There is no other place in Australia like JamFactory Contemporary Craft and Design. Founded in Adelaide, JamFactory celebrates its 40th year in 2013, having already helped scores of Australia’s most talented design and craft practitioners realize their full creative potential. The diverse and highly skilled practitioners I had the pleasure of meeting on this one-day visit tell of its deep and far reaching impact.
Natalie Gock at her workbench in JamFactory’s Metal Design Studio.
Image: Christina Waterson
Nadja Maher working on a new collection at the Metal Design Studio.
Image: Christina Waterson
My tour begins in the Metal Design Studio, where I find Natalie Gock (JamFactory alumna), Nadja Maher and Kate Sutherland (second-year associates) working on exhibition pieces, new collections and commissions. The JamFactory structures the associates’ week. Alongside staff they make studio pieces for wholesale and retail sale, and contribute to public programs via workshops, exhibitions and talks. They also work on their own personal practice and commissions.I sat down with Christian Hall (Metal Design Studio creative director) to discuss JamFactory’s history.
Kate Sutherland making finishing touches to a commission.
Image: Christina Waterson
“JamFactory is very much like building an aeroplane while it is in flight … you can’t stop the plane, it has to keep going and is always in a state of incremental change … it has been built little by little over time.”
“To start something like it today would be such a massive undertaking … it would be near impossible.” Christian affirms, “JamFactory Contemporary Craft and Design is in a unique position.”
Eddie Ferguson in Studio 3 – sourcing materials.
Image: Christina Waterson
JamFactory was established to support craftspeople and transform the manufacturing production industry. It has evolved into a place that bridges tertiary study and practice – exposing practitioners to different scales of working, business skills, and team work as well as combining many mediums (including glass, metal, wood and ceramics) together in large-scale commissions. Associates also attend special master classes presented by national and international artists-in-residence.
Studio 5 - Jeweller Regine Schwarzer sets a ring with a stone.
Image: Christina Waterson
In Studio 3 Eddie Ferguson (second year) is examining his Window Vase collection, sourcing materials and designing new work that embraces the limitations of the glass blowing process.
Jessamy Pollock making paper and aluminium tests in Studio 5.
Image: Christina Waterson
Jewellers Regine Schwarzer and Jessamy Pollock are hard at work in Studio 5. Regine is setting a ring with a stone. Her passion for the rocks and minerals of Australia is underpinned with training in jewellery making and metalwork at the Zeichenakademie Hanau, Germany. Jessamy Pollock (alumna) is making paper prototypes of a new wearable range of jewellery.
Andrew Bartlett applying finishing coat to a commission before final assembly.
Image: Christina Waterson
JamFactory’s studio model is unique. It encourages experienced practitioners to work alongside associates in a studio environment. Alumni often stay on and work from rented share studio tenancies at JamFactory. They contribute to the depth of knowledge and strength of programs.
Step by step – the practitioners work together to form the piece.
Image: Christina Waterson
In Studio 6 furniture designer/maker Andrew Bartlett (alumnus) is applying finishing coats to a furniture commission. He shares his great respect for clients in the commissioning process and the importance of collaboration though projects such as the Penfold’s Ampoule Project.
CEO Brian Parkes, at a recent opening, sharing the background of JamFactory’s ongoing and unique role.
Image: Christina Waterson
Next door a meeting is in session at the Furniture Design Studio. Furniture Maker Daniel Guest (second year) quietly works on a computer. Daniel moved to Adelaide to become an associate after completing fine furniture design and construction at the Australian School of Fine Wood in Western Australia. Like Daniel, many practitioners are prepared to move to Adelaide to attend JamFactory.
I visit Karen Cunningham (Glass Studio creative director) and learn about the Glass Studio’s Program. It emphasizes training through production and also encourages practitioners to think of glass in new ways through computer-based technology and sustainable practice.
The glass forming process is mesmerizing to watch – particularly the way practitioners work together to transfer the glass back and forth from furnace to forming area. On this day Liam Fleming is completing the Tumbler Exercise with Katie-Ann Houghton assisting, as George Agius prepares coloured glass with Alex Valero.
JamFactory connects people to the power and energy of making. I pass members of the public who have just seen the broad selection of production pieces available at the JamFactory Store downstairs. From a special observation deck they are now enjoying the glass forming process unfold before them.
In the office, CEO Brian Parkes shares his thoughts: “JamFactory Contemporary Craft and Design has a strong and meaningful history and an ever growing community of esteemed alumni. I see my primary role as spreading the word about its uniqueness, contribution and longevity with a wider audience”.
The exhibition Designing Craft/Crafting Design: 40 Years of JamFactory that presents the work of forty JamFactory alumni runs until 8 June 2013 at JamFactory Contemporary Craft and Design, Adelaide.
MARMALADE – JamFactory’s annual publication with designer profiles, special features and reviews has also just been launched.
For more about JamFactory studios, store and upcoming events, see the website.
