Articles - 4 May 2006

Crafting the future

What do we mean when we talk about sustainability, innovation and knowledge transference in relation to Australian Craft practice? At Crafting the future, a public event organised by Craft Australia and hosted by Craft ACT on 4 May, the audience was presented with a rare glimpse of the possibilities for growth and future directions for Australian craft practice when Catrina Vignando, the General Manager of Craft Australia, addressed these very issues.

At this unique function designed to celebrate the achievements of the Australian craft·design sector Craft Australia launched the National Craft Mapping Project: Service provision for professional craft artists and designer/makers, a report on sustainability and skills development in the Australian craft·design industry. The report addresses the fine balance between makers' needs and infrastructure support provided by service organisations to ensure growth in the industry.

The National Craft Mapping Project report identifies the needs of Australian makers, mapped across a professional career trajectory from emerging practice through to established and senior artists. It was fitting to be amongst the work of Les Blakebrough, presented as part of the Living Treasures: Masters of Australian Craft exhibition developed by Object Galleries. Craft Australia is a partner with Object in promoting this show, which is the first in a series developed and presented over three years to celebrate the achievements of senior craft practitioners. Sandra Brown, the Touring Exhibitions Manager at Object Galleries, talked about the Les Blakebrough exhibition and the Living Treasures program that will present works by Klaus Moje in November this year and by Marion Hosking in 2007. This trilogy of exhibitions, with accompanying monographs, demonstrates the innovations and artistic achievements of Australia's most outstanding and influential senior craft practitioners.

The transference of skills by senior artists such as those featured in Living Treasures is an integral part of the development and sustainability of the Australian craft·design industry. Emerging artists learn from senior practitioners through both formal structures at University as well as informal systems. Mentorships are a vital methodology in craft·design practice for such transference of skills and is a critical next step following formal training. Also on exhibition at Craft ACT was new work by Phoebe Porter, a recent graduate from The Australian National University, School of Art who has just completed a mentorship with renowned Melbourne jeweller Blanche Tilden. The show titled est. 2005 is the outcome of a three month mentorship, managed by Craft ACT and funded through the Visual Arts Board of the Australia Council. It is an investment in the future growth of the sector. As an outcome of this mentorship Blanche and Phoebe have established a joint professional studio in Melbourne, called Studio Hacienda, which was launched in February this year.

Other evidence of the 'leg up' enabled through such mentorship programs is the exhibition of new work by Sean Booth, also displayed and promoted by Craft ACT gallery. An emerging object designer, Sean successfully completed a mentorship with Robert Foster in 2003. His solo career as a maker has continued on the upward slide since the program. Mentorships are a critical tool for sustainability in craft·design practice.

These exhibitions at Craft ACT visually demonstrate the findings outlined in the National Craft Mapping Project report. Sustainability in Australian craft·design practice hinges on a connection to the sector through professional organisations such as Craft ACT that can assist with promotion and distribution of work. The report identifies a national network of support agencies that offer a diverse range of professional assistance to ensure the sustainability of the sector. Critically, the National Craft Mapping Project report identifies the changes and new trends in the sector and makes recommendations accordingly.

The exhibitions at Craft ACT echo what is happening in the rest of Australia, the sector is vibrant with new work and innovative developments. Through the influence of senior makers, emerging artists are able to enhance their own skills and traditions. However all is on a delicate balance that needs to be reviewed regularly to ensure viability. The National Craft Mapping Project report is such a review and is timely for the sector at a period of great change and new developments.

A copy of the National Craft Mapping Project report can be ordered by downloading the order form. There is a small postage and handing fee.

Catrina Vignando May, 2006
General Manager
Craft Australia