The Object Gallery’s ‘Interpretations IIII’ presents itself as more than just a simple exhibition, but rather a design challenge that fuels bright designers such as Liane Rossler and Tasman Munro to exhibit their best ideas. ‘Each installment challenges the participating designer to embrace a new process and produce work for exhibition’ Engagement of the audience is key within this exhibition, as designers reach out to inspire viewers to see past the aesthetic appearance of the design, but also deep into the ideas that propel theses designs. It is interesting to question what makes design successful, and how the establishment of design is similar to the way people look at art and how they look at art, in particular controversial art. Within analysis of British artist Damien Hirst and the relationship he has with the art collector Charles Saatchi as well as exploring the written work, ‘Museum Building Design and Exhibition Layout: patterns of interaction.’ By Kali Tzortzi a new understanding became evident of how art and design are marketed in order to gain interest.
Design like art, comes from everywhere. ‘It’s your response to your surroundings’ Design is all about ongoing ideas and problem solving, it is about mistakes just as much as it is about success. Designers within Interpretations IIII collaborate to share ideas and processes, we are not only exposed to the finish product, but also the procedure in which the product was made, which gives us a beginning middle and end life cycle of the material that helps us to understand the lengths in which the medium has been manipulated into such functional objects. In this way museums and galleries allow for a space, which warrant an intellectual and spatial experience where the viewer can learn and be inspired in. Australian designers in particular benefit from the exploration of new materials and tools, it also helps us to learn and teach in ways that don’t guarantee success. You learn from your mistakes, as well as the mistakes of those around you. In an easy world all design would just simply work, but with that would create a narrow mindedness of perfection. It is ideal that designers play, fail and create so that they come to really understand the materials they are using.
Rossler within her design went back to basic and organic form and shape, influenced by the movement of the sea and the effect it had on carving through stone.
Stone as a medium is rich in history, it takes millions of years to build up or break down, via natural methods of compression or erosion. It is the deep history embedded in the material that draws her to create objects that will last, and be used in ways to create continuous tradition and history. “For years people just used to design stuff. Now, there’s just so much stuff, we need to look at things differently rather than making more stuff for the sake of making more.”Rossler comments that she found her materials in rejected shards within stone yards, her shrewd understanding of beauty in the discarded allows her to overcome an elitist mindset, and instead she welcomes the opportunity to use materials from beginning to end, in a sustainability sound method of cradle to grave use. “I think having a more creative approach makes you adaptable”. In a world that is constantly changing due to our ability to have instant communication and feedback for design, it is imperative that designers can creatively engage in problem solving that is sustainable and ethical. We are a ‘global civilization’ and all equal in ability to design for the future. Rossler’s simplistic use of an everyday object based on common place pebbles may be overlooked as crafty in a casual setting, but placing it within an established exhibition, which presents ways in which the audience can connect with both the end design product, as well as the though process behind it via text in the room.
The actual space within a museum...