Bread woman in Santiago

Ananova - Bread statue popular with pigeons
"A statue of a woman made out of bread is proving popular with pigeons in a park in Santiago." An interesting prelude to the tour of Make the Common Precious to Chile.

The publication has arrived

Artists and friends of Common Goods gathered at Craft Victoria last night to reflect on the event and look at the catalogue. The evening evoked many fond memories and a curious exchange of information. One artist had received an email in perfect English from a Rafoogar in Najibabad. Everyone was keen to continue the exchange, and were regretful that there was less time for everyone to spend time together. Let's hope that this is not a one-off. Mark McDean and Mary Louise Edwards can be seen astounding themselves at the Common Goods publication.

Some thoughts from the Exhibition Designer

The exhibition design of Common Goods was particularly distinctive, with the use of netting rather than perspex. Here are notes from the designer with background to her choices in the display solution.

Design Notes - “Common Goods” Exhibition
By Rosemary Simons April 2006

Introduction:

Amongst the factors that influence design decisions are: exhibits,venue, budget and themes.These notes examine these factors and the design response to them, in relation to the exhibition “Common Goods: Cultures meet Thorugh Craft”, Curated by Kevin Murray, Director of Craft Victoria, for Craft Victoria.

The exhibition was designed by myself, Rosemary Simons.

Exhibits

All were craft objects but there the similarity nearly ended.

Many items demonstrated an ability to ‘make do’, where a limited range of existing materials and construction techniques, was responded to with inventiveness and ingenuity.

The artists were from a number of different countries.

Shape, size, materials and manufacturing techniques all varied. Some materials were man made and some were natural; some approaches were contemporary, whilst others were traditional; some items were 2D and some 3D; some were free-standing and some required suspension.

A portion of the exhibits would not exist until after the initial opening. These absent exhibits could have spaces left for them, or their exhibition furniture could be introduced with them.

There was no hierarchy of importance amongst the objects, all were to have as equal a status as possible.

The exhibits needed some protection from damage or theft.

Venue

No venue is entirely neutral however some announce themselves more strongly than others. This venue was the latter, the work of Denton, Corker Marshall making a strong architectural statement . The exhibition could quite easily have been made to look ridiculous or insignificant within the scale and strength of the architecture.

The space was not designed for exhibitions. It is a foyer to the Temporary Exhibition Hall , a ‘’shop front’ for the museum and a thoroughfare generally. It displays two impressive, large scale, exhibits and visible through a vast, glass wall, is a large scale granite art work.

On one side of ‘Common Goods’ was constructed a stack of giant flag cards, whilst half way through the life of the exhibition, the eye-catching, “Spirit of the Games’ exhibition, would be visible through the open doors of the Temporary Exhibition Hall.

Unless we opted for the other end of the museum foyer, which appeared too far from the action, ‘Common Goods’ must be made to appear entitled to its place within this setting.

Budget

The limited size of the budget imposed the need for very creative thinking in order to draw as much from the funds as possible.

Even if we had wanted it, a slick, highly finished, composition of glass or perspex showcases, was out of the question, as also was a lighting rig.

Themes
The brief, both verbal and written, stressed the theme of hospitality and the capacity for cultures to meet through craft.

Representation from a variety of countries and a broad range of works was essential to presenting these themes.

Design Decisions

Exhibit and Budget led:

Designing a stand to suit each exhibit was rejected due to cost, the possibilities of imposing status, and the fact that some exhibits were unknowns. A range of stands might also weaken the impact of the installation which clearly needed to have a presence within the space.

The tactile nature of the exhibits suggested a tactile component to the stands and the ‘make do’ quality seemed fitting for the stand design also.

Market places featured in early discussions and the experiences of the curator, Kevin Murray, as he travelled to visit the artists. Market stands were temporary, improvised , suited a range of items and were approachable. Even the layout of such markets suited the space. Markets and their stalls thus became a source of inspiration.

Objects may be protected by electronic beams or sensor pads, however these, like glass or perspex protection, would not have been possible for all the exhibits, given the budget. Further to this, and more importantly, such protection did not lend itself to a ‘make do’ construction. Another protection was needed.

Kevin recalled a country museum, no doubt ‘making do’, using chicken wire as a protection for a glass bottle exhibit. Whilst this could be perceived as a greater barrier than glass or perspex, it did not cause reflection problems and did not place a solid albiet transparent, material between the viewer and the object. Wire, in the end was replaced by netting. The netting had a tactile quality that was sympathetic to the approach and allowed the object to ‘breath’.

Stand materials were unpainted steel, ply, fabric, hardwood dowel and netting. Whilst man made, the materials are not particularly ‘high tech’.

The construction techniques utilised, was to tie the stands together using cable ties. Whilst some fabricators doubted the viability of this approach, I took confidence from the large tied bamboo scaffolding and permanent villages I had seen in Asia.

Scenic Studios devised a finish for the ply, that took away the newness. The air would do the ageing for us in regard to the steel. Terracotta tiles became the plinths or supports where needed, adding a final stand material to the mix.

Nothing was fixed to the walls as if the ‘market’ could pack up and move on.


Venue led:

The colour chosen contrasted with the surroundings, to help this modest installation stand out.

Whilst the stands had a ‘make do’ feel about them they nevertheless, needed a strong presence and an acceptable level of finish in order to have a legitimacy with the surrounds. This was the design tight rope to walk.

Height was incorporated to allow for suspension of objects, add to the presence, carry graphics and to provide a scale balance between the installation and the venue.

The layout made use of the available light and left the pathways free for people and machinery.

Theme:
Warm colours, the tactile nature of the stands, the use of fabric and the simplicity of the layout, was designed to enhance the friendliness of the installation and draw people into look at the objects.

Ideally, objects are best with no barrier and even the possibility of being handled. The netting, whilst forming a grid between the object and the audience, also had the effect of drawing people to the object and created a type of ‘fascinator’ for the object.

Whilst netting or wire may not have the acceptance or versatility or glass or perspex, it nevertheless deserves a place in the repertoire of options available for protecting works on display.

© Rosemary Simons 2006

Borana hut

If you get the chance, it is worth going to the National Gallery of Victoria Sculpture Garden to catch a glimpse, and 'whiff', of the Borana huts that were hand-made by the Borana pastoralists from Kenya themselves in the weeks leading up to the games.

Miniature goods

Following Common Goods, there are more artists arriving in Melbourne from the Commonwealth countries. Khadim Ali is an Afghan-born artist from Pakistan who paints miniature watercolours. This work (Heroes with Weapons I-III) features the dandelion, which during the harsh time of the Taliban was a symbol of hope - a plant that survived even the harshest of environments. As a work, it evokes the barrelism of Chandraguptha Thenuwara

John Howard pays tribute to Gandhi

His wife Janette by his side, Prime Minister John Howard scattered flower petals on the Gandhi Memorial in New Delhi yesterday.
Howard said, "He was a very great man and I certainly, like most Australians in my generation and other generations a2006/03/06/1141493611304.htmls well, know a lot about his life."
See The Age

Museum opening

Artists gathered for the final time at the opening of the exhibition at the Melbourne Museum. There many dignataries present, including the Victorian Arts minister Mary Delahunty and ex-Premier John Cain. Jasleen Dhamija warmly opened the exhibition, remembering her time with Gandhi and his love of handmade toys. It was wonderful to see representatives from the residencies there, such as Simon Spain from ArtPlay and Gordon Morrison from Ballarat. The highlight of the evening was the Sega dance by Mauritian artist Lewis Dick, celebrating not only the start of carnival, Shrove Tuesday, but also his birthday on 29 February. The carnival might be over, but there are many partnerships will continue. Images to follow...

Enthralled by darning

The Rafoogars talk with Wendy Lugg and Priya Ravish Mehra drew a facinated crowd. 

Installation time

The final works at being installated at the museum. Hlengiwe and Lucy are placing their collaborative piece based on the 'ponytail plant'. All will be revealed on Tuesday night. 

Night air

What's a 'common' thing? Something we all own or something that's too, well, common. This week the Night Air takes a stroll into the middle ages, across an ancient English Common (with writer Roger Deakin who founded 'Common Ground') to discover just what it was that made sure common land stayed common.
Listen.

We are finished!

Our residency in Ballarat has come to an end. The exhibition works are completed, and Zakir and Intekhab have mended a variety of textiles brought in from far and wide.

All that remains is to thank those who have made us welcome- Gordon Morrison and his very special team at the gallery, as well as members of the local Indian community and Dulcie Corbett, who hosted dinners for us. We also thank those who contributed to the project in various ways- the Trades Hall, Evan Evans, Hilton Fabrics, and John Dullus.

My personal thanks go to Dulcie who took me in and helped in so many ways, to ArtsWA for their travel assistance, and to Craft Victoria for inviting me to participate in this wonderful project.

Finally, my thanks to Intekhab, Zakir and Priya for their gift of friendship, and for sharing their cultural traditions. Their presence in Ballarat has enriched the lives of the many people who came to visit during our residency.

We are all eager to return home, but we are taking happy memories with us.

A royal presence in Ballarat

People have been bringing items for the rafoogars to darn. A gentleman brought precious gloves, worn by his father before him, and was thrilled to have them mended.

The rafoogars eyes really lit up when a large paisley shawl was brought for mending. This was a challenge worthy of their skills. Two days later the damage had been repaired, and there was virtually no trace to be found of the several small holes and one large tear.

The shawl's provenance made it even more exciting. It had been gifted by Queen Victoria to an unknown lady, subsequently spending time in (then) northern India before eventually making its way, from one owner to another, to Victoria.

And more to be seen

Last night, Niki Hastings-McFall opened her studio to the public, and it was evident that she had been up to something more...

Lei Lines

It is 'O' Week at La Trobe Uni where much of Kerri-Ann's and Niki's work is taking place. Under the theme of Hawaii Five-O, the Student Union is strewn with leis - symbols of welcome.

Things are afoot

After some days of getting to know each others work and trading ideas, and with Niki hitting opportunity shops searching out materials, something is afoot. Niki is stringing together Kerri-Ann's porcelain frangipani flowers, with shells from bead lengths she has found in the second hand shops of Bendigo. The shells, originally of course from the South Seas, seem to be returning there.

Article about Chandraguptha Thenuwara

Fresh on Craft Culture is an article about Chandraguptha Thenuwara by Damian Smith.

Hastings-McFall gets it together with Abbott

Kerri-Ann Abbott makes sculptural work from fine porcelain, incised, peirced and decorated. Niki Hastings-McFall most often uses found materials to construct body ornaments and decorations, based on forms borrowed from her Samoan cultural heritage. When they met, they had to decide how they were going to get it together. (What form would their collaboration take?)

Hastings-McFall arrives in Bendigo

Niki Hastings-McFall arrived in Bendigo and settled in with a visit to the 24 Coles. She was driven up from Melbourne by a friend - also called Niki.

Cultures meet through craft in Ballarat

Quiet times stitching became rare as the word spread, and more and more visitors arrived. It was good to recognise familiar faces, as people like Duncan and his family came back for return visits. Duncan is a very fine shoe-maker, who brought a large shawl owned by his grandather to show to the rafoogars. They found some areas which needed darning, and offered to undertake its repair. When Duncan returned to collect the shawl he, in exchange, demonstrated some aspects of his craft, with the rafoogars watching attentively.

Swapping lines

Hlengiwe Dube in the Craft Victoria library with local basketmakers Eric Collins and Wendy Golden, eager to learn the intricacies of the telephone wire weaving.