Category Archives: Report

Australasian Craft Network calling

The Australasian Craft Network has been established as a bridge down-under with the World Craft Council.

The World Craft Council is the umbrella organisation of five regional associations (Africa, Asia Pacific, Europe, Latin America and North America), within which are various sub-regions. Historically, Australia and New Zealand have been in the South Pacific sub-region of the Asia Pacific region.  The WCC General Assembly meets every four years. Regional groups meet annually.

The WCC has two main goals:

  • To disseminate knowledge, to help craftspersons and revive languishing crafts in these regions and to provide a network and fellowship among craftspersons of the various nations, and to ensure that they are in communication with each other.
  • To bring crafts and craftspersons into the mainstream of life, connecting with the past through maintaining inherited traditions and looking into the future through the use of modern technology to experiment, innovate and reach out to new markets.

In 2008, the Pacific Craft Network was established as a means of disseminating information from the World Craft Council to the island communities, as well as providing a platform for development of projects particularly in association with the Pacific arts festivals.
To complement that, the Australasian Craft Network provides those non-islanders of the South Pacific with a similar conduit to the World Craft Council and also a means of organising activities to the broader benefit of craft culture.
In particular, there is interest in a future conference to consider the relevance of craft today in our region. Initial questions include:

  • Should craft, as a form of tactile literacy, be an essential part of education?
  • How does craft contribute to a healthier society?
  • Could the Global Financial Crisis lay the ground for a craft renaissance?
  • How does craft related to emerging practices such as ethical design?
  • How is a professional craft practice viable when there are no more collectors?
  • What are positive models for the relationship between craft and design?

Are there questions that you would add to this list? Please feel free to reply with your suggestions.

Members of the Australasian Craft Network will:

  • Receive emails of World Craft Council activities, including upcoming workshops and forums
  • Contribute to shaping events in the Australasian region that connect with the international craft world

To be part of this network, please submit your details here. You can also ‘like’ the Facebook page here.

ACN coordinators:

Dr Kevin Murray, vice-president, World Craft Council Asia Pacific Region
Lindy Joubert, Australian national entity, UNESCO Observatory





Unmaking the Future–the aesthetics of post-industrial ceramics

The view from inside the conference in Bergen

The view from inside the conference in Bergen

Like Australia, Norway finds itself with a rare gift – a financial bounty stemming from non-renewable natural resources. The news analysis in Australia often invokes the Norwegian model as a responsible investment of this wealth for future needs. With the Making or Unmaking? conference, Norway was able to host an international conference on ceramics like few others today. The premise was the use of the readymade by ceramic artists – rather than make work themselves, these artists repurposed existing works. This was the culmination of a four-year research project ‘Creating Art Value: A Research Project on Trash and Readymades, Art and Ceramics’. It was programmed with the ambitious exhibition THING TANG TRASH – Upcycling in contemporary ceramics (curated by Heidi Bjørgan), as well as a large number of ceramic exhibitions especially presented by galleries around Bergen.

And the view looking out from the conference

And the view looking out from the conference

The project leader and Norwegian writer Jorunn Veiteberg assembled some of the finest European craft minds to consider this question. It began with the English visitors. Glenn Adamson opened the conference with a slice of Postmodernism exhibition that he recently curated for the V&A. He focused particularly on the eschewal of authenticity by movements such as Memphis, which positioned style far above substance. It offered an important historical reference point for contemporary questioning of original production. Carol McNicoll followed with an artist talk that personified the conference theme with a feisty opposition to fine art etiquette. Fellow ceramicist Clare Twomey then offered an elegiac account of enduring ceramic crafts, such as plate lining. The meat of her paper was the account of her present work. This had two components. The first were a series of 80 tall red vases produced in the Jingdezhen ceramic powerhouse – ’80 vases in 8 days, China brings us miracles.’ The second an attempt to reproduce one of these in England, involving scouring for a large-enough kiln. The installation showed the one plaintive vase set among the sea of cheap Chinese imports. For Twomey, what distinguished the English vase was that its decoration sat under the surface, compared to the Chinese vases whose designs were more imposed on the surface.  The installation seemed to demonstrate that despite miraculous productive capacity of Chinese industry, it was still no match for the subtle craftsmanship of English labour.

Tanya Harrod followed with a beautiful lecture on the theme of the rag-picker, covering many examples of art projects that extracted works of beauty from the slums. She spoke highly of the work by Brazilian artist Vik Munos, featured in the film Wasteland, who donated money from the sale of his works to the favela dwellers who made it possible. While critical of those who mindlessly use the poor of the world to make high-end design, Harrod praised those who embrace the act of making with all its responsibilities. Caroline Slottee and Paul Scott provided examples of work with readymade ceramics and Ezra Shales considered the role of museum as a contested site for these works.

On the second day, Monica Gaspar introduced the concept of the infra-ordinary as a space opened up by use of the readymade. She provided a feast of contemporary work associated with her recent exhibition ‘Re-defining the Applied’, which reflected a shift away from the object itself to the way in which we inhabit. A highlight was the film by Swede Olas Stephenson where a gang breaks into a house to create musical symphonies using objects from each room. Andrew Livingston followed with a bold attempt to place use of the readymade in the context of sustainability. It made perfect sense, but the ethical logic seems at odds with the aesthetic context of the conference. Barnaby Barford’s artist talk presented narrative as an alternative context of the readymade. His film for the exhibition brilliantly demonstrated the power of pathos in the leftover figurine.

The day ended with Jorunn Veiteberg herself who expounded the thesis behind the conference. She loyally used local artists to illustrate her thesis that the ceramic readymade is following Duchamp’s liberating gesture with ‘Fountain’ to liberate the art object from the ‘fetish’ of the handmade. Veiteberg argued that re-purposing existing ceramics opens up new possibilities of creative intervention.

The last day began with Michael Petry, author of The Art of Not Making. His ebullient talk covered many instances of artists using skills of craftspersons, praising those who acknowledged their contributions. As one of those grateful artists themselves, Petry spoke very much from the commissioner’s perspective, focusing more on the grand ambitions of the artists than any creative input from technicians. The Polish ceramist Marek Cecula followed with a wonderful account of his career in ceramics, parallel to his remarkable personal journey as a survivor of the holocaust who returned to make work about the value of human labour. Linda Sormin followed in the afternoon with a lively short account of her practice in making ceramic interventions in museum spaces around the world.

As the second last presentation, I attempted to introduce the relational dimension of the readymade. This regarded the commissioned object, rather than the found object. I focused particularly on the work of artists who have their work made in Asia. Rather than a post-industrial aesthetic, I considered a ‘para-industrial’ condition where work responds to the scene of making ‘elsewhere’.

Rather than leave space for questions at the end of each paper, the conference was programmed with generous breaks where participants could discuss issues among themselves. While this was quite convivial, it was difficult to tell what the conference had achieved at the end. Making or Unmaking? provided a symbolic departure from the studio model of the ceramicist, whose work reflects the personal experience of clay. But it left hanging the question of where this is going. Is it opening ceramics up as an installation-based art form? Is it part of the elegiac moment in Europe as it sees its manufacturing capacities drift off to Asia? Does it reflect a sustainability ethic that eschews making anything new, in favour of re-purposing the old? These questions needed airing, either in response to papers or in panel discussions.

Most pressing is the gradual loss of a global dialogue around ceramics. Last month’s Gyeonggi Ceramix Biennale in Korea did not have one entry from Britain, and there was little opportunity for dialogue between representatives of east and west. As globalisation continues to expand, it seems a mistake to turn inward. Modern ceramics has such a rich history of borrowing between cultures.

Norway has set the pace. We now need to pass the baton.

PS. If you are interested in purchasing a copy of the excellent catalogue, then send an email to KHiB publications at Price: NOK 250,- (EUR 34) + handling expenses. More information here.

Korean Gyeonggi Ceramix Biennale 2011–site of a future ceramics renaissance?

'Toya' was mascot to the biennale. This version of the bowl man cradling a bowl was especially poignant.

'Toya' was mascot to the biennale. This version of the bowl man cradling a bowl was especially poignant.

Ceramics seems very important in Korea. Its ancient past is defined by styles of pottery. The ubiquitous onggi pot holds a family’s precious store of kimchee, hopefully enough to see it through the winter. And with the Gyeonggi Ceramix Biennale, Korea has established the key international event in the world of ceramics.

At the core of the biennale are three complexes each containing galleries, sculpture gardens and activity centres. The official centre is at Icheon, which features the international exhibitions, including competition shows and focus on French and Dutch ceramics. As you might expect, the competition was ‘hit and miss.’ There were quite a few ‘good enough’ generic pieces, but still enough remarkable works to make the trip worthwhile.

Over three floors of galleries, the work that particularly took my eye was by a Chinese artist, Meng Fuwei.

Meng Fuwei 2008.5.12 detail

Meng Fuwei 2008.5.12 detail

I’m not normally taken by figurative ceramics, but this work presented an uncanny sympathy between content and materials. The fact that both people and building debris were made of the same clay gave a real emotional depth to this installation. Looking at it, I realised that on hearing news of an earthquake disaster, I unconsciously separate out loss of human life from physical destruction to buildings. This logic helps us deal with the compassion fatigue brought on by 24 hour news cycles: even if a whole building had collapsed, at least the inhabitants might be alive. Meng Fuwei’s work closed off that mental escape. Alongside the rubble were scene of great pathos, as clay people cradled each other and dead bodies lie flat, their hands having been crossed in respect. Work like this deserves broader exposure. It not only tells us of what an earthquake must be like, but also intimates a real pulse beating in the heart of contemporary Chinese ceramics. Fuwei himself was a victim of the 2008 Szechuan earthquake, and has been making work about it ever since. This installation was awarded the Gold Prize.

Despite the odd powerful work, the main exhibition lacked a curatorial hand to guide the visitor. Given that the curator had resigned only three month’s before the opening, the organisers had done wonders to create a credible festival. There was an attempt to give curatorial structure to the international competition with a thematic based on the elements, ‘Journey into Fire’. But this seemed rather after the fact, and served to suggest how much more powerful the spaces could have been with a strong narrative frame.

Yeoju Bandal Art Museum was a more popularist complex containing exhibitions of applied ceramics. Much space was given to an exhibition of ceramic jewellery. I wasn’t particularly convinced by the work on display. I thought it would have been more interesting to see jewellery that made reference to ceramics as an art form, rather than include some brightly coloured glazed pieces. There’s been some interesting jewellery that draws on ceramic traditions, such as recent adornment in terracotta from Bengal.

Other exhibitions about ceramics and glass and digital media were quite strong. But I liked the best the exhibition of tableware settings. These ceramic sets spoke of the social dimension of ceramics as a way of bringing people together – not just the living.

'Thankful feast' table setting by Min Il Kim

'Thankful feast' table setting by Min Il Kim

The ‘Thankful feast’ by Min-il Kim is designed to be used during a ritual meal shared with ancestors. The key element is a plume of words from poem in Korean that are bring sucked into a ‘moon jar’. Porcelain on charcoal was a powerful combination.

The more traditional pieces could be found in the third complex, the Gwangju Gyeonggi Ceramics Museum. The highlight here was a joint exhibition of Korean and Chinese ceramics, including a feast of celadon. In an international event like this, it is especially interesting to see how Korean culture orients itself not just to the global centres of the West, such as France and Netherlands, but also its older neighbours including China. This is a key to its global positioning.

Thinking about the other powerful neighbour to the east, I was left wondering what a show of Korean and Japanese ceramics might be like. There was a touching hint of this dialogue at one of the forums. Over two days, the international visitors presented papers on the ceramic scene. Sadly, there was virtually no dialogue with the local Korean scene during these talks, apart from occasional barbs by the moderator, Jinsang Yoo, an art theorist from Seoul. The discussion became animated around the topic of acknowledging the work that ceramicists contribute in collaboration with contemporary artists. The Taiwanese professor Ching Yuan Chang reflected on the way Asia culture is oriented more to craft than the West, which hampers creativity because work is traditionally left unnamed. During a break, in company with the Japanese curator Akira Tatehata, I asked Jinsang Yoo if he had heard of the Kizaemon tea bowl, the famous work of the ‘anonymous craftsman’ that was ‘discovered’ by Soetsu Yanagi in the early 20th century. Tatehata very gingerly explained this emblem of Japanese-Korean relations – how the most revered piece of ceramics in Japan should come from the most humble of ceramic workshops in Korea.

At the time, I was thinking about the paradox contained in this story: when the value of work is attached to the humility of the maker, how can it be recognised in a way that rewards the producer? You can’t have work made ‘anonymously’ by Joe Potter. Or can you? Could anonymity be branded? 

But after some googling, an alternative possibility suggested itself. On Richard Roth’s blog post about this bowl, he quotes Yanagi’s impression of the response that Koreans had to the elevation of their most humble product:

Emerging from a squalid kitchen, the Ido bowl took its seat on the highest throne of beauty. The Koreans laughed. That was to be expected, but both laughter and praise are right, for had they not laughed they would not have been the people who could have made such bowls… The Koreans made rice bowls; the Japanese masters made them into Tea-bowls. 

In hindsight, Yanagi’s comments beautifully reflect the colonial thinking behind such primitivism. While the Korean work might be celebrated in Japan, it is really a testament to the sophistication of Japanese taste rather than Korean culture. Hmm. Wouldn’t it be interesting to imagine a series of ceramics which explored that Korean laughter a little more…

Some of the pageantry of the Ceramix Biennale, as traditional Korean dancers are interrupted by a team of runners arriving to light a ceremonial porcelain bowl

Some of the pageantry of the Ceramix Biennale, as traditional Korean dancers are interrupted by a team of runners arriving to light a ceremonial porcelain bowl

I was left with the impression that Gyeonggi Ceramics Biennale is a tremendously important event on the international cultural stage. We should be immensely grateful to the Koreans for giving this event their support and vision. I hope it remains a stage for international dialogue about clay. With good planning, it is possible for this event to even extend its reach. It has potential in particular for reaching out to the fragile ceramic traditions that are being revived in collaboration with artists. Korea could be the home of a ceramic renaissance. That would be something to revive the spirits of a flagging world.

The last word at the biennale opening: at the end of a fulsome award ceremony, the audience was presented with a speech of its own to make in conclusion.

The last word at the biennale opening: at the end of a fulsome award ceremony, the audience was presented with a speech of its own to make in conclusion.

Seeding the Cloud workshops

Roseanne Bartley is presenting a series of three Seeding the Cloud workshops.

Join the artist jeweller Roseanne Bartley as she threads her way in and around the streets and parklands of Melbourne CBD. Over a two-hour process led experience, Roseanne will share the ‘how to’ behind her roving work Seeding the Cloud: A Walking Work in Process. Take part in jewellery based process that addresses the mass of residual plastic within the environment and contribute to the creation of a collectively inspired Civic Necklace.

Come prepared with sensible walking shoes and a weatherproof coat.

Cost: $50 / $25 Craft Victoria Members. Includes a copy of the Seeding the Cloud Instruction Booklet.

Thursday 11 August, 10am-12pm
Saturday 13 August, 1.30-3.30pm
Saturday 20 August, 1.30–3.30pm
Bookings: click here

The journey begins

Moe Chiba opening the Visible Hand forum

Moe Chiba opening the Visible Hand forum

Sangam – the Australia India Design Platform was launched in Melbourne on 21 July.  

During the day, RMIT Industrial Design hosted the Ethical Design Laboratory’s workshop into ethical labelling. Experts from around Australia met to develop a set of standards for creative collaborations. Representatives from law and design, alongside leading practitioners, considered best practice for labelling of transnational cultural products. These protocols contribute to the development of a Code of Practice for Creative Collaborations, supported by UNESCO. The results from Melbourne will be published on the website for discussion next month and then presented in Delhi at the mirror event on 21-22 October this year. 

In the evening, a panel considered what it means for an Australian designer to work in India today. The coordinator Kevin Murray opened the session with a reflection on the strength of Australian designers, coming from country whose experience of reconciliation grants a sensitivity to cultural difference. This included included video messages from four designers in India. The panel was led by Moe Chiba, the section head of culture for UNESCO New Delhi, who highlighted the role of designers in sustaining India’s cultural heritage, particularly in the crafts. Local textile designer Sara Thorn defied received wisdom about authenticity and argued for the virtue of artisans working with machines in India. Architect Chris Godsell reflected on his experience in building sports stadiums for the Delhi Commonwealth Games in 2010. While providing a cautionary tale about potential pitfalls, he spoke positively about the energy and capacity of Indian partners. Finally, Soumitri Varadarajan talked about the impact that design can have in India, focusing on the issue of maternal health. Afterwards, the panel was hosted at a network dinner at the City of Melbourne, including leading figures from the Indian community and government. (A recording of the forum is available here).

Overall, the evening generated a positive reflection on the opportunities for Australian designers working in India. But at the same time, there were some important questions posed that will remain challenges for the project:

From the Australian perspective, India has much to offer in terms of rich decorative traditions and expanding market. But what then from an Indian perspective might Australia have to offer in exchange? The answer for this question will unfold at the mirror forum in Delhi later this year.

In terms of developing standards for collaboration, there is much interest in focusing previous discussions towards a set of principles that can build confidence in product development partnerships between designers and craftspersons. The next challenge is to link those standards to the market, so that they can have direct economic benefits for those involved. This a matter for future workshops that will explore models of consumer engagement, particularly with social networks.

The journey began with a buoyant march, but steep mountains loom ahead. To follow, go to and subscribe to email updates.

Crosshatched 2011–mudka in Victoria

Manohar Lul working on a Mudka

Manohar Lul working on a Mudka

Mudka at Tullarook

Mudka at Tullarook



An overview view of Crosshatched 2011

The focus of the Crosshatched project this year is the mudka form, the traditional Indian water storage pot, round bottomed and full bodied, as functional as it is beautiful. It is used throughout India. The ability to cool water to a pleasurable temperature due to the evaporation of water on the exterior wall of the porous body is a sustainable cooling system we could utilize in our own households.

The Crosshatched team, traditional Indian potters Manohar Lal and Dharmveer, ceramic sculptor Ann Ferguson and myself will engage with others to generate what we envisage will be an exciting 5 weeks of ceramic cross-cultural collaborations.

There are two main activities. Tallarook Stacks. A Regional Arts Victoria funded venture where by the building technique used to make mudka will be utilized to create a community sculpture. Series of these forms will be embellished with local earth materials by the Tallarook community facilitated by Ann to come together as an installation to be sited at the Tallarook Mechanics Institute.

The other, an exhibition at pan Gallery will see the mudka in its traditional form. The potters over the time they are here will make mudka, some decorated with traditional designs some unadorned. These will be woodfired in a replica of their home kilns. These will be exhibited at pan Gallery along side mudka that will have been painted by Melbourne artists. The latter will be sold via a silent auction to raise fund for improved kiln technology in their home village.

Sandra Bowkett for the Crosshatch Team



The Regional Arts Fund is an Australian Government initiative supporting the arts in regional and remote Australia, administered in Victoria by Regional Arts Victoria

Wellington charm school–power jewellery for today

Wellington charmers relaxing after a two-days of intensive talking and making

Wellington charmers relaxing after a two-days of intensive talking and making

Peter Deckers’ jewellery course at Whitireia Polytech has been producing a generation of particularly active contemporary jewellers. With projects like See Here, they have been not only making engaging art works but also finding new contexts for them to be seen.

The Wellington Charm School was one a series held in New Zealand, Australia and Chile. Around 24 jewellers, mainly from the Wellington region, spent a sun-blessed weekend in Porirua designing new charms for specific contexts. We had four particular themes: disaster, illness, travel and love.

One of the highlights was the session where each participant brought out their example of an existing charm. Most had objects of extraordinary poignancy that created links across generations, often to deceased parents. For the Maori participants, it was interesting to hear stories of how their charms were ‘activated’ through pilgrimage. It’s tempting to think that ‘power objects’ are a particular feature of the New Zealand upbringing, for both Maori and Pakeha alike.

An especially poignant moment when Vivian Atkinson laid down a seemingly endless charm bracelet

An especially poignant moment when Vivian Atkinson laid down a seemingly endless charm bracelet

Another notable feature of this workshop was the plausible medical applications of charms. The relevance of such objects to conditions such as blood pressure and asthma make it seem quite reasonable to imagine jewellers-in-residence at health clinics.

A charm for bushfires made by the workshop technician Matthew Wilson in trans-Tasman solidarity

A charm for bushfires made by the workshop technician Matthew Wilson in trans-Tasman solidarity

Typified in the Bone, Stone, Shell exhibition of 1988, modern New Zealand jewellery has been defined by the adaption of materials and techniques from Pacific adornment traditions to Western culture. The children of that generation seem interested not just in the process of material translation, but also the spirit of the taonga, the empowered object.

Welcome to Valparaíso

A soldier is welcomed back home (scene from Valparaiso workshop)

A soldier is welcomed back home (scene from Valparaiso workshop)

In recent times, the University of Valparaíso has proven a great place to prove new ideas. The students tend to be quite idealistic and their experience with the teacher Patricia Gunther has exposed them to value of regional folk culture. The workshops have all focused on the life of objects. Previously we’ve explored designing objects inspired by the queca dance, drawing on the power of the ‘cosita’ (the little thing) and creating charms in response to the earthquake (this led to the exhibition Southern Charms).

This year, the workshop followed from the Welcome Signs exhibition to consider how objects of welcome might be designed to deal with specific situations. About 46 students formed groups to determine their target context, design the object and then perform its presentation.

The situations chosen were reasonably familiar ones, such as entering university or greeting tourists. But the objects they developed were quite novel, and looked at how to realise local Valparaíso culture in material form. For example, one plate was designed for use at a ritual of ‘once’ (afternoon tea) and contained papa-pletos (buns filled with fried potatoes) for sharing with a newcomer from the south of Chile.

But what stood out particularly were the performances. This seemed a particularly dynamic way for groups to work together on social design. One especially dramatic moment was acted out as the scene of a soldier who was welcomed back by his family. He was garlanded with a ‘mock chain’ expressing the family’s wish that he stay. But distraught at his inevitable return to service, the soldier threw down the metal garlanded but pocketed the heart adorned it.

This workshop was a promising start, but I felt it could be taken further by exploring less obvious situations. There are many common contexts in modern life where a small individual sign of welcome could make a big difference, such as going into hospital for surgery or moving into a new neighbourhood.

But the challenge at the end was how to channel the students’ idealism for a more welcoming world in a way that would survive the inevitable stresses of modern life. Give a couple more years of education and we’ll see what they can come up with.

Welcome signs in Delhi

You are most welcome to visit the exhibition Welcome Signs: Contemporary Interpretations of the Garland at Ashok Hotel, New Delhi, 4-6 February 2011. If you are not able to be there personally, you can view the work online.

Welcome Signs is an exhibition of contemporary jewellery from across the Asia Pacific that draws inspiration from the ornament of hospitality.

This exhibition is part of an international survey that features in a jewellery summit titled Abhushan: Tradition & Design – Dialogues for the 21st Century. This summit is organised by the World Craft Council and occurs in New Delhi, 4-6 February 2011.

Click images for information about participating artists:

Welcome Signs is curated by Kevin Murray. The participation of Victorian artists is supported by the Victorian Government through Arts Victoria.

How Jayne Wallace helps unlock the past

Jayne Wallace 'Jewellery Box, My Dresses Brooch', 2010, photo by Bill Shaylor

Jayne Wallace 'Jewellery Box, My Dresses Brooch', 2010, photo by Bill Shaylor

One of the works for the Signs of Change exhibition as a jewellery box by Jayne Wallace designed as a memory prompt for those in the early stages of dementia. As a work of functional jewellery, it demonstrates how the intimacy of ornament can provide a powerful stimulus for recovering memory.

She spend a long time with her participants exploring their memories and how they might be triggered. This includes use of a camera, soft clay, prize rosettes, preserve jars, seed packets, dress patterns, pearls of wisdom and a ‘self-tree’. From these exercises, Jayne was able to fashion objects that could evoke strong past memories.

How did you become involved in the memory project?

The relationship between memory and jewellery has always been fascinating to me. We use jewellery objects as vessels so often – to hold memories, as objects to pour our feelings into about an associated ‘other’ be that a person, place, experience… or as comforters – something that connects us to other people or is comforting because it has physically accompanied us through our experiences. The nature of jewellery as such means it has rich potential when we think about ways to help someone hold on to or share aspects of their experiences – this relates to all of us – and naturally suggests people who are experiencing difficulties in doing this. To this end we wanted to work with people who were living with dementia and their close friends/family to make pieces of jewellery that could potentially help them share aspects of past and current experience and hopefully hold on to these over time.

Have you found out how the memory box has been working with Gillian and her family?

They have used the box to record music to each of the dress fabrics – music from the holiday when the dress was worn etc and are using the fabrics and songs as stimuli for further conversation and reminiscing to also record to the box. You’ll see from the film that the dress fabrics also prompted memories about the letters they used to write to one another when they were courting and they have been re reading these and storing those in the box too.

See a film with the participants in this project, Gillian and John.

Some other memory pieces by Jayne Wallace include:

Jayne Wallace 'A locket that can forget' (image degrades a little each time it is opened)

Jayne Wallace is Research associate on the Newcastle University Digital Research Hub, centring on social inclusion in the digital economy. For more information, visit her website