RISE & SHINE. 2020.

Objects for optimism. An exhibition of new works at Superlocalstudio.

“The days of sacrificing aesthetic considerations for environmental ones are long gone. We know there is almost always a more sustainable choice that still allows beauty to be a part of our lives. Rossler’s positive, generative attitude to her practice goes further. The objects she creates and the context she creates around them are a coalescence of the earth’s natural beauty, functionality and potential. They demonstrate ways to embody those values in our own lives and radiate them ever-outwards.”

VASE AND FLOWER SHOW. 2020.

An exhibition of contemporary artists collaborating with nature.

“The vase can be seen as a halfway object, operating between functional and decorative roles, and carrying the outside world in. In the vase and flower show 23 artists from around Australia, mostly working in ceramic, have been invited to expand on the idea of the vase of flowers.

We have spent more time at home this year than maybe every before. Nature in the form of flowers, leaves and plants, brought in to the house bring us solace and joy. Their ephemeral beauty refreshes and renews our interior worlds, both physical and mental. This exhibition looks at rebalancing the relationship between objects and nature.”

Works for this exhibition include Sweet Nature Regeneration Station. Five ceramic pieces 2020.

Curated by Sassy Park

@thevaseandflowershow

DUCTILITY. 2020.

The alt.material collective presented its third exhibition, titled ’Ductility.’ It invited leading and emerging creatives to explore how design can shape life through exploration of materiality and fabrication. 

Ductility is part of a series of exhibitions for NGV Melbourne Design Week

Foiled Again was inspired by the TV series ‘How It’s Made’ which showed the production of aluminium foil. This included mining and transporting all the elements from around the world, then smelting them into an enormous aluminium ingot which was then rolled and rolled to produce the fine ductile foil we are so familiar with in every day life. Aluminium is infinitely recyclable. This work, pressed over handmade ceramic transforms aluminium foil into a solid useful form.

LIFE & DEATH. 2020.

Curated by Dale Hardiman & Tom Skeehan as Friends & Associates. March 2020

This exhibition is a matter of Life & Death. Life & Death presented designed outcomes by creative practitioners looking at both the life of an object: functionality, utility, cultural or social intent, speculation or experimentation – whilst in parallel putting equal emphasis on the death of the object: what happens to the object once it’s reached it’s end of life? 

Regeneration Propagation Station

Part of the ongoing Sweet Nature series, these ceramic works are created in a direct process from earth to form, expressing the natural qualities of the material. The simplicity and restraint of design, pared back to the simplest form in production and aesthetics is combined with purpose and function to create a multifunctional and beneficial work designed to nurture nature.

ELASTICITY. 2019.

Curated and facilitated by Studio Edwards Elasticity builds on the first show held in 2018 and forms part of an ongoing body of work within the alt.material collective. Inviting leading designers to create prototypes & experimental works in response to the theme ‘elasticity’ NGV Melbourne Design Week.

Globules.

Globules are a multifunctional object that can be gently shaped to create a variety of elastic shapes and fulfil a variety of uses. 

Responding to the theme ‘Elasticity’ through the production of ‘an object for use’ which can be 
interpreted as to how something can resume its shape after being stretched or
 compressed or ‘an ability to adapt in response to change Globules were designed to be created as simply and directly as possible.

Globules have been created using minimal and readily available materials that create zero waste at the end of their use. The biodegradable outer form is produced from the rubber tree, and the sand contained within is a local renewable resource.

WELCOME TO WASTELAND. 2019.

Welcome to Wasteland presents projects by creative disciplines – including architects, industrial designers, furniture makers and researchers – exploring the use of waste materials, offering visitors an insight into how leading practitioners are approaching Australian waste issues, not just with a sense of obligation but as an opportunity of crisis.

Organised by Dale Hardiman and Tom Skeehan as Friends & Associates. This event was part of Melbourne Design Week 2019 and organised by NGV in collaboration with Creative Victoria. March 14-24.

The exhibition was also held at Nishi Gallery Canberra for Design Canberra Festival 14 October - 16 November 2019.

Pearler

Liane Rossler & Kate Dunn

Materials: Oyster Shell Concrete

Unlike some other waste products, mollusc shells do not decompose in landfills, and with 5 million tonnes of oysters being produced globally each year, there is opportunity to make use of this valuable and beautiful resource.

‘Pearler’ investigates how the waste material of oyster shells from the aquaculture industry can be incorporated into a useful and multi functional material.

THE NECK. 2019.

Inspired by the very real effects of climate change on the mountain village of Sagada, The Philippines, The Neck, curated by Bridget Kennedy, uses its namesake as a vehicle for social, environmental and political commentary. Featuring selected emerging and established artists from Australia and New Zealand, the exhibition supports The Pacific Calling Partnership.

Created from local clay and plants.

ART FOR THE WILDERNESS. 2019.

Art for the Wilderness brings together work by Australia’s most beloved and respected artists for 3 days from August 30, with the auction on September 1 celebrating the first day of Spring.

100% of proceeds go directly to support the vital work of the Wilderness Society in protecting our unique places and wildlife threatened with extinction. Every sale supports the living world that supports us all. For the love of nature, of beauty and art, celebrating Spring's renewal and an extraordinary body of art for country.

‘Sweet Nature’ is made from the earth to nurture nature.

4A A4. 2019.

Challenging local and international, emerging and established artists to create works of A4 size, 4A’s new and existing networks come together to support the institution.

4A Centre for Contemporary Asian Art fosters excellence and innovation in contemporary Asian and Australian culture through research, documentation, development, discussion and presentation of contemporary visual art.

4A believes that Asian cultural thinking will have an important impact on the future. 4A’s aim is to ensure contemporary visual art plays a central role in understanding the dynamic relationship between Australia and the Asia-Pacific region.

4A has a distinctive approach to addressing Australia’s cultural diversity through a dynamic program including local and international exhibitions, public programs, workshops, seminars, symposiums and community activities. These have been recognised locally and internationally as having raised awareness of Asian-Australian art and culture and Australia‘s place in the Asia-Pacific region.

Liane is a long time supporter of 4A since and was a committee member 1998- 2000.

FOR GARDENING. 2018.

For Gardening - an exhibition of thoughtfully crafted tools and accessories for gardening.

For Gardening is an exhibition of thoughtfully crafted tools and accessories for use when gardening indoors or out. Designed and created by a stellar group of Australian designers and gardening enthusiasts.

Emphasis has been placed on carefully crafted, handmade works, mindful of environmental impact. Each designer is closely involved in the making of their objects. All items are made to order, shifting away from creating objects en masse and towards fulfilling needs as they arise, even for larger audiences. This made-to-order model - where the number of items created is only what is necessary, and is limited to the need - is a model at odds with that of industrialised process which tends to make as many things as possible in the hope that they will be consumed. The For Gardening products are priced to reflect their real value; the time, skill, care and cleverness that has gone into the making of each thing. It’s hoped this approach to valuing objects makes purchasing the product a considered process that in turn encourages a fuller appreciation of the object and its use.

INSIDE. OUTSIDE. UPSIDEDOWN. 2018.

As our planet heads towards a population of 9 billion people by 2050, tripling over the last 50 years, we consider the spaces we inhabit and what we need in our lives. These pieces are designed to be used inside, outside and upside down. Twice as useful.

All works are made from local Australian clay, and created in a direct process from earth to form expressing the natural qualities of the material.

PLASTICITY. 2018.

An exhibition curated by Studio Edwards, bringing together leading creatives from art and design practices, furniture & product design. The alt. material collective exhibition 'Plasticity' reflects on both the material & its latent properties.

Process of the design:

‘I hand formed an original piece in clay and once it was fired to ceramic, we scanned it and 3D printed a version in bioplastic. We experimented with different material prototypes and found that the wood filament captured the earthy and tactile qualities required for this work.’

CERAMIC REVISIONS II. 2017.

A group exhibition at May Space, Sydney. Ceramics Revisions II conveys how artists interact, form narratives, voice opinions and create aesthetic compositions with this medium today.

RAINBOW'S END. 2017.

Curated by Heath Killen and presented by Hotel Hotel, Rainbow’s End is a museum exhibit from the future, which showcases objects and artefacts from a possible tomorrow.

Pushme-Pullyou Ceremonial Bowl

By 2060, the population has hit 10 billion, the sea levels have risen and space has become a valuable commodity. People had become resourceful and adaptable. Civilization had hit ‘peak stuff’ earlier in the century, and people were now appreciating the really valuable things in life that supported survival.

This bowl is designed to be as adaptable and multi functional as possible, with a form of primitive simplicity and timelessness.

It is transportable, hard wearing, and can be used to pay tribute to what is placed inside it, such as food or water or plants.

It is designed be used in a pushme-pullyou twice as useful way.

FRIENDS & ASSOCIATES - 26 ORIGINAL FAKES. 2017.

26 ORIGINAL FAKES looks to the uncertified replica in contemporary Australian design practice to reconsider the value of the copy in both the creative & commercial markets. 

Friends & Associates in collaboration with The National Gallery of Victoria invited 25 contemporary Australian designers to reconfigure and exhibit an existing replica design as a way to deconstruct how the design object is valued.

Description of work: SAVED

'As a designer, I share a design approach with Jasper Morrison to ‘make something useful and responsible’. SAVED, hand made from a metre of felt (recyclable/repurposable and vegan) is designed to slip over a replica/copy chair and to be used like a money box to save for the original piece. SAVED can be used on an assortment of fake replica copies to cover the works and make them become useful. The money collected can be used to support the original designer and encourage further investment in original and ethical design work.'

AT THE JUNCTION OF TWO RIVERS. 2016.

‘Sweet Nature. Wellington Landscape’ is inspired by the natural beauty of Wellington. From the mosses and lichens and pioneer plants that contribute to the ecosystem to the unique and diverse native vegetation that creates habitat, sustenance, serenity and beauty. The ceramic works are made from Australian clay and created in a direct process from earth to form expressing the natural qualities of the material. The work is designed as an interior landscape and mini eco-system that includes a collection of locally grown plants to reflect the surroundings.

HAPPYNESS. 2015.

An exhibition of ceramics at Lake Macquarie City Art Gallery.

A collection of ceramics that have been created to nurture nature. Made from local Australian clay and fired with help from the sun, they are designed to hug and value these pioneer plants that are often eradicated with herbicides that are carcinogenic for humans, wildlife and especially bees. A simple earthy contemplation and appreciation of the everyday gifts that nature delivers.

1-OK CLUB. 2015.

YOU ROCK series exhibited at the NGV as part of the 1-OK CLUB commissioned series of design works.

Pumice is a naturally formed volcanic rock produced when molten lava with a high gas and water content explodes out of a volcano. The pumice for the ‘You Rock’ series was carried by the ocean from The Kermadec Islands of New Zealand and delivered to Australia. ‘Let there be light’ and ‘Dishy’ were hand carved with a collection of local rocks in 2015. Included are a pair of organic beeswax candles by Northern Light. These works for 1-OK Club are part of the artist’s ongoing exploration of resourcefulness, natural and found materials and organic form.

SHELFIE. 2015.

Special exhibition for Art Month Sydney at Annette Larkin Fine Art.

Recent ceramic works and collaborations with artists Zan Wimberley and Louise Tuckwell.

REDFERN BIENNALE. 2014.

A group exhibition with Damien Minton Gallery which profiles the provoking and unintentional beauty in Redfern’s streets.

The work, 'For The Locals: Bird, Bee and Butterfly Bouquet' was designed to provide for and nurture the local pollinators. The series of works, nestled under a tree in the garden were made from paper clay, golden glitter and organic beeswax and were filled with attracting flowers, water and seeds.

ETERNITY. 2013.

A group exhibition at Damien Minton Gallery commemorating the iconic Sydney symbol Eternity.  

The word 'Eternity' was repeatedly written in chalk on the footpath by Sydney local Arthur Stace. The iconic and beautiful symbol was ephemeral. For this exhibition, a series of eight works was created from 'diamonds' on slate; materials that last forever, to express enduring symbols of eternity.

INTERPRETATIONS IIII. 2013.

Works from stone at Object Gallery. ‘Interpretations is a biennial event where Sydney designers work together & share ideas'. Artists include Tasman Munro, Andrew Simpson, Guy Keulemans, Henry Wilson, Oliver Smith, Charles Wilson and Liane Rossler.

WAVERLEY WOOLARHA ARTS SCHOOL PALETTE SHOW. 2013.

To celebrate its 45th year as an arts learning centre, Waverley held the Grand Artist’s Palette show.

FIVE BELLS: A VISUAL ODE TO SYDNEY. 2012.

Inspired by Delia Falconer's re-examination of Slessor's seminal poem in her book 'Sydney', Damien Minton Gallery invited 40 artists to respond to the perennial discussion of what the city of Sydney IS, and what lies beneath.

INTERPRETATIONS III. 2011.

Interpretations is a biennial event where Sydney designers work together and share ideas. With a particular theme or manufacturing process for each event, Interpretations 3 explores sand casting where designers cast their own moulds at a foundry and the results are exhibited here. This is an event by designers for designers which fosters creative collaboration’. Exhibited at Damien Minton Gallery, as part of Sydney Design, designers included were Andrew Simpson, Henry Wilson, Liane Rossler, Oliver Smith, Hugh Worthington, and Trent Jansen’.

ANACHRONISM, GARDENISM. 2011.

Anachronism, Gardenism, an exhibition curated by Bronia Iwanczak was staged in Sydney's Centennial Park. The project called for an artist book response to the parkland setting. 

SYDNEY STATUES PROJECT. 2010.

Headdress for Queen Victoria outside the QVB for Art & About Sydney, with Michelle McCosker & The Occasional Collective.

‘Re-awakening our statues for a contemporary audience. Inspired by the colourful art clothing scene of the 70s and 80s it brings textile artists and designers together spanning three decades of bold, flamboyant fashion to create clothing and accessories for eight statues in Sydney’s CBD. The costumes are rich with references not only to Australia’s most colourful era in fashion, but also to historical symbols around which we can learn more about the social, cultural and political history drawn from the stories of these statues’.

Created from recycled local materials.

POP UP ALPHABET CO OP. 2010.

Exhibited at Object Space, the Pop Up Alphabet Co Op is a temporary type-o-centric shop/installation where every letter, number, word or phrase exhibited is available to own. Every piece included is a limited edition. The works are made by graphic, furniture, product and jewellery designers, craftspeople and artists from across Australia and Asia.

Read more on The Design Files, Lottie Loves, and Upon a Fold.

DESIGNER SUSHI. 2010.

Exhibited at Metalab Sydney, 'Designer Sushi', in collaboration with mmmh! Germany, showcases works developed by creative’s across a range of fields, including architects, designers, writers, bloggers and chefs. Each creative is provided a ‘sushi box’ composed of bits and bites found in everyday life. These objects are removed from their familiar environment and become the starting point for the design process –a hose clamp meets a plastic crocodile, a chocolate cigarette box comes together with a raku-fired brooch, and an old appliance plug suddenly appears in an entirely new light’.

MAKE IT! CREATIVE INNOVATION AT THE POWERHOUSE MUSEUM. 2010. 

‘Launched by the Creative Industries Innovation Centre (CIIC), the MAKE IT! Project was designed to showcase Australia’s creative industries. By exhibiting a selection of the pieces at the Powerhouse Museum, Creative Innovation promotes the value and innovation of Australia’s creative industries to the community and our decision-makers’.