Here I want to present Davis’s views, which are worth grappling with as judgment calls are made in less extreme circumstances.Īs he sees it, conversations of a particular sort can be hugely useful in the fight against racism. I believe that remedying discrete injustices ought to be the first priority of the anti-racism movement and that conversations about race can offer some salutary benefits. But disagreements on the subject are much older. ![]() Those words came back to me this week as I reflected on an ongoing controversy: what to make of the notion that we need to have “a conversation about race.” Lately, that debate has focused on a flawed plan by the CEO of Starbucks to host in-store conversations. There is no substitute for hearing Davis tell the story in a his own words. It has been recounted in several interviews and a book, but I first heard about it this year while listening to the interview podcast Love+Radio. More recently my attention has focused on curating object design and art exhibitions in Hawke’s Bay, New Zealand.That meeting happened in 1983. I have a recent background in studio design furniture with retailer representations and a history of successful national and international design exhibitions. This research involves building collaborations to support up-and-coming artists and designers and showcasing design history and contemporary innovation through exhibition, curation and education. I explore ways to build on the profile of New Zealand design and to broaden the New Zealand design vernacular through proactive involvement in the art and design community. I explore ethnographic readings of objects used in contemporary ceremony and the ways they relate to memory and experience. Of special interest is the development of small functional objects that speak to our ever-growing food culture including industrial/agricultural rituals associated with food manufacture and consumption. My current research is focusing on the ceremony of everyday activities and objects of ritual value. My ongoing research into the uniqueness of the New Zealand aesthetic is focused on both early Polynesian and Colonial designs. I present unexpected uses of the handmade alongside their potential for commercial application. Both new and traditional methods are explored, alongside the use of materials and objects normally found outside of traditional craft and design arenas. Underlying my creative practice is the development of new forms through sculptural experimentation with a focus on the manufactured object for commercial use. I investigate the possibilities of structure as it pertains to functional and aesthetically based objects, exploring furniture and home ware design and construction. My work has been driven by the desire to bridge the boundaries between craft, art and object design. The Talisman Project aims to broaden and challenge respective audiences, facilitating dialogue between audience and artists in an exchange of ideas around value, meaning and function. The window, Main gallery and the Vault each have their own focus and the audience moves through these elements engaging with the works as part of a collective experience. ![]() Installed for the first time at Objectspace in Auckland, New Zealand in May 2014, the exhibition responds to three defined sites within the Objectspace. ![]() By addressing issues of scale, functionality and the relationship between body and object, the work creates an interactive, sensory experience for the audience. Roger presents unexpected uses of the handmade alongside potential for commercial application.įinding shared aesthetic, technical and conceptual interests within their respective practices, Mia and Roger combined forces in 2011 to develop a series of large scale works investigating the power of the object. Roger Kelly designs and makes furniture and objects in response to humanistic values, works are driven by the desire to explore the boundaries between craft art and object design. Vessel forms and weaving techniques are often incorporated in her practice, acknowledging traditional practice and investigating jewellery’s role as an object that carries meaning and value. Mia Straka uses jewellery as a medium to investigate personal issues and universal values. The Talisman project is an ongoing collaboration spanning artforms and media in a discussion of values and interconnectivity.
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