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Here.Now is a new exhibition which opened just last week at Object : Australian Design Centre in Sydney, showcasing new designed objects by South Australian design duo Daniel:Emma, and Melbourne designer Thomas Llewellyn, who are co-winners of the 2011 Object Australian Design Now competition.
As you all KNOW, I am a huge fan of Adelaide-based Daniel To and Emma Aiston. They make such simple, elegant work, which often seems to blur the distinction between functional objects and fine art. This new range of vessels perfectly exemplifies Daniel and Emma's signature style - striking solid shapes, the most perfect on trend colour palette (neon watermelon + spearmint green YES PLEASE) and a lovely mix of materials, including painted finishes, reflective metallics and various timbers.
At the other end of the spectrum is the work of young Melbourne based industrial designer Thomas Llewellyn, who graduated from RMIT in 2010, and won the Craft Victoria fresh! Award, and the Green magazine sustainable practice award that same year (an impressive graduation year!). Thomas is interested in exploring domestic spaces and the 'everyday tools that support living, producing and thinking'. The utilitarian pieces he has created for this exhibition are paired with basic hand tools, exploring the ways in which the end user can creatively adapt the form and function of an object.
Presented alongside original concept sketches for each work on display, Here.Now is a glimpse into the ‘here and now’ of these bright young Australian designers!
Here.Now is showing at Object: Australian Design Centre until November 3rd 2012.
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Very Cool!
Daniel Emma… You two just get better with every new collection!
Stunning palette texture and shape. Oh my word
Wow! Such a gorgeous collection from Daniel + Emma. Perfect colours, perfect forms! Love it!
Emma and Daniel, I love your work!
yet again, they have produced work of staggering dullness.
They are barely functional and certainly not art.
I agree/disagree with some of the things that have just been said, but the reductive quality of the facture brings within the realm of discourse the inherent overspecificity.