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This artist draws the intricacies of the natural world

  Whilst Andrews drawings are guided by a sense of naturalistic form, they move beyond this into something more. His images evolve and bloom into compositions that feel guided by processes of repetition and contemplation.   IMG_3227   IMG_3692   -How would you describe your work? Within my art practice, I aim to explore the cycle of life and death – two massive concepts I know. I try to describe the beauty and fragility in the transition of life to death. I find my works often reference the intricacies of the natural world, focusing especially on flora and fauna and are realised through ink drawings, light works, hand cut paper works and kinetic sculptures.   IMG_3233 IMG_3231   -Where do you find inspiration? I am really fascinated by nature and this is my main source of inspiration. I love it's delicate beauty, variety, complexity and detail. I also find a lot of inspiration in materials, how loaded with meaning they can be and the different readings that can be created from combining various materials together.   IMG_3230 IMG_3229   -How does the local landscape and environment feed into your work? As an artist I think it's really important to respond to your environment. Whether that is subversive or literal I think traces of my surroundings are present within my work, mostly through sight specific interactions with nature. For example, with a recent artwork I wanted to create an interaction with butterflies that were native to a particular region in Perth W.A, as I was living there at the time. I knew I needed to do it in a very respectful and considered way. I have used dead butterflies in my work for many years and I thought it was time I looked at the whole life cycle. I suspended the living pupas inside a glass dome and timed it so they would hatch on opening night, then once they had hatched, they were released into the surrounding gardens.   Form-2-(17-hrs,-12-mins,-9-secs)-2010,-Penicl,-ink-and-watercolour-on-paper,-76-x-57-cm Form-1-(23-hrs,-3-mins,-0-secs)-2010,-Penicl,-ink-and-watercolour-on-paper,-76-x-57-cm Tane Form-5-(29-hrs,-2-mins,-58-secs)-2011,-Penicl,-ink-and-watercolour-on-paper,-76-x-57-cm   -Can you talk about your style, what kind of process do you use and how has it developed over the years? My father was a botanical illustrator; he used to teach my sister and I after school and on the weekends, I remember as a child he showed me a printed line under a microscope. It was made up of tiny single pixels. This was the first time I began to explore the idea of using only dots to create a form. The process of drawing I use is called stippling, each image is made of thousands of tiny dots. It takes me around an hour to produce a 2 cm square, simply due to the fineness of the pen that I use and the weight of the mark it makes.   IMG_0510 IMG_0511 IMG_0507   -What do you enjoy most about being an artist? What are the challenges? I get the most enjoyment from the end result, from the audience interacting with and responding to the works. I enjoy discovering new process and pushing my practice to new creative levels. I also enjoy the refinement of a certain idea or technique. The challenges are mostly time and money - and not having enough of either. Haha.   IMG_3923 -Advice for aspiring artists? I think with any creative industry, but particularly the arts, commitment and dedication are really rewarded in the long run. Even when it borders on obsession. I would advise them to just keep making new work and to try and create something new every single day. Also to focus on their personal style and to strive to perfect their craft. Electronic-Form-2-2011,-collaboration-with-Phillip-Gamblen,-wood,-glass,-morpho-butterflies,-electronic,-170-x-100-x-43-cm- Collaboration-with-butterflies-a,-b-and-c-2013,-Ironbark-hardwood,-Merbau-hardwood,-machine-and-hand-cut-brass,-living-butterfly-pupa,-glass
  Tane Andrews taneandrews.com  abc
What's On

Sydney Art Week Brings City to Life

  The Australasian international art fair, Sydney Contemporary, is back in 2015 with an expanded footprint. The major biennial contemporary art event takes over the entire Carriageworks precinct in Sydney’s Redfern from September 10-13. This second edition of Sydney Contemporary builds upon the success of the inaugural event held in September 2013. Sydney Contemporary 2015 is Australia’s largest art fair and is set to feature over 75 respected local and international galleries, bringing together art from 11 China, Japan, Singapore, the UK, USA, Chile and New Zealand. Fair Director Barry Keldoulis said, "The Fair’s 2015 gallery list includes some of the most exciting names in contemporary art today, with a growing presence from around the Pacific Rim. We’re working to cement Sydney as the cultural centre of the region that takes in the Americas, the Pacific and South East and North Asia”.   Kylie-Banyard--2 Kylie Banyard   Sydney Contemporary 2015 will offer visitors access to a cutting-edge line-up that includes some of the best emerging and established artists from around the world. International highlights include: Pearl Lam Galleries, top British gallery Ingleby Gallery, from Chile, Galeria AFA. Los Angeles-based Mark Moore Gallery will present two video artists and leading New Zealand gallery Two Rooms will show German artist Joachim Bandau and New Zealander Boyd Webb. Future Perfect will present a group exhibition focusing on leading South East Asian artists including Charles Lim and Arin Rungiang, who are the artists representing Singapore and Thailand respectively in the 56th Venice Biennale 2015.   Jaye Early Jaye_Early_The-Silent-Antagonism-of-a-reluctant-Mother-(but-I-don't-blame-her)_2014     Australian art highlights include solo exhibitions by Jan Murphy Gallery, Brisbane presenting Ben Quilty; Melbourne’s Tolarno Galleries’ showcasing Brendan Huntley; and Sullivan+Strumpf featuring the work of 56th Venice Biennale 2015 1 Karen Black. Adelaide’s Hugo Michell Gallery will feature work by Trent Parke, Tony Garifalakis and Lucas Grogan, whilst Melbourne’s THIS IS NO FANTASY will present a solo exhibition by Natasha Bieniek. A dynamic four-day public program that includes contemporary video and innovative art installations, as well as children’s activities and a talks and tours program presented by industry leaders supplements the gallery line up. Sydney Contemporary will also be home to a pop-up restaurant by Longrain, Sydney's much-loved dining institution.   Tickets for Sydney Contemporary will go on sale on 25 May and will be available to purchase from http://sydneycontemporary.com.au  abc

Potts Point Apartment Maximises Space with Innovation

  From the designer: This project continues the clever and innovative consideration of small spaces, that characterizes the work of Stephen Collier Architects. In particular, it shows how it is possible to make better use of the existing space in a cramped and narrow apartment so that the rooms feel bigger and also work better. This is approached with an aesthetic consideration of colour, in the form of space enhancing midnight blue, as well as materiality. It does this by carefully and judiciously cutting into walls. Several key door openings have been enlarged and two new ones of differing size have been made. In the process, the corresponding use of the rooms that these openings now connect, in different ways, has been significantly transformed.   Before Images Before Before The key to this transformation was to convert a small study beside the entry and bathroom into the main bedroom. Space is borrowed and views opened up between a dark corridor, the small bedroom and an equally small bathroom by making a new T shaped door between these three rooms. This arrangement is made possible by a composite two-panel door that folds back on itself (in one configuration) and also back on the bathroom wall (to form another).   After   After After This allows all three rooms to connect seamlessly (with the doors all folded back) or for the bathroom and bedroom to be used in a conventional configuration with both doors opening onto the corridor. The resulting configurations allow the spatial form of the original apartment to remain present (as a mark of respect for its heritage) as well as to open up in a modern way. After   After Ample storage is provided along one wall with a wardrobe that hangs out over the floor, at the dressing end, and tapers back to align with the window reveal at the other. The resulting form, allows a double bed below the sill, a front surface that reflects light back into the room, a narrow lower section that enhances the sense of space by maximizing the floor area and also a deeper section of unit above to comfortably fit suits and shirts. After After After The original bedroom (located in a central pivot point of the plan) was freed up for a new dining room and a much larger living space. A discrete view to the city CBD, from a small kitchen hatch, has been opened up from the kitchen through the dining, living and sunroom. The kitchen with an inbuilt washing machine, is designed like the galley in an airplane. Incredibly tight but functional; a small dark and moody cave. Stephen Collier Architects also designed the bronze and leather banquette which sits in the newly configured sunroom.   After   8-copy   asso      

  Stephen Collier Architects collierarchitects.comabc
What's On

Artist Profile: David Batchelor

  Dundee-born, London-based artist David Batchelor has his work Magic Hour in Light Show, currently showing at MCA. The piece is on the sculptural end of the spectrum of the exhibition (though he prefers to call it 'stuff'). It’s made from old lightboxes (complete with dirt and imperfections) that are stacked upon one another and faces the wall, casting a fantastic halo of colourful, artificial light onto the surrounding surface. Batchelor does not, however, call himself a light artist. "When people started calling me a light artist, I had to step back and remind myself and my audience that I'm not. That's part of what I do," he says, "but not what defines it."   MCA---Light-Show---David-Batchelor Magic Hour It's not that the artist is not interested in light – in fact, quite the opposite; he finds artificial light “very seductive”, but it's not the driving force behind his work. Rather, Batchelor is particularly keen on colour: "I always say that my interest for the past 20 years is colour," he says. From painting to drawing, as well as a number of book titles, including Chromophobia, Colour, and The Luminous and the Grey – colour is a key concern in his work. In an upcoming exhibition titled Sprayed, Batchelor will show a piece in which yet another medium (spray paint) plays host to this curiosity. Of course, with such a strong propensity towards colour it makes sense to use a medium that produces a particularly vibrant version of it. As Batchelor says, "With artificial light, you get the most incredible intensity of colour… I can't help but be sucked in by it." And this is why it's so often featured.   IMG_0486   While he's obviously very taken by artificial light, Batchelor is clear about why he uses it and how he presents it; both are straightforward. He's not into 'trickery', always wanting "the viewer to see how they're getting what they're getting" - hence the exposed electrical cords in Magic Hour, and employs light for a direct purpose. In Magic Hour the aim is to "recreate the specific experience of the city". Unlike James Turrell's Wedgework V (1974) for example, also in Light Show, in which light is "all about effects", in Magic Hour it is simply about "the way we find it in the city".  And it's true; we all know illuminated colour is a prominent part of any metropolis.   chromo-up-1   The other significant part of Magic Hour, which also speaks of his work more generally, is found objects. In a similar vein to using neon lights because they're a real part of the city, is Batchelor's use of once-functional lightboxes. "All those objects have history written on them," he notes. "You can fake [history] up, but it always looks faked up. People do, but I get a pleasure from those elements that you don't have control over."   8   Letting other elements also direct the artwork is important to Batchelor, and the sentiment in using found objects clearly goes beyond recalling a specific experience. As he says, "it reminds you that there is a world out there that is bigger and cleverer than you are."   David Batchelor davidbatchelor.co.uk  abc
Design Hunters
Design Stories

Continuing the Replica Design Fight

Above: The Elephant Wood by Neuland. Available from Kristalia   The most effective method of preventing the unauthorised copying of a furniture design in Australia is to register the design under the Designs Act 2003 (Cth). The registered designs system offers significant benefits:  
  • applying for a registered design is a relatively cheap and easy process
  • registered designs protect the visual features of a product
  • visual features include the shape and configuration (3D features) and the pattern and ornamentation (2D features) of a product
  • once registered, the owner of the design is granted exclusive rights in the design for the term of registration, being a maximum of 10 years
  • this means that owners of registered designs can take legal action against competitors offering products that embody similar designs to their registered designs.
  It is important to bear in mind that a design can only be registered if it is new and distinctive. The design must not have been disclosed to the public prior to filing the design application. This means that designers cannot retroactively register their designs once they become aware of copying in the marketplace. Therefore, it is critical that designers file design applications before exposing their designs to the public. This includes releasing an item for sale, featuring the design in a magazine or displaying it in store. Creators of handmade, artistic furniture items that are crafted principally for aesthetic rather than functional purposes may also benefit from copyright protection in their pieces as 'works of artistic craftsmanship'. Copyright law offers a substantial period of protection, generally the life of the creator of the artistic work plus 70 years. There is no system of copyright registration in Australia and copyright subsists in original works from the time that the work is produced or documented in a material form. However, designers should be aware that Australian copyright law does not offer protection for functional artistic works. Therefore, it is imperative that designers of functional furniture, homewares and lighting designs apply for registration of their new and original designs prior to any public disclosure. Explore this topic more at the Vivid event GET REAL – DON’T BE FAKE: the importance of supporting authentic design, held at Stylecraft June 2nd. Tickets available here.
K&L Gates klgates.com Please contact us if you would like to discuss the most effective method of protecting your designs. Christine Danos, Senior Associate, christine.danos@klgates.com; Gregory Pieris, Senior Associate, gregory.pieris@klgates.com; Chris Round, Partner, chris.round@klgates.com   abc
Design Hunters

Studio Ham create Practical and Playful Art

  • How would you describe your work?
We are a specialised design studio catering for commercial interior designers and architects. We design and make feature lighting, custom installations and graphics which incorporate branding and image making but ultimately we’re passionate about what we do and care about what you get.   Habitus_Flora-pendent- Habitus_Rebel-Yell-W#6C03EC
  • Where do you find inspiration?
Getting out and about – experiencing new things and places, trawling the internet, reading books, visiting galleries – artists have always been the biggest inspiration.
  • How does the local landscape and environment feed into your work?
Living in the Blue Mountains allows us space to breathe. Nothing beats a brisk walk in the bush to clear your head and allow you time to think. We’re very lucky to have the space to work from home, this allows us to be more nimble and run the business in tandem with the day-to-day shenanigans of family life.
  • Can you talk about your style, what kind of process do you use and how has it developed over the years?
Our style has a sense of tongue-in-cheek playfulness, occasionally bordering on the eccentric. When we started the business we split our work into two categories, Work and Play. Work was commercial graphics projects and commissions for one-offs and rollouts. Play was our own unique ‘functional art’ pieces. Habitus_Punk'd-pendent- Habitus_Plar-Du-Jour#6C03B4 Habitus_Mejico-Insta#6C035B   Over the years we have organically found our target market and have begun tailoring the business to focus on feature lighting for commercial interiors, designing and making our own range of affordable, quirky lights. We’re also exploring ways of using our image-making skills and how they can be applied within commercial interiors.
  • What do you enjoy most about being a designer?
The creative process: getting our hands dirty, collaborating, learning new processes and techniques.
  • What are the challenges and how do you overcome them?
Ideas are the easy part, deciding which one to focus on, develop and produce for our target market while still retaining the Studio ham personality can be a challenge. We bounce ideas off each other which allows us to really question things throughout the design process and keeps us on our toes. The daily running of the business can also be a challenge but we talk a lot with friends who run their own businesses and shared knowledge helps us to improve the way we do things.
  • Advice for aspiring designers?
Find a mentor and ask questions! Don’t loose track of what’s in your own heart. You get out what you put in, so work hard, be patient and passionate but above all be nice; it’s a small industry.   Habitus_Atserix-pendent-   Studio Ham studioham.com.au   abc
What's On

Indesign Milan Review 2015

Rather than attempt to cover every single aspect of Milan - because that is impossible - 2015 will focus on the insights and information from the fair that is most relevant to Australian audiences. Fresh from the source, Indesign’s panel of editors, architects and designers will cut through the noise of smartphone journalism to bring you critical, considered discussion on the 2015 Salone del Mobile. From aesthetic trends to commercial developments, our review extracts key insights about how the local industry can respond to this year’s fair. It's all very well Instagramming the prototypes that are shown at the Fiera, but what products, people, themes, events and developments from Milan will make an impact to our local industry? What will actually be available here and when? How will the trends seen in Europe translate here, if they do in fact make it over? Why do we keep looking to Europe in the first place? These are the question's we'll be asking in our rigorous panel discussion in Sydney and Melbourne. Expect to see some familiar industry faces on our panels plus some new ones. Guests will have the opportunity to ask questions and engage in social media discussions to continue the conversations. After all – Milan might be an event in a particular place, at a particular time, but its effects will continue to reverberate along our shores for months after. Details: Sydney review Speakers: Emma Elizabeth, Emma Elizabeth Designs David Caon, Caon Studio Georgia Hickey, SJB Host: Lorenzo Logi, Managing Editor of Indesign Tuesday 12 May 6pm for a 6.30pm start Spence & Lyda Showroom 184 Chalmers Street, Surry Hills Melbourne review Narelle Cuthbert, Plus Architecture Leo Terrando, SJB Celina Clarke, ISM Objects Host: Alice Blackwood, Melbourne Editor, Indesign Media Tuesday 12 May 6pm for a 6.30pm start Jardan Showroom 522 Church Street, Richmond Tickets are selling fast, to secure a spot click here for Melbourne and here for Sydney. abc