Selection Panel + Prize Announced! Makers’ Film Festival.

We are delighted to announce the Selection Panel + a Prize for the 2021 Makers’ Film Festival:

Mary Ellen Cliff and Carola Akindele-Obe, the ‘dynamic duo’ who produce Maker&Smith including the new Makers’ Film Festival, will be joined by two fellas who bring a breadth of knowledge (and connections) in visual story-telling to the table – and we are so pleased to award one film with a Peoples’ Choice Award of $1000, after the screenings in Western Australia.

John Collee, Berlin Film Festival

Screenwriter, Novelist & Storyteller JOHN COLLEE
Prior to becoming a successful screen writer, John Collee worked as a doctor in remote locations including in Madagascar and the Solomon Islands.  He is a founding member of climate change group 360.org and of Hopscotch Features; and is known for feature films including Master & Commander, Happy Feet, Hotel Mumbai, Tanna and Creation.

Ron Bradfield JnrStoryteller, Maker & proud Bardi man RON BRADFIELD JNR
Ron Bradfield Jnr is a saltwater man from Bardi Country, north of Broome. He lives and breathes story-telling; indeed he is known for yarn-ing, and encouraging everyone to share their stories in his workshops and sessions with Yarns R Us.  Ron has also supported artists to develop their craft and stories across country in WA for over 15 years and is also a maker of things.

If your film explores making, skills and materials, the selection panel would like to see it.

The deadline for short film submissions is fast approaching on 30 November 2020. It’s encouraging to see entries coming in and we are really looking forward to more – especially as in recent COVID-19 times, people have been making use of film-making a lot more as part of their presentations for exhibitions, international forums, and fairs. So – please share the call-out widely with your networks (we want to make sure John and Ron have plenty to watch!).

What will the selection panel be looking for?

We are looking for films with a strong creative narrative. And to bring together a collection that illustrates the breadth and wonder of craftspeople’s lives, skills, environments and materials from across cultures in Australia, New Zealand and countries of the Indian Ocean Rim*.

All genres are encouraged, from documentaries, to story-led films to hand-made animation. We are keen to see a range of approaches in both craft and film-making. Maker & Smith encourages submissions from every corner of our community and which celebrate the diversity of life.

Quick Info Reminder
  • Films must have been made since 1 January 2017.
  • Short films only. They can be a few seconds long, and although we’d prefer no longer than 10 minutes, we will accept up to a maximum of 15 minutes including credits.
  • Easy to submit. Just fill out the online form and send us a link.
  • Deadline for submissions: 30 November 2020.
  • Entry Fees and T&Cs apply: $55 (inc GST) per submission.

The Makers’ Film Festival is due to launch in May 2021 in alignment with the program launch for the first Indian Ocean Craft Triennial (aka IOTA21). The intention is that the compilation of films will then travel around Australia, as Real to Reel: The Craft Film Festival has done since 2018, and then traverse the waves for screenings, particularly in countries where films originated.

Read our previous post about the MFF and how its brand came together.

Makers Film Festival information and easy submission form.

*AUSTRALIA, BANGLADESH, COMOROS, INDIA, INDONESIA, IRAN, KENYA, MADAGASCAR, MALAYSIA, MAURITIUS, MOZAMBIQUE, OMAN, SEYCHELLES, SINGAPORE, SOMALIA, SOUTH AFRICA, SRI LANKA, TANZANIA, THAILAND, UNITED ARAB EMIRATES, YEMEN.

Featured image: Luthier in Workshop. Photo by Endri Yana from Pixabay

Q&A – maker of the week: Katrina Virgona

‘Good Mourning. Hair today, gone tomorrow.’

There’s a resurgence of interest in fibre and textile practice and it’s timely for businesses and large corporations to invest in this form of material culture to create unique collections while ensuring examples are collected, displayed and preserved for future generations.

The quote above is from Katrina Virgona. She is a jeweller, maker and teacher who finds time to stitch in a ‘Victorian’ yet contemporary manner.

Read on …

What is your craft? How do you like to describe yourself?

I‘m an artist passionate about three dimensional textiles and contemporary jewellery. Over the last 20 years, I’ve created various collections of rings, pendants, bangles, earrings, collars, crowns, tiaras, hatpins, handcuffs, medals, charms, chatelaine attachments, pectorals, armlets, amulets, and several small sculptural objects.

Your studio – where and what is your studio/workspace like?

My studio is located in Darlington (Perth Hills). The workshop area is overflowing with fibres, threads, fabrics, curios, shells, rocks, beads, hair, trinkets, books, and imaginings.

Which of your tools do you love the most and why?

Definitely the needle! It plays a role in all my primary processes including wiring, binding, coiling, felting and stitching. In my latest works, I’ve actually incorporated various needles (upholstery needles, darning needles, long doll needles) as part of the surface embellishment.

Your inspiration – what really pumps your creative heart?

When constructing wearable pieces and jewellery, I often refer to accessories from the Victorian era for inspiration, especially chatelaines, hatpins, and mourning jewellery. The Victorian fetish for hoarding and/or wearing the hair of a loved one resonates so strongly with me that I find it surprising the fashion ever faded! I’m also drawn to the physicality of some items associated with fetishistic, ritualistic and talismanic practices.

Katrina Virgona, Crowning Glory 2020, Hair, fur, wool, wire and needles. Technique: Felted and stitched over wire armatures

Katrina Virgona, Crowning Glory 2020, hair, fur, wool, wire and needles. Technique: Felted and stitched over wire armatures.

What was the spark that made you choose this particular medium?

My ongoing fetish for wool, hair, fur, and fingernails is fuelled in part by their simultaneous link to the animate and the inanimate. They’re such potent raw resources with distinctive narratives; each able to exude a sense of the intimate, the universal, the public, the private, the attractive and for some the repulsive. Depending on how they’re handled and reincarnated, these materials extend a reservoir of options for future projects and also serve as a bridge to the past.

Your working style – how do you like to start on a project and then progress it? Do you stick to a working schedule 9-5 or flex around a bit? Do you play loud music? Are your pets welcome in your space?

Approaches vary according to the nature of a project. There’s always a lot of research – both physical and cerebral. I have a day job teaching, so I have to work my studio hours around that. Sometimes there are pets (e.g. husband). Sometimes there is music. I always have a stitching project on the go in my backpack or handbag so I can stitch anywhere anytime.

What are you working towards right now?

I’m working on a series of four hair based mini sculptures for an exhibition titled ‘Hanging By a Thread’ displayed at the Holmes à Court Gallery in West Perth (17 Sep – 2 Oct 2020).

If you could land the dream commission/exhibition/project, what would it be?

A dream commission would involve the freedom and finance to mount an exhibition that reflects on the narrative and materiality of mourning jewellery from the early 1900s. I would create intimate sized pieces consisting primarily of hair and they would be displayed together as one overall suite.

[Collected September 2020. This is a standard set of questions that we ask of all our guest presenters and ‘makers of the week’. They are deliberately low-key.]

Read more about Katrina Virgona in our Directory, where you can find further links to follow Katrina online.

Katrina Virgona, portrait

Katrina Virgona 2020