How does an artist define oneself within the broad scope of art? Formal education and training assists to identify their style. Exhibitions and working with peers creates a sense of self. This, however, tends to happen within the scope of the artists studio and geographic location of their practice. To go one step further and move beyond the boundaries of the local and national is essential for Australian artists to expand their market and to reach new audiences internationally.

Alyson DeGroot, Too Hard Basket, 2006
Banyan tree roots, discarded car tyres, recycled metal and various other plant materials. Photography courtesy of the Artist

Through the initiatives of the Federal Government and the support of grass-root organisations that recognise the importance of the Australian craft and design industry, this reach for the international stage is recognised. One such opportunity was the unique partnership between the Australia Council of the Arts, through the Visual Arts Board, and the JamFactory with the development of the International Craft Initiative.

With this initiative a valuable opportunity for emerging young artists began through the international exhibition Talente. With a focus on the 'new generation' Talente is an annual competitive exhibition held as part of the Munich International Trade Fair. It has grown to become a major networking opportunity for emerging Australian craft and design practitioners, with a high international audience, quality catalogue, prizes, media coverage and the attendance of experts and professionals from the craft and design industry. A once in a lifetime opportunity (as second participation is not possible), this prestigious event is an opportunity for emerging Australian artists to be a part of an exhibition with international significance, present work to a new market and use this experience to develop their careers.

For all artists the experience of exhibiting work at Talente is a highly rewarding one. Artists step out of their comfort zone of known peers, galleries and collectors and present themselves on a much larger platform - the international stage. Through Talente the exceptional potential of many emerging artists has been drawn to light and presented in a highly polished and professional manner to a broad audience of professionals from the craft and design industry. For those artists who have participated in Talente their careers have seen a boost, their status has changed and the eyes of all those who can make or break their career have been turned toward them.

Elliat Rich, Lichen (jacket), 2003
Waterproof and UV resistant canvas, Velcro, metal 'D' rings, leather. Photographer: Alex Kershaw

For Elliat Rich Talente was considered one of the "pinnacle achievements for a graduating student". And she was not disappointed when she exhibited in 2005. "It gave me the confidence to know that my work was recognised outside the university environment and on an international level. It continues to be a 'feather in my hat' and I see it as a key point in my early design career". Rich's designs were met with great interest from international attendees with offers to exhibit. While language barriers prevented this opportunity from being realised Rich was not deterred and has continued to pursue the international arena, recently attending the 2008 Design Trade Fair, Milan. With her career boosted through Talente, Rich has regularly added 'feathers to her hat' as a finalist of the Bombay Sapphire Design Discovery Award in 2007 and the episode winner on the New Inventors in 2008.

Christine Cholewa, The Whole Bowl, 2005
Blown and cut glass. Photographer: Micheal Haines

Christine Cholewa was drawn to Talente as an opportunity to "participate in something that was beyond my normal local audience, and this seemed to be something I could achieve". The experience of Talente 2006 was vastly different for Cholewa, as she was unable to attend the event and the networking opportunities were lost. While the influences were not as direct Cholewa maintains "I think it is a positive thing to be involved in but there needs to be more help on the follow through of the projects, by trying to help get the artists and their work to the fairs/exhibitions so that the networking and connections that these things are so great for can really happen and people can make the most of it". This experience has seen Cholewa continue to be active in seeking out opportunities to participate in group exhibitions and those that can challenge her practice. It is important to reflect on the comment by Cholewa in regards to follow through and support for artists. This statement unearths the ongoing need for financial support and recognition of the valuable contribution practitioners and craft and design organisations make to the Australian economy. Australian craft and design rubs shoulders with the best the international arena has to offer and stands its ground with ease. Australian designers are gaining increased recognition for their innovation and product quality. To loose support for events such as Talente is to loose Australian representation in the international arena and those valuable insights they bring back to the craft and design sector.

The benefits don't stop once the exhibitions close and the artists have returned home. This experience, to network and possibly sell their work, gives each artist the confidence to continue to step out of their comfort zone and seek challenges that further their skills and career, with many going on to hold significant solo exhibitions, break into the retail sector, secure grants for travel, residencies and much more. This experience for Joanne Searle gave her "the confidence to keep applying for competitions, grants and residences and developed aspects of my professional practice such as image documentation, handling instructions, packing, meeting deadlines and more". Searle was also an artist who sold work which as she states "for an emerging artist is both confirming as well provides income to assist setting your studio up and purchase materials". All artists who have the opportunity enter Talente do so as an emerging artist and through this experience grow into professionals.

Cobi Cockburn, Seeding Phalaris
Glass, fused, roll-up cane pulled, re-fused, cold worked, slumped, and hot formed
Winner of the international Grand Talente Prize, 2007

Cobi Cockburn is one such standout artist who has continued to thrive. It was clear that Cockburn's skilled practice would take her far when in 2006 she was the recipient of the Ranamok Glass Prize and in 2007 won the Talente prize for glass. This international recognition has seen Cockburn reach further, receiving the Dr Arthur Liu Scholarship at Northlands Creative Glass Centre, Scotland in 2007, be representated in international collections including The Corning Museum of Glass, New York and Palm Spring Art Museum, USA, and most recently with a block buster solo exhibition at the Bullseye Gallery in Portland USA.

There will continue to be long lasting benefits for artists who participate in Talente. For Alyson DeGroot the opportunity to exhibit overseas was a relevant step in the progression of her career and was made possible through participating in Talente 2006. "Being a part of Talente has definitely inspired me to pursue opportunities to exhibit overseas, especially in Europe. I sold some work, which is always an encouraging response. After completing my Masters in Visual Arts in 2009 I would like to work towards acquiring a residency in Europe".

The benefits that partnerships create for our Australian artists have long lasting repercussions to the craft and design industry in Australia. With an emphasis on fostering the best in Australian craft and design the Australian Craft and Design Centres, of which the JamFactory is one, provide vital support for artists to develop their careers and gain international reputation for quality and creativity. Through the International Craft Initiative managed by the JamFactory artists gained a foothold into the international arena. With Australian representation at international events such as Talente growing, it is clear that there is a need for sustained support for events such as these, not only in the development and implementation of international exhibitions, but the continued support for artists to travel and participate in the immediacy of this networking opportunity. It is important that the arts continue to grow, that the support structures remain in place. For the alternative is to imagine a world that lacks the people and the objects that creatively engage, challenge and inspire us all. As Searle and DeGroot so aptly state "Australia has a wealth of craft and design artists who are recognised as top of their chosen field and they should be represented in the international arena through support from federal and state funding bodies" and "There could be more opportunities like this."

Diana Hare

Graduate of the University of Southern Queensland Bachelor of Visual Arts, and Australian National University Graduate Diploma: Art History and Curatorship. Diana is a Canberra based freelance writer and Curator Public Programs at Craft ACT: Craft and Design Centre.

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