CURRENT EXHIBITION ~ OBJECT THERAPY
6 APRIL - 7 JUNE 2017 ~ AUSTRALIAN DESIGN CENTRE, SYDNEY
Object Therapy was developed part of the Hotel Hotel Fix and Make program, culminating in an exhibition of 30 broken objects that underwent therapy – treated and creatively repaired by a designer or artist. The exhibition is now open at the Australian Design Centre in Sydney.
Object Therapy was designed to encourage us to rethink our consumption patterns and re-evaluate the broken objects that surround us. It explores the role of repair in our society and its possibilities.
This project was developed by Dr. Guy Keulemans of the University of New South Wales, Niklavs Rubenis of the Australian National University and Andy Marks, and is an investigation into the culture of transformative repair as practiced by local, interstate and international artists and designers.
Trent Jansen Studio was assigned Teena Harkins’ beautifully nostalgic 1970s washing trolley. We viewed this object as a beacon of the Australian Dream, whereby every Australian family could aspire to own a backyard so large that one would require a trolley just to transport wet clothes from the fibro laundry at the back of the house, to the Hills Hoist planted dead in the centre of the yard. This was not a time of medium density living – washing machines were not squeezed in next to dishwashers in the kitchen, nor was it a time of recycled plastic, injection moulded clothes pegs.
We transformed Teena’s 1970s washing trolley into a collection of clothes pegs of the archetype used during this period, as a reminder that the quintessential Australian Dream is a thing of the past, a bygone component of an ever evolving culture. The relinquishment of the quarter acre block, the washing trolley, the Hills Hoist and the archetypal timber clothes peg is proof that Australia is a culture in flux, just like all other cultures at all times in human history.
Manufacture – Trent Jansen Studio
Materials – Used washing trolley
Production – Sydney and Illawarra, Australia
Image Credit – Lee Grant