May 28, 2025 • 49 mins
The Milan in review series: Sculpting Light with Oliver Wilcox
What happens when an artist turns lighting designer? Oliver Wilcox's journey from fine arts graduate to founder of the cutting-edge Lost Profile Studio reveals the magic that occurs at the intersection of art and function.
Oliver's story begins with a fortuitous volunteer position at Christopher Boots' lighting studio that evolved into managing production for one of Australia's most innovative lighting designers. But it was during a trip to Paris when everything clicked into place. Standing before a portrait painting in the famed Paris Fleas antique market, Oliver discovered the concept of "profil perdu" – lost profile – a challenging technique where artists capture someone's likeness without showing their face. This became both his studio name and design philosophy: embedding profound meaning into minimal forms.
His latest collection, Carapace, showcases this philosophy brilliantly. Inspired by both antique candle reflectors and turtle shells, these cast metal pieces create ambient light through reflection rather than direct illumination. The collection spans from intimate incense burners to dramatic chandeliers, each piece custom-designed down to the screws. "I wanted to push myself," Oliver explains, detailing how Carapace represents multiple firsts in his design practice.
What truly distinguishes Oliver's work is the tension he creates between seemingly opposing qualities. His pieces are simultaneously brutalist yet delicate, industrial yet elegant. This distinctive approach has earned him representation across Australia, the United States, and Europe, with his third Milan Design Week exhibition cementing his place on the global design stage.
For those fascinated by the creative process or looking to break into international design markets, Oliver's insights on finding exhibition spaces in Milan, building international relationships, and staying true to artistic vision over commercial appeal offer invaluable guidance. Listen now and discover how Australian designers are making serious waves internationally.
Check out Lost Profile Studio's incredible creations at
https://www.instagram.com/lost_profile_studio
Thinking about joining Bree & Lauren in Milan 2026? Or perhaps London later this year, is more your design vibe?
Jump onto our wait lists below & be the first to know when all these amazing tours are happening.
Bree offers a 90-minute online design consult to help you tackle key challenges like colour selection, furniture curation, layout, and styling. Get tailored one-on-one advice and a detailed follow-up report with actionable recommendations—all without a full-service commitment.
Bookings now open for late July Learn more: https://breebanfield.com
Back by popular demand— Lauren's 'Colour and Materials Masterclass ' returns on August 2nd! If you're unsure how to pair paint colours with floors or finishes, this full-day online event is for you. Learn how colour really works and follow a clear, step-by-step method to confidently choose the right paint every time. It's a fun, practical day with a vibrant community of fellow colour lovers.
Tickets are on sale now and sold out fast last time—don’t miss out!
https://www.sisalla-sessions.com.au/products/live_events/colour-materials-workshop
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Well, this was a juicy chat.
Welcome to Design Anatomy.
Bree and I are doing a seriesit's the Milan interview series.
So today we're talking toOliver Wilcox, the artist turned
designer and founder of LostProfile, which is like the
coolest studio name ever right,and we get into all of the
(00:21):
things how he went from makingart to designing pieces.
It's that fine line betweensculpture and lighting Love that
.
And even how he finds theseperfect exhibition spaces in
Milan.
It's like a whole thing.
And his new collection isreally turning heads on a world
stage.
Amazing.
It's inspired by antique candlereflectors and tortoise shells
(00:44):
which, honestly, iconic behavior.
We love it.
We also unpacked some of thosebig Milan Week themes and we
talked about how Aussiedesigners are making serious
waves internationally.
I hope that you love this chatwith Ollie.
It's a really great listen.
If you can't get enough of thiskind of Milan Design Week
(01:04):
content, which I mean we'reobsessed, brie and I have some
really exciting things in theplanning.
So if you want to be able toaccess all of the cool things we
saw in Milan, we are sharingthat with you.
So stay tuned.
But for now, enjoy this episodewith Oli Well welcome, ollie.
Speaker 3 (01:24):
I'm so glad you were able to join us.
Ollie is from Lost Profile, soI know you have a bit of a long,
I guess, description of whatyou do.
But do you call yourself just adesigner or as something more
specific?
Speaker 2 (01:39):
I say artist and designer.
Yeah, I guess what I do isdesign, um, but also a lot of
people sort of expect that tomean industrial designer, which
I didn't study for um.
So yeah, I don't say yeah, sayartist and designer we'll get
into that background in a minute.
Speaker 3 (01:58):
But, um, we like to talk about how we know you at
the start and you and I have akind of a long history actually,
so, when.
I think it would have been whenyou very first started out, um,
and you had that first light,what was it called?
The long one with the uh,colossal people can't see what
I'm doing colossal yeah, thankyou yeah um, and I don't know
(02:22):
how I even came across you, butI think you used to share a
space somewhere in Collingwoodor Fitzroy with someone else.
Speaker 2 (02:30):
Yeah, my studio was in Fitzroy and I was working for
Chris Boots at the time that'sright, it might have been Den
Fair.
It could have been Den Fair.
I did Den Fair 2017 and 2018.
It might have been one of thoseyears.
Speaker 3 (02:44):
It was way before that.
Speaker 2 (02:46):
Yeah, okay, yeah.
Speaker 3 (02:48):
I can't remember what year, but it was before Cause
I'm thinking that's well.
I reckon it was more like maybe2016, but um, anyway.
I came across your work and, um, I was doing the Dulux forecast
shoot and I love to feature,like new makers and local people
, so, um, yeah, we used yourproduct a couple of times, I
(03:08):
think now in yeah in the shootswe used to do that were a little
bit more um, conceptual, andyeah, that's how, that's how I
know you.
But yeah um, yes and Lauren.
Speaker 1 (03:20):
Well, you guys are just meeting right yeah, but I
think um know you mentioned thatyou sort of see yourself as
like an artist and a designerand I think I first really
registered seeing your pieces atthe Melbourne Art Fair.
Speaker 2 (03:33):
Oh, maybe Melbourne Design Fair.
Speaker 1 (03:35):
Oh, it was Melbourne Design Fair, so maybe three
years ago.
Speaker 2 (03:39):
Yeah, 2023,.
Speaker 3 (03:40):
yeah, the one that was out kind of near Hub, like
where Hub used to be.
Was that out there?
No, I've only done one and itwas at the.
Speaker 1 (03:48):
It was at the at Jeff's show, at the exhibition
centre yeah yeah, yeah, so, butI just maybe I think it was the
art fair because it was the samelocation, but anyway, I get
them confused too, I know, Iknow that was just so epic that
fair, wasn't it?
Speaker 2 (04:04):
It was really really good.
I thought it was really reallygood.
Speaker 1 (04:07):
Yeah, but I would have seen your pieces at Den
Fair as well, back in the heydayof that.
That was such a great event.
But then seeing you and yourspace at Milan Design Week,
which was so cool.
Speaker 2 (04:22):
Yeah, thank you.
Thanks so much.
Thanks for coming.
Yeah, thank you.
Thanks so much.
Thanks for coming.
Yeah, I loved it.
Speaker 1 (04:28):
It was, yeah, really exciting and just you know,
being on that world stage indesign and it was just yeah, it
makes, as an Australian, yousort of feel a bit of pride of
like seeing such a great designon that like huge, big world
stage.
So yes, it was very, very nice.
But yeah, I'm just like reallyexcited for this chat, to get to
know you a little bit more.
Speaker 2 (04:48):
So yeah, for sure cool it would be cool.
Speaker 3 (04:52):
Actually, I was reading you know we're doing our
little dig on the website and Ididn't know this story and I'd
love you to tell it which is thestory of how you named your
studio.
Speaker 2 (05:03):
Yeah, yeah, absolutely so, in the sort of
mid-teen sort of.
Well, it was in 2014 that I wastravelling with my now husband,
simon, and I was thinking a lotabout my sort of direction as a
creative.
I'd been working forChristopher Boots for a couple
of years and I was reallygetting into lighting, but my
(05:25):
background is an artist and asculpture, um, but I also
collect, like antiques andobjects and and vintage design,
and so, yeah, I was sort ofthinking about my direction at
that time and simon and I umwent to europe, um, just on a
holiday, and we're in the ParisFleas, which is the most amazing
(05:45):
antique market in the world.
I think you can just spend daysthere.
It's really, really inspiringand incredible.
And we came across a paintingthat we both fell in love with,
and it was sort of a portrait ofa woman, but her head was
turned so that you could onlyreally see sort of a sliver of
her face.
It was kind of the back of herhead, like the kind of cheekbone
(06:06):
, yeah, exactly, and so we weretalking to the sort of shop
owner about it and he told usthat the style was called the
profil perdu, which means lostprofile in English, and he told
us that it was like a trainingtechnique for young painters.
It was almost like a challengefor them, because when you're
painting somebody's portrait butyou're sort of losing all of
(06:28):
their facial features, whichsort of make it easy to make a
portrait of someone when youknow what their eyes look like
and their mouth but, you loseall of that information and you
have to distill what they looklike into their lost profile,
and so to get that right's evenharder to to get a portrait
right when you've got all thethe facial features to work with
, and um, I just thought thatwas really really beautiful and
(06:51):
and poetic and um yeah, andimmediately it was like a light
bulb moment.
I was like lost profile.
I'm going to start a studiocalled lost profile and you know
that's going to be my umbrellaand under that I can be an
artist and I can be a designerand I can be a collector and
sort of combine all my passionsunder this sort of yeah, the
(07:12):
banner of Lost Profile.
Speaker 1 (07:13):
Love that story so much, that's so good and like,
in a way, I like how you said.
Yeah, with capturing you knowsomebody's portrait.
Traditionally it's you know theeyes and the mouth.
It's really defining feature.
But not having that, it'salmost like you have to capture
the essence of a person withoutthose, giveaways so it's kind of
(07:33):
a really beautiful like meaningin relation to your work as
well.
Speaker 2 (07:38):
Yeah.
Yeah, it's sort of about likeembedding meaning into something
that's very, very minimal, andI think that sort of about like
embedding meaning into somethingthat's very, very minimal, and
I think that sort of carriesthrough to what we do here.
Speaker 3 (07:48):
And you mentioned that.
So did you study fine art?
Is that what you?
Speaker 2 (07:52):
studied, yeah, visual arts up in Lismore, northern
New South Wales.
Speaker 3 (07:57):
Okay, yeah, and then when did you come to Melbourne?
Speaker 2 (08:00):
2011, I moved to Melbourne.
Speaker 3 (08:03):
You didn't follow a boy or something, did you?
No, no, soft on the story.
Speaker 2 (08:10):
Um, I mean, it might've been to do with the
lack of boys in Lismore, newSouth Wales, but, um, I grew up
in Sydney and and I moved toLismore to study.
So I had been there for fiveyears, um, and I loved it up
there.
It's such a stunning part ofthe world and I thought that I
would stay in that area.
I got a really good job, acreative job, while I was in uni
(08:32):
and that sort of kept me therefor two years after I finished
uni.
But I went to New York for thefirst time when I was living up
there and was just reallyinsanely inspired by that city
and kind of got back to Lismoreand thought, actually, I think I
need to be in a big city again.
Speaker 3 (08:52):
Oh, that's so interesting.
Speaker 2 (08:53):
Yeah.
So I didn't want to move backto Sydney, I didn't want to move
to Brisbane.
I had spent a lot of time inBrisbane over those five years
and I don't like the heat, soand I just figured Melbourne's
like the, you know, the New Yorkof Australia.
Speaker 3 (09:09):
Oh, I like that.
I think Melbourne is also theMilan of Australia.
Speaker 2 (09:15):
Yeah, true, true.
Speaker 1 (09:18):
So, Ollie, I'm really curious to know with your art
practice, how did you move intodesign?
Yeah, I'd love to know how youmoved into design.
I've got lots of questionsthough.
Speaker 2 (09:29):
Yeah, well, my first segue was that job that I just
mentioned when I was up inNorthern New South Wales.
So I got hired by a mosaicist,a guy called Scott Carrow.
Oh, wow.
And so he was.
You know, he'd been workingmosaics for many years I think
about 20 years when I met himand so he was doing a lot of
large scale commission works forCatholic schools, Catholic
(09:51):
churches, public artworks, someprivate commissions, and so that
was sort of my segue into a bitof a design job, in that, you
know, everything that he wasdoing was sort of responding to
a client's brief and that youknow everything that he was
doing was sort of responding toa client's brief and it was yeah
, it was very much my firstglimpse at like a small creative
business.
(10:11):
So there was that.
And then, when I moved toMelbourne in 2011, I really
wanted to get back into acreative job, but I didn't know
anybody when I moved here.
I mean, I knew a couple ofpeople, but it was definitely
not compared to everyone I knownow, and so I worked in
hospitality for about a year andI just kept near to the ground
(10:33):
and tried to network andeventually got introduced to
Christopher Boots, which I thinkwas early 2012.
And Chris's business was justreally starting to take off.
He'd been going for a year, ayear and a half, but he was
definitely getting some reallylike international attention and
some big projects like prettymuch from the get-go.
(10:55):
So I've offered to volunteerfor Chris for a few months and I
just did like a day or two aweek here and there, but I loved
it.
I loved it so much more than mycafe job and um, I just really
expect yeah, yeah, I just, um,you know, let let Chris and and
his then production manager knowthat I I really wanted to work
(11:16):
for them and um, and, and theyhired me and so, and so that was
my next big exposure to like adesign and you know, design
business.
Within six months, chris's thenproduction manager, um, didn't
want to do that role anymore andso I ended up taking over the
production manager role.
Oh cool, pretty crazy, how sortof quickly all that happened,
but I'd really like thrownmyself into it and was just
(11:39):
soaking it all up and, and so Imanaged his production team for
I think, about five years,between 2012 and 2017.
And then I moved into a bitmore of a research and
development role for Chrisbetween 2017 and 2019.
So, yeah, fantastic experiencereally.
Speaker 1 (11:58):
That volunteer stint really paid off?
Yeah, totally Wow.
I sort of jumped on board atthe right time, yeah and um,
yeah, I do remember seeingchristopher boots lights for the
first time and they were soexciting, I mean they still are
exciting yeah um, and they'renot really a traditional
lighting design company.
Speaker 3 (12:19):
Like it's very um art led, I would say yeah yeah,
yeah, yeah, really good fit foryour combination of skills, I
guess yeah, I think so.
Speaker 2 (12:29):
I mean, I what attracted me to to chris's work?
When I first saw it, I was likeI couldn't believe that I was
looking at these.
I I sort of saw them assculptures that lit up, um.
So I was sort of attracted toit as art and you know, they've
all got their own language,their own processes.
I was completely fascinated byit and I still think his work is
(12:50):
amazing.
Speaker 1 (12:51):
Can you just describe one of their pieces for those
that are listening that aren'tfamiliar?
Speaker 2 (12:57):
One of Boots' pieces.
Speaker 1 (12:58):
Yeah.
Speaker 2 (13:00):
So Boots works with a lot of brass in terms of
materials I think that's sort ofthe base metal that he works
with and he also integrates alot of quartz, natural materials
stone, alabaster, blown glass,all really sort of luxurious
materials but I think Chris isvery inspired by sort of natural
(13:21):
minerals and that comes through.
Even if he's designing a lightthat doesn't have the quartz
built into it, it's stillreferencing the sort of, you
know, microscopic shapes thatthe crystals can form.
Speaker 3 (13:32):
Yeah, yeah, that's a very good description and I
guess he's so well known forthose quartz pieces, but there's
so much more that he's done.
That's, yeah, beautiful, yeah,so when did you know you wanted
to go out on your own and doyour own thing?
Speaker 2 (13:50):
I sort of so.
After that, you know that pointof conceiving the lost profile
idea, which was 2014.
So it's like 12 years ago Iguess.
It was on my mind for a longtime and I was lighting had kind
of taken over my creativepractice, like I was still
making paintings and sculptures,but I was also making lights or
light sculptures, and it wassort of a few years of my
(14:13):
practice evolving towardslighting and then sort of coming
up towards 2017.
I guess the lights that I wasmaking was quite that.
They were looking more likeproducts essentially and you
know, still sculptural, but notlike one-off light sculptures.
So yeah, it's hard to say ifthere was a point that I decided
to do that, but there was apoint that I decided to step
(14:37):
down as production manager,which really allowed me the time
to um, to to work on lostprofile, and that was sort of in
around 2017.
I decided to sit down as hisproduction manager and I booked
a space at den fair.
I was like, right, that's,that's.
The goal is to have a handfulof products to to launch at den
fair and um and see how it goesdid you used to loan out your um
(14:59):
vintage stuff as well?
Speaker 3 (15:01):
yeah, back then I think that's how I might have
come across your actual work,because I was probably looking
for those pieces, yeah, and hadthat little showroom and yeah,
that's what I think it was.
Speaker 2 (15:12):
Yeah, I think you borrowed some as well.
Speaker 1 (15:16):
Ollie with that first collection.
Can you describe what thatlooked like?
Speaker 2 (15:20):
Yeah.
So I launched with threeproducts.
One of them was the Colossalwhich Bree mentioned earlier.
So it's a brass cage made, madeup of lots of fins that are all
kind of bolted together andthere's like an illuminated tube
, um, in the middle of it.
I'd say it's.
It's quite brutalist and alittle bit sort of art deco
inspired as well yeah I had alsolaunched a product called
(15:43):
surgeon, which is inspired bysurgery lamps, essentially like
vintage surgery lamps, but Iwanted to do it all out of brass
and really, you know, thesurgery lamps are quite thick
because they've got big lightbulbs in them, but because I was
designing LED into everything,I'd sort of reduce the overall
depth to like 80 millimeters.
So it's more about this bigsort of disc with these glowing
(16:05):
sort of half spheres of glass,and so, yeah, that one with
these glowing sort of halfspheres of glass and so yeah,
that one.
And I also launchedSurveillance, which has been a
real sort of steadfast of thecollection since back then,
which is just like a very simplerod with a tube on the end, a
brass tube, and it's adirectional spotlight, sort of
inspired by a security cameraprofile in a way.
Speaker 1 (16:27):
And all of those pieces?
Are they still in yourproduction?
Speaker 2 (16:29):
Yeah, they are yeah.
Speaker 1 (16:30):
Wow, that's amazing.
Yeah, I'm just having a look onyour Instagram now and, yeah,
they're so stunning.
Speaker 2 (16:36):
Yeah.
Speaker 1 (16:37):
And yeah, you mentioned, you know Art Deco is
sort of an influence, but I hateto use the word timeless
because I don't know if I havean issue with it.
But I feel they, there is atimeless quality yeah, it's hard
to pin a date on your piecesyeah yeah, it's so overused that
term.
What about um I wanted to talkto you about, because um brie
and I, we were talking to someartists over the weekend.
(16:57):
They exhibited jeffrey karenand rowena martinich.
They exhibited their pieces ina hotel lobby, so it's artists
coming into the world of design,which is kind of similar to you
and I'm really curious to know,like for you, how do you define
design versus art?
Like, how do you, how do youkind of what's, what's the
definition?
Speaker 3 (17:17):
It's almost like you were saying that with that point
, when you realized that yourlights had stopped being
sculptures and actually beinglights like where do you?
Where's that line?
Speaker 2 (17:26):
Yeah, it's's.
It's a really tricky one peoplehave.
I know people have tried tocoin terms for that sort of, you
know, that product, that's anart piece over the years.
I don't know, I think maybe whenit, when it becomes repeatable
in a way, is is yeah that's agood one actually yeah, maybe
when it's designed in a way thatit can be produced multiple
(17:48):
times, even if it's just 20times, you know, like a limited
run, I would say maybe that'swhere the line is, whereas if
it's just a one-off, and youknow, it might still light up.
But it's an art piece.
Speaker 3 (18:02):
I would sort of add to that maybe, if it's a design
as opposed to say a sculpture oran art piece, it has to have a
function other than justaesthetic.
Speaker 2 (18:12):
Do you think?
Speaker 3 (18:12):
that's also part of it.
Yeah, like obviously yours islighting, but if we're sort of
just talking about any kind ofsculpture or art, it has also
kind of some other function toit, in an interior kind of sense
.
Speaker 1 (18:25):
Well, you know with, oh sorry.
Speaker 2 (18:26):
Oh no, I was just going just gonna say, and I
really appreciate, like in inthis sphere of sort of art and
design, I I really appreciatewhen some artists or designers
take it in this sort ofextremely art direction but then
have this little element ofdesign and I think that's like a
really interesting combination,like um nacho carbonell's work
I don't know if you know him,but he'll do this massive chair
(18:50):
with these sort of blooming, um,almost like chicken wire cages
which are all plastered and it'slike 90 art piece but then,
like a section of it, will havesomewhere you can sit and then
maybe like somewhere you can putyour drink yeah, yeah.
Speaker 1 (19:04):
Well, when we were talking with um, yeah, rowena,
because she, she, she's a's apainter, so we talked about that
element of repetition for her.
You know, putting her piecesprinted onto a carpet, it
becomes a pattern that'srepeated.
But then, on the flip side ofthat, it's like, well, a fine
art photographer, their piecesare repeated.
But that's art, that's notdesign.
So it's really hard to define,I feel.
Speaker 2 (19:25):
Yeah, yeah, absolutely.
Speaker 3 (19:27):
I don't know I'll have to think on that a little.
Yeah, I guess shifting theconversation to Milan, because
that's what we'd love to have adiscussion about in terms of
your involvement, had you beenbefore to Milan.
Speaker 2 (19:41):
Yeah, it was my third time exhibiting.
Speaker 1 (19:43):
Okay, oh, my God, cool yeah.
Speaker 2 (19:46):
So my first two times I exhibited with Chris Boots,
so the first time was 2019.
And then again post COVID 2022.
And then, this time, by myself.
Yeah, my third time over there.
Speaker 3 (19:59):
Chris had a space for a little while, didn't he over
there?
Speaker 2 (20:02):
No, I don't think so.
Speaker 3 (20:03):
Only during the show.
Speaker 2 (20:05):
Yeah, he did exhibit last year, but not this year.
Speaker 3 (20:08):
Was it quite a big leap to decide to do it on your
own?
I guess if you'd already had alittle bit of the experience of
being involved in it, maybe it'snot quite as scary, because I
imagine it's a big investmentright.
It's a big investment Like intime and everything.
Speaker 2 (20:21):
Yeah, in some ways yes and in some ways no, I felt
like, having done it twicebefore, I knew what to do and
you know I was heavily involvedin organizing the first, the
first two.
I kind of it kind of excites methe idea of, you know, doing
something repeatedly and gettingbetter at it and figuring out
what went wrong the last timeand not to say that things
didn't go wrong this time.
(20:43):
But yeah, it's.
I mean, it's more expensivedoing it by yourself.
And you know it's been great inthe past to have the support of
Chris's team, because, you know, chris has got a small team,
I've got a small team.
There's heaps of us Like we'llsort it out, you know, whereas
this time it's like okay, I'mrunning this.
You know I can only have someof my people come because my
team's only like eight people.
Speaker 1 (21:09):
You've got to keep it too, right, yeah, yeah, so it's
sort of a higher level ofresponsibility, but it all
turned out really well, and howhas the feedback been?
I think really good.
Speaker 2 (21:13):
Yeah, for sure, I think the feedback on the ground
over there was really good.
I recognize that it's not asuper commercial looking product
that I put out there and that'snot what I was aiming for
really.
I think it's more valuable toput something out there that's
weird and exciting and maybe notmake as many sales and is to do
(21:33):
something that's commercial andnot that exciting.
Well, especially there too, Ithink it's a place to do it.
Speaker 3 (21:40):
Yeah, I think you want attention and then the
other stuff kind of follows.
So I think it's better to dosomething that really stands out
and is talked about and likedor not liked.
Just stands out, talked aboutand then you know the attention
comes and they'll find the otherthings that maybe are more
commercial.
Not everything has to have thatpurpose, right.
Speaker 2 (22:01):
Yeah.
Speaker 3 (22:01):
I was going to say the space that you had was in a
great area.
It was quite small, but youmade the absolute most of it.
Yeah, thank you how do you evengo about finding a space when
it comes to that, like, where doyou start?
Speaker 2 (22:13):
There's a few ways you can go about it In the Brera
.
There's a website called BreraLocation and it's really good
it's basically like Airbnb forshopfronts.
Who want?
Speaker 3 (22:25):
to lease their space.
Speaker 2 (22:29):
So you can go online see the profile of the space
square meter, age, where is it,how much is it, etc.
Etc.
Um, so that's a really good,good resource and I have been
emailing with them for a fewyears about, you know,
potentially bookings, somethingthrough them, but I think this
was the first time I'd bookedthrough them and there are.
There are a few groups likethat.
Um, there's another one calledthe, the 5v or the chinko v,
(22:50):
which is a little bit differentin that you contact them and say
this is my budget, this is howmuch space I want, this is the
area I want to be in, and theysort of do some hunting for you.
They come back to you with withsome proposals and I heard on
the great vine when I was overthere this year that there was a
tour.
I don't't know if you've heardabout this, but somebody out
there I can pull up the detailslater, but someone out there is
(23:12):
doing tours of spaces duringDesign Week.
Speaker 3 (23:16):
Just like curious spaces.
I will get those details fromyou.
Speaker 2 (23:21):
I'll have to contact the person that told me about it
.
But yeah, you can jump on a busand someone takes, so this is
for future planning right.
Speaker 3 (23:29):
So if you're thinking about doing, it in two years.
Speaker 2 (23:31):
You could go this year, jump on the bus and they
tour you around to all thespaces that are available for
the next year.
Speaker 3 (23:39):
Wow, that's a great idea isn't?
Speaker 2 (23:40):
it.
Speaker 3 (23:41):
I suppose of course there are people doing that
because there's just so muchopportunity, there are so many
people needing spaces and I wasjust saying this before, but a
friend of mine who isn't livingin Milan anymore but was.
She was saying it's gettingharder and harder to find
particularly bigger spacesbecause there's so much more
development happening in Milannow.
(24:01):
So, those empty kind ofabandoned spaces are being
developed and that's why one ofthe biggest reasons Alcova kind
of moved out of the city wasthey just don't have the space,
so it will get harder and harder, I assume.
Speaker 2 (24:13):
Yeah, the other way to find space is to.
I mean, the way that I foundthe space that Chris and I first
exhibited in back in 2019 is.
My partner, simon, and I wentover there the year before I
think it was 2016 and we justwalked around and and looked in
shops and found one that weloved, talked to the owner and
he was like yep, sure, let's,let's do it all right so that
(24:35):
was.
That was a really amazingexperience and, like we've said,
friends with him, he was likethe most wonderful host.
So, yeah, that that was a goodway to do it.
Speaker 1 (24:44):
But yeah, if, if you can't get over there to do
hunting and sourcing, there areresources online I was just
wondering, like you know,talking about exhibiting, did
you have any outcomes in mindthat you wanted to get out of it
?
Speaker 2 (24:56):
not this time.
No, I remember the first time Iexhibited over there I had zero
expectations and and it was areally successful show and I
like sold a lot of the piecesthat I took over there which I
wasn't expecting at all, and Igot reps off the back of that.
And then the second time Ishowed over there, I was wanting
more representatives, and sothat was a bit of a goal and it
(25:19):
worked out.
I think I got threerepresentatives, not directly
off the back of it, but I sortof you know, I made sure that
this showroom that I wanted towork with knew that I was doing
it, and then that came throughand we ended up setting
something up.
Speaker 1 (25:32):
So when you say representatives, do you mean
like stockists around the world?
Speaker 2 (25:37):
Yeah, cool, so where?
Speaker 1 (25:39):
can people buy your pieces?
Speaker 2 (25:42):
We've got six or seven reps that we work with in
the States.
Wow, we've got two in NewZealand, four in Australia, one
in Milan, one in London.
I think that's it.
Speaker 3 (25:55):
That's amazing.
How much of your work would be.
From those reps has it becomequite a considerable amount,
that's international work.
Speaker 2 (26:02):
Yeah, that's really cool.
The States is probably equal toour Australian market.
Speaker 3 (26:07):
Oh, wow, okay, I mean it's bigger, I guess, right.
Speaker 2 (26:11):
It's a really big market and I don't think we've
even scratched the surfacereally.
But yeah, I would say like sortof 40% of our works in
Australia, 40% is in the USA andthen maybe 20% is just
everywhere else at the moment.
Speaker 1 (26:24):
What I was wondering as well do you think that kind
of representation would thathave come about if you don't
exhibit at Milan?
It would be pretty difficult,right.
Speaker 2 (26:33):
Yeah, it's hard to say.
I mean, some of the repsdiscovered us at Milan and so
those ones we know doing Milanwas the reason for making that
connection.
Other ones, like I said, I hadcontacted them before we did the
exhibition and they either cameto the show or they just saw
that we did it and they thought,okay, this is like a cool brand
.
Speaker 3 (26:52):
Legit man yeah.
Speaker 1 (26:53):
So I think it would have contributed to some of
those relationships.
Speaker 2 (26:57):
Yeah, I'd say nearly all of the reps are somehow
connected to us having this.
We've now got this history ofexhibiting over there.
Speaker 1 (27:04):
Yeah, and what do you think it is about Milan that
draws the Aussies to exhibitover there and to visit?
Speaker 2 (27:10):
probably a number of things.
I mean, for me it's like thissort of electric feeling in the
city, like it's it's reallyexciting.
Everybody's excited to be there.
Um, everybody's excited aboutdifferent exhibitions that are
on.
I think there's just like alittle bit of magic to it.
That's a bit addictive, likeonce you've done it once.
Speaker 1 (27:30):
You're like I kind of want that I'm gonna do it again
.
What do you reckon?
Speaker 3 (27:32):
brie, is that right?
Speaker 2 (27:34):
or you might be onto something I'm very addicted yeah
, Even though there was sort ofI feel like there were a lot of
complaints about this year, it'sstill a really magical place to
be.
Speaker 1 (27:48):
What were the?
Speaker 3 (27:48):
complaints.
It's funny, isn't it?
You're probably talking aboutthe crowds and stuff is that,
yeah, yeah People.
Speaker 2 (27:53):
I heard it was the busiest year ever and lots of
people were saying it was toobusy.
The queues, the data harvestingthe big brands sort of taking
over with their majorexhibitions and kind of drowning
out a lot of the small brands.
Speaker 1 (28:08):
Yeah, it's interesting, isn't it?
Data harvesting?
I've not heard that.
Speaker 3 (28:11):
That sounds just scary, doesn't it?
Like we're part of the Matrixor something.
Speaker 2 (28:15):
Well see, you can't enter an exhibition, for the
most part, without handing overyour name and your email address
.
Speaker 3 (28:22):
Yeah, the old QR code .
Speaker 2 (28:23):
Yeah.
Speaker 3 (28:23):
That's typical.
It has mostly been like that.
I think it's just become somuch more digital and I think it
can be a bit frustratingbecause if you I feel like at
the start, you know when you'regetting all of the invitations
and you register for everything,and then you turn up and go I'm
pretty sure I registered forthis and then you've got to try
and find, like this yeah therereally should be a much more
streamlined way to go about it.
(28:45):
However, I don't know whetherthe Italians are going to pull
that off, but, um, I don't know.
It's funny, isn't it, because Iyou know, I think both Lauren
and I've heard similar things,and it was incredibly busy.
I found it um.
I wondered if it was busierthan last year, because I
thought last year was actuallyworse in some ways, for me, but
maybe because I maybe we pulledback a little bit on
(29:07):
expectations of how much wecould get done.
I always put too much on myselfof trying to get a lot in, but I
think there's still plenty ofsmall brands and makers standing
out because we look for thoseand the people that want to find
those people will, and I thinkthere's.
I think why it's grown isthere's people going for those
bigger experiences, just becausethey're kind of social media
(29:29):
worthy.
So you've got a kind ofslightly different crowd who can
now attach themselves to theweek.
That are maybe not the designlovers that we are looking for,
the newness and the small brandsand the makers and you know
like really combing throughalcova for that genuinely
amazing piece or whatever it isso I think it's still, I think
(29:49):
the opportunities are stillthere and like any, totally like
any show or event, it's goingto reach some kind of peak
moment, and maybe that's now formilan, and I think it'll.
It'll probably peter off andthen it'll peak again at some
other point, but it has evolved.
Um, did you go out to the fair?
Speaker 2 (30:04):
I didn't go.
No, I really wanted to.
This year I've actually neverbeen to the fair.
Oh wow, you've been too busy.
That's why I know when you'reexhibiting it'll be hard, I
imagine it is hard and because Ihave a lot of people that I
know are coming to theexhibition, but I don't exactly
know which day or what time.
Speaker 3 (30:22):
I feel really guilty whenever.
Speaker 2 (30:23):
I leave the exhibition because it's like a
key client or like a you knowkey rep.
Speaker 1 (30:28):
Did you take a toilet break at all or no?
Oh yeah, I mean we had a team.
Speaker 2 (30:38):
So, no, I did really want to go this year because I
really wanted to see Recumba andArticulo out there.
I think what it looks like whatthey did was really incredible.
Speaker 3 (30:48):
Well, they had a great presence right and not
being out there I mean it was,but obviously everyone would
understand that I think whenyou're exhibiting for yourself.
It's a lot of work and you,exactly like you said, you sort
of want to be around to meetthose key people.
Yeah, yeah, I imagine did youget out much at all?
Like what did you?
Speaker 2 (31:05):
say I did a few little, just sort of like one
hour popping out around the tosee things, but I did take one
full day and just tried tosqueeze in as much as possible
when it's on nilifar depot,which I really liked, like I
just loved it.
Speaker 3 (31:20):
Amazing out there.
Speaker 2 (31:22):
And like 10, corsicomo is really good.
Speaker 1 (31:26):
We had dinner there once.
Speaker 2 (31:27):
Oh, yeah, yeah, yes, we did once as well.
The bank account barelysurvived.
Speaker 3 (31:35):
I know right, Maybe you have to.
You have to do it at least once.
Speaker 2 (31:39):
Yes, it's really good .
Great vibe, great food.
So yeah, a couple of things,and Rosanna Orlandi was really
good as well.
Essential essential Just all ofthose like key things where you
know, I know I can see like 100different designers in one
space so it makes it worth it.
Speaker 1 (31:56):
Yeah, what did you think about this year compared
to other years?
Speaker 2 (32:00):
In terms of like the work.
Speaker 1 (32:02):
Well, yeah, the work, the vibe.
Speaker 2 (32:05):
Look two other years in terms of, like the work, well
, yeah, the work, the vibe, um,look, I think there was some
really interesting things goingon this year.
I think what, uh, formerphantasma did with the casino,
that sort of performance lookedamazing.
I didn't see it but, um, Ithink for me you know, I've done
a lot of digging and sort ofwatching to see what, what was
good, that I didn't see and andthat really stood out for me.
And I think the demore studioexhibition looked really
(32:28):
interesting.
Uh, 6 am glass doing thatexhibition in the old change
rooms of like the public pool.
Speaker 3 (32:34):
Oh my, god, I don't think I saw that one.
Speaker 2 (32:36):
Yeah, yeah, it's like that sounds fun yeah, like a
lighting exhibition in like adank old change room, but
they're called 6am glass thanksfor the tip and what else, like
atelier de troupe.
Uh, looked like they had areally good exhibition.
I did see the bocce 20 yearsort of in their apartment.
Speaker 3 (32:56):
That was that in their apartment, though it was
in.
Speaker 2 (32:58):
Yeah, I think they have a permanent space um, so I
was able.
So I was able, that's sort ofnear Rosanna Orlandi, so I was
sort of able to tie that in.
That was stunning, like thework the fit out.
It's just absolutely flawless.
So yeah, I think there was somereally good work there this
year.
Speaker 1 (33:15):
Yeah, we loved it.
Speaker 2 (33:17):
What were your favourite things?
Speaker 3 (33:19):
I love an apartment that's been done well.
So Muto was amazing justcolor-wise.
I mean, they always do abeautiful job, but it had a
beautiful story behind it.
I loved the color combinations.
Casa Onala, which is anotherapartment that was a bit more
sort of maximalist with patternand again kind of great use of
color.
But I kind of love being inthose sort of Milanese spaces
(33:40):
that we don't really have thatas much here, so it feels more
of an experience yeah I mean,rosanna orland is kind of a
no-brainer.
That's always amazing every year, yeah, um, and nilifar depot is
always a favorite too and Iliked it.
I feel like they really, withthe installation this year,
which who I've forgotten who didthat on the ground floor and
that whole, and then they kindof brought a ceiling in over it.
(34:03):
So normally that's like justlike you know, massive, what
would you say like quadrupleheight sort of area, and it just
changed the whole space and Ilike seeing how that dynamic can
change completely when youbring something into, into um,
make it a little bit moreintimate, um, just to name a few
yeah, yeah, so much, so much tosay, I think though, um,
(34:24):
because I've only been oncebefore, and that was 2017, and I
feel like then I stumbledacross more smaller brands than
this time.
Speaker 1 (34:33):
I don't know.
I think it's sometimes it'sjust luck of the draw what you
can fit in and what you?
You know it's a limited timebut.
I loved the um tahini new sofacalled butter by faye too good,
and I got to meet her.
Oh we did.
Speaker 3 (34:46):
We're pretty close right now.
We accosted her for a photo.
Speaker 2 (34:48):
Yeah, yeah, she's great, we did the fan girl.
Speaker 3 (34:50):
She's lovely though.
Speaker 1 (34:52):
Stumbling across somebody like that was just such
a cool highlight.
Speaker 3 (34:56):
Oh, and also you also just ran into who at Casa Brera
.
Speaker 1 (35:00):
Yeah, oh, I ran into Patricia Urchiola at lunch we're
pretty close as well.
I've met her once she's got allthese besties over there yeah,
um I also got to meet um bridgetromanek, so she's a us designer
.
She's designed for gwynethpaltrow all of these like
celebrities and stuff and shewas beautiful and I just loved
(35:22):
her yeah that was at uh artemisartemis yeah that's where simone
haig had her, her entry for youthat she he's not designed, and
that was I mean.
We know, simone, we're not.
I'm not just being biased.
He, it was stunning, it wasamazing, it was really real I
mean I loved her space.
It was so great.
But I mean, I mean, sometimesit is the people that you meet
(35:44):
that stand out, but you know, aswell as the design, like yeah,
to see those new sofas bereleased.
Also, ross Gardnams loved hislighting.
Speaker 2 (35:53):
It's incredible, yeah .
Speaker 1 (35:55):
Yeah, so incredible the space, the product.
The space was great as well.
Speaker 2 (35:58):
He did such a good job this year.
Speaker 3 (35:59):
It was cool, wasn't it?
He's kind of flawless isn't he,he's just like, down to the
detail.
Speaker 2 (36:03):
Yeah, totally.
Speaker 1 (36:04):
So, tell us what were the pieces that you exhibited?
Speaker 2 (36:07):
Were they new releases or yeah, so it was a
whole new collection calledCarapace, which is when the word
carapace sort of describes ashell or like a container, and
it was inspired, sort of a dualinspiration, of antique candle
reflectors and a turtle's shell.
So because I'm an avidcollector and I'm always in
(36:30):
antique stores and and over theyears I've seen a lot of candle
reflectors and I've alwaysthought like I want to do a
candle reflector and I alsocollect natural history, so I
have like a cupboard full ofskulls and like I've got a
stuffed sea turtle.
So yeah, it's like that.
Speaker 1 (36:48):
Yeah okay, I have to ask what are those heads on the
background of your wall there?
What are those?
Speaker 2 (36:56):
yeah, so they're not.
They're not actual animals,they're.
They're called taxidermy forms.
So these are the forms that a ahunter or a taxidermist would
get the animal and take the skinoff it and then stretch the
skin onto the form.
Speaker 1 (37:09):
Oh, my God.
They're so scary, I have to sayso to me.
Speaker 3 (37:15):
I'll just describe them for people listening To me
like and my eyesight's not thatgreat and it's small, on my
screen they kind of look likedinosaur heads, yeah, with long
necks yeah, well, they're deers,but um they don't, because they
don't have ears or there's noear.
Speaker 2 (37:28):
Yeah, yeah but I am the I.
So they used to make them outof paper mache, like up until
the 70s, and so these are papermache and they collect the old
ones.
Speaker 1 (37:37):
They sort of started making them.
Is there?
Is it a thing?
Speaker 2 (37:41):
um no, it's pretty niche I found.
I didn't really know theyexisted.
I found the first one when Iwas at an antique market with
boots in new york many years agoand that kind of sparked my
love for them, and so since then, every time I go to the states,
I'll go to antique markets.
I found some there andotherwise I get them online.
Speaker 1 (38:01):
They mostly come from usa I can imagine you at
customs trying to explain likewhat the hell is this thing?
Speaker 2 (38:08):
I've had many moments .
Speaker 1 (38:10):
It's so funny.
Oh, I love that.
So, this whole thing aboutgoing to antiques stores and
stuff?
Was that something that youwere dragged around as a kid,
because that was my experience,or how did that happen?
Speaker 2 (38:21):
Yeah, it kind of started when I moved to
Melbourne, Like I've always beencollecting things.
But then when I moved toMelbourne I don't know, my
partner now husband he wasreally like he could see that I
was enjoying going to antiquestores or like op shops and
stuff and he kind of encouragedme to do it and to sort of treat
it seriously.
And that's everything you youknow in terms of the kinds of
(38:44):
stores.
That's like everything from arundown antique warehouse like
in out in the country to likereally sort of high-end,
contemporary, contemporary styleantique stores in like new york
and la.
Yeah, just find them reallyinspiring places, even if I
don't buy stuff.
There's so many shapes andfinishes and colors and textures
(39:06):
to sort of draw inspirationfrom just just one more thing
about that.
Speaker 1 (39:10):
Can you share your secret favorite haunt?
Do you have a place like inmelbourne that you love to go to
?
Speaker 2 (39:15):
yeah, yeah, probably glenn waverley antique bazaar
yeah, that's my favorite, yeahsee you there it's good, it's so
big and I'm a bit like you.
Speaker 3 (39:28):
I could just wander around and maybe you don't find
anything that day, but I enjoyevery minute of it.
Speaker 1 (39:33):
Yeah, just yeah, but it's almost like you could go
back the next day and find 10things.
You know.
Speaker 3 (39:38):
It's just yeah, I don't feel like I turn over it
that quickly, not the turnover,but what you see?
Speaker 2 (39:45):
Oh, what you see, yeah.
Speaker 3 (39:46):
Yeah yeah, because it's so layered.
Speaker 2 (39:48):
It's true, sometimes I'll do an aisle twice and you
see different things the nexttime.
Speaker 1 (39:53):
Absolutely.
Speaker 3 (39:54):
I definitely do that yeah.
Speaker 1 (39:56):
So sorry for that tangent, but you were talking
about your new collection.
Speaker 2 (40:01):
Yes, yeah, so I wanted to design a candle
reflector.
So it sort of started as acandle reflector, the product I
wanted to get into casting.
I've sort of dabbled in castingmetal a couple of times.
I used to do it a little bitwith the boots, but I've never
like really integrated castingmetal into a product.
So I designed this shape andgot it cast in both aluminium
(40:25):
and bronze, so we're sort ofoffering it in two different
metals.
And then I kind of elaboratedit into like a big chandelier
and there's a wall sconce andthere's a floor lamp as well,
and so it's this really sort ofwell-rounded collection.
It kind of covers homewares aswell, because the smallest one
is like an incense burner.
It's only like as big as yourhand, oh.
(40:45):
So cool.
And then there's sort of somelarger candle reflectors and
then, yeah, it just goes.
Speaker 1 (40:51):
So can you describe the shape a little bit?
Speaker 2 (40:52):
Yeah, so it's.
I mean sort of imagine a turtleshell like a sea turtle, but
kind of faceted, and it's got acutout at the top and the bottom
which is in some waysdecorative but also it's
functional, particularly for thecandle reflector.
And this is sort of somethingthat I pulled out of like
antique candle reflectors.
They say often if it's thislike a semi-circular shape, like
(41:19):
a convex shape and there's acandle in there, there needs to
be a cutout at the top to letthe heat and the smoke out the
top so you're not sort ofsetting fire to the object.
And so it's kind of like thefunctionality of that influences
the way it looks.
And then when that evolved intolike the pendant and the wall
sconce, I kind of replaced thecandle with a metal tube and we
designed the system where we cansort of embed the LEDs into the
(41:44):
metal tube so that the LEDlight source is hidden and then
the reflector kind of clampsonto the tube and then all you
see is reflected light,essentially so beautiful, which
is a first for me.
There are a number of thingswith this collection that I
wanted to do for the first time,like it was my first reflected
light product, first timecasting metal.
First time designing everysingle component of the product.
First time, like it was myfirst reflected light product,
first time casting metal, firsttime designing every single
(42:06):
component of the product so alot of my other products have a
mix of off the shelf and customcomponent components, whereas
this one is just completelycustom.
Every, every swivel, we havecustom screws made.
So yeah, it's sort of satisfieda lot of my sort of needs to to
push myself.
Speaker 3 (42:24):
And how long does it take to develop something like
that, like if you're doing itfrom literally, from scratch,
every piece, like how long haveyou been working on it?
Speaker 2 (42:32):
Yeah, I had conceived it before I booked.
I'd probably done sketches andthings before I booked the space
in Milan.
I booked the space a yearbefore the exhibition, but it
was after I booked the spacethat I was like right, we've got
a deadline.
There's a lot of new ideas inthis.
Speaker 1 (42:48):
I don't know if it's going to work.
Speaker 2 (42:51):
We've got to get working on it.
So we sort of, yeah, weprototyped it for a long time.
So, yeah, I guess that's how Iwas working on it for a year.
Yeah.
Speaker 1 (42:59):
I love any light that you don't directly see that
light source, you know it's yeah.
And I think that's yeah, it'sdirected back onto that
reflector and it is so stunning.
I like the wall piece with thebigger one on the wall and then
above it a slightly smaller one.
And that motif of repetition.
That's something that you seemto use quite a bit in your work,
(43:22):
would you say.
Speaker 2 (43:23):
Yeah, absolutely yeah .
Speaker 1 (43:25):
And then you've got the candle reflectors, which are
the most charming.
Yeah, just cool objects.
So can people buy them directlyfrom your website or only
through stockists?
Speaker 2 (43:35):
Yeah, at the moment, just via email to us.
Speaker 1 (43:38):
Okay, cool, that's a nice one for under the Christmas
tree.
Speaker 3 (43:42):
Yeah, yeah, start saving now I know it's really
beautiful.
They're so gorgeous, I love howyou sort of manage to, because
I think you do have obviously abit of a brutalist influence in
a lot of what you do, and that's.
I kind of love these becausethey're sort of that.
But then they're so delicate aswell, and almost for me, like
(44:05):
you know, the pendants almostlook like flowers or seed pods
or something like that and thenthere's like just that elegance
to them.
So I love that kind of um mix ofsort of brutalist, slash
industrial, but also like Iguess it's quite deco issues and
that like that shape too.
Yeah, it's just such abeautiful mix that, um, you know
it's not overly decorative, soit kind of just has that edge to
it that I too yeah.
Yeah, it's just such abeautiful mix that, um, you know
it's not overly decorative, soit kind of just has that edge to
(44:27):
it that I love yeah, it has anedge.
Speaker 2 (44:30):
I'm so glad that that .
You see that.
That definitely excites me,that, that idea of something
being sort of hard and heavy andstrong but also being delicate
at the same time and prettyelegant there's this sort of
tension between the two that Ifind really exciting.
Speaker 1 (44:46):
So I'm glad you see that amazing well, thank
goodness that a euro leach isevery second year yeah yeah no
way, no way, I'm doing next yearI know it's a lot right it
takes
Speaker 3 (44:59):
a lot of energy and you know it's not just the time
and the money, it's just theenergy and the thought behind it
that you have that focus whenyou're also running a business.
You're a small business, right,so yeah, it's a lot to sort of
focus on, but what a greatoutcome.
I think the range is absolutelystunning and yeah, and I
(45:19):
hopefully got some good actualoutcomes out of Milan as well.
Speaker 2 (45:24):
Yeah.
Speaker 3 (45:25):
I guess to sort of wrap up a little bit.
I mean, lauren's probably got amillion more questions.
Speaker 2 (45:30):
I'm just looking at the time, that's okay, was there
?
Speaker 3 (45:33):
I mean, you did mention, obviously, some things
that you did go and see that youloved.
I guess was there something inparticular that was sort of your
favourite moment for Milanan,yeah I um think those, those
mirano chandeliers at nilifydepot.
Speaker 2 (45:47):
I think they were by um christian pelissari.
I thought they were really,really beautiful, even though I
think they'd been damaged intransit and some of the sections
weren't working.
Like the product was sobeautiful that I was just like
it actually eclipses the factthat, you know, I, I, I could
feel the stress of the designer,you know, seeing this stunning
(46:09):
thing in such a prominent spotin Niloufar Depot, but I could
also just like the beauty ofthem was it was bigger than that
, you know.
So that really stood out for me.
And again in Niloufar, etienneMarc, who I discovered a couple
of years ago, is a Frenchdesigner who was doing this
grotto furniture.
I don't know if you rememberthe cast bronze shell chairs.
Speaker 3 (46:30):
Yes, yes.
Speaker 2 (46:32):
So he had new work in Niloufar, in both the gallery
and the depot, where he sort oflike glued shells and plants
yeah, that's the chandelierthere Glued shells, maybe with
resin, onto the back of glassand then silvered the mirror,
and so these sort of naturalthings were in almost embedded
(46:52):
in this mirror and they were.
They're very, very simple andand really beautiful.
So that stood out to me and umarno de klerk, who had the
gallery space at 10 Corsacomo.
I think his work is amazing andseeing so many pieces in that
stark white environment and allthese furnishes, black.
Speaker 3 (47:11):
It worked really well , didn't it?
Yeah, I remember that?
Speaker 2 (47:14):
Yeah, I just thought that was so futuristic and such
a powerful statement.
Speaker 3 (47:20):
Yeah, that was brilliant.
Speaker 1 (47:21):
I think that was just before dinner for for me
walking through that one after along day I was like you know
how you just see so much andyou're seeing something really
amazing.
Speaker 3 (47:30):
You're like, oh, that's cool and you just walk
past it yeah, yeah I think Istopped and paid a little bit
more attention just becausesomeone else I think it was
michael, I think had mentionedit to me and I was like, okay, I
need to pay, I need to justhave a moment because it is.
I do think that you do get to apoint where you're
overstimulated, right, and youactually you're sort of you're
(47:51):
just sort of nodding at thingsyep, yep, you're all brilliant,
but like, maybe it doesn't sinkin.
I think this is why, we take somany photos as well.
For me, I can like go back nowand look at something.
You go, oh yeah, that's right,and kind of relive it and think
about it again and take it allin, whereas my memory is not
good enough to keep all of thatin there.
Speaker 1 (48:10):
So the bread isn't necessary.
Yeah, totally, totally.
So good.
Ollie, thank you so much forthe great chat.
It's so good to get to know youa little bit more in your work.
Speaker 2 (48:19):
Yeah, you too.
Thank you for having me.
It's been fun, it's beenbrilliant.
Speaker 3 (48:22):
Thanks for all your insights and little tips as well
.
Speaker 2 (48:26):
Yeah, of course.
Speaker 1 (48:27):
I'm going to be looking them all up.
I'll see you at Waverley.
Yeah, see you there soon.
Thanks, ollie, see you later.
Speaker 2 (48:34):
Bye guys.
Speaker 1 (48:40):
We've got the utmost respect for the Wurundjeri
people of the Kulin Nation.
They're the OG custodians ofthis unceded land and its waters
, where we set up shop, createand call home and come to you.
From this podcast today, a bigshout out to all of the amazing
elders who have walked before us, those leading the way in the
present and the emerging leaderswho will carry the torch into
(49:00):
the future.
We're just lucky to be on thisjourney together.
Well, this was a juicy chat.
Welcome to Design Anatomy.
Bree and I are doing a seriesit's the Milan interview series.
So today we're talking toOliver Wilcox, the artist turned
designer and founder of LostProfile, which is like the
coolest studio name ever right,and we get into all of the
(00:21):
things how he went from makingart to designing pieces.
It's that fine line betweensculpture and lighting Love that
.
And even how he finds theseperfect exhibition spaces in
Milan.
It's like a whole thing.
And his new collection isreally turning heads on a world
stage.
Amazing.
It's inspired by antique candlereflectors and tortoise shells
(00:44):
which, honestly, iconic behavior.
We love it.
We also unpacked some of thosebig Milan Week themes and we
talked about how Aussiedesigners are making serious
waves internationally.
I hope that you love this chatwith Ollie.
It's a really great listen.
If you can't get enough of thiskind of Milan Design Week
(01:04):
content, which I mean we'reobsessed, brie and I have some
really exciting things in theplanning.
So if you want to be able toaccess all of the cool things we
saw in Milan, we are sharingthat with you.
So stay tuned.
But for now, enjoy this episodewith Oli Well welcome, ollie.
Speaker 3 (01:24):
I'm so glad you were able to join us.
Ollie is from Lost Profile, soI know you have a bit of a long,
I guess, description of whatyou do.
But do you call yourself just adesigner or as something more
specific?
Speaker 2 (01:39):
I say artist and designer.
Yeah, I guess what I do isdesign, um, but also a lot of
people sort of expect that tomean industrial designer, which
I didn't study for um.
So yeah, I don't say yeah, sayartist and designer we'll get
into that background in a minute.
Speaker 3 (01:58):
But, um, we like to talk about how we know you at
the start and you and I have akind of a long history actually,
so, when.
I think it would have been whenyou very first started out, um,
and you had that first light,what was it called?
The long one with the uh,colossal people can't see what
I'm doing colossal yeah, thankyou yeah um, and I don't know
(02:22):
how I even came across you, butI think you used to share a
space somewhere in Collingwoodor Fitzroy with someone else.
Speaker 2 (02:30):
Yeah, my studio was in Fitzroy and I was working for
Chris Boots at the time that'sright, it might have been Den
Fair.
It could have been Den Fair.
I did Den Fair 2017 and 2018.
It might have been one of thoseyears.
Speaker 3 (02:44):
It was way before that.
Speaker 2 (02:46):
Yeah, okay, yeah.
Speaker 3 (02:48):
I can't remember what year, but it was before Cause
I'm thinking that's well.
I reckon it was more like maybe2016, but um, anyway.
I came across your work and, um, I was doing the Dulux forecast
shoot and I love to feature,like new makers and local people
, so, um, yeah, we used yourproduct a couple of times, I
(03:08):
think now in yeah in the shootswe used to do that were a little
bit more um, conceptual, andyeah, that's how, that's how I
know you.
But yeah um, yes and Lauren.
Speaker 1 (03:20):
Well, you guys are just meeting right yeah, but I
think um know you mentioned thatyou sort of see yourself as
like an artist and a designerand I think I first really
registered seeing your pieces atthe Melbourne Art Fair.
Speaker 2 (03:33):
Oh, maybe Melbourne Design Fair.
Speaker 1 (03:35):
Oh, it was Melbourne Design Fair, so maybe three
years ago.
Speaker 2 (03:39):
Yeah, 2023,.
Speaker 3 (03:40):
yeah, the one that was out kind of near Hub, like
where Hub used to be.
Was that out there?
No, I've only done one and itwas at the.
Speaker 1 (03:48):
It was at the at Jeff's show, at the exhibition
centre yeah yeah, yeah, so, butI just maybe I think it was the
art fair because it was the samelocation, but anyway, I get
them confused too, I know, Iknow that was just so epic that
fair, wasn't it?
Speaker 2 (04:04):
It was really really good.
I thought it was really reallygood.
Speaker 1 (04:07):
Yeah, but I would have seen your pieces at Den
Fair as well, back in the heydayof that.
That was such a great event.
But then seeing you and yourspace at Milan Design Week,
which was so cool.
Speaker 2 (04:22):
Yeah, thank you.
Thanks so much.
Thanks for coming.
Yeah, thank you.
Thanks so much.
Thanks for coming.
Yeah, I loved it.
Speaker 1 (04:28):
It was, yeah, really exciting and just you know,
being on that world stage indesign and it was just yeah, it
makes, as an Australian, yousort of feel a bit of pride of
like seeing such a great designon that like huge, big world
stage.
So yes, it was very, very nice.
But yeah, I'm just like reallyexcited for this chat, to get to
know you a little bit more.
Speaker 2 (04:48):
So yeah, for sure cool it would be cool.
Speaker 3 (04:52):
Actually, I was reading you know we're doing our
little dig on the website and Ididn't know this story and I'd
love you to tell it which is thestory of how you named your
studio.
Speaker 2 (05:03):
Yeah, yeah, absolutely so, in the sort of
mid-teen sort of.
Well, it was in 2014 that I wastravelling with my now husband,
simon, and I was thinking a lotabout my sort of direction as a
creative.
I'd been working forChristopher Boots for a couple
of years and I was reallygetting into lighting, but my
(05:25):
background is an artist and asculpture, um, but I also
collect, like antiques andobjects and and vintage design,
and so, yeah, I was sort ofthinking about my direction at
that time and simon and I umwent to europe, um, just on a
holiday, and we're in the ParisFleas, which is the most amazing
(05:45):
antique market in the world.
I think you can just spend daysthere.
It's really, really inspiringand incredible.
And we came across a paintingthat we both fell in love with,
and it was sort of a portrait ofa woman, but her head was
turned so that you could onlyreally see sort of a sliver of
her face.
It was kind of the back of herhead, like the kind of cheekbone
(06:06):
, yeah, exactly, and so we weretalking to the sort of shop
owner about it and he told usthat the style was called the
profil perdu, which means lostprofile in English, and he told
us that it was like a trainingtechnique for young painters.
It was almost like a challengefor them, because when you're
painting somebody's portrait butyou're sort of losing all of
(06:28):
their facial features, whichsort of make it easy to make a
portrait of someone when youknow what their eyes look like
and their mouth but, you loseall of that information and you
have to distill what they looklike into their lost profile,
and so to get that right's evenharder to to get a portrait
right when you've got all thethe facial features to work with
, and um, I just thought thatwas really really beautiful and
(06:51):
and poetic and um yeah, andimmediately it was like a light
bulb moment.
I was like lost profile.
I'm going to start a studiocalled lost profile and you know
that's going to be my umbrellaand under that I can be an
artist and I can be a designerand I can be a collector and
sort of combine all my passionsunder this sort of yeah, the
(07:12):
banner of Lost Profile.
Speaker 1 (07:13):
Love that story so much, that's so good and like,
in a way, I like how you said.
Yeah, with capturing you knowsomebody's portrait.
Traditionally it's you know theeyes and the mouth.
It's really defining feature.
But not having that, it'salmost like you have to capture
the essence of a person withoutthose, giveaways so it's kind of
(07:33):
a really beautiful like meaningin relation to your work as
well.
Speaker 2 (07:38):
Yeah.
Yeah, it's sort of about likeembedding meaning into something
that's very, very minimal, andI think that sort of about like
embedding meaning into somethingthat's very, very minimal, and
I think that sort of carriesthrough to what we do here.
Speaker 3 (07:48):
And you mentioned that.
So did you study fine art?
Is that what you?
Speaker 2 (07:52):
studied, yeah, visual arts up in Lismore, northern
New South Wales.
Speaker 3 (07:57):
Okay, yeah, and then when did you come to Melbourne?
Speaker 2 (08:00):
2011, I moved to Melbourne.
Speaker 3 (08:03):
You didn't follow a boy or something, did you?
No, no, soft on the story.
Speaker 2 (08:10):
Um, I mean, it might've been to do with the
lack of boys in Lismore, newSouth Wales, but, um, I grew up
in Sydney and and I moved toLismore to study.
So I had been there for fiveyears, um, and I loved it up
there.
It's such a stunning part ofthe world and I thought that I
would stay in that area.
I got a really good job, acreative job, while I was in uni
(08:32):
and that sort of kept me therefor two years after I finished
uni.
But I went to New York for thefirst time when I was living up
there and was just reallyinsanely inspired by that city
and kind of got back to Lismoreand thought, actually, I think I
need to be in a big city again.
Speaker 3 (08:52):
Oh, that's so interesting.
Speaker 2 (08:53):
Yeah.
So I didn't want to move backto Sydney, I didn't want to move
to Brisbane.
I had spent a lot of time inBrisbane over those five years
and I don't like the heat, soand I just figured Melbourne's
like the, you know, the New Yorkof Australia.
Speaker 3 (09:09):
Oh, I like that.
I think Melbourne is also theMilan of Australia.
Speaker 2 (09:15):
Yeah, true, true.
Speaker 1 (09:18):
So, Ollie, I'm really curious to know with your art
practice, how did you move intodesign?
Yeah, I'd love to know how youmoved into design.
I've got lots of questionsthough.
Speaker 2 (09:29):
Yeah, well, my first segue was that job that I just
mentioned when I was up inNorthern New South Wales.
So I got hired by a mosaicist,a guy called Scott Carrow.
Oh, wow.
And so he was.
You know, he'd been workingmosaics for many years I think
about 20 years when I met himand so he was doing a lot of
large scale commission works forCatholic schools, Catholic
(09:51):
churches, public artworks, someprivate commissions, and so that
was sort of my segue into a bitof a design job, in that, you
know, everything that he wasdoing was sort of responding to
a client's brief and that youknow everything that he was
doing was sort of responding toa client's brief and it was yeah
, it was very much my firstglimpse at like a small creative
business.
(10:11):
So there was that.
And then, when I moved toMelbourne in 2011, I really
wanted to get back into acreative job, but I didn't know
anybody when I moved here.
I mean, I knew a couple ofpeople, but it was definitely
not compared to everyone I knownow, and so I worked in
hospitality for about a year andI just kept near to the ground
(10:33):
and tried to network andeventually got introduced to
Christopher Boots, which I thinkwas early 2012.
And Chris's business was justreally starting to take off.
He'd been going for a year, ayear and a half, but he was
definitely getting some reallylike international attention and
some big projects like prettymuch from the get-go.
(10:55):
So I've offered to volunteerfor Chris for a few months and I
just did like a day or two aweek here and there, but I loved
it.
I loved it so much more than mycafe job and um, I just really
expect yeah, yeah, I just, um,you know, let let Chris and and
his then production manager knowthat I I really wanted to work
(11:16):
for them and um, and, and theyhired me and so, and so that was
my next big exposure to like adesign and you know, design
business.
Within six months, chris's thenproduction manager, um, didn't
want to do that role anymore andso I ended up taking over the
production manager role.
Oh cool, pretty crazy, how sortof quickly all that happened,
but I'd really like thrownmyself into it and was just
(11:39):
soaking it all up and, and so Imanaged his production team for
I think, about five years,between 2012 and 2017.
And then I moved into a bitmore of a research and
development role for Chrisbetween 2017 and 2019.
So, yeah, fantastic experiencereally.
Speaker 1 (11:58):
That volunteer stint really paid off?
Yeah, totally Wow.
I sort of jumped on board atthe right time, yeah and um,
yeah, I do remember seeingchristopher boots lights for the
first time and they were soexciting, I mean they still are
exciting yeah um, and they'renot really a traditional
lighting design company.
Speaker 3 (12:19):
Like it's very um art led, I would say yeah yeah,
yeah, yeah, really good fit foryour combination of skills, I
guess yeah, I think so.
Speaker 2 (12:29):
I mean, I what attracted me to to chris's work?
When I first saw it, I was likeI couldn't believe that I was
looking at these.
I I sort of saw them assculptures that lit up, um.
So I was sort of attracted toit as art and you know, they've
all got their own language,their own processes.
I was completely fascinated byit and I still think his work is
(12:50):
amazing.
Speaker 1 (12:51):
Can you just describe one of their pieces for those
that are listening that aren'tfamiliar?
Speaker 2 (12:57):
One of Boots' pieces.
Speaker 1 (12:58):
Yeah.
Speaker 2 (13:00):
So Boots works with a lot of brass in terms of
materials I think that's sort ofthe base metal that he works
with and he also integrates alot of quartz, natural materials
stone, alabaster, blown glass,all really sort of luxurious
materials but I think Chris isvery inspired by sort of natural
(13:21):
minerals and that comes through.
Even if he's designing a lightthat doesn't have the quartz
built into it, it's stillreferencing the sort of, you
know, microscopic shapes thatthe crystals can form.
Speaker 3 (13:32):
Yeah, yeah, that's a very good description and I
guess he's so well known forthose quartz pieces, but there's
so much more that he's done.
That's, yeah, beautiful, yeah,so when did you know you wanted
to go out on your own and doyour own thing?
Speaker 2 (13:50):
I sort of so.
After that, you know that pointof conceiving the lost profile
idea, which was 2014.
So it's like 12 years ago Iguess.
It was on my mind for a longtime and I was lighting had kind
of taken over my creativepractice, like I was still
making paintings and sculptures,but I was also making lights or
light sculptures, and it wassort of a few years of my
(14:13):
practice evolving towardslighting and then sort of coming
up towards 2017.
I guess the lights that I wasmaking was quite that.
They were looking more likeproducts essentially and you
know, still sculptural, but notlike one-off light sculptures.
So yeah, it's hard to say ifthere was a point that I decided
to do that, but there was apoint that I decided to step
(14:37):
down as production manager,which really allowed me the time
to um, to to work on lostprofile, and that was sort of in
around 2017.
I decided to sit down as hisproduction manager and I booked
a space at den fair.
I was like, right, that's,that's.
The goal is to have a handfulof products to to launch at den
fair and um and see how it goesdid you used to loan out your um
(14:59):
vintage stuff as well?
Speaker 3 (15:01):
yeah, back then I think that's how I might have
come across your actual work,because I was probably looking
for those pieces, yeah, and hadthat little showroom and yeah,
that's what I think it was.
Speaker 2 (15:12):
Yeah, I think you borrowed some as well.
Speaker 1 (15:16):
Ollie with that first collection.
Can you describe what thatlooked like?
Speaker 2 (15:20):
Yeah.
So I launched with threeproducts.
One of them was the Colossalwhich Bree mentioned earlier.
So it's a brass cage made, madeup of lots of fins that are all
kind of bolted together andthere's like an illuminated tube
, um, in the middle of it.
I'd say it's.
It's quite brutalist and alittle bit sort of art deco
inspired as well yeah I had alsolaunched a product called
(15:43):
surgeon, which is inspired bysurgery lamps, essentially like
vintage surgery lamps, but Iwanted to do it all out of brass
and really, you know, thesurgery lamps are quite thick
because they've got big lightbulbs in them, but because I was
designing LED into everything,I'd sort of reduce the overall
depth to like 80 millimeters.
So it's more about this bigsort of disc with these glowing
(16:05):
sort of half spheres of glass,and so, yeah, that one with
these glowing sort of halfspheres of glass and so yeah,
that one.
And I also launchedSurveillance, which has been a
real sort of steadfast of thecollection since back then,
which is just like a very simplerod with a tube on the end, a
brass tube, and it's adirectional spotlight, sort of
inspired by a security cameraprofile in a way.
Speaker 1 (16:27):
And all of those pieces?
Are they still in yourproduction?
Speaker 2 (16:29):
Yeah, they are yeah.
Speaker 1 (16:30):
Wow, that's amazing.
Yeah, I'm just having a look onyour Instagram now and, yeah,
they're so stunning.
Speaker 2 (16:36):
Yeah.
Speaker 1 (16:37):
And yeah, you mentioned, you know Art Deco is
sort of an influence, but I hateto use the word timeless
because I don't know if I havean issue with it.
But I feel they, there is atimeless quality yeah, it's hard
to pin a date on your piecesyeah yeah, it's so overused that
term.
What about um I wanted to talkto you about, because um brie
and I, we were talking to someartists over the weekend.
(16:57):
They exhibited jeffrey karenand rowena martinich.
They exhibited their pieces ina hotel lobby, so it's artists
coming into the world of design,which is kind of similar to you
and I'm really curious to know,like for you, how do you define
design versus art?
Like, how do you, how do youkind of what's, what's the
definition?
Speaker 3 (17:17):
It's almost like you were saying that with that point
, when you realized that yourlights had stopped being
sculptures and actually beinglights like where do you?
Where's that line?
Speaker 2 (17:26):
Yeah, it's's.
It's a really tricky one peoplehave.
I know people have tried tocoin terms for that sort of, you
know, that product, that's anart piece over the years.
I don't know, I think maybe whenit, when it becomes repeatable
in a way, is is yeah that's agood one actually yeah, maybe
when it's designed in a way thatit can be produced multiple
(17:48):
times, even if it's just 20times, you know, like a limited
run, I would say maybe that'swhere the line is, whereas if
it's just a one-off, and youknow, it might still light up.
But it's an art piece.
Speaker 3 (18:02):
I would sort of add to that maybe, if it's a design
as opposed to say a sculpture oran art piece, it has to have a
function other than justaesthetic.
Speaker 2 (18:12):
Do you think?
Speaker 3 (18:12):
that's also part of it.
Yeah, like obviously yours islighting, but if we're sort of
just talking about any kind ofsculpture or art, it has also
kind of some other function toit, in an interior kind of sense
.
Speaker 1 (18:25):
Well, you know with, oh sorry.
Speaker 2 (18:26):
Oh no, I was just going just gonna say, and I
really appreciate, like in inthis sphere of sort of art and
design, I I really appreciatewhen some artists or designers
take it in this sort ofextremely art direction but then
have this little element ofdesign and I think that's like a
really interesting combination,like um nacho carbonell's work
I don't know if you know him,but he'll do this massive chair
(18:50):
with these sort of blooming, um,almost like chicken wire cages
which are all plastered and it'slike 90 art piece but then,
like a section of it, will havesomewhere you can sit and then
maybe like somewhere you can putyour drink yeah, yeah.
Speaker 1 (19:04):
Well, when we were talking with um, yeah, rowena,
because she, she, she's a's apainter, so we talked about that
element of repetition for her.
You know, putting her piecesprinted onto a carpet, it
becomes a pattern that'srepeated.
But then, on the flip side ofthat, it's like, well, a fine
art photographer, their piecesare repeated.
But that's art, that's notdesign.
So it's really hard to define,I feel.
Speaker 2 (19:25):
Yeah, yeah, absolutely.
Speaker 3 (19:27):
I don't know I'll have to think on that a little.
Yeah, I guess shifting theconversation to Milan, because
that's what we'd love to have adiscussion about in terms of
your involvement, had you beenbefore to Milan.
Speaker 2 (19:41):
Yeah, it was my third time exhibiting.
Speaker 1 (19:43):
Okay, oh, my God, cool yeah.
Speaker 2 (19:46):
So my first two times I exhibited with Chris Boots,
so the first time was 2019.
And then again post COVID 2022.
And then, this time, by myself.
Yeah, my third time over there.
Speaker 3 (19:59):
Chris had a space for a little while, didn't he over
there?
Speaker 2 (20:02):
No, I don't think so.
Speaker 3 (20:03):
Only during the show.
Speaker 2 (20:05):
Yeah, he did exhibit last year, but not this year.
Speaker 3 (20:08):
Was it quite a big leap to decide to do it on your
own?
I guess if you'd already had alittle bit of the experience of
being involved in it, maybe it'snot quite as scary, because I
imagine it's a big investmentright.
It's a big investment Like intime and everything.
Speaker 2 (20:21):
Yeah, in some ways yes and in some ways no, I felt
like, having done it twicebefore, I knew what to do and
you know I was heavily involvedin organizing the first, the
first two.
I kind of it kind of excites methe idea of, you know, doing
something repeatedly and gettingbetter at it and figuring out
what went wrong the last timeand not to say that things
didn't go wrong this time.
(20:43):
But yeah, it's.
I mean, it's more expensivedoing it by yourself.
And you know it's been great inthe past to have the support of
Chris's team, because, you know, chris has got a small team,
I've got a small team.
There's heaps of us Like we'llsort it out, you know, whereas
this time it's like okay, I'mrunning this.
You know I can only have someof my people come because my
team's only like eight people.
Speaker 1 (21:09):
You've got to keep it too, right, yeah, yeah, so it's
sort of a higher level ofresponsibility, but it all
turned out really well, and howhas the feedback been?
I think really good.
Speaker 2 (21:13):
Yeah, for sure, I think the feedback on the ground
over there was really good.
I recognize that it's not asuper commercial looking product
that I put out there and that'snot what I was aiming for
really.
I think it's more valuable toput something out there that's
weird and exciting and maybe notmake as many sales and is to do
(21:33):
something that's commercial andnot that exciting.
Well, especially there too, Ithink it's a place to do it.
Speaker 3 (21:40):
Yeah, I think you want attention and then the
other stuff kind of follows.
So I think it's better to dosomething that really stands out
and is talked about and likedor not liked.
Just stands out, talked aboutand then you know the attention
comes and they'll find the otherthings that maybe are more
commercial.
Not everything has to have thatpurpose, right.
Speaker 2 (22:01):
Yeah.
Speaker 3 (22:01):
I was going to say the space that you had was in a
great area.
It was quite small, but youmade the absolute most of it.
Yeah, thank you how do you evengo about finding a space when
it comes to that, like, where doyou start?
Speaker 2 (22:13):
There's a few ways you can go about it In the Brera
.
There's a website called BreraLocation and it's really good
it's basically like Airbnb forshopfronts.
Who want?
Speaker 3 (22:25):
to lease their space.
Speaker 2 (22:29):
So you can go online see the profile of the space
square meter, age, where is it,how much is it, etc.
Etc.
Um, so that's a really good,good resource and I have been
emailing with them for a fewyears about, you know,
potentially bookings, somethingthrough them, but I think this
was the first time I'd bookedthrough them and there are.
There are a few groups likethat.
Um, there's another one calledthe, the 5v or the chinko v,
(22:50):
which is a little bit differentin that you contact them and say
this is my budget, this is howmuch space I want, this is the
area I want to be in, and theysort of do some hunting for you.
They come back to you with withsome proposals and I heard on
the great vine when I was overthere this year that there was a
tour.
I don't't know if you've heardabout this, but somebody out
there I can pull up the detailslater, but someone out there is
(23:12):
doing tours of spaces duringDesign Week.
Speaker 3 (23:16):
Just like curious spaces.
I will get those details fromyou.
Speaker 2 (23:21):
I'll have to contact the person that told me about it
.
But yeah, you can jump on a busand someone takes, so this is
for future planning right.
Speaker 3 (23:29):
So if you're thinking about doing, it in two years.
Speaker 2 (23:31):
You could go this year, jump on the bus and they
tour you around to all thespaces that are available for
the next year.
Speaker 3 (23:39):
Wow, that's a great idea isn't?
Speaker 2 (23:40):
it.
Speaker 3 (23:41):
I suppose of course there are people doing that
because there's just so muchopportunity, there are so many
people needing spaces and I wasjust saying this before, but a
friend of mine who isn't livingin Milan anymore but was.
She was saying it's gettingharder and harder to find
particularly bigger spacesbecause there's so much more
development happening in Milannow.
(24:01):
So, those empty kind ofabandoned spaces are being
developed and that's why one ofthe biggest reasons Alcova kind
of moved out of the city wasthey just don't have the space,
so it will get harder and harder, I assume.
Speaker 2 (24:13):
Yeah, the other way to find space is to.
I mean, the way that I foundthe space that Chris and I first
exhibited in back in 2019 is.
My partner, simon, and I wentover there the year before I
think it was 2016 and we justwalked around and and looked in
shops and found one that weloved, talked to the owner and
he was like yep, sure, let's,let's do it all right so that
(24:35):
was.
That was a really amazingexperience and, like we've said,
friends with him, he was likethe most wonderful host.
So, yeah, that that was a goodway to do it.
Speaker 1 (24:44):
But yeah, if, if you can't get over there to do
hunting and sourcing, there areresources online I was just
wondering, like you know,talking about exhibiting, did
you have any outcomes in mindthat you wanted to get out of it
?
Speaker 2 (24:56):
not this time.
No, I remember the first time Iexhibited over there I had zero
expectations and and it was areally successful show and I
like sold a lot of the piecesthat I took over there which I
wasn't expecting at all, and Igot reps off the back of that.
And then the second time Ishowed over there, I was wanting
more representatives, and sothat was a bit of a goal and it
(25:19):
worked out.
I think I got threerepresentatives, not directly
off the back of it, but I sortof you know, I made sure that
this showroom that I wanted towork with knew that I was doing
it, and then that came throughand we ended up setting
something up.
Speaker 1 (25:32):
So when you say representatives, do you mean
like stockists around the world?
Speaker 2 (25:37):
Yeah, cool, so where?
Speaker 1 (25:39):
can people buy your pieces?
Speaker 2 (25:42):
We've got six or seven reps that we work with in
the States.
Wow, we've got two in NewZealand, four in Australia, one
in Milan, one in London.
I think that's it.
Speaker 3 (25:55):
That's amazing.
How much of your work would be.
From those reps has it becomequite a considerable amount,
that's international work.
Speaker 2 (26:02):
Yeah, that's really cool.
The States is probably equal toour Australian market.
Speaker 3 (26:07):
Oh, wow, okay, I mean it's bigger, I guess, right.
Speaker 2 (26:11):
It's a really big market and I don't think we've
even scratched the surfacereally.
But yeah, I would say like sortof 40% of our works in
Australia, 40% is in the USA andthen maybe 20% is just
everywhere else at the moment.
Speaker 1 (26:24):
What I was wondering as well do you think that kind
of representation would thathave come about if you don't
exhibit at Milan?
It would be pretty difficult,right.
Speaker 2 (26:33):
Yeah, it's hard to say.
I mean, some of the repsdiscovered us at Milan and so
those ones we know doing Milanwas the reason for making that
connection.
Other ones, like I said, I hadcontacted them before we did the
exhibition and they either cameto the show or they just saw
that we did it and they thought,okay, this is like a cool brand
.
Speaker 3 (26:52):
Legit man yeah.
Speaker 1 (26:53):
So I think it would have contributed to some of
those relationships.
Speaker 2 (26:57):
Yeah, I'd say nearly all of the reps are somehow
connected to us having this.
We've now got this history ofexhibiting over there.
Speaker 1 (27:04):
Yeah, and what do you think it is about Milan that
draws the Aussies to exhibitover there and to visit?
Speaker 2 (27:10):
probably a number of things.
I mean, for me it's like thissort of electric feeling in the
city, like it's it's reallyexciting.
Everybody's excited to be there.
Um, everybody's excited aboutdifferent exhibitions that are
on.
I think there's just like alittle bit of magic to it.
That's a bit addictive, likeonce you've done it once.
Speaker 1 (27:30):
You're like I kind of want that I'm gonna do it again
.
What do you reckon?
Speaker 3 (27:32):
brie, is that right?
Speaker 2 (27:34):
or you might be onto something I'm very addicted yeah
, Even though there was sort ofI feel like there were a lot of
complaints about this year, it'sstill a really magical place to
be.
Speaker 1 (27:48):
What were the?
Speaker 3 (27:48):
complaints.
It's funny, isn't it?
You're probably talking aboutthe crowds and stuff is that,
yeah, yeah People.
Speaker 2 (27:53):
I heard it was the busiest year ever and lots of
people were saying it was toobusy.
The queues, the data harvestingthe big brands sort of taking
over with their majorexhibitions and kind of drowning
out a lot of the small brands.
Speaker 1 (28:08):
Yeah, it's interesting, isn't it?
Data harvesting?
I've not heard that.
Speaker 3 (28:11):
That sounds just scary, doesn't it?
Like we're part of the Matrixor something.
Speaker 2 (28:15):
Well see, you can't enter an exhibition, for the
most part, without handing overyour name and your email address
.
Speaker 3 (28:22):
Yeah, the old QR code .
Speaker 2 (28:23):
Yeah.
Speaker 3 (28:23):
That's typical.
It has mostly been like that.
I think it's just become somuch more digital and I think it
can be a bit frustratingbecause if you I feel like at
the start, you know when you'regetting all of the invitations
and you register for everything,and then you turn up and go I'm
pretty sure I registered forthis and then you've got to try
and find, like this yeah therereally should be a much more
streamlined way to go about it.
(28:45):
However, I don't know whetherthe Italians are going to pull
that off, but, um, I don't know.
It's funny, isn't it, because Iyou know, I think both Lauren
and I've heard similar things,and it was incredibly busy.
I found it um.
I wondered if it was busierthan last year, because I
thought last year was actuallyworse in some ways, for me, but
maybe because I maybe we pulledback a little bit on
(29:07):
expectations of how much wecould get done.
I always put too much on myselfof trying to get a lot in, but I
think there's still plenty ofsmall brands and makers standing
out because we look for thoseand the people that want to find
those people will, and I thinkthere's.
I think why it's grown isthere's people going for those
bigger experiences, just becausethey're kind of social media
(29:29):
worthy.
So you've got a kind ofslightly different crowd who can
now attach themselves to theweek.
That are maybe not the designlovers that we are looking for,
the newness and the small brandsand the makers and you know
like really combing throughalcova for that genuinely
amazing piece or whatever it isso I think it's still, I think
(29:49):
the opportunities are stillthere and like any, totally like
any show or event, it's goingto reach some kind of peak
moment, and maybe that's now formilan, and I think it'll.
It'll probably peter off andthen it'll peak again at some
other point, but it has evolved.
Um, did you go out to the fair?
Speaker 2 (30:04):
I didn't go.
No, I really wanted to.
This year I've actually neverbeen to the fair.
Oh wow, you've been too busy.
That's why I know when you'reexhibiting it'll be hard, I
imagine it is hard and because Ihave a lot of people that I
know are coming to theexhibition, but I don't exactly
know which day or what time.
Speaker 3 (30:22):
I feel really guilty whenever.
Speaker 2 (30:23):
I leave the exhibition because it's like a
key client or like a you knowkey rep.
Speaker 1 (30:28):
Did you take a toilet break at all or no?
Oh yeah, I mean we had a team.
Speaker 2 (30:38):
So, no, I did really want to go this year because I
really wanted to see Recumba andArticulo out there.
I think what it looks like whatthey did was really incredible.
Speaker 3 (30:48):
Well, they had a great presence right and not
being out there I mean it was,but obviously everyone would
understand that I think whenyou're exhibiting for yourself.
It's a lot of work and you,exactly like you said, you sort
of want to be around to meetthose key people.
Yeah, yeah, I imagine did youget out much at all?
Like what did you?
Speaker 2 (31:05):
say I did a few little, just sort of like one
hour popping out around the tosee things, but I did take one
full day and just tried tosqueeze in as much as possible
when it's on nilifar depot,which I really liked, like I
just loved it.
Speaker 3 (31:20):
Amazing out there.
Speaker 2 (31:22):
And like 10, corsicomo is really good.
Speaker 1 (31:26):
We had dinner there once.
Speaker 2 (31:27):
Oh, yeah, yeah, yes, we did once as well.
The bank account barelysurvived.
Speaker 3 (31:35):
I know right, Maybe you have to.
You have to do it at least once.
Speaker 2 (31:39):
Yes, it's really good .
Great vibe, great food.
So yeah, a couple of things,and Rosanna Orlandi was really
good as well.
Essential essential Just all ofthose like key things where you
know, I know I can see like 100different designers in one
space so it makes it worth it.
Speaker 1 (31:56):
Yeah, what did you think about this year compared
to other years?
Speaker 2 (32:00):
In terms of like the work.
Speaker 1 (32:02):
Well, yeah, the work, the vibe.
Speaker 2 (32:05):
Look two other years in terms of, like the work, well
, yeah, the work, the vibe, um,look, I think there was some
really interesting things goingon this year.
I think what, uh, formerphantasma did with the casino,
that sort of performance lookedamazing.
I didn't see it but, um, Ithink for me you know, I've done
a lot of digging and sort ofwatching to see what, what was
good, that I didn't see and andthat really stood out for me.
And I think the demore studioexhibition looked really
(32:28):
interesting.
Uh, 6 am glass doing thatexhibition in the old change
rooms of like the public pool.
Speaker 3 (32:34):
Oh my, god, I don't think I saw that one.
Speaker 2 (32:36):
Yeah, yeah, it's like that sounds fun yeah, like a
lighting exhibition in like adank old change room, but
they're called 6am glass thanksfor the tip and what else, like
atelier de troupe.
Uh, looked like they had areally good exhibition.
I did see the bocce 20 yearsort of in their apartment.
Speaker 3 (32:56):
That was that in their apartment, though it was
in.
Speaker 2 (32:58):
Yeah, I think they have a permanent space um, so I
was able.
So I was able, that's sort ofnear Rosanna Orlandi, so I was
sort of able to tie that in.
That was stunning, like thework the fit out.
It's just absolutely flawless.
So yeah, I think there was somereally good work there this
year.
Speaker 1 (33:15):
Yeah, we loved it.
Speaker 2 (33:17):
What were your favourite things?
Speaker 3 (33:19):
I love an apartment that's been done well.
So Muto was amazing justcolor-wise.
I mean, they always do abeautiful job, but it had a
beautiful story behind it.
I loved the color combinations.
Casa Onala, which is anotherapartment that was a bit more
sort of maximalist with patternand again kind of great use of
color.
But I kind of love being inthose sort of Milanese spaces
(33:40):
that we don't really have thatas much here, so it feels more
of an experience yeah I mean,rosanna orland is kind of a
no-brainer.
That's always amazing every year, yeah, um, and nilifar depot is
always a favorite too and Iliked it.
I feel like they really, withthe installation this year,
which who I've forgotten who didthat on the ground floor and
that whole, and then they kindof brought a ceiling in over it.
(34:03):
So normally that's like justlike you know, massive, what
would you say like quadrupleheight sort of area, and it just
changed the whole space and Ilike seeing how that dynamic can
change completely when youbring something into, into um,
make it a little bit moreintimate, um, just to name a few
yeah, yeah, so much, so much tosay, I think though, um,
(34:24):
because I've only been oncebefore, and that was 2017, and I
feel like then I stumbledacross more smaller brands than
this time.
Speaker 1 (34:33):
I don't know.
I think it's sometimes it'sjust luck of the draw what you
can fit in and what you?
You know it's a limited timebut.
I loved the um tahini new sofacalled butter by faye too good,
and I got to meet her.
Oh we did.
Speaker 3 (34:46):
We're pretty close right now.
We accosted her for a photo.
Speaker 2 (34:48):
Yeah, yeah, she's great, we did the fan girl.
Speaker 3 (34:50):
She's lovely though.
Speaker 1 (34:52):
Stumbling across somebody like that was just such
a cool highlight.
Speaker 3 (34:56):
Oh, and also you also just ran into who at Casa Brera
.
Speaker 1 (35:00):
Yeah, oh, I ran into Patricia Urchiola at lunch we're
pretty close as well.
I've met her once she's got allthese besties over there yeah,
um I also got to meet um bridgetromanek, so she's a us designer
.
She's designed for gwynethpaltrow all of these like
celebrities and stuff and shewas beautiful and I just loved
(35:22):
her yeah that was at uh artemisartemis yeah that's where simone
haig had her, her entry for youthat she he's not designed, and
that was I mean.
We know, simone, we're not.
I'm not just being biased.
He, it was stunning, it wasamazing, it was really real I
mean I loved her space.
It was so great.
But I mean, I mean, sometimesit is the people that you meet
(35:44):
that stand out, but you know, aswell as the design, like yeah,
to see those new sofas bereleased.
Also, ross Gardnams loved hislighting.
Speaker 2 (35:53):
It's incredible, yeah .
Speaker 1 (35:55):
Yeah, so incredible the space, the product.
The space was great as well.
Speaker 2 (35:58):
He did such a good job this year.
Speaker 3 (35:59):
It was cool, wasn't it?
He's kind of flawless isn't he,he's just like, down to the
detail.
Speaker 2 (36:03):
Yeah, totally.
Speaker 1 (36:04):
So, tell us what were the pieces that you exhibited?
Speaker 2 (36:07):
Were they new releases or yeah, so it was a
whole new collection calledCarapace, which is when the word
carapace sort of describes ashell or like a container, and
it was inspired, sort of a dualinspiration, of antique candle
reflectors and a turtle's shell.
So because I'm an avidcollector and I'm always in
(36:30):
antique stores and and over theyears I've seen a lot of candle
reflectors and I've alwaysthought like I want to do a
candle reflector and I alsocollect natural history, so I
have like a cupboard full ofskulls and like I've got a
stuffed sea turtle.
So yeah, it's like that.
Speaker 1 (36:48):
Yeah okay, I have to ask what are those heads on the
background of your wall there?
What are those?
Speaker 2 (36:56):
yeah, so they're not.
They're not actual animals,they're.
They're called taxidermy forms.
So these are the forms that a ahunter or a taxidermist would
get the animal and take the skinoff it and then stretch the
skin onto the form.
Speaker 1 (37:09):
Oh, my God.
They're so scary, I have to sayso to me.
Speaker 3 (37:15):
I'll just describe them for people listening To me
like and my eyesight's not thatgreat and it's small, on my
screen they kind of look likedinosaur heads, yeah, with long
necks yeah, well, they're deers,but um they don't, because they
don't have ears or there's noear.
Speaker 2 (37:28):
Yeah, yeah but I am the I.
So they used to make them outof paper mache, like up until
the 70s, and so these are papermache and they collect the old
ones.
Speaker 1 (37:37):
They sort of started making them.
Is there?
Is it a thing?
Speaker 2 (37:41):
um no, it's pretty niche I found.
I didn't really know theyexisted.
I found the first one when Iwas at an antique market with
boots in new york many years agoand that kind of sparked my
love for them, and so since then, every time I go to the states,
I'll go to antique markets.
I found some there andotherwise I get them online.
Speaker 1 (38:01):
They mostly come from usa I can imagine you at
customs trying to explain likewhat the hell is this thing?
Speaker 2 (38:08):
I've had many moments .
Speaker 1 (38:10):
It's so funny.
Oh, I love that.
So, this whole thing aboutgoing to antiques stores and
stuff?
Was that something that youwere dragged around as a kid,
because that was my experience,or how did that happen?
Speaker 2 (38:21):
Yeah, it kind of started when I moved to
Melbourne, Like I've always beencollecting things.
But then when I moved toMelbourne I don't know, my
partner now husband he wasreally like he could see that I
was enjoying going to antiquestores or like op shops and
stuff and he kind of encouragedme to do it and to sort of treat
it seriously.
And that's everything you youknow in terms of the kinds of
(38:44):
stores.
That's like everything from arundown antique warehouse like
in out in the country to likereally sort of high-end,
contemporary, contemporary styleantique stores in like new york
and la.
Yeah, just find them reallyinspiring places, even if I
don't buy stuff.
There's so many shapes andfinishes and colors and textures
(39:06):
to sort of draw inspirationfrom just just one more thing
about that.
Speaker 1 (39:10):
Can you share your secret favorite haunt?
Do you have a place like inmelbourne that you love to go to
?
Speaker 2 (39:15):
yeah, yeah, probably glenn waverley antique bazaar
yeah, that's my favorite, yeahsee you there it's good, it's so
big and I'm a bit like you.
Speaker 3 (39:28):
I could just wander around and maybe you don't find
anything that day, but I enjoyevery minute of it.
Speaker 1 (39:33):
Yeah, just yeah, but it's almost like you could go
back the next day and find 10things.
You know.
Speaker 3 (39:38):
It's just yeah, I don't feel like I turn over it
that quickly, not the turnover,but what you see?
Speaker 2 (39:45):
Oh, what you see, yeah.
Speaker 3 (39:46):
Yeah yeah, because it's so layered.
Speaker 2 (39:48):
It's true, sometimes I'll do an aisle twice and you
see different things the nexttime.
Speaker 1 (39:53):
Absolutely.
Speaker 3 (39:54):
I definitely do that yeah.
Speaker 1 (39:56):
So sorry for that tangent, but you were talking
about your new collection.
Speaker 2 (40:01):
Yes, yeah, so I wanted to design a candle
reflector.
So it sort of started as acandle reflector, the product I
wanted to get into casting.
I've sort of dabbled in castingmetal a couple of times.
I used to do it a little bitwith the boots, but I've never
like really integrated castingmetal into a product.
So I designed this shape andgot it cast in both aluminium
(40:25):
and bronze, so we're sort ofoffering it in two different
metals.
And then I kind of elaboratedit into like a big chandelier
and there's a wall sconce andthere's a floor lamp as well,
and so it's this really sort ofwell-rounded collection.
It kind of covers homewares aswell, because the smallest one
is like an incense burner.
It's only like as big as yourhand, oh.
(40:45):
So cool.
And then there's sort of somelarger candle reflectors and
then, yeah, it just goes.
Speaker 1 (40:51):
So can you describe the shape a little bit?
Speaker 2 (40:52):
Yeah, so it's.
I mean sort of imagine a turtleshell like a sea turtle, but
kind of faceted, and it's got acutout at the top and the bottom
which is in some waysdecorative but also it's
functional, particularly for thecandle reflector.
And this is sort of somethingthat I pulled out of like
antique candle reflectors.
They say often if it's thislike a semi-circular shape, like
(41:19):
a convex shape and there's acandle in there, there needs to
be a cutout at the top to letthe heat and the smoke out the
top so you're not sort ofsetting fire to the object.
And so it's kind of like thefunctionality of that influences
the way it looks.
And then when that evolved intolike the pendant and the wall
sconce, I kind of replaced thecandle with a metal tube and we
designed the system where we cansort of embed the LEDs into the
(41:44):
metal tube so that the LEDlight source is hidden and then
the reflector kind of clampsonto the tube and then all you
see is reflected light,essentially so beautiful, which
is a first for me.
There are a number of thingswith this collection that I
wanted to do for the first time,like it was my first reflected
light product, first timecasting metal.
First time designing everysingle component of the product.
First time, like it was myfirst reflected light product,
first time casting metal, firsttime designing every single
(42:06):
component of the product so alot of my other products have a
mix of off the shelf and customcomponent components, whereas
this one is just completelycustom.
Every, every swivel, we havecustom screws made.
So yeah, it's sort of satisfieda lot of my sort of needs to to
push myself.
Speaker 3 (42:24):
And how long does it take to develop something like
that, like if you're doing itfrom literally, from scratch,
every piece, like how long haveyou been working on it?
Speaker 2 (42:32):
Yeah, I had conceived it before I booked.
I'd probably done sketches andthings before I booked the space
in Milan.
I booked the space a yearbefore the exhibition, but it
was after I booked the spacethat I was like right, we've got
a deadline.
There's a lot of new ideas inthis.
Speaker 1 (42:48):
I don't know if it's going to work.
Speaker 2 (42:51):
We've got to get working on it.
So we sort of, yeah, weprototyped it for a long time.
So, yeah, I guess that's how Iwas working on it for a year.
Yeah.
Speaker 1 (42:59):
I love any light that you don't directly see that
light source, you know it's yeah.
And I think that's yeah, it'sdirected back onto that
reflector and it is so stunning.
I like the wall piece with thebigger one on the wall and then
above it a slightly smaller one.
And that motif of repetition.
That's something that you seemto use quite a bit in your work,
(43:22):
would you say.
Speaker 2 (43:23):
Yeah, absolutely yeah .
Speaker 1 (43:25):
And then you've got the candle reflectors, which are
the most charming.
Yeah, just cool objects.
So can people buy them directlyfrom your website or only
through stockists?
Speaker 2 (43:35):
Yeah, at the moment, just via email to us.
Speaker 1 (43:38):
Okay, cool, that's a nice one for under the Christmas
tree.
Speaker 3 (43:42):
Yeah, yeah, start saving now I know it's really
beautiful.
They're so gorgeous, I love howyou sort of manage to, because
I think you do have obviously abit of a brutalist influence in
a lot of what you do, and that's.
I kind of love these becausethey're sort of that.
But then they're so delicate aswell, and almost for me, like
(44:05):
you know, the pendants almostlook like flowers or seed pods
or something like that and thenthere's like just that elegance
to them.
So I love that kind of um mix ofsort of brutalist, slash
industrial, but also like Iguess it's quite deco issues and
that like that shape too.
Yeah, it's just such abeautiful mix that, um, you know
it's not overly decorative, soit kind of just has that edge to
it that I too yeah.
Yeah, it's just such abeautiful mix that, um, you know
it's not overly decorative, soit kind of just has that edge to
(44:27):
it that I love yeah, it has anedge.
Speaker 2 (44:30):
I'm so glad that that .
You see that.
That definitely excites me,that, that idea of something
being sort of hard and heavy andstrong but also being delicate
at the same time and prettyelegant there's this sort of
tension between the two that Ifind really exciting.
Speaker 1 (44:46):
So I'm glad you see that amazing well, thank
goodness that a euro leach isevery second year yeah yeah no
way, no way, I'm doing next yearI know it's a lot right it
takes
Speaker 3 (44:59):
a lot of energy and you know it's not just the time
and the money, it's just theenergy and the thought behind it
that you have that focus whenyou're also running a business.
You're a small business, right,so yeah, it's a lot to sort of
focus on, but what a greatoutcome.
I think the range is absolutelystunning and yeah, and I
(45:19):
hopefully got some good actualoutcomes out of Milan as well.
Speaker 2 (45:24):
Yeah.
Speaker 3 (45:25):
I guess to sort of wrap up a little bit.
I mean, lauren's probably got amillion more questions.
Speaker 2 (45:30):
I'm just looking at the time, that's okay, was there
?
Speaker 3 (45:33):
I mean, you did mention, obviously, some things
that you did go and see that youloved.
I guess was there something inparticular that was sort of your
favourite moment for Milanan,yeah I um think those, those
mirano chandeliers at nilifydepot.
Speaker 2 (45:47):
I think they were by um christian pelissari.
I thought they were really,really beautiful, even though I
think they'd been damaged intransit and some of the sections
weren't working.
Like the product was sobeautiful that I was just like
it actually eclipses the factthat, you know, I, I, I could
feel the stress of the designer,you know, seeing this stunning
(46:09):
thing in such a prominent spotin Niloufar Depot, but I could
also just like the beauty ofthem was it was bigger than that
, you know.
So that really stood out for me.
And again in Niloufar, etienneMarc, who I discovered a couple
of years ago, is a Frenchdesigner who was doing this
grotto furniture.
I don't know if you rememberthe cast bronze shell chairs.
Speaker 3 (46:30):
Yes, yes.
Speaker 2 (46:32):
So he had new work in Niloufar, in both the gallery
and the depot, where he sort oflike glued shells and plants
yeah, that's the chandelierthere Glued shells, maybe with
resin, onto the back of glassand then silvered the mirror,
and so these sort of naturalthings were in almost embedded
(46:52):
in this mirror and they were.
They're very, very simple andand really beautiful.
So that stood out to me and umarno de klerk, who had the
gallery space at 10 Corsacomo.
I think his work is amazing andseeing so many pieces in that
stark white environment and allthese furnishes, black.
Speaker 3 (47:11):
It worked really well , didn't it?
Yeah, I remember that?
Speaker 2 (47:14):
Yeah, I just thought that was so futuristic and such
a powerful statement.
Speaker 3 (47:20):
Yeah, that was brilliant.
Speaker 1 (47:21):
I think that was just before dinner for for me
walking through that one after along day I was like you know
how you just see so much andyou're seeing something really
amazing.
Speaker 3 (47:30):
You're like, oh, that's cool and you just walk
past it yeah, yeah I think Istopped and paid a little bit
more attention just becausesomeone else I think it was
michael, I think had mentionedit to me and I was like, okay, I
need to pay, I need to justhave a moment because it is.
I do think that you do get to apoint where you're
overstimulated, right, and youactually you're sort of you're
(47:51):
just sort of nodding at thingsyep, yep, you're all brilliant,
but like, maybe it doesn't sinkin.
I think this is why, we take somany photos as well.
For me, I can like go back nowand look at something.
You go, oh yeah, that's right,and kind of relive it and think
about it again and take it allin, whereas my memory is not
good enough to keep all of thatin there.
Speaker 1 (48:10):
So the bread isn't necessary.
Yeah, totally, totally.
So good.
Ollie, thank you so much forthe great chat.
It's so good to get to know youa little bit more in your work.
Speaker 2 (48:19):
Yeah, you too.
Thank you for having me.
It's been fun, it's beenbrilliant.
Speaker 3 (48:22):
Thanks for all your insights and little tips as well
.
Speaker 2 (48:26):
Yeah, of course.
Speaker 1 (48:27):
I'm going to be looking them all up.
I'll see you at Waverley.
Yeah, see you there soon.
Thanks, ollie, see you later.
Speaker 2 (48:34):
Bye guys.
Speaker 1 (48:40):
We've got the utmost respect for the Wurundjeri
people of the Kulin Nation.
They're the OG custodians ofthis unceded land and its waters
, where we set up shop, createand call home and come to you.
From this podcast today, a bigshout out to all of the amazing
elders who have walked before us, those leading the way in the
present and the emerging leaderswho will carry the torch into
(49:00):
the future.
We're just lucky to be on thisjourney together.
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