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Alison Page was interviewed by Ray Edgar from The Age newspaper, discussing the Indigenous perspective on Design
Alison Page offers a simple premise: ”What would the Australian lounge-room look like if it was designed from an Aboriginal perspective?”
Page is perhaps the most high profile of the new generation of designers promoting Aboriginal culture.
”It’s all about stories,” she says. It might be the Milky Way in Lucy Simpson’s fabrics or the abundant seed pods in Brentyn Lugnan’s lace curtains. These abstract patterns inspired by dreaming stories reflect the ongoing nature of kinship bound by storytelling. The fact that the stories from Simpson’s Yuwaalaraay heritage or Lugnan’s Gumbaynggirr ancestors now appear in domestic environments where people gather only reinforces that notion.
”I love to say ‘Aboriginal design isn’t a new thing’,” says Simpson, the creative force behind the label Gaawaa Miyay. ”It’s been something that’s been perfected over thousands of years. But people are recognising it now and becoming aware of it.”
National touring exhibitions such as Cusp and the first Australian Indigenous Fashion Week in April, help magnify the profile of Aboriginal design, Fabia Pryor says. A sustainable business consultant, she specialises in ethical and indigenous fashion and textiles. According to Pryor, the Aboriginal design business is ”biting at the heels” of the multimillion-dollar Aboriginal art industry.
”The industry is at the cusp and about to become much more commercial,” she says.
A former panellist on the ABC’s New Inventors, Page is an award-winning designer and executive officer of the Saltwater Freshwater Arts Alliance, a not for profit organisation governed by 10 local Aboriginal land councils on the mid-NSW coast.
Two years ago Page established the National Aboriginal Design Agency as the commercial arm of the alliance. As its creative director she helps broker commercial partnerships. Clients include Westpac, for whom NADA is doing a fit-out at Barangaroo. Meanwhile several NADA artists feature in Cusp.
”It’s about looking at the Australian style and honouring the fact that Aboriginal art and storytelling should be central to the Australian style,” says Page, a descendant of the Walbanga and Wadi Wadi people of the Yuin nation.
Even the most highly functional objects such as the boomerang have a story carved into them, she says. ”It builds preciousness into objects. So the cups we use every day, the carpets we walk on, everything around you in your home, if it has a greater level of meaning to you it speaks to you, then it’s going to be more precious. It’s not a throwaway item.”
Page sees Aboriginal design as ”a great opportunity for Australian manufacturers to get in with something innovative and be the first to market with something that has a global appeal. There’s a push away from the generic”.
For all this enthusiasm, Victorian indigenous design is lagging, says Tracey-Lea Smith, manager of Baluk Arts on the Mornington Peninsula. ”Melbourne is seen as a mecca of design yet how come we are so behind when it comes to working with Aboriginal artists and design?” she asks.
In the long-term, Smith believes the mainstreaming of Aboriginal design may help change perceptions of the value and variety of indigenous people’s work. ”[Baluk Arts] has 2.5 million tourists a year and the majority walk out because they haven’t seen a dot painting,” says Smith.
Page agrees. ”I love challenging that more than anything,” she says. ”The thing people find most surprising about my aesthetic is that it’s very clean and very minimal and quite abstract – it’s not just about animal totems or dots because there is such diversity within Aboriginal art. We need to bring that aesthetic to the design world.
”I would like to create objects that have an incredible meaning that people would want to keep for 40,000 years.”
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Alison Page talks about Aboriginal Design and ‘keeping it real” with Bridie Henehan from Inspire Magazine.
Alison Page, Creative Director of the National Aboriginal Design Agency (NADA). Image courtesy of NADA.
Sitting in the Coffs Harbour office of the National Aboriginal Design Agency its Creative Director Alison Page is smiling broadly and shaking her head. She has been sharing images and samples from the extensive and eye-catching range of contemporary Aboriginal interior design products and homewares the agency has under development. ‘I know, it’s unreal, right?’ she says.
‘Unreal’ too, says Alison are the collaborative artistic and strategic business partnerships NADA is forming, which it hopes will move Aboriginal design to the forefront of Australia’s built environment and interior design industry.
Such partnerships brokered between the Aboriginal artists that NADA represents and Australian manufacturers will enable the artists’ designs to be realised as carpets, lighting, furniture, textiles and architectural products.
Or, as Alison describes it: “objects with stories, architecture with a soul”.
‘Co-creating – it’s my favourite word of the moment’, said Alison. ‘It’s about partnerships; formal and informal partnerships, people coming together and asking “what can we do?” It’s having that blank piece of paper sitting in front of you, and going for it’.
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OneSight and Ray-Ban are launching a competition to find an original and unique Indigenous artwork or design to be printed on a limited number of iconic Ray-Ban Wayfarer sunglasses.
This competition is open to emerging Aboriginal or Torres Strait Islander artists. Alison Page Creative Director of National Aboriginal Design Agency has been invited to be on the judging panel for the competition, alongside Aden Ridgeway, the first Indigenous Parliamentary leader and member of OneSight’s Advisory Board and Christopher Beer, CEO of Luxottica Group Asia Pacific
The competition is open from Wednesday 20 November 2013 to Friday 7 March 2014.
Please visit the OneSight website for more information on how to apply for this competition
“ The ancient tradition of Aboriginal art and storytelling has combined with one of the great contemporary design icons to raise money to improve the lives of our people. This is what our living culture is all about,” Alison Page.
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Alison Page joined Glenn Barkley, Senior Curator, Museum of Contemporary Art to discuss Aboriginal design and craft – what makes it unique?, how does it connect with traditional cultures and techniques? how does it relate with Aboriginal contemporary art?
The talk was held in the ‘string theory shop’ designed by Alison Page, and was one of the many public events held throughout the ‘String Theory’ exhibition.
Audio of the talk coming soon!
photo courtesy of the MCA:
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National Aboriginal Design Agency is proudly supported by the Westpac Foundation
The Agency recently produced a 2 minute video for Westpac Foundation to show how their support is helping us to change peoples lives, please view this short video
Thank you to Bibi Barba and Brentyn Lugnan for agreeing to be involved in this video
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Alison Page, Creative Director, National Aboriginal Design Agency has created a ‘Pop Up Shop’ as part of String Theory : Focus on Contemporary Australian art, an exhibition that brings together over 30 different artists and artist groups from around Australia. String Theory is open at the MCA until 27 October 2013. The string theory shop has in mind sustainability and functionality being created from recyclable cardboard boxes, cardboard plinths and handmade string; the entire shop is enclosed by an original Aboriginal Lace Curtain from The National Aboriginal Design Agency.
‘Page’s design for the string theory store merges fine art and sustainable design functionality. Cardboard boxes are woven together to create into an arching wall of display shelving. Plinths for objects are made of coiled packing cardboard. Hanging from the ceiling a hoop made from handmade string by Yirrkala artists suspends merchandise. Enclosing the entire space is a specially designed lace curtain that depicts Gumbaynggirr artist Brentyn Lugnan’s seed dreaming (2013)…… The string theory store openly acknowledges the social importance that the market place plays in Aboriginal art and life. ‘ Glenn Barkley, Senior Curator MCA.
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The question posed to them was ‘Can design change communities?‘
The series of train talks organised by Object Australian Design Centre were part of the CUSP: Designing in to the Next Decade public program, promoting the CUSP exhibition and engaging public in design thinking.
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The National Aboriginal Design Agency is currently working on an exhibition for CUSP Designing into the Next Decade. Named The Sit Place, Alison Page creates a new vision of the Australian lounge room as it will contain stories about the land and its people told by Aboriginal artists. The medium for the story will be the objects that we use every day, from the chairs to the cup to the lighting and the cushions.
The Sit Place, as described by Aboriginal poet Aunty Bea Ballangarry, is a special place for sharing, connecting and spiritual contemplation
Visitors to the exhibition will hear original poetry composed by Aunty Bea Ballangarry AM, a respected Elder and poet from the Gumbaynggirr people of the Mid North Coast of NSW. The poetry inspired by authentic designs created by Aboriginal artists, Brentyn Lugnan, Jeremy Devitt and Lucy Simpson.
By linking audio with sensors, the room will literally ‘speak to you’ and tell you the story behind the design.
The exhibit is a showcase of the National Aboriginal Design Agency and demonstrates the potential of Aboriginal design.
CUSP opens to the public at Casula Powerhouse Arts Centre in Sydney on July 6th 2013 until 31st August 2013. The exhibition will travel to various venues around Australia for 18 months.
Listen to Alison Page, Creative Director of the National Aboriginal Design Agency talk about her exhibit for CUSP; The Sit Place – a new vision for the Australian Lounge room made with Aboriginal design products.
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The National Aboriginal Design Agency exhibited at this years Interwoven Exhibition organised by the Design Institute of Australia at The Damien Minton Gallery in Redfern, Sydney. The exhibition was an enormous success and a stunning visual landscape of hand made original textiles.
The National Aboriginal Design Agency exhibited hand screen-printed hemp with designs from our Aboriginal artists Brentyn Lugnan and Jeremy Devitt; a lampshade made from Aboriginal Lace plus fabric from Aboriginal textile designer Lucy Simpson from Gaawaa Miyay.
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In 2012, Alison Page was selected into the Accelerate program, an initiative of the British Council offering leadership training to Aboriginal and Torres Strait Islander people working in the creative industries. The program involves a leadership training intensive in Melbourne followed by travel to the UK where the participants make contact with various leadership styles and organisations within the creative industries.
“Accelerate will open doors for you that you probably don’t even know exist … It will really get you thinking about what leadership is, why its so important, and that its a practical – not just a conceptual thing.” Alison Page
Please use this link to access the promotional video from the 2012 Accelerate program: Accelerate Promotional Video
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