Page 17 - Australian Wood Review Dec 2021

FEATURE
7
8
JUDGES’ TIPS
ON WINNING, AND NOT WINNING
Ensure whatever you choose to enter highlights your proficiency as a maker. Handwork will always elevate a piece over obviously machined only. The point to creating a competition or exhibition piece is to push ourselves as makers, to explore new techniques and extend or hone our skills. – Phoebe Everill
Do not take non-inclusion too hard – it does not mean you have not made a good piece. The standards are incredibly high. – David Haig
Don’t lose confidence if your piece did not win. There were so many good entries and choosing among those felt like splitting hairs at times. Try to analyse why the winning pieces won, and what you can learn from them to take your work to the next level. – Leslie Webb
Make what you enjoy. All the great designer makers work out what it is they enjoy producing. Some have a preference for working with certain timbers, size of piece or function. Experiment to find what your range is and work toward refining your skills in these areas. – Melissa Ward
12
9
10
11
1. Anthony Yang, Holmesglen TAFE, Vic, 7 Tear Drops. ‘The idea for my coffee table came from Greek mythology. The Pleiades were the seven daughters of Atlas who, forced to hold up the sky for eternity, was unable to protect them. I further imagined seven drops of tears as raindrops falling from the sky.’
2, 3. Nae-Tanakorn Pongpaew, RMIT, Haute Nested Occasional Table. ‘A tubular silhouette inspired nested table maximises usability within a small footprint.
4. Ned Collins, Sturt School for Wood, C5 Bench, American walnut, rock maple. The box and drawer can be repositioned or removed. Photo: Daniel Mulherran
5. Liam Starcevich, Sturt School for Wood, Velara Hall Table, walnut torsion box body. ‘An exercise in applying automotive design principles to the medium of fine furniture.’
6. Mitchell Francis, Coffs Harbour Senior College, Grand Auditorium Acoustic Guitar, Tasmanian blackheart sassafras, Sitka spruce.
7. Rehan Monnanda, The King’s School, NSW, Circular Resin Coffee Table, Tas blackwood, resin.
8. Dave McFall, Centre for Fine Woodworking, NZ, Manu tuku-tuku, sycamore, matai. Inspired by Maori kite designs. Photo: Daniel Allen
9. Amy Short, Centre for Fine Woodworking, NZ, Cadillac Rocking Chair, steambent American white oak. Photo: Daniel Allen
10. Mia Migyeong Kang, Holmesglen TAFE Vic, Narsha Coffee Table No.1, reclaimed materials, ‘An Art Nouveau style centrepiece designed to up-cycle construction waste and use modern technology for production. Photo: Jobin
11. Patrick Connell, Holmesglen Institute, Utility Table, American and English oak. ‘Inspired by the Arts and Craft period with design cues from the side profile of the iconic Seiko Samurai watch.’
12. Tom Robinson, The King’s School, NSW, Executive Desk. ‘Inspired by Brutalist architecture and traditional Nordic design.’
www.woodreview.com.au 51