Showcase Gallery

Ross Annels

Ross Annels Contemporary Fine Furniture

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  Echinoid chair
  
  A sea urchin shell from the Phillipines was the inspiration for the chair. On its shell, the uneven ordering of the attachment points for the spines provides a strong constrained decorative pattern.
  
  Photograph Andrea Higgins
  Chair in carved, punched and burnt silver ash, laminated Jarrah and turned silky oak
  
  1800 * 510 * 530mm
  
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  Katerina chair
  A chair to meet the demands of the human body for comfortable and active seating. This chair was designed for small scale batch production, and is produced in three standard heights to fit the range of body sizes in the population.
  The laminated back splats of the Katerina chair provide flexible support to the lumbar and thoracic region promoting an active and upright seating posture. These chairs are being used for dining, musical performance and in SOHO businesses. An earlier version of this chair won the Craftsmanship award at the 2002 QLD Contemporary Furniture Exhibition.
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  Helena's cabinet
  
  This curvaceous cabinet in northern and southern silky oak was designed to complement a table and chairs we had made previously.
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  Chair for the Lake
  
  With my work I try to tell tales of sustainable beauty and of the poetry of place.
  When the lake uses this chair – what story does it tell us?
  
  Photograph by Adam West, Zenstick Photography
  Sculptural Chair of found timbers
  
  Approximately 2000mm tall
  
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  Sapling # 2 chair
  
  Landscapes dreaming the wild, amidst the thick time of hearsay, the sapling tree a growing child, called to enter nature's fray. Wellspring of our more than human world.
  
  From old spirits deep in the soil, with aspirations heavenward, this tree of wood is timber's foil. A vegetative stillness that inspires. Would that we heard this sapling story.
  
  Text by Tamsin Kerr
  
  Photographs by the artist.
  
  Chair in silky oak or Australian Lacewood (solid and steam-bent) with pyrography and etched upholstery
  
  1800 * 720 * 540
  
  
  
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  Bent bar Stool
  
  This steam-bent bar stool typifies what I call eco-regional work: the materials are local and renewable, it is designed to be made using the specific properties of two local timbers, and, it is made using craft processes in a small-scale labor-intensive local workshop
  
  Photographs by the artist.
  Chair in solid and steam bent spotted gum, and steam bent silver Quandong.
  
  1200 * 450 * 600 mm approx
  
  
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  Sprung Series chair (Sylvana)
  Chair in solid and laminated Queensland maple
  This chair is part of the ongoing sprung series, which exploit the flexibility and resilience of bent timber to provide innovative structure and ergonomics.
  
  Photographs by the artist.
  with stainless steel and upholstery
  
  800 * 550 * 500 mm
  
  
  
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  Gnutheru Chair
  
  Gnutheru is the local aboriginal peoples (Gubbi Gubbi) word for shade. In attempting to express the complicated white/ Indigenous relationships across this ecoregion, I found that the object became teacher. I began from a notion of loss: loss of language, loss of country, loss of knowledge. I burnt in recorded Gubbi Gubbi words for the non-human, spiralling them around the seat, and then sewed a white grid overlay. I expected that the black words would lose their potency under such rationalist geometry, so were surprised to see that they strengthened each other, forming a more aesthetic and powerful connection. The object showed the power of true reconciliation, of cross-cultural connection to country.
  
  Photographs by the artist.
  
  Chair in silky oak or Australian Lacewood (solid, steam-bent and laminated) with embroidered and etched upholstery.
  
  1100 * 600 *500 mm (approx)
  
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  Ripples in Country coffee table
  This table reflects the scientific and Indigenous knowledges that are held on the Sunshine Coast. The many mountains are the remnants of prehistoric volcanic activity that literally created the country. These volcanic plug mountains are translated into this landscape memoir piece, becoming the Australian red cedar supports erupting into the ripples of the crows ash table. The table reflects the Indigenous stories of this place - The anglicised names of the mountains are inscribed into the crows ash timber, poor translations of Indigenous connection to place. Ross’ piece begins to ask: what lies beneath? This is landscape memoir: craft expressing a complex idea about human inhabitation, understanding, and connection to a specific locale.