DATES
OCTOBER 6th-22nd 2021
LOCATION
Oigåll Projects
122 Gertrude Street, Fitzroy, 3065
CURITORIAL STATEMENT
A Faux Pas can only exist if there is a generally agreed upon statute for what is or is not tasteful. A blunder by definition would appear to lead to embarrassment or a false step. But what if we looked differently on that framework? By defining our taste as good or bad are we limiting the work, our avenues for exploration and what eventually we create?
The question: Can bad taste, irony or humour disrupt our aesthetic notions?
Exhibited works question convention in practice, material or result. In order to disrupt the notions upon which the common ideology of good and bad taste is formed.
New Assemblage is pleased to present Faux Pas, an exhibition of finely crafted objects by designers,artists and makers from across Australia as part of the Craft Contemporary Satellite Program 2021. Exhibition works span an array of disciplines including, furniture, lighting, ceramics and glasswork.
Sett Chair
by Bootleg Studio
Mild Steel, Enamel Paint
50 x 50 x 80 cm
$1900.00 AUD Enquire︎︎︎
The Sett Chair began with interests in the vernacular of the Australian suburbs. In particular, the wrought iron ornamentation that playfully adorns the suburban homes. This use of steel in Australian suburban architecture has become common place – almost unnoticeably so.
In designing this piece for the New Assemblage Faux Pas exhibition, Tom took these traditional forms and colours of the wrought iron decoration and re-imagined them in the form of a chair. The Sett Chair also attempts to move away from the type of form making that is traditionally associated with modern steel furniture and takes ques from a warmer and more casual sitting device – the tartan rug. The frame of the chair is quite typical – tubular steel fashioned into a sturdy and rigid structure. This becomes a simple holding place in which the seat its self is draped over and hung from. Much like the infill techniques of traditional wrought iron, the steel curves and acts as an unofficial secondary bracing element. The curvature of the steel strip elements is a re-imagined version of the classical decorative pieces associated with the wrought iron fences, balustrades and doors.
Ignoring the traditional proportions of this decoration and using an overlapping technique more associated with weave, the Sett Chair is above all else a fun piece of furniture that hopes to use materiality in ways that aren’t expected. In a further attempt to disassociate steel with a particular kind of assumed feeling, the seat is painted in a tartan like patination that runs along and intersects with the steel seat strips.
by Bootleg Studio
Mild Steel, Enamel Paint
50 x 50 x 80 cm
$1900.00 AUD Enquire︎︎︎
The Sett Chair began with interests in the vernacular of the Australian suburbs. In particular, the wrought iron ornamentation that playfully adorns the suburban homes. This use of steel in Australian suburban architecture has become common place – almost unnoticeably so.
In designing this piece for the New Assemblage Faux Pas exhibition, Tom took these traditional forms and colours of the wrought iron decoration and re-imagined them in the form of a chair. The Sett Chair also attempts to move away from the type of form making that is traditionally associated with modern steel furniture and takes ques from a warmer and more casual sitting device – the tartan rug. The frame of the chair is quite typical – tubular steel fashioned into a sturdy and rigid structure. This becomes a simple holding place in which the seat its self is draped over and hung from. Much like the infill techniques of traditional wrought iron, the steel curves and acts as an unofficial secondary bracing element. The curvature of the steel strip elements is a re-imagined version of the classical decorative pieces associated with the wrought iron fences, balustrades and doors.
Ignoring the traditional proportions of this decoration and using an overlapping technique more associated with weave, the Sett Chair is above all else a fun piece of furniture that hopes to use materiality in ways that aren’t expected. In a further attempt to disassociate steel with a particular kind of assumed feeling, the seat is painted in a tartan like patination that runs along and intersects with the steel seat strips.
Bootleg Studio (Tom Morton)
Tom Morton is Melbourne based artist originally from central Victoria. Producing furniture design that is derived from influences in Architecture and Art, Tom is particularly interested in the use of steel - and how this material in combination with colour - has informed a playful and uniquely Australian vernacular. For Tom, the wrought iron ornamentation of Australian suburbs has been a catalyst for not only rethinking his design and architecture, but the Australian modern identity and way of life.
IG: @bootleg_studio
WEBSITE: www.bootlegstudio.net
IG: @bootleg_studio
WEBSITE: www.bootlegstudio.net
GAFA -A series of hooks & hangers
by BRUD
Hand finshed Aluminium, wax
$280.00 - $340 AUD Enquire︎︎︎
Catalogue︎︎︎
So for this we bounced around some ideas once we were briefed on the concept for the exhibition. Ella had expressed she wanted to do an exhibition of smaller, tabletop objects, that were a bit tongue in cheek or exploring taboo subject matter. We originally wanted to go in a more literal direction of objects that have a stigma of complete practicality about them, we considered a pad bin for feminine hygiene, then just a bathroom rubbish bin for your old loo rolls etc. stuff like that.
However, we ended up settling on wall hooks mostly just to annoy Ella by making something that requires wall mounting for her table top exhibition. We kind of felt the best Faux Pas we could commit is against the curator themselves opposed to “design” overall – also a furniture brand creating a gifting product just in time for Chrissy is the biggest sin in my opinion, and with that may I suggest that your mother in law would love a hook by Brud Studia up her stocking this year. Think of the joy on little Timmy’s face when instead of unwrapping a new match box car come Chrimbo morning he finds a beautifully hand finished aluminium coat hook.
by BRUD
Hand finshed Aluminium, wax
$280.00 - $340 AUD Enquire︎︎︎
Catalogue︎︎︎
So for this we bounced around some ideas once we were briefed on the concept for the exhibition. Ella had expressed she wanted to do an exhibition of smaller, tabletop objects, that were a bit tongue in cheek or exploring taboo subject matter. We originally wanted to go in a more literal direction of objects that have a stigma of complete practicality about them, we considered a pad bin for feminine hygiene, then just a bathroom rubbish bin for your old loo rolls etc. stuff like that.
However, we ended up settling on wall hooks mostly just to annoy Ella by making something that requires wall mounting for her table top exhibition. We kind of felt the best Faux Pas we could commit is against the curator themselves opposed to “design” overall – also a furniture brand creating a gifting product just in time for Chrissy is the biggest sin in my opinion, and with that may I suggest that your mother in law would love a hook by Brud Studia up her stocking this year. Think of the joy on little Timmy’s face when instead of unwrapping a new match box car come Chrimbo morning he finds a beautifully hand finished aluminium coat hook.
BRUD (Mitchell Zurek ; Andrew Kelly)
Brud Studia is a furniture & object design studio based in Melbourne, Australia. Established in 2020, it combines brutalist, often primitive designmethods with contemporary and digital design. The works of Brud Studia appear to be made with very simple and direct intentions: sanding,slotting and hammering.
“We want the method to be the language of the finished object” says Mitchell, Brud Studia’s creative director.
Brud continue to explore their chosen fabrication of Aluminium across several sculptural and concept driven objects treating their practice more as an experimental and explorative project.
IG: @brud.studia
“We want the method to be the language of the finished object” says Mitchell, Brud Studia’s creative director.
Brud continue to explore their chosen fabrication of Aluminium across several sculptural and concept driven objects treating their practice more as an experimental and explorative project.
IG: @brud.studia
No.1 (2021)
by CORDON SALON
Aluminium (Roller blind extrusion), Plywood (offcut), Acrylic (office diffuser panel), Polyester (offcut)
45 x 45 x 30 cm
In 2021, we began preliminary explorations into using waste material salvaged from office construction sites. This piece is part of an ongoing residency project aimed at exploring dimension, construction and application. Paying little or no attention to the perceived quality, apprarance and functionality of the material.
This piece is a stool but really it's not very functional. The prism material looks nice but actually it’s prickly and would hurt to sit on. The construction of the corner joints probably won't stand up to much weight. And the aluminium cross bar looks like it's holding those sides together, right? But really it's just shoved in there with no fixing to keep it in place. I’m not entirely sure the whole piece wouldn't collapse with a strong gust of wind or a kick.
by CORDON SALON
Aluminium (Roller blind extrusion), Plywood (offcut), Acrylic (office diffuser panel), Polyester (offcut)
45 x 45 x 30 cm
In 2021, we began preliminary explorations into using waste material salvaged from office construction sites. This piece is part of an ongoing residency project aimed at exploring dimension, construction and application. Paying little or no attention to the perceived quality, apprarance and functionality of the material.
This piece is a stool but really it's not very functional. The prism material looks nice but actually it’s prickly and would hurt to sit on. The construction of the corner joints probably won't stand up to much weight. And the aluminium cross bar looks like it's holding those sides together, right? But really it's just shoved in there with no fixing to keep it in place. I’m not entirely sure the whole piece wouldn't collapse with a strong gust of wind or a kick.
Cordon Salon (Ella Saddington)
Cordon Salon is a Melbourne-based interdisciplinary creative studio focused on experimentation, collaboration, and play to explore concepts and practices within art and design. The studio primarily focuses on the creation of finely crafted limited edition, collectable design or functional art. Centring their practice on exposing methods, processes and tools that may be undiscovered, underestimated, forgotten or overlooked.
Since its founding in 2018 by Ella Saddington, the studio has developed work for a local and international clientele. Exhibited experimental work as part of numerous group shows for Alt.Material, Friends & Associates and At the Above Gallery. Along with Solo shows at Sophie Gannon Gallery (2021) and Compound Interest Gallery (2019).
IG: @cordonsalon
WEB: www.cordonsalon.com
Since its founding in 2018 by Ella Saddington, the studio has developed work for a local and international clientele. Exhibited experimental work as part of numerous group shows for Alt.Material, Friends & Associates and At the Above Gallery. Along with Solo shows at Sophie Gannon Gallery (2021) and Compound Interest Gallery (2019).
IG: @cordonsalon
WEB: www.cordonsalon.com
Bent Wood Chair
by Georgia Weitenberg
Southern Mahogany (Stained and Waxed)
85x50x50 cm
$3500.00 AUD Enquire︎︎︎
Bent Wood Chair is an ironic one-liner. A wry description of exactly what is perceived, and by allusion, everything the chair is not when a Thonet Bentwood is the measure. Like something from a doll house, made life size, this piece is an exploration of the aesthetics and materiality of scale, and how the objects from our childhood condition our ideals of domesticity and taste. It explores the strangeness of rescaling forms designed in miniature to macro scale – leaving everything odd and uneven. Bent Wood Chair is an uncanny mix of modernist & vernacular styles and distorted proportions which challenge conventional taste and imbue it with its own peculiar charm. It combines the precision of machine fabrication with the character and nostalgia of an archetypal, craft-style chair to reimagine an object for the home in 2021. It is a gentle reminder in these times to embrace the unexpected, the incongruous and capricious…or something like that.
by Georgia Weitenberg
Southern Mahogany (Stained and Waxed)
85x50x50 cm
$3500.00 AUD Enquire︎︎︎
Bent Wood Chair is an ironic one-liner. A wry description of exactly what is perceived, and by allusion, everything the chair is not when a Thonet Bentwood is the measure. Like something from a doll house, made life size, this piece is an exploration of the aesthetics and materiality of scale, and how the objects from our childhood condition our ideals of domesticity and taste. It explores the strangeness of rescaling forms designed in miniature to macro scale – leaving everything odd and uneven. Bent Wood Chair is an uncanny mix of modernist & vernacular styles and distorted proportions which challenge conventional taste and imbue it with its own peculiar charm. It combines the precision of machine fabrication with the character and nostalgia of an archetypal, craft-style chair to reimagine an object for the home in 2021. It is a gentle reminder in these times to embrace the unexpected, the incongruous and capricious…or something like that.
Georgia Weitenberg
Georgia Weitenberg is a Newcastle based furniture designer with formal training at the University of Tasmania Furniture School in Launceston. This backdrop of industry and craft has come to inform her evolving practice which balances innovation with tradition. Georgia’s humanistic approach to design imbues her work with a warmth and familiarity, that combined with her unique exploration of form and function, instils each piece with its own inherent narrative and the poetics of daily life.
In 2018 Georgia was selected as a finalist in the Denfair Front/Centre showcase of emerging designers.
IG : @georgiaariel
IG : @georgiaariel