Sydney - Bowls and Baskets

Inspired by the mixed metals of the Studio 54 logo, Carter is a bowl to capture the attention of anyone who loves the night life. Hang up your Halston outfit and place your Elsa Pere...

French family coat of arms pressed into the brass, brass handles and original lining. Circa: 1950 Material: Brass Country of Origin: France Measurements: 31cm high, 44cm wide, 1...

J'Jute is a luxury all-natural, sustainable brand based in Bondi Beach, Australia. Each piece is designed in Australia and handwoven by skilled artisans in India. Product Informati...

J'Jute is a luxury all-natural, sustainable brand based in Bondi Beach, Australia. Each piece is designed in Australia and handwoven by skilled artisans in India. Product Informati...

A striking centrepiece for the dining table or kitchen bench, the Billy bowl remixes the irreverent design codes of 1980s postmodernism with nods to the postpunk music and fashion of the same era. Finished in a monochrome palette and raised on a trio of playfully juxtaposing geometric blocks, the round ceramic vessel...

Architectural India Architectural India is a collection built on the Natural & Modern landscape of India. Each J'Jute style signifies a piece of French architect, Le Corbusier's mod...

Shiny, sexy and well rounded, Boule has a delightfully old-school ’70s appeal that suggests a little dancefloor attitude in its step. Bestow your bling in its attractive shallow dom...

Channelling the raw and rebellious energy of New York’s post-punk scene, the Debbie collection pays tribute to the legendary Blondie frontwoman with a mix of rock-and-roll audacity a...

A striking centrepiece for the dining table or kitchen bench, the Billy bowl remixes the irreverent design codes of 1980s postmodernism with nods to the postpunk music and fashion of the same era. Finished in a monochrome palette and raised on a trio of playfully juxtaposing geometric blocks, the round ceramic vessel...

Vide Poche Rond by Henry Wilson Dimensions: D 13 x H 4 cm Materials: Bronze Discard your day at the door. Your Vide Poche is designed with your loose-pocket items in mind – think ...

Channelling the raw and rebellious energy of New York’s post-punk scene, the Debbie collection pays tribute to the legendary Blondie frontwoman with a mix of rock-and-roll audacity a...

Brass Tape Dispenser by Henry Wilson Dimensions: W 14 x D 5 x H 7 cm Materials: Brass The brass tape dispenser is a hefty piece of stationery. I...

Bronze Stack Trays by Henry Wilson Dimensions: W 25 x D 5 x H 10 cm Materials: Bronze The stack trays are sold in a set of three that can be used tog...

Aluminum Stack Trays by Henry Wilson Dimensions: W 25 x D 5 x H 10 cm Materials: Aluminum The stack trays are sold in a set of three that can be used...

Bronze Vide Poche Rond by Henry Wilson Dimensions: D 13 x H 4 cm Materials: Bronze Discard your day at the door. Your Vide Poche is designed with your loose-pocket items in mind – ...

Bronze Stack Trays by Henry Wilson Dimesions: W 25 x D 5 x H 10 cm Materials: Bronze The stack trays are sold in a set of three that can be used toget...

Bronze Vide Poche Square by Henry Wilson Dimensions: W 18 x D 18 x H 4 cm Materials: Bronze The Vide Poche is designed with your loose-pocket items in mind, think keys, change and p...

Aluminium Vide Poche Square by Henry Wilson Dimensions: W 18 x D 18 x H 4 cm Materials: Aluminium Discard your day at the door. Your Vide Poche is designed with your loose-pocket i...

Aluminum Vide Poche Rond by Henry Wilson Dimensions: D 13 x H 4 cm Materials: Aluminum Discard your day at the door. Your Vide Poche is designed with your loose-pocket items in mi...

Bronze Vide Poche Rond XL by Henry Wilson Dimensions: D 18 x H 4 cm Materials: Bronze Your Vide Poche is designed with your loose-pocket items in mind – think keys, change and phon...

Polished Aluminium Thoronet Dish by Henry Wilson Dimensions: W 20 x D 5 x H 30 cm Materials: Aluminium Thoronet dish, shares its' name and arched lines with the Abby in the south o...

Black Travertine Block Big Poche Rond by Henry Wilson Dimensions. W 35 x D 35 x H 7 cm Materials: Black Travertine This sculptural item is handmade i...

Aluminum Vide Poche Rond XL by Henry Wilson Dimensions: D 18 x 4 cm Materials: Aluminum Your Vide Poche is designed with your loose-pocket items in mind – think keys, change and ph...

Blackened Vide Poche Square by Henry Wilson Dimensions: W 18 x D 18 x H 4 cm Materials: Bronze The Vide Poche is designed with your loose-pocket items in mind, think keys, change a...

Polished Bronze Thoronet Dish by Henry Wilson Dimensions: W 20 x D 5 x H 30 cm Materials: Bronze Thoronet dish, shares its' name and arched lines with the Abby in the south of Franc...

Travertine Thoronet Dish by Henry Wilson Dimensions: W 20 x D 30 x H 5 cm Materials: Travertine This sculptural item is handmade in Sydney Australia. Thoronet dish, shares its' nam...

Guatemala Thoronet Dish by Henry Wilson Dimensions: W 20 x D 30 x H 5 cm Materials: Guatemala Marble This sculptural item is handmade in Sydney Australia. Thoronet dish, shares its...

Marble Block Big Poche Rond by Henry Wilson Dimensions: W 35 x D 35 x H 7 cm Materials: Marble This sculptural item is handmade in Sydney Australia. Each piece is manufactured in n...

Blackened Thoronet Dish by Henry Wilson Dimensions: W 20 x D 5 x H 30 cm Materials: Bronze (Blackened) Thoronet dish, shares its' name and arched lines with the Abby in the south of...

Guatemala Thoronet Dish by Henry Wilson Dimensions: W 20 x D 30 x H 5 cm Materials: Guatemala Marble This sculptural item is handmade in Sydney Australia. Thoronet dish, shares its...

Black Travertine Block Thoronet Dish by Henry Wilson Dimensions: W 24 x D 33 x H 6 cm Materials: Black Travertine This sculptural item is handmade in Sydney Australia. Thoronet dis...

‘Partu’ (2020) is the Walmajarri word for ‘skin’ and is Johnny Nargoodah and Trent Jansen's latest collaborative project experimenting with this combination of disparate sensibilitie...

‘Partu’ (2020) is the Walmajarri word for ‘skin’ and is Johnny Nargoodah and Trent Jansen's latest collaborative project experimenting with this combination of disparate sensibilitie...

Johnny Nargoodah and Trent Jansen have been collaborating in the design and crafting of collectable furniture since they met in Johnny’s home town of Fitzroy Crossing, as part of Fremantle Art Centre’s ‘In Cahoots’ project in 2016. This collection - Saddle (2020) gains its name from the first sketch that Johnny made for this collection, an elongated saddle that led to experiments in stretching supple Scandinavian upholstery leather between geometric timber and steel forms to generate new, complex transitioning forms. Sketch exchanges over an 18-month period eventually yielded an entire collection built on this beautiful capability of leather to stretch between forms and give shape to the space in-between objects. Trent Jansen & Johnny Nargoodah Partu (Skin) Collection Saddle Vessel Tall...

Johnny Nargoodah and Trent Jansen have been collaborating in the design and crafting of collectable furniture since they met in Johnny’s home town of ...

‘Partu’ (2020) is the Walmajarri word for ‘skin’ and is Johnny Nargoodah and Trent Jansen's latest collaborative project experimenting with this combination of disparate sensibilitie...

Broached Monsters by Trent Jansen The vast majority of mainstream Australian mythology commonly used as a foundation for Australian identity is culturally exclusive. Both Indigenous myths, including post-colonial myths and precolonial dreaming stories, and non-indigenous Australian myths, including the bush legend, ANZAC tradition and convict legend, focus on the historical role that the race of authorship has played in building the nation. However, a contemporary understanding of Australian history...

Broached monsters by Trent Jansen The vast majority of mainstream Australian mythology commonly used as a foundation for Australian identity is culturally exclusive. Both Indigenous myths, including post-colonial myths and precolonial dreaming stories, and non-indigenous Australian myths, including the bush legend, ANZAC tradition and convict legend, focus on the historical role that the race of authorship has played in building the nation. However, a contemporary understanding of Australian history acknowledges the contribution of both Indigenous and non-indigenous Australians in forging the nation, and the national identity which accompanies it. Instead of perpetuating the same exclusive national myths, perhaps Australians should adopt a national mythology that acknowledges this inclusive understanding of Australian history, a mythology that unites Australians of many backgrounds under a shared Australian identity. In his book on Australia’s Folklore of Fear, Robert Holden explores pre-colonial ideas of Australia as a Great Southern Land – an imaginary landmass conjured up to counterbalance the continents in the northern hemisphere, as far removed as possible from Britain, the center of the Christian world (Holden, 2001). Holden speaks of Australia as an imaginary world, occupied by unimaginable creatures and monsters. Holden is commenting in part on the mythical creatures that originated in both British and Aboriginal Australian folklore and were shared by the Aboriginal and non-Aboriginal inhabitants of Sydney during the early years of colonisation. Stories of the yahoo, a creature that resembled a slender man, with long white straight hair, extraordinarily long arms and great talons (Unknown 1842), captured the imaginations of the new British settlers, and soon a fear of the yahoo became a common ground between Aboriginal people and British settlers. is fear of a gruesome and vicious creature gained its potency from the folkloric tales that were used to substantiate its existence. These tales were suitably vague, their lack of detail attributed to the fierce nature of these creatures and the assumption that no one had survived an encounter (Holden, Thomas et al. 2001). The yahoo “became one of the very few Aboriginal legends to be embraced by the Europeans” (Holden, Thomas et al. 2001, p16), providing a catalyst for conversation between individuals from these two culturally disparate societies and forming some personal links between these communities. Could creature myths like the yahoo once again form the foundation of a united national...

Broached Monsters by Trent Jansen The vast majority of mainstream Australian mythology commonly used as a foundation for Australian identity is culturally exclusive. Both Indigenou...

Broached Monsters by Trent Jansen The vast majority of mainstream Australian mythology commonly used as a foundation for Australian identity is culturally exclusive. Both Indigenous myths, including post-colonial myths and precolonial dreaming stories, and non-indigenous Australian myths, including the bush legend, ANZAC tradition and convict legend, focus on the historical role that the race of authorship has played in building the nation. However, a contemporary understanding of Australian history acknowledges the contribution of both Indigenous and non-indigenous Australians in forging the nation, and the national identity which accompanies it. Instead of perpetuating the same exclusive national myths, perhaps Australians should adopt a national mythology that acknowledges this inclusive understanding of Australian history, a mythology that unites Australians of many backgrounds under a shared Australian identity. In his book on Australia’s Folklore of Fear, Robert Holden explores pre-colonial ideas of Australia as a Great Southern Land – an imaginary landmass conjured up to counterbalance the continents in the northern hemisphere, as far removed as possible from Britain, the center of the Christian world (Holden, 2001). Holden speaks of Australia as an imaginary world, occupied by unimaginable creatures and monsters. Holden is commenting in part on the mythical creatures that originated in both British and Aboriginal Australian folklore and were shared by the Aboriginal and non-Aboriginal inhabitants of Sydney during the early years of colonization. Stories of the yahoo, a creature that resembled a slender man, with long white straight hair, extraordinarily long arms and great talons (Unknown 1842), captured the imaginations of the new British settlers, and soon a fear of the yahoo became a common ground between Aboriginal people and British settlers. is fear of a gruesome and vicious creature gained its potency from the folkloric tales that were used to substantiate its existence. These tales were suitably vague, their lack of detail attributed to the fierce nature of these creatures and the assumption that no one had survived an encounter (Holden, Thomas et al. 2001). The yahoo “became one of the very few Aboriginal legends to be embraced by the Europeans” (Holden, Thomas et al. 2001, p16), providing a catalyst for conversation between individuals from these two culturally disparate societies and forming some personal links between these communities. Could creature myths like the yahoo once again form the foundation of a united national...