Photo: Romello Pereira
RAA In Practice - Trent Jansen discusses Ngumu Janka Warnti (all made from rubbish), a collaborative project with Nyikina man Johnny Nargoodah
Wednesday 7th February 1pm – 2pm
This one hour session offers 1 formal CPD point, performance criteria addressed are 17, 18, 26, 27, 35, 36, 39 and 50 from the AACA National Standard of Competency for Architects 2021.
Tickets are $35, though RAA members are eligible to utilise the discount code available in the member content area for free attendance of this online session.
Photo: Romello Pereira
TRENT JANSEN
Trent Jansen is a designer based in Thirroul, Australia, and Lecturer at the University of New South Wales, Art & Design, Sydney Australia. Jansen gained his PhD from the University of Wollongong under renowned Australian art historian Ian McLean, and his Bachelor of Design from the College of Fine Arts, University of New South Wales in Sydney. He spent part of his undergraduate degree in the Department of Art and Design at the University of Alberta in Edmonton, Canada.
After a period working under Marcel Wanders in Amsterdam, Jansen returned to Australia to set up a
design studio in Sydney, before moving his practice to Thirroul on the New South Wales South Coast.
Jansen applies his method of Design Anthropology to the design of limited edition and one-off pieces for clients including the Molonglo Group, Charter Hall and Mirvac. This approach is also applied to the design of products and furniture for manufacturers Moooi, DesignByThem and Tait. Jansen was one of the cofounders of Broached Commissions and is represented by Broached Commissions for Broached in-house
commissions.
“Trent has a great deal of respect for cultural heritage and is extraordinarily thorough in incorporating
cultural identity and history into his works ... his collaboration with Broached Commissions has the same kind of take on defining the Australian design identity as Droog has done for the Dutch design identity”
Marcel Wanders – Mezzanine, 2015.
In this session, Trent will speak about the project he undertook with Nyikina man Johnny Nargoodah ‘Ngumu Janka Warnti (all made from rubbish)’.
trentjansen.com
instagram.com/trentjansenstudio
Trent Jansen is represented by Gallery All in the USA and China and Galleria Rossana Orlandi in Europe
Photo: Romello Pereira
NGUMU JANKA WARNTI (ALL MADE FROM RUBBISH), A COLLABORATIVE PROJECT WITH NYIKINA MAN JOHNNY NARGOODAH
Words by Trent Jansen and Johnny Nargoodah
Johnny Nargoodah is a Nyikina man who has spent much of his life working with leather as a saddler on remote cattle stations, and Trent Jansen is an avant-garde object designer from Thirroul in New South Wales, who regularly experiments with leather and animal pelts in his collectable design work. Partu (2020), the Walmajarri word for ‘skin’, is their collaborative project experimenting with the combination of these disparate sensibilities. This body of work is designed by Trent and Johnny and both designers have their own lens through which to view the processes and inspirations governing these works:
From Trent’s point of view, this project is an experiment in the generation of hybrid material culture. Material Culture Theory says that the artefacts we create embody the values, ideas, attitudes and assumptions (the culture) of the creator. But what if an artefact is created collaboratively by two people from different cultures? Does this artefact exhibit the cultural values of both authors? If so, how do these cultural values manifest?
From Johnny’s point of view, the project has a few different aspects to it: Making – “we use rubbish, recycled frames, we make chairs and cabinets and use the leather to make it look good, to make it furniture that is usable and looks nice”; recycling – “it is important to reuse old rubbish we find, and the leather makes it special”; history – “the leather gives it a reference to the history of Fitzroy Crossing and station life. Saddlers used to come and repair saddles using leather, making twisted rope out of cowhide. This is what I think about when we are using the leather”; and sensory – “the smell of that leather is so good. It brings back memories, triggers those old memories of walking around the saddle room in Noonkanbah shed. There is a sensory response, that’s important.”
Photo: Romello Pereira
“The collaborative process and experimentation is key to this project. Trent and I work together on this, we both sketch, look at each other’s sketches and from there we mix it up. I’m really enjoying the skills sharing, learning from each other, we both have a lot of different ideas, we keep coming up with new works, keep experimenting.”
Unlike their Jangarra Armchair, a previous collaboration designed and made in Fitzroy Crossing, Partu was developed in Thirroul on the New South Wales Coal Coast. Johnny and Trent came together four times over a period of 18 months, developing new methods for collaboration that could shape their incongruent knowledge, methods and skills in designing and making into co-authored outcomes. These methods include: ‘Sketching exchange’, a process of back and forth sketch iteration, allowing an idea to evolve with equal input from both creators; and ‘designing by making’, a method of working with materials at full scale, to design an object as it is being made. In this approach the prototype is the sketch and both collaborators work together to carve, construct and/or manipulate material, giving the object three-dimensional form as they design and make simultaneously.
Ngumu Jangka Warnti is the Walmajarri phrase for ‘all made from rubbish’. The design of this collection began with a trip to the local scrap metal yard, in a vague search for anything interesting. Johnny and Trent salvaged a selection of discarded aluminium mesh and used this found metal as the starting point for experimentation. Trent and Johnny designed these pieces as they made them, starting with a mesh substrate cut vaguely in the shape of a chair, and together beat the material with hammers, concrete blocks and tree stumps until it took on a form that they both liked. This beaten geometry was then softened by laminating New Zealand saddle leather to skin the mesh, masking its geometry and softening its idiosyncratic undulations.
Members can access a free recording of this event here.
Photo: Romello Pereira