Relic.

Relic.

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.

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.

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.

Betty Poulsen,  Sweet Fruits, 2016,  indigo dyed linen, cotton thread, wool stuffing.

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.

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.

Pete Reynolds, Sea Garden Sculptures, 2017, mouth blown glass.

Tom Freeman,  Shiny Knobs,  2016, glass, glue and glazed earthenware.

Tom Freeman, Shiny Knobs, 2016, glass, glue and glazed earthenware.

Betty Poulsen,  Taliswoman,  2014, lambswool, silk thread, wool stuffing.

Betty Poulsen, Taliswoman, 2014, lambswool, silk thread, wool stuffing.

Tom Freeman,  Glory Glory,  2017, glazed stoneware (underside).

Tom Freeman, Glory Glory, 2017, glazed stoneware (underside).

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.

Cover Image: Peter Frank Milligan, Counterpoint Lamp, 2015, stoneware base, carbon fibre rod, spun aluminium shade.

Tim Horton on PIVOT.

Tim Horton on PIVOT.

Big News.