Exposure 2012: Massey Graduate Exhibitionby Nick Kapica on 17/11/2012
The Exposure exhibition currently showing in Te Ara Hihiko at the Massey University College of Creative Arts celebrates all fields of design.
The new Creative Arts Building, Te Ara Hihiko, has not only been an excellent facility to deliver the design programme it is now excelling as an exhibition venue too. Each student has been provided with an area of 120 x 120 cm to represent their work using a range of presentation techniques. Work is on display from students who have completed the Bdes and the Bdes(Hons) programmes in: Textile Design, Fashion Design, Industrial Design, Spatial Design and Visual Communication. Exposure remains open until 24th November.
Jordan Francis: ‘Creative Playground’ is a project about inspiring children to embrace more traditional forms of play. More children today know how to operate a smartphone than tie their own shoelaces. With this huge growth in the digital, there has been a real decline in the time a child spends learning through play and working with their hands. Keeping in mind that technology is still very much apart of everyday life, we decided to develop this project in a way that balances traditional creativity with the digital.
Trudi Hewitt: ‘The Working Bee’ is about empowering students without the resources to contribute to our diminishing bee population. Increasing nectar opportunities for bees is proposed through dispersing beneficial seeds for bees around disused urban sites via seed bombing.
Samantha Lewis: Recent studies show that 20 percent of New Zealand adults do not have the literacy skills to meet the demands of everyday life. A contributing factor to this is the complexities and irregularities in letter and sound relationships within the English language. This project is a typographic exploration into the patterns and chaos of the English language. It attempts to translate between English and phonetic spelling, assisting learners to recognise correct pronunciation represented by inconsistent spelling.
Amelia Morgan: In 2011, just over 35 percent of couples who married in 1986 had divorced before their silver wedding anniversary. ‘Together | Apart’ allows parents to understand the effects a family separation has on young adults through three case studies.Typography is used as a means to portray the level of stress different events within a family separation will cause. It aims to open up the channels of communication between parents and children during this distressing time.
Andy Suter: Facebook now holds over one billion active profiles, each connecting with an average of 200 ‘friends’. Our online interactions with these people reveal, consciously or not, typical ‘Facebook traits’. The combination of these key traits, along with the freedom to curate our online persona, results in elements of truth, elements of exaggeration, elements which are hidden, and others which are promoted. Beneath all these layers, is a ‘virtual you’. This project is ‘Virtually Me’.
Tom Parkes: The online purchasing of graphic design is becoming something that can be canned and sold for a competitive price. Google ‘logo design’ and you will find plenty of sites that will offer you instantly generated logotypes, or prepackaged brand identities that are readymade to be slapped on your business. ‘Your Company Here’ is a small-scale design conference that uses a brazen tone to steer designers away from participating in practices that are devaluing the industry. These practices include design crowdsourcing, and design templating. The campaign is targeted primarily towards design students, and struggling design freelancers who are susceptible to underselling themselves.
Lauren Earl: Current information on the topic of flatting provides very few answers or guidance to better prepare first time flatters, or help them overcome situations that may arise. ‘The Flatmates Handbook’ provides a detailed, creative and captive option to fill this gap. The book content draws on and adapts experienced flatters’ real life situations and scenarios to appeal to a contemporary audience. It uses humour and unpredictability to ensure that one is more prepared for flatting and to enhance their overall flatting experience.
James Hunter: ‘Unlocking the Old School’ is an experience design piece in the form of a toolbox. It communicates the values of the old school car enthusiast and encourages understanding through the interaction with the toolbox, its content and the stories that are contained within. It is a sneak peek into what it means to be that guy, the one who loves his cars, not just for what they are, but for what they mean to him.
Siobhan Clark: ‘Pollenation’ encourages New Zealanders to re-think a slightly ironic aspect of suburban life we have become strangely accustomed to – the lawn. Due to the current stressors facing our honeybees, including pesticide use and habitat loss, it is our social responsibility to shift our mindsets toward what makes up a ‘perfect’ garden. Rather than striving for a ‘pristine’, well-manicured, yet sterile backyard, Kiwi homeowners are urged to consider the origins of this idea of perfection, and why we must instead create thriving, nectar rich bee havens.
Jeremy Bank: We often find inspiration and moments of creative insight seemingly at random so what if we could record these moments and over time, get a clearer view of where our unique experiences and insights take place in urban environments? ‘The En Masse’ project – a name which describes the role of connected people in the flow of information – serves to help us better understand urban space based on the experiences, and transformations of everyday people.
Joy Roxas: In news publication, broadcasting or sources explicitly online, Twitter has become a household name in a short period of time. In contemporary journalism, it plays a pivotal role in ‘breaking’ news and blurring the lines between reporter and reader. ‘Twitizen Journalism’ is a series of dynamic dashboards that illustrates the current role Twitter has in news media. Utilising typography and interactive design to create a platform for real-time data, we can begin to understand the processes involving micro-dialogues in 21st century journalism.
Alice Moore: ‘All Things Tails and Claws’ encapsulates a day seen through the eyes of a boy who loves to explore and innovate through drawing. Each scenario suspends the reader between reality and a young child’s vivid imagination. Vivid drawings by my son Tobias were harnessed to develop unique creatures for individual scenarios. The project is a catalyst targeted at young children to prompt creative expression and the belief that their homes are a place for adventure and immersive play.
Sarah Harmon: Few short stories are written to be illustrated, being carefully constructed to evoke potent images in the reader’s minds eye. The purpose of this project is not to replace the unique language and syntax of the original story, but to open up readers to a new type of reading experience through illustration. ‘Cutting Words’ explores how illustration can make a series of New Zealand short stories more accessible and engaging by turning them into wordless or minimal text woodcut narratives.
Joshua Thompson: ‘The Lonely Lives of Miserable Men’ represents the lives and accomplishments of lonely and forgotten individuals who helped shape the world we live in today. Nikola Tesla is one such individual. Tesla was responsible for powering the world with his alternating current, but is now relegated to the past without so much as a nod. This project employs the comic book format and sequential art to bring to light his life and achievements, and to communicate why his genius should be remembered today.
Logan Smith: Autism is an invisible condition, which means autistic people look much like you or me but they struggle with things like social interaction. This project seeks to use the skateboarding community as a way of empowering families affected by autism. The nature of autism means children struggle in a team environment but they still need an outlet that allows them and their parents to be themselves. The campaign involves street posters, paper coffee cup ring designs and direct mail to the families with autistic children.
Chloe Mehrtens: A high-end interior fabric collection inspired by the commercial flower. A flower is perceived as a symbol of purity, beauty and love, yet a commercial flower is the result of modification and mass production. Through this research project a unique textile process was developed using the flower to create a direct print reflecting the purity and spontaneous nature of the flower. Prints were then digitally modified to enhance the motif and reflecting the nature of the flower as a commodity.
Angela Maree Kilford: By exploring aspects of memory and landscape through textile design processes, Angela has created three-dimensional structures, which retain both a sense of permanence and anticipation. The heavy permanence of concrete is contrasted by the illusion of the quilt and curtains. By combining materials and ideas she has created ambiguity, providing a sense of life and movement within a heavy static material. The investigation of dimensions and surfaces resulted in a collection of printed textiles that combine both digital imagery and hand painting.
Breeze Mojel: ‘Automata’ is a collection of costumes created for a modern day movie adaptation of the 1950’s sci-fi comic ‘Rick Random – Mystery of the Robot World’. Each outfit is a modern interpretation of a different character based on their essence in the original comic, that acknowledges the captivating and exciting next two decades it would be for science and the people of this planet.
Jessica Lewis: ‘Tails’ is a collection inspired by costume that brings the well known children’s stories ‘The Tales of Beatrix Potter’ to life. By using animalistic exaggeration, it takes a close look at the transformation between human and non-human animal bodies.
Sophie Litin: The inspiration for the collection ‘Collidescape’ comes from the childlike wonderment experienced when traveling to new places and the fragments of words, colours, images and and artifacts collected on these adventures and their evolution into precious and unique memories. This work also encourages the wearer to have fun whilst nurturing their sense of curiosity and wanderlust.
Brenagh Conway: The Hmong tribe in Vietnam boasts traditional clothing so rich with ancestry that it had Brenagh contemplating the little heritage and tradition worn everyday. Through clashing western and eastern sewing techniques, the tailored shirt from the western world and fabrics and silhouettes from the eastern world a textile has been developed using eastern techniques with western content. This became the middle-man that married together the western and eastern components to produce ‘Marry me, Hmong’.
Rebecca Hoang: ‘Nowhere to go but everywhere’ focuses on a new way of ‘simple living’; a way of living that reduces the level of consumption seen in modern society. It gives individuals the ability to venture simply with what they are wearing. Each outfit incorporates a transformable garment that fits a particular purpose: a tent, mattress, sleeping bag and solar panel phone charger. The collection remains aesthetically pleasing even while incorporating such items due to discreteness. It combines fashion and practicality.
Nick Dephoff: ‘Second Skin’ is an emergency protection blanket designed for an immediate post-earthquake context. Consisting of B1 (a temporary shelter and stretcher) and B2 (an insulating emergency blanket) it assists the emerging group of volunteer ‘Instant Rescuers’ that occur in the event of a disaster. With an emphasis on providing protection, Second Skin aids untrained rescuers in the immediate extraction and protection of injured victims.
Stacey Kenny: ‘Nest’ is a kitset hen house designed to encourage those living in populated areas within New Zealand to keep ex-commercial layer hens. Damage to property has been identified as a key deterrent from keeping hens and therefore the Nest Hen house has been designed to rotate 360 degrees to ensure damage to property is minimized. Through the hen house and supporting system Nest hopes to improve the relationship between New Zealanders and their food while adding value to the lives of commercial layer hens.
Jordyn Trewavas: ‘Elo shelving system’ is a flat-pack, modular shelving system that is designed to fit into any area of your home. It is an open shelf design where you are able to display and store your belongings.
Evan Thomas: ‘Fabseat’ embraces the benefits of digital fabrication by developing an alternative seating solution. Its basis is achievability, where materials and methods can easily be sourced by anyone. ‘Fabseat’ allows individuals to create a product that is tailored to them, where a stronger sense of ownership and pride is created as an alternative to quick-fix items bought from a store.
Margarita Ianev: We often experience the city in a state of distraction, traversing the urban landscape in a fast pace from destination to destination.
‘Slow Urban Rhythms’ explores the inhabitation of fringe sites around the Wellington CBD to create a slow urban network. Proposed dark panels remove visual and audio stimuli, framing and shifting perspective to unique moments of temporality within the sites. The proposal re-engages the passing public with the small moments that make our city unique.
Rita Schooley: ‘Re:Build Re:Activate’ explores an alternative strengthening method that can be applied to save and re-activate seismically vulnerable and damaged buildings.Iconic damaged sites located in post-earthquake Christchurch are used as a case study. The aim is to challenge the current culture of demolition. The QuaDror system is an adaptable and modular construction method, made from lightweight, renewable timber. The system is integrated into the existing structure to create a system that both acknowledges the past and speaks of the future.
Annaliess Murrell: ‘Material Expressions’ explores the grieving process by translating human emotions into the material object. This project explores design as an extension of the human condition, embedding moments of fragility, temporality and strength. Guided by the five stages of grief each piece responds to a certain element of the human psychological and physical state.