, together with architect and designer Simon Lloyd, present 25 objects and furniture pieces entitled . est living editorial strategy advisor Karen McCartney reflects on their collaboration with makers from Melbourne, Hobart and across regional Victoria.
Architect John Wardle has long been a champion of the role of craft within buildings – enjoying the skill of a maker and often finding ways to push that skill to new levels of creative expression. He has talked to me often about Simon Lloyd who I had never met until a chance encounter at the current exhibition at Heide Museum. They have collaborated – working with 25 makers across regional Victoria, Hobart and Melbourne – to produce exquisite objects and furniture pieces which have then been expertly placed within the context of the 1963 designed house by McGlashan Everist– Heide ll. Each piece, or collection of objects, finds an uncannily perfect position with the interior indicating a clear sympathy of form and materiality. In addition selected items are for sale!
‘Relatively Useful’ opened March 12 and will be on display at Heide Museum in Bulleen, Melbourne until April 3. Selected works are on sale to the general public.
“A Series of Near Misses: A Low Table” (2022), designed by , made by Dan Barker | 350mm x 850mm, Celery-top Pine supplied by Hydrowood Tasmania | The table follows an experiment with a French baker’s board in cottage on Bruny Island, Tasmania. The inset circle suggests placement of a teapot or lamp, while the legs cause four distinctly different relationships with the table top to occur.
“Pi r² Dining Table” (2022), designed by John Wardle, made by Fraser Matheson and Andrew Lowe | 725mm x 1000mm x 1450mm, Tasmanian Oak supplied by Hydrowood Tasmania | Representing the “coming together and being absent” of modern family life; two tables that don’t quite meet, merging to combine their structural supports but maintaining their seperate geometries.
“System Vases” (2017-2022), designed and made by John Wardle and Simon Lloyd | Variable dimensions, porcelaineous casting slip.
” (2022), designed by John Wardle, made by Bryan Cush | 1100mm x 3200 mm, Tasmanian Leatherwood and Tasmanian Oak supplied by Hydrowood, Tasmania | The legs, shaped like four leaf clovers, suggest good fortune of sharing a table – “a sort of emblem,” says John.
Left: “Grid Dish” (2022), designed and made by Simon Lloyd
Middle: “Red Oxide Dish” (2010-2011), designed by Simon Lloyd, casting by Dandenong iron foundry | 31.6 x 26.5 x 6 cm
Right: “Three easy pieces for two hands” (2022), designed by Simon Lloyd, made by Isabel Avendano Bazbun | 12 x 9 x 4 cm
(2022), designed by John Wardle, made by Adam Browning | 420mm X 670mm x 1140mm, Tasmanian Oak supplied by Hydrowood Tasmania, wood turning by Sandford Woodturning and Joinery, Inax tiles supplied by Artedomus | At the completion of ‘Captain Kelly’s Cottage’ on Bruny Island, John Wardle collaborated with cabinet maker Adam Browning in designing a series of furniture items. The table is made from the remnants of these designs, and now lives in Kelly’s home.
“ (2022), designed by John Wardle, made by Adam Browning | 350mm x 700mm x 1190mm, Tasmanian Oak supplied by Hydrowood Tasmania, Inax tiles from Artedomus | With its wheel barrow like action, the coffee table is deigned to be rolled on and off of a rug. The rug in question: a Persian in the open living area of ‘Shearer’s Quarter’s’ on Bruny Island, which needs to be rolled up at the end of each day to prevent it fading in direct sunlight.
“Letter Chair” (2022), designed by John Wardle, made by Mari Teed and Charlie Sandford | 785mm x 600mm x 810mm, cruciform base by Sandford Woodturning and Joinery, fabric supplied by Kvdarat.
“ (2022), designed by John Wardle, made by Adam Browning | 700mm x 700mm x 500mm, Tasmanian Oak supplied by Hydrowood Tasmania.
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