Relic

Counterpoint Lamp, 2015, stoneware base, carbon fibre rod, spun aluminium shade
Peter Frank Milligan

Relic is the first in a series of images by Bo Wong and Rose Megirian, celebrating the creatives who are compelled to experiment, explore and pivot in their creative process, unbound by a particular medium.

Anchored by the central themes of their own unique practice, each artist exemplifies agility and defiance in their fearless explorations.

Relic was first published in PIVOT, issue 001 of The Fulcrum Agency’s journal.

Clare Peake 
Chalice, 2015, air-dry clay, acrylic paint.

Tom Freeman 
Glory Glory, 2017, glazed stoneware.
Rose Megirian 
Great Worth, 2016, blackened sterling silver, precious and semi-precious stones, fresh water and south sea pearls.

Tom Freeman 
Hanging Wire Dip (1 & 2), 2015, wire, acrylic paint.

We’ve observed a cross-current at play in contemporary creative industries, a boundarylessness that does not identify with a particular medium or definitions and is instead, more interested in the intersections of design thinking and contemporary ‘making’ practice.

We are exploring this exciting boundary shift, along with the rise of traditionally feminine craft in the art of design landscapes through Relic, a series of images celebrating creatives who we feel reflect this crossover of craft, design and art in Western Australia right now.

Betty Poulsen 
Sweet Fruits, 2016, indigo dyed linen, cotton thread, wool stuffing.
Sarana Haeata 
Big Bertha, 2015, buff raku clay.

John Prince Siddon Mangkaja Arts, Totem Poles, 2017, found wood, plastic flowers, acrylic paint.

Eunice Porter Warakurna Arts, Untitled, 2014, reclaimed tin, acrylic paint.

Tom Freeman 
Three Loops on Top, 2016, air-dry clay, glue, glazed earthenware.

Carla Adams
Jacob (Just shut up and eat my Dick), 2017, poly cord, cotton sash, acrylic yarn, cotton.

Rose Megirian 
Great Worth, 2016, blackened sterling silver.

Betty Poulsen 
Sweet Fruits, 2016, indigo dyed linen, cotton, wool stuffing.
Pete Reynolds
Sea Garden Sculptures, 2017, mouth blown glass.
Tom Freeman
Shiny Knobs, 2016, glass, glue and glazed earthenware
Betty Poulsen Taliswoman, 2014, lambswool, silk thread, wool stuffing
Tom Freeman
Glory Glory, 2017, glazed stoneware (underside)
Next Article
Big News!

(View Article)

  • Diversity as a disruptor in construction

    Diversity as a disruptor in construction

  • Work-related wellbeing in architecture

    Work-related wellbeing in architecture

  • Designing Practice

    Designing Practice

  • Celebrating NAIDOC 2021

    Celebrating NAIDOC 2021

  • Flora

    Flora

  • Natural Ingredients

    Natural Ingredients

  • A Taste of Home

    A Taste of Home

  • Colour Shift

    Colour Shift

  • Pippa Hurst on Leverage

    Pippa Hurst on Leverage

  • In conversation: David Cain + Kieran Wong

    In conversation: David Cain + Kieran Wong

  • Indigenizing Practice: Patronage and Peril

    Indigenizing Practice: Patronage and Peril

  • Pete Stone on Leverage

    Pete Stone on Leverage

  • IWD 2021: what to say?

    IWD 2021: what to say?

  • Gathering Hunters

    Gathering Hunters

  • Gemma Hohnen on Leverage

    Gemma Hohnen on Leverage

  • Alan Pigram reflects on his summer internship

    Alan Pigram reflects on his summer internship

  • Kieran Wong in conversation with Alan Ricks

    Kieran Wong in conversation with Alan Ricks

  • Dr Garnett Hall on Leverage

    Dr Garnett Hall on Leverage

  • Co-Design.Counter-Mapping

    Co-Design.Counter-Mapping

  • Who made leverage?

    Who made leverage?