I would like to be working in large immersive and interactive Installations and sculpture.

To find out more about Michelle day head over to her website.

Filed under:       Exhibition     Michelle Day     Daylights        

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