ELLIAT RICH | NT We travel through the country, full of vistas and space. We know about distance, it takes days of driving to get to the edges. There is time to see. Closest is the speed-swept details, individual trees and shrubs, at this depth there is definition and form. Further back the landscape merges, becomes pattern and texture, shadow and light. In the far distance, where we are headed, the bulk and mass of ranges. There is no detail, only the collective vapour of eucalyptus leaves visible from afar, the distinct Australian haze that renders the land mute but vibrant.
ELLIAT RICH | NT We travel through the country, full of vistas and space. We know about distance, it takes days of driving to get to the edges. There is time to see. Closest is the speed-swept details, individual trees and shrubs, at this depth there is definition and form. Further back the landscape merges, becomes pattern and texture, shadow and light. In the far distance, where we are headed, the bulk and mass of ranges. There is no detail, only the collective vapour of eucalyptus leaves visible from afar, the distinct Australian haze that renders the land mute but vibrant.
ELLIAT RICH | NT We travel through the country, full of vistas and space. We know about distance, it takes days of driving to get to the edges. There is time to see. Closest is the speed-swept details, individual trees and shrubs, at this depth there is definition and form. Further back the landscape merges, becomes pattern and texture, shadow and light. In the far distance, where we are headed, the bulk and mass of ranges. There is no detail, only the collective vapour of eucalyptus leaves visible from afar, the distinct Australian haze that renders the land mute but vibrant.
ELLIAT RICH | NT We travel through the country, full of vistas and space. We know about distance, it takes days of driving to get to the edges. There is time to see. Closest is the speed-swept details, individual trees and shrubs, at this depth there is definition and form. Further back the landscape merges, becomes pattern and texture, shadow and light. In the far distance, where we are headed, the bulk and mass of ranges. There is no detail, only the collective vapour of eucalyptus leaves visible from afar, the distinct Australian haze that renders the land mute but vibrant.
ELLIAT RICH | NT We travel through the country, full of vistas and space. We know about distance, it takes days of driving to get to the edges. There is time to see. Closest is the speed-swept details, individual trees and shrubs, at this depth there is definition and form. Further back the landscape merges, becomes pattern and texture, shadow and light. In the far distance, where we are headed, the bulk and mass of ranges. There is no detail, only the collective vapour of eucalyptus leaves visible from afar, the distinct Australian haze that renders the land mute but vibrant.
ADAM MARKOWITZ | VIC The Assegai Pendant blends sleek lines with subtly sculpted timber to create a contemporary LED pendant. The brass adds elegance and warmth, as well as diffusing the heat.
ADAM MARKOWITZ | VIC The Assegai Pendant blends sleek lines with subtly sculpted timber to create a contemporary LED pendant. The brass adds elegance and warmth, as well as diffusing the heat.
TRENT JANSEN | NSW In Western Arrernte mythology, pankalangu is a territorial being living in the scrub, camouflaged in the desert and bush. He moves with the rain, made visible when droplets fall over his body – caught by the light they define his form in a glistening silhouette. The Pankalangu Arm Chair layers an intricate lattice of Tasmanian wallaby pelt over copper – The pelt covers the copper, exposing copper tips at the end of each scale-shaped incision.
TRENT JANSEN | NSW In Western Arrernte mythology, pankalangu is a territorial being living in the scrub, camouflaged in the desert and bush. He moves with the rain, made visible when droplets fall over his body – caught by the light they define his form in a glistening silhouette. The Pankalangu Arm Chair layers an intricate lattice of Tasmanian wallaby pelt over copper – The pelt covers the copper, exposing copper tips at the end of each scale-shaped incision.
DAMIEN WRIGHT AND BONHULA YUNUPINGU | VIC AND ARNHEM LAND Bala ga lili is a collaborative cross cultural and cross colonial project with myself Damien Wright of Preston Victoria and Yolngu man Bonhula Yunupingu of Gunyangara Nth East Arnhem land. It consists of two works in constant tension. Wunahakali (The other side) is Bonhula in the act of throwing a spear. Perfectly balanced. Its geometry is the strength and power of the hunter. Its construction referencing Yolngu binding and joinery. The black light house (Gurrnjann Djarratawun Wanga). Made from pitch black 15,000 year old ancient red gum. A stunningly beautiful fortress of European hegemonic rectilinear narcissism. These two objects are charged with versions of power that can never quite reconcile.
Bala ga lili is a collaborative cross cultural and cross colonial project with myself Damien Wright of Preston Victoria and Yolngu man Bonhula Yunupingu of Gunyangara Nth East Arnhem land. It consists of two works in constant tension. Wunahakali (The other side) is Bonhula in the act of throwing a spear. Perfectly balanced. Its geometry is the strength and power of the hunter. Its construction referencing Yolngu binding and joinery. The black light house (Gurrnjann Djarratawun Wanga). Made from pitch black 15,000 year old ancient red gum. A stunningly beautiful fortress of European hegemonic rectilinear narcissism. These two objects are charged with versions of power that can never quite reconcile.
MITCHELL EATON | VIC The Brut Shelf draws its character from the forms of brutalist architecture. Chamfered edges and pure geometries combine with architectural elements, such as steps and roof follies, to form this cabinet of curiosities. The shelf features a number of alcoves in different widths and heights as well as closed storage to house an array of books and coveted objects. All of the elements are united in a consistent finish to highlight the geometry with no distraction.

AFDA Winner Announced

6 July 2017

Stylecraft and JamFactory are delighted to announce that the winner of the 2017 Australian Furniture Design Award is Alice Springs based designer Elliat Rich.

Elliat Rich completed a Bachelor of Design with first class honours at the College of Fine Arts, University of New South Wales in Sydney in 2006. She works across a broad range of design projects for a diverse client base including cross-cultural resources, exhibition design, public art and furniture, product development, one-off exhibition and limited run objects. In 2014 Elliat and her partner launched Elbowrkshp, a studio, retail space and workshop they share with other creative professionals.

Elliat was chosen from the six finalists who were shortlisted from over 100 entrants from across Australia, including some from eligible Australian designers in the US, Canada and Singapore.

The finalists were flown to Adelaide to present their prototypes to the judging panel consisting of Jon Goulder, Creative Director Furniture Design Studio, JamFactory; Tony Russell, Brand Director, Stylecraft; Rebecca Evans, Curator of Decorative Arts, Art Gallery of South Australia; Stephen Todd, Design Editor, Australian Financial Review Magazine; Susan Standring, Practice Director, Carr Design Group. Through the intensive process the judges were specifically looking for originality, innovation and evidence of the designer’s professional capability.

Her winning work titled Place, could be described as a sculptural vanity – a kind of old-fashioned object evoking feminine ritual. The unit, which was fabricated for her by Oscar Prieckaerts in Sydney has a neatly concealed drawer constructed from stacked and coloured dowel, a removable storage container and a velvet-covered pivoting mirror – all of which perch atop fine timber legs. The colours, textures and sense of foreground, middle ground and background in the piece have all been informed by her many journeys driving across the Central Australian landscape.

Against a highly competitive field, the judges were impressed by Elliat’s conceptual approach and how where she lives informs what she does – they noted that work was poetic, strong, innovative and brave. Stephen Todd commented that with this work she was, ‘swimming against the tide, elegantly’.

As the winner of this important biennial award, Elliat receives $20,000 in cash and the opportunity to undertake a residency in JamFactory’s Furniture Studio to develop new work to a specific brief for commercial production and distribution through Stylecraft showrooms across Australia and Singapore. Rich will receive royalty income from the work developed for as long as it remains in production.

In addition, Rich’s winning prototype Place, will be acquired by the Art Gallery of South Australia for its permanent collection.

This prototype, along with those of the other five finalists, will be on display at JamFactory until 16 July and then at Stylecraft showrooms in Melbourne and Sydney over the next two months.

The other finalists were Trent Jansen, NSW; Mitchel Eaton, Vic; James Howe, SA; Adam Markowitz, Vic; and Damien Wright and Bonhula Yunupingu, Vic and NT. Click on the gallery images above for more information.