observing-culture-rmit

[observing-culture-rmit]

Bic Cristal:

Objects can be so familiar and common-place that they almost become invisible. Thinking of everyday items that are so ubiquitous that they inhabit our lives and yet sit below our notice, I looked to my desk and discovered a collection of Bic Cristal biros that I have no recollection of ever having bought. The hexagonal plastic sheath reveals the internal ink cartridge and colour of the ink. Simple and utilitarian, incredibly light, unadorned.

The Bic Cristal has an interesting history. It was designed over 60 yrs ago and continues to be the highest selling disposable pen on the market, with millions sold each day across 160 countries. The pen has become an icon of modern design, having secured a place in the collections of museums around the globe. The Bic Cristal was enabled by the advancements in technology and engineering as a result of WWII, particularly with plastic technologies developed in the 1950s which allowed for the commercially viable production of the pens in large quantities. This allowed for a reduction in material and thus weight and cost per unit.

The name ‘Cristal’ refers to a fledging field of science that was becoming prominent during the post-war era know as crystallography, or the study of the properties and structure of crystals. In this way the Bic Cristal was associated with cutting edge scientific developments, and also embodies the characteristics of crystals in its geometric form, durability, transparency and longevity.

The Cristal Bic is also described as being Modernist in its design as the pens form is purely functional, refined and unembellished. The hexagonal profile allows for ergonomic three-point grip and does not roll when placed on a flat surface.

 It is most likely that we have all used a Cristal Bic at some point during our lives and have at least one in our possession, whether it sits in our pencil cases or tucked in a draw somewhere around the home. The pen has been documented to have been used by significant cultural figures such as Margaret Thatcher and Salvador Dali, though more than likely without a second thought as to which pen they were using. It is for these reasons that the pen has been described as ‘the sole example of socialism in practice… as it cancels out all the rules of ownership and social distinction’ p. 129. Although the pen has origins in France, it has become an object that speaks to a globalised culture of mass consumption, which belongs to all cultures and none at the same time. It is interesting to note how the monetary value and ubiquity of the pens helps assign worth in relation to ownership. As the pens are cheap, disposable and indistinguishable from one another, these items do not afford the same level of care as say a Mont Blanc fountain pen.

 I remember being in Primary School and using Bic Cristal pens. As each pen is uniform and the same as one another, we used to remove the end of the pen and insert drawings and notes, effectively adding personal character to the pens, reclaiming them as distinguishable from each other and recognisable as our own.

[observing-culture-rmit]

Chopsticks:

Ramen on Smith Street, Fitzroy provided me with this weeks object for scrutiny: Chopsticks.

In this case it was disposable bamboo utensils that were being grasped throughout the restaurant with varying levels of proficiency. The two sticks of equal lengths taper slightly towards the functional ends, moving from a beveled square profile where the sticks are temporarily attached, through to a circular profile at the business end. While chopsticks can be made out of various materials including lacquered wood, melamine, ivory, metal and plastic, they all fulfill a common ubiquitous purpose and signal the consumption of cuisine from the East Asian region.

Historically thought to have been developed in China around 3000BC, chopsticks also spread to be widely used throughout Korea and Japan. Refined to their archetypal form through centuries of experimentation and use, chopsticks maintain a now iconic form while displaying slight variations in length, material and decoration which relate to the cultural and regional context in which they are used. For example, Chinese chopstick are traditionally longer than those used in Japan or Korea as food is generally shared from plates placed centrally on the table, and the extra length is required to reach for dishes that are further away.

There is also an innate intimacy with a utensil that is placed repeatedly into the mouth. It is customary for family members to have their own designated set of chopsticks, distinguishable through pattern or colour, and thus reflective of a personal identity. This stands in stark contrast to the modern mass production of disposable chopsticks for restaurants and fast-food outlets, where wooden single-use chopstick offer sanitary utility and convenience, while becoming an environmental concern.

Where Western cutlery can cut, stab and scoop, chopsticks function to push, pinch and lift, and these actions are a reflection of the types of foods consumed, but also how they are prepared, served and shared. These utensils operate as significant markers of cultural difference and identity.

[observing-culture-rmit]

Kerokan:

On the hunt for objects of interest, I came across one I did not know or understand, so before I asked it’s owner about it’s purpose I tried to imaging how this object might be used. Made of metal the object has a ring attached to one end, and at the other, a smooth ball, though how it was intended to function was beyond me. After playing with the object for sometime, I gave in and asked the owner for some answers…

The object was purchased in Indonesia while on student exchange. After falling sick with a cold, the owner had been treated by the traditional healing practice of Kerokan.

The ring at the end of the implement is used to scrape the surface of the skin repetitively to create welts or bruising. This method of treatment has been practiced by the Indonesian people for centuries, and coins are often used instead of the implement as it is believed that money will draw out the evil spirits that have manifested the illness within the body.

Scientific merit aside, it is a learnt behavior that draws from the beliefs and values of a culture, and the practice has survived through generations as it relies on the affordance of care from others in tending to the sick within the community. The inflammatory reaction to the scraping is said to widen the blood vessels, allowing for increased blood flow, and thus increased distribution of oxygen and nutrients to the tissue. The process is said to also aid the elimination of toxins and promote healing through increasing the body temperature.

The scraping process is applied to the chest, back and neck using a downward motion. Care is taken to avoid the spine, so as not to cause injury. The result is a series of rather confronting red welts arranged in a pattern of descending stripes.

[observing-culture-rmit]

Autograph Book:

On a recent visit to an auction house in Ballarat, a friend of mine spotted a bell that she was quite taken by. This piece was only available to purchase as a part of a lot, on which she bid and won, only to find that the bell had been taken and thus she was left with the remaining items. This autograph book was among the items, and the messages and signatures within allow us to piece together a fragmented glimpse at the owner’s origin and life.

A few pages into the book, a poem reveals ‘’Josie’ is my name, with ‘Warrall’ close behind it.’ We also find that the book was a gift from a friend called Lily. Most of the entries are poems, written in ornate cursive with fountain pens, and the entries mostly date between 1912-1916, with a couple of later entries in 1936-1937. There are also a few drawings and a couple of paintings in oils, with the majority of entries being annotated as occurring in Ballarat. The book is covered in soft, thin brown leather that has a stamped border and title, with the impressed title gilt with gold lettering. The edges of the book have also been gilt with gold, a process used for strengthening and protecting the page edges from moisture and physical damage, while also serving as a decorative element. The book is also been stitched, where several groups of pages are sewn through the central fold, and stitched into the spine of the book, binding them together. Overall, the Autograph book seems to be of a high quality and possibly made by hand. The condition of the book suggests that it have been well cared for and most likely treasured.

There are two entries in particular that are telling of the context of the time. On the 29th of July 1915 Dorrine Shearer scribed a poem that seems to refer to the landing of troops at Gallipoli, writing of ‘splintered cliffs’ and ‘tragic deeds’. In another entry on the 27th of July 1915, possibly by the owner of the book Josie Warrall, a poem depicts a patriotic love for Australia, stating ‘As friends serve I hold them dear, but, Oh, my heart is thine, Australia’. With World War I beginning a year earlier and the landing at ANZAC Cove on the 25th of April 1915, these entries are a poignant reminder of not only the resulting loss of life, but also the sense of National pride as a result of Australia’s efforts. With further investigation I discovered that the passage transcribed by Dorrine Shearer was actually from a poem by J. Laurence Rentoul that had been printed in a Melbourne paper in July of 1915. Further more, I found that Ballarat had a particularly high level of enlistment and thus suffered a significant loss of life. I think it is likely that these entries mark the one year anniversary of the beginning of WWI, which was deemed to be the 28th of July 1914, and show the significant impact that WWI had in uniting the Australian people in a common cause and forming a sense of National Identity.

It’s hard to know for certain, but it would seem that Ballarat was home for Josie Warrall, at least for part of her life between 1912-1916 and then again between 1936-1937. At first I could imagine several possibilities that might account for the 20 yr gap between entries. She may have left the family home and returned 20 yrs later to discover her forgotten book, or maybe she remained in Ballarat for most of her life and the practice of collecting autographs went out of fashion or lost her interest for a period of time. I noticed that the entries between 1936-1937 were signed by either ‘J Leach’ or Victor Leach, with entries by the latter being written rather messily in pencil which seems to imply the hand of a child. This caused me to wonder if ‘J Leach’ was in fact Josie Warrall after marrying and taking the name Leach, and Victor was the child from this marriage. It would make sense that a book like this would be treasured by its owner for decades, possibly being discovered by her child many years later. Also the fact that this book was purchased from an auction house in Ballarat suggests that it may have remained in that city since it was first gifted in 1912.

It’s interesting to consider a book like this from a contemporary perspective, where the digital image, social media and the ‘selfie’ has become the new method for documenting events and friendships. There is something nice about the considered nature of the entries in the autograph book, where time and care were taken to devise the poems and scribe them neatly onto the pages.

[observing-culture-rmit]

G’day Chair:

I came across the G’day chair on display at the Ian Potter Centre quite recently. The chair is a significant work of Australian furniture design which speaks to our National identity. Designed by Brian Sayer and Christopher Connell in 1988, the chair quite literally uses the form of the letters that spell ‘G’day’ to make up the functional components of the chair. The ‘G’ and ‘D’ form the circular back, with the apostrophe wedged between them on the back of the chair. The ‘A’ forms the back legs, with the ���Y’ acting as a single front leg. The chair can quite literally be read, embracing iconic Australian slang and presenting it in a humorous way by incorporating it into a functional furniture item. The Country of Origin mark becomes an aesthetic feature with ‘Made in Australia’ embossed into the seat back. In a modern context, the display of the Country of Origin stamp could be seen as a comment on the current state of manufacturing within Australia and the ever-increasing use of offshore production. Furthermore, the chair is made from recycled aluminium, including beer cans, another signifier of Australian National identity.

[observing-culture-rmit]

Cheese Board:

It is an object that is periodically used, commonly in the company of others. It connotes the sharing of meals, possibly as a lead up to, or winding down from the main course. It serves as a plinth, to display and exhibit a curated spread. Beyond its function and aesthetic qualities, the board is also linked with memories, events and shared experiences.

I bought this cheese board many years ago from the gallery shop at the Fremantle Arts Centre in Western Australia. It is handcrafted by a local maker who produces bespoke home wares and furniture from local timbers. This particular piece is made from  Allocasuarina fraseriana a species of Sheoak endemic to WA.

If I try to remove my personal narrative from the cheese board and review it from a more objective platform I see a board made from a red/brown timber with interesting figure and appears to have been back-sawn. The board displays simple lines and gentle curves, and has irregularities that would suggest the product has been handmade. It has a warmth to it, is incredibly smooth and appears to have been finished with an oil.

Returning to the subjective, the timber evokes images of the West Coast and Fremantle. It speaks to my love of materials, furniture design and making. It reminds me of gatherings with friends, birthdays and dinner parties. In these ways the board is linked to place, imbedded in memory and speaks to my identity.

What does your cheese board say about you?

[observing-culture-rmit]

Bones:

I collected these bones back in 2012 during a trip to Rottnest Island, Western Australia. The bones belong to a Quokka, a marsupial that is endemic to the Island and isolated areas in the South-West of the state. I discovered the bones while walking through sand dunes along with a partial skull during a visit to the Island on a family holiday. The bones were packed when I moved from Perth to Melbourne in 2014, and have come to be important reminder of where I grew up.

To anyone else the bones may seem unremarkable. They are bleached white by the sun and possibly recognizable to most as being from the vertebrae of a small-medium sized animal. However, to me the bones are a symbol of home, the State in which I grew up and the Island that I explored as a child. For 32 yrs my family and I have been returning to Rottnest for an annual holiday. This ritual has become an essential act of reuniting the family, particularly since I moved to Victoria, and we continue to return to the Island every year. I remember fondly the sense of freedom and security as a child, being able to explore the beach and the dunes without my parents worrying where I had gone. To me it is a landscape of sensual experiences of beaches, fishing, bikes and exploring. The Island is in ingrained in my family’s culture and is essential to my identity and my sense of place.

I think that it has been through the act of moving state that the bones have taken on a new importance to me. It is through the process of being displaced that I have become aware of how significant the role that ‘place’ plays in creating our identities and sense of belonging, and thus these bones are one of a series of objects that are embedded with a personal narrative that connects me with home.

In 2015 I learnt the process of lost wax casting and became interested in methods for moulding and casting complex forms. I chose the bones, created moulds and had them cast in sterling silver which I later oxidized. These pieces now sit on my desk at home and I periodically pick them up and play with them while working in front of my computer.