BONUS: Craft Lab 2025 | Curator’s POV Pt 3

Welcome to Make Good Things Happen, a podcast for makers in business presented to
you by Angela D’Alton and Renee Baker.
We’re here. Welcome to Make Good Things Happen, the third and I believe final bonus
episode in our series talking with Angela D’Alton about about Craft Lab,
and my name’s Renee Baker ’cause I didn’t introduce myself. This podcast episode is,
like I mentioned, another look into the event that Angela has worked on recently.
Craft Lab, more specifically, we’re going to zoom in on to the part of the event,
The Great Takeaway, and learn more about that. Because I think we started in our
previous bonus episode talking about this, but we wanted to spend a little bit,
well, I wanted to spend a little bit more time on it. And so we, we press pause
and we’ve moved on to this episode. So thank you for joining us and thank you for
sticking through this three part little bonus series that we’ve created. So I think
just for context, bonus episode part one, Curators POV will give you everything you
need to know or if it didn’t please send Angela a DM and she can help answer that
for you because we’re trying our best to go into as much detail as we can. We
wanted to share, well I wanted to ask Angela a little bit more about the great
takeaway component of Craft Lab which is a standalone event that is held within the
same space as the Craft Lab exhibition. So instead of me talking about it, why don’t
you update us on what that is? For the benefit of people who have already heard
it, I’ll try and skim through and just give the overview. But yes, the great
takeaway is an additional event within Craft Lab. It is standalone, but it is also
very much under the Craft Lab umbrella. Essentially, it’s a dining experience that
occurs on the Thursday in between the two weekend events at the Mining Exchange In
the exhibition, so in the central hall, for 60 diners, they buy a ticket and they
served a three course meal by a local hatted restaurant peasant and they provide the
scrumptious yummies for everybody. I guess the signature of the event is the fact
that at the end of the dining experience, Each and every person takes home their
plate, their side plate, their wine glass, their water glass, their napkins and their
cutlery. And why would they want to do that? Yes, because it’s all been specifically
commissioned and handmade for that particular event. Care of the City of Ballarat
Creative City team and myself as curator. So my responsibilities, well,
I organise that whole thing. But in amongst all of that, it’s also commissioning
each of the artists to create those pieces for that particular event, so that every
person goes home with incredibly individual, one -of -a -kind pieces collection. Again,
I use the themes that we’ve talked about and the colours that we’ve talked about
already. But just a quick recap, it was kind of a pastel palette. And the themes
were part of the intangible overarching theme and these were the six sub -themes,
if you like, story, spirit, song, heart, history and healing. So each of those,
again, traditionally, we have six tables. This year we had seven because I could
only get six round tables that seated eight people and I needed to seat 60 diners.
So we had one table of 12 and six tables of eight. Each of those six themes,
however, were were addressed individually on the other table as well. Each of the
ceramicists had a theme and a colour that they were given. The glassblower had 60
of each wine and each water glass to create hand create. We had a textile artist
who created the napkins. How much detail do you want me to go into about all of
this because I can keep going into the specifics of all of it, but I just don’t
know What’s actually interesting to other people anyway? How many years has the Great
Takeaway been on for? How many events has there been? This year was the third. So
I’ve been involved in the last two of the three. The first one happened in 2023.
Who created the concept of the Great Takeaway? I believe it was Tara Poole, the
Creative City Coordinator, all of Craft Lab and its satellite events. They’re all her
ideas creatively, but also part of the City of Ballarat and the Creative City team’s
commitment to maintaining their designation as a UNESCO Creative City of Craft and
Folk Art. The Great Takeaway has become somewhat of a signature event in the last
few years and incredibly popular because of course the drinks are included in that,
peasant match all the wines and there’s no limit.
I just remember when I first heard about it, which must have been the three years
ago because the first one. And I just could not believe that something like that
existed and was happening and that I wasn’t going to it because I wasn’t.
I only heard about it after the fact, I think. But it is a really well done
combination or collaboration between dining and handmade craft.
And it’s an incredibly special thing to take away and to own and to have this
beautiful memory of this wonderful night because again you’re in the mind exchange
and what I haven’t added is the live music component as well. So we also have
someone playing live music. This year Raul Sanchez performed, he is a composer of
soundtrack music but he specifically had an opportunity to play live for the first
time, a piece he was commissioned specifically in response to the deep listening
project artwork created by Jenna Oldaker. So we had a little thing on the menu that
said during your entrees, Raul Sanchez will be playing a commissioned piece,
etc. And so, yeah. And otherwise, it’s this kind of really moody soundscape music.
It’s very different to last year. Last year, we had a little jazz trio playing. It
playing. Yeah. It’s just sounds amazing and I would love to go to something like
that. One of the things that I think that you and I have spoken about and one of
the elements that is part of your organisation and curation of the event is
commissioning the artists to create the work as you mentioned already. But one of
the things that I suppose I hadn’t really thought of until you mentioned it to me
during the preparation of the event was the ceramicists, in particular, those who are
making plate have to try and create a set of plates that they have to create.
Yes. So they have to create two sets of 10 plates, 10 dinner plates and 10 side
plates that they have to produce, that they are commissioned to produce. Yeah. And
so that, I guess, has presented some challenges to some of those artists who may or
may not have had experience in hand-building or creating one of a kind pieces and
then suddenly they’re being tasked with the job of having to make a whole dinner
set. But one of the things I do impress upon them at the very beginning is that
there is actually no need for them to be uniform whatsoever. We do not stipulate
that that’s a necessity. We give them a size guide and we say this is roughly the
standard size of a dinner plate is X, Y, Z, but same for the side plate. I
actually encourage the ceramicists or all of the artists to make them one of a
kind. It doesn’t necessarily have to be uniform. It isn’t a setting. It’s for one
person. So it can be individual and unique to that person’s experience.
And in fact, last year, one of the ceramicists we worked with, Karima Badilla, hers
were vastly different. Every single one in different shapes, different sizes. Some of
them are in the shape of a fish. Some of them are in the shape of a chicken. So,
you know, we encourage them to use the brief loosely in that regard.
I’m much more in the commissions that I’ve done in any case in the last two years,
I’ve been a little more about the story and the colouring than the size.
I mean, having said that And as I’ve mentioned a couple of times in this bonus
series, I did have to take into consideration the fact that they would all have to
be cleaned, wrapped and put into a box at the end of the night. So there is a
point during the project where I ask everyone what the maximum size of their plates
are because I need to order boxes for them to go into at the end of the night.
So I have to make sure everybody has given me an appropriate size so that I know
what size boxes to order because I do have to order different size boxes depending
on how you feel about logistics this is either a logistics nightmare or a logistics
dream like having to do that many moving parts it’s just almost as hard to get
your head around I think the thing that makes me wish I was there and I don’t
know if you get to experience this because you’re not a diner at the event I
imagine you’re just running around doing a whole heap of things all at once, but
that each individual diner, based off that, what you’ve just said, almost has their
own experience with the food as well, because I think for me, I just want to hear
more about the food because I’m food obsessed. For me, I’m very also specific with
how I like to eat food as in what plate it goes on, certain mug, or what kind of
glass for what drink, like I’ll drink different mugs for tea than I would for
coffee and so on. And so I imagine that the actual eating experience at the Great
Takeaway is very much like a, it’s very dependent on what table you’re seated at,
what setting you get and how you might enjoy the food and experience the food. So
I just find that whole concept fascinating. You’re absolutely right. And the textures
can be vastly different from one table to another because we’ve got a different type
of, you know, clay or porcelain. There’s some plates that are quite pottery chunky
and earthenware, and then you might get some that are on the more of a finer, more
porcelain scale. And some have a glaze, you know, some have patterns. So yes,
you’re right. There is a very strong individuality or unique experience for every
single person just because of the fact that they’re all dining on a different place,
But they do all get the same food, unless they’re vegetarian or gluten -free, et
cetera. The food is presented on share plates, portions out for each diner.
However, it is a shared plate from the entrees right through to the main meals. The
desserts are standing. If you like, we have a separate table where they’re kind of
like a finger food pickup dessert and they create their own little plate, those
plates are provided by the catering because at that particular point, we’re all
washing up the entirety of the evenings, all the glasses and all of the plates and
making sure that everything’s clean before we wrap it up back into a box to then
take out to the diner. So we do kind of create this little buffer of time. That’s
a good idea. Yeah. And of course, the hardest part at that point in the evening is
taking the wine glasses away. So we do, we have other glassware for them to use
for that particular point. But yeah, there’s a lot of things that you have to take
into consideration every step of the way because it is something that they’re taking
home with them. By the end of the meal, they’re all very, very attached to that or
those pieces that they’ve eaten from to the point where when we bring the boxes out
that we’ve carefully washed, carefully wrapped in tissue paper and packed them all up
and box them all up. Many people will open their box at the table to make sure
that they’ve got the exact setting that they used during the dining experience.
That’s fine by me. I mean, I do go to great lengths to make sure. So every single
person is allocated a letter and a number. All of those letters and numbers have to
be placed on the item somewhere. So I’m putting stickers on absolutely every single
case that goes out there before it goes out there on the table so that when it
comes to being washed up, first of all, there’s a specific table that I’ve allocated
to that table so that there’s less room for error. And then each of those has a
label underneath it and each of the people who are washing up are then responsible
for making sure that goes in the right spot. And those boxes are also labeled and
I’ve labeled the letter and number at the person’s table setting. So every person’s
got a place card as well because I decide where everybody sits. So because I have
to, I have to allocate the seating because I have to know who’s getting what
because I have to make sure that all 60 settings go to the right person. And that
is probably the hardest part of the night. That and knowing that the next day, I
have to put the exhibition. Yeah, which we didn’t really fully discuss, which is
another part of the puzzle I wanted to ask more about. Yeah, I mean, that’s what I
mean about the logistics. Like, those are the things that you just would not even
think of. I was going to ask you the opposite, actually, if you’ve noticed, if
people try and swap out their pieces with other people, or if anyone sort of is
unhappy. No, when they buy the ticket, they are told that they are, that it’s a
kind of negotiable. So there has been some management of expectations that it’s not
free for all. – Yeah, exactly. And there was one occasion last year where someone
asked if they could change seats. It wasn’t that they wanted to change settings, but
I said, “No, you just can’t, you just can’t.” I’m sorry, no, they were fine with
it. They knew it was a long shot. But it gets to the point where, because there’s
a lot of things that have to happen to make sure the person gets the setting that
they used. I just couldn’t, I just didn’t have the capacity to be flexible. You must remain your seat until take off. Yeah, one of the things that’s
quite unique about the event, apart from all those other things which are fascinating
and unique, is the fact that it’s held within the exhibition space that we talked
about in the previous episode of Craft Lab. So you very carefully created and
designed these plinths to go on these round tables which sit within the deep
listening project artwork. And so it’s all very much about the atmosphere and the
space. And it’s not just coming into a room and sitting in a table. There’s a lot
of layers and consideration, which yeah, again, if you haven’t listened the previous
episode, I believe part two we go into more detail about how all that looks. But
the one thing that I think was interesting is you were very keen to design. And
because I know you and you know me, we don’t like to waste time. We don’t like to
do things twice if we don’t have to. And so you were very keen to create an
exhibition space that accommodated not only the exhibition, but also the great
takeaway so that you didn’t have to move things or
didn’t quite go to plan, did it? Tell us what actually happened, how the tables
turned out. Well, the tables, I could have done that if each person was being
served food individually, because there was one thing that I hadn’t taken into
consideration, and that is that the centre is where the food is placed.
I realised during the setup, while I was creating the the look and the feel and I
realised how much space there was around and obviously I’d done a lot of measuring.
I’d made sure these things you can’t just wing. You have to make sure there’s
enough room per diner. You have to make sure there’s enough room for a person in a
wheelchair. You have to make sure there’s enough room for everyone to sit and enjoy
and eat their meal and there’s there’s guidelines for that, thankfully, maths is not
my strong point, as you know, to the point where I had a few times mis-measured
things in this project where I was like, no, no, we don’t need that much space,
but I’d only allowed for one person instead of two or something along those lines,
because my mind doesn’t enjoy maths and that sort of thing. So I really have a
difficult time and I do rely on other people to check that for me quite a lot.
The process was, again, because I’d done this last year and I’d brought the
exhibition down and set up the great takeaway and then put the exhibition back up
again the day after and found that quite exhausting in that state. You are on the
eve of the final weekend and you’ve had a late night and all of those things, it
does get tiring and even pulling it down is tiring but going then through all of
the next couple of days is more tiring. I’m constantly making sure I’m trying to
manage my energy as well because I do get so tired that I decided, “Oh, well,
I’ll just do it this way. I’ll make the exhibition small enough in the centre of
the table so that I don’t have to take it down.” And then, yeah, I had a moment
of realising that was not going to be possible. And I thought, “That’s okay. It’s
fine. Everything’s okay.” And I just had to accept it. I called in some support and
thankfully people did help me with that. But it is tiring. So I just had to wear
that. That was my mistake. So I wore it. You know what I mean? It’s like maybe if
it was someone else’s mistake, I probably would have been really pissed off. But I
was pissed off. I think it’s the moment I realized because yeah, I was so keen for
that as an idea, not just from your time management perspective, but I was also
picturing what it would be like to have dinner essentially in an exhibition. And it
still was. I know you still kept elements and they still had the banners around
them, Jenna’s work. So I think there was still very much that feeling of being in
an exhibition, but I was really imagining eating amongst the art. But I think the
moment I realised was when you sent me a photo of your setup and it looked
absolutely incredible. And I was like, oh my God, that’s amazing. And if you know
the artist’s name, there was a very, very large ceramic vase. – Marion Fox. – Marion
Fox in the centre of one of the photographs. And I thought, oh no, someone’s gonna
like pull in their chair at the table and the table’s gonna wobble and that thing’s
gonna fall. I thought, oh God. And then I think that’s when you told me, yeah,
that’s not happening anyway. So. I think that’s also why I allowed myself to be
okay with it because I thought, “You know what? This solves two problems.” Because I
would have been panicking about the artwork being in the middle of everybody as they
slowly get a bit rowdy. My assistant in the installation of the exhibition,
Toni Louise, who is a local artist herself, but also an art handler and works with
the Art Gallery of Ballarat in installing exhibitions regularly. She was absolutely
amazing in helping me get that exhibition out and doing all of the little practical
things like making sure things were a little bit more stabilised so that if someone
or anyone bumped those tables during the exhibition, which is, you know, highly
likely, there was less chance of things falling over. It is one of the hardest
things for me to deal with is knowing that people are in amongst all of those
often very expensive, often very delicate pieces. And, you know, especially on those
weekends that we’re open to the public and people who have children who run around.
And people like to touch things. And I, yeah, it’s a very, and I have to try and,
you know, allow my control freak to just sit and just deal with it. So I’m always
thinking about those things anyway. So like I said, taking the exhibition down for
the dining experience was like, I feel better about doing this anyway, because I
didn’t have to worry as much about the art. And we also had Nick Doran Adams,
who was our glass blower, who created all of the beautiful water glasses and wine
glasses. He had also created crafts that we’d used as vases. So we did have a
centerpiece of sorts. But it was very minimal and simple. So it was really about
the food. It also highlighted the ceramics. I also think that if we’d added the
ceramics around the exhibition, it might have been too much. The exhibit was such a
dense and rich and colorful display that I think it might have been fighting for
attention with the ceramics and the the cutlery and the beautiful napkins. The
napkins were made by Lauren Matthews, a local textile activist. So Lauren had gone
to a great deal of creative research into her napkins.
She had, again, using those six themes, asked all of the practitioners, so the
demonstrating craft practitioners, the 18, to write down in their handwriting,
a one word response to each of those six themes, she then sewed those words in the
specified colour for that table into a napkin in their handwriting.
So cool. It was very special. It created again all of those purposeful choices that
go into this whole event, go right down to the napkins to the thread,
to the thread. Precisely. So cool. Precisely. So Nick had worked with those color
themes as well. So each of the water glasses, he’d use these beautiful sort of
spotted coloring for each of the tables, the ceramics themselves. I mean, we had,
we had Marion Fox, Barry Wemyss, Alec Robinson, Steph Wallace, Jan Alexander,
and Minna Graham. And they all created such utterly beautiful ceramics.
And it always turns out so beautifully. Cutlery by KROF, which is the only sort of
component that isn’t local and handmade. The most local we get is that they’re made
in Melbourne. And for anyone who has seen Croft Cutlery, you’ll know how beautiful
it is. For this particular event, everyone had gold cutlery, golden, not actual gold.
Couldn’t afford to do that. So it’s quite an extravaganza. And of course, the
peasant catering just tops it all off. Beautiful food, beautiful music. And in the
mining exchange, in that beautiful building, like I said, it gets a bit rowdy. A
couple of the practitioners actually bought tickets to come along. And towards the
end of the night, Rose Hudson, who is one of the practitioners, and she did have a
ticket, her and her husband were there. She’s a miller, so she makes these
incredible hats. She’s got this incredible range of experience working with costumes
and obviously specialising in millinery and a couple of the people from her. In
fact, she took the whole table into her alcove and they were all wearing hats and
they were all taking photos of each other. And you know, it just it just becomes
this very joyful evening. Yeah, all the working all the pieces coming together the
right time. Yes. And I think if we haven’t already, we’ll make sure that there’s
links to at least the names of the artists that were involved, because I know if
you’ve been listening and you haven’t been part of it, or even if you were part of
it and you’ve forgotten and want to follow someone up, we’ll make sure that you can
access that. I’m not sure if there are any photos. I’ve seen your photos, so we’ll
at least share some links to those on social media as well, which I think tell a
great story as it is. And yeah, hopefully if there’s another great takeaway, I’m not
sure if that’s on the cards, but if it is, hopefully there is a diner at the very
least because it just sounds like such a fun night and really just what I think or
why I think ceramicists in particular, but anyone who makes things like that
functional handmade items would really, like that’s why they do what they do so
people can use it and have a great time using it so it can sit in a cupboard and
just collect art. That’s right. Yeah, that’s awesome. But no, look, the whole event,
the whole program, the whole structure, the framework, but the events, because in
addition to all of this going on at the Mining Exchange, there’s also partner events
occurring at the Rare Trade Centre where they’re hosting workshops. And The Heritage
Festival itself is also going on in the Ballarat area at the same time.
There is one weekend where we have the vintage car show on the street out the
front. I’m not sure if I’ve already talked about it, but it does bring in people
who’ve never seen anything like what we’re doing because they do hear about the fact
that we’ve got coffee. So a lot of them come in from the cold and the mining
exchange is heated. The floors are heated so it’s a very warm environment for people
to come in from the street in the middle of May. One of the interesting things
that happens is obviously a vintage car show attracts predominantly male audience and
often when the people who come into Craft Lab who aren’t there for Craft Lab and
by there I mean Ballarat They walk in with kind of a because I’m often at the
door greeting people and offering to explain things or provide a Catalog or when we
have little brochures explaining what the deep listening project was about and you
know Would you like a catalog? Would you like a brochure? Welcome to craft lab,
etc, etc Sometimes I’m given a bit of short shrift because it’s really like, you
know, I’m not here for this, you know I’m here for the coffee and I’m just going
to use the bathroom and I’m just going to be warm for 10 minutes and then I’m
back out there looking at the cars. And so I always find it very interesting when
those people are coming on their way out as I’ll often see them after they’ve come
out and they are often overwhelmed and gobsmacked and changed.
They’ve been moved, they’ve seen something they’ve never seen before, they’ve
experienced something new, they’ve learned something, and it’s actually really nice to
see. And I think that’s one of the things that I get most out of Craft Lab is
the joy that people experience when they walk into that space. Obviously,
we created that awe on purpose, as I’ve talked about, that we wanted to create a
moment of pondering or just having a feeling of wow as you enter the space.
So there’s a lot of people who are open to it and who will vocally wow as they
walk in. But there are a lot of people who do go not knowing what it is or not
knowing what what it’s about. And they walk out really changed and moved and
affected by it all. And I think that’s what makes it really special and valuable
and worthwhile, you know, the importance of makers and what they provide to us.
The traditions that we’re losing, there were so many kids that were so engaged in
people, watching people make things with their hands. I find those things are the
really most heartening parts of being in the craft lab. – Well, absolutely. ‘Cause
it’s like, it’s all generations. Yeah, like you say, kids who have not seen anything
else, they’d be able to be in a space and see that is such a privilege. And if
it does even change one person to think differently about how they consume, how they
engage in the world, what choices they make in the future. Well, I mean, there’s
your job done, I suppose. Reminding people the importance of handmade, slow made,
traditionally made, and the quality of the work, but also the importance of our
history in those pieces, the importance of our experience goes into those pieces that
these creations are our legacy in many ways and we imbue them with our lives.
That’s how we spend our time. It’s how we spend our life. So of course this
product is as a direct output of what we’ve done with our life. Yes, I’m placing a
great deal of importance on it, but also there’s this level of play that we’ve
gotten to just experiment and play with a piece of clay and we’ll just paint
something or all of the things that we used to do. And it is a lovely way to
spend your time. It will be a very important memory for me personally.
It was an honor to be able to experience that space, those people, that program,
the creativity, seeing how it all works. I treat the entire job like it’s an honour
because it is. I don’t think many people get the privilege of being able to do
what I do, so I don’t take that for granted at any point. Yes,
there’s some frustrations and yes, I have to think of a lot of things and it’s
hard work, but you know, it’s a wonderful way to spend your time. Yeah, that’s
amazing. And yeah, it’s been awesome to watch you doing it from a distance, even
though I haven’t necessarily known what’s been going on. I mean, I know a little
more now that we’ve had a chat about it in more detail, but to be able to see
you use all of the skills that I know that you have in this very special way,
I think it was, yeah, it was really cool to be able to see how it unfolded. And
even now, I think it’s also like shifted in your day to day and your kind of
problem solving within our businesses and at work because I think you realise that
you actually can do these things. You know, you set out on the project and you did
it and that must be all motivating in some way. It is one of those things where
you do get to a point sometimes where you can’t believe this has happened. How did
we do that? I think a takeaway from me from our conversation is that just that
reminder that we can do all of this planning, think of all of these things in our
head, have this very specific vision about how something’s going to come together.
And sure, those things do help and aren’t necessary, but it’s not until you’re there
on the day that you really make those final decisions to see how it all comes
together. And you do have to have that flexibility because sometimes it isn’t going
to go the way that you planned it. And maybe that’s for a good reason because it’s
going to turn out even better. I think what I’ve come to accept on projects like
this is whatever goes wrong at the last minute was always meant to go wrong at the
last minute. So you had to adapt because the outcome was going to be better.
It’s just what I tell myself. Perhaps if you don’t allow for the organic bits and
pieces to get amongst all of the planning, then it isn’t as special.
So whatever goes wrong or whatever you have to adapt, whatever you have to change,
means that it’s going to be better. Well, no, well done on that, but on the whole
project. Well, I think it’s a whole team as well.
And I will say thank you to Tara Poole, the Creative City Coordinator for engaging
me on this role. Thank you to Jesse Lubitz, who is also in the Creative City team,
who was my admin guy and my general comrade throughout the whole process.
And of course, Amelia and Amelia James and Jenna Oldaker working on the deep
listening project. But every single practitioner there’s 18, I’m not going to
name you all now and all of the 46 artists and all of the commissions and the
creative industries that we engage, the sign writers, the lighting guys, the security
guards, everyone is part of this. I’m just coordinating and just making sure it all
works. These people are also putting in some really hard yards and I appreciate it
endlessly. Yeah, I’m very grateful and very proud of what we came up with. Thanks. Thank you. – We are going to be back for season two of Make Good Things Happen
the podcast and we’re really excited about it. I feel like we’re slowly finding out
the process and finding out the groove and I think season two is going to be even
better so make sure you hit subscribe if you haven’t already and get ready for when
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very helpful thing for us to be able to continue. Or even our newsletter is on
there as well. If you’re looking for another way to support us, what you’ll find as
well of course is all of the little tips and tricks that we have found work for
us over the years. For example, with Angela being able to pull off all of those
logistics of that project. That’s just one example, little tips and tricks that you
might learn along the way. Love you to check it out. Thank you for the shout out.
All right. Well, thank you. We will see you in season two. Cheers, folks. Talk to
you soon. Thanks for listening to Make Good Things Happen. If you enjoyed this
episode, why not write a review? Or share it with a friend. For show notes and
more head to mgth .com .au. This has been a D’Alton Baker Production.

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