Saturday 18 September
Day 02: Program, Curtin University, Bentley
Scroll down to view the program and click links to video recordings.
Fast fashion and hybrid approaches to textile production
Room 201 BLDG 501 Education Building
Globally, more clothes end up in landfill than ever before, threatening the environment and textile craft. Arguments have been made that integrating traditional craft-based practices with technology and transparency in textile construction can force a transformation towards sustainable practice in textile industries.
This session proposes a new way of thinking about how garments are manufactures the value the bring to the consumer. It discusses the opportunities offered by new technologies to reduce waste through exposing the relationships between technology and the materiality and history of textiles.
Dr Anne Farren | Crafting Sustainable practice in fashion
Senior Lecturer | Curtin University
Over the past 20 years Dr Anne Farren has engaged in practice led research which merges exhibition curation and making. Her exhibition practice culminated in the completion in 2013 of a PhD “Between fashion and art: the role of curatorial practice and exhibition in the re-positioning of fashion”. Anne has led Fashion Design studies at Curtin University since 2001 and is also recognised for her work as a curator of exhibitions that have toured Australia, Thailand and Japan.
Jessica Priemus | Self-narrating weaving: expressing traces of craft
Curtin University, Australia
Jessica Priemus is a multidisciplinary designer and academic at Curtin University in Perth, Western Australia. Jessica’s work explores how materials may be designed to emphasise traces of the making process, with an aim to incorporate visual and tactile richness into contemporary design.
Architecture of Place: Identity and Authenticity
Room 202 BLDG 501 Education Building
What is the influence of craft in forming an authentic architecture that celebrates place and identity (individual and collective)?
If construction of our exterior world is an extension of our interior selves, how does remodelling or re-making an architectural form relate to transformations within the maker and the collective?
This session discusses intuitive architectural design borrowing from craft techniques and traditions.
Richard Manser discusses the processes involved in translating handmade models into large scale habitable spaces without reliance on CAD assisted blueprints as well as the language of working with different types of bamboo. At once relevant to discussions around climate change and environmentally sensitive design, this talk is relevant in co-designing envirnonmentally sensitive public and private spaces.
Zaid Saed and Sahar Abbas take us on a journey exploring lessons from important architects such as Rifat Chadirii, Mohamed Makiya, and Hisham Munir and the golden age of Architecture in Iraq (1950s-1979s). The presentation teases out relevant opportunities that emerge from exposing the processes and relationships which may exist between emotion and the history of the material aspect of the built form during redesign stages. It delves into concepts of craft as foundational to placemaking, sovereignty, transformation, and identity revealing how through understanding the materiality of their work, artists and architects can construct connections to their interior body.
Richard Brisbane Manser
Curtin (W.A.I.T.) Bachelor of Architecture
Richard started his career as an architect in Perth. After working overseas in UK and Europe and returning to Perth Richard was attracted to working in Asia, specifically Indonesia because of a long family connection with the people and the culture. Richard has been an expatriate Architect for over 25 years, mostly in South East Asia but has had undertaken many projects overseas from Mykonos to Sri Lanka. After settling in Bali to work for a large hotel resort company Richard then established his own company PBM, in Bali Indonesia in 2007 to undertake architecture and project management opportunities. The company Richard established has been mostly focussed on hotels, resorts and hospitality but has had a more recent interest in larger bamboo structures including restaurants and beach clubs.
PBM's first project using bamboo for a large structure was in 2007 for a project in Bali on the south coast. Bamboo demands natural curves and shapes and is a completely unique material to work with. Designing with bamboo engages with vernacular building craft and reinvigorates traditional building techniques. This has delighted Richard with the design opportunities and craftsmanship other materials do not offer especially also in terms of sustainability. Richard has established a small bamboo plantation to develop bamboo craft, detailing and use to ensure it remains a relevant for 2021 and into the future.
Zaid O. Saeed & Sahar Khudhair | Architecture of Place: Influence of Craft-making on the Golden Architecture of Iraq between 1950s-1979s
Zaid O. Saeed
PhD Researcher | School of Design and the Built Environment | Curtin University, AUSTRALIA
Zaid is an architect, academic and researcher. He has a MSc in Construction Project Management from Oxford Brookes University, where his Dissertation “The Revival of Mosul” achieved a Distinction classification and a BSc in Architecture from Salahaddin University.
Zaid’s research focuses on integrating advanced technology with the topics of construction, smart architecture and future cities. His ambition for a healthier, smarter and digitalized AEC is reflected on his research and publications. He is interested in the scope of future cities, digital-twining, BIM dimensions, architecture of place, and identity in cities.
MSc Landscape Architecture | Chongqing University, Chongqing, China
Sahar is an architect with high interest in landscape architecture, public space planning and art value in architecture. She has BSc Architecture from Salahaddin University, with numerous participations in Art and Architecture competitions. Sahar’s research focuses on Architecture, Landscape in the urban reliem and Art in Architecture.
Innovate or die: protective tools for craft and indigenous knowledge
Room 201 BLDG 501 Education Building
Craft communities have long debated how to effectively collaborate locally to build resilience, regional value and visibility in a globalised world. This session explores the value and role of traditional making in creating sustainable contemporary economies with regional uniqueness and specificity using applied examples.
This session discusses two different approaches to maintaining and transmuting the essence of traditional ways of making passed down from generation to generation into systems of social and economic value for the wider society.
Terroir of Terracotta by Penny Smith is an exploration into the production and use of traditional open-hearth clay cooking pots to demonstrate their importance as reflectors of contemporary regional identity and contributors to cultural heritage.
In Reimagining the Wool-craft of India, Shouryamoy Das discusses how applying research in local Indian wool fibres, products, skills, and pastoral culture as well innovation through experimentation with blending different fibres to make new fabrics (different wools and cotton, silk or hemp), helps the Living Lightly collection to fend off the damaging impacts of homogenised globalisation on craft practices, techniques, and crafted objects in India.
Sumita Ghose with Jen Hoover, Nisha Subramaniam, Ghatit Laheru, Shouryamoy Das & Sushma Iyengar | Reimagining the Wool-craft of India (Poster Presentation)
Sumita Ghose (Lead Author)
Sumita Ghose is the founder and managing director of Rangsutra, a social enterprise which works for socio economic development in rural India by engaging both: the community and the market. Rangsutra is owned by over two thousand artisans- most of whom are rural women. Rangsutra provides design, marketing, technical and organizational support needed to make crafts and allied rural industries into viable enterprises, so that they provide regular village based employment to rural artisans.
Prior to setting up Rangsutra in 2006, Sumita lived and worked in different parts of rural India, primarily in Western Rajasthan with the URMUL Trust in Loonkaransar Bikaner, for over 10 years working with rural communities for social change and economic development.
Sumita has a Masters degree in Economics and in Conflict Resolution. She is a recipient of several fellowships, and awards, the latest being the Nari Shakti Puraskar, awarded by the President of India, on 8th March 2016. She is a Yoga practitioner and a certified Yoga teacher.
Ghatit Laheru is the Director of Khamir. He has a Post Graduate Diploma in Management of NGOs from EDDII. He also has a Masters in Journalism studies. He has been involved with indigenous fibres such as Kala cotton and desi oon of Kutch for many years.
Shouryamoy Das is passionate about crafts and ecology. He had his formal education in engineering and finance. He quit the business world in 2014 after short stints in the Software and the Investment banking industries to pursue his interests in working with rural pastoral and craft communities of India.
Jen Hoover is an artisan and researcher based in California in the US. She works with wool producers in Himachal Pradesh, India, with a focus on supporting traditional shepherding and textile practices.
Nisha Subramaniam is the founder of Kullvi Whims, a SHG of women artisans. She has been working with traditional weaving and pastoral communities in Himachal Pradesh for more than 8 years. She studies historical linkages and viable systems for these communities to operate in and be a part of in contemporary settings. She is also a doctoral student and part-time faculty with Srishti Institute of Art, Design and Technology. Nisha's research work in the domain of traditional craft communities in India, explores how artisans perceive modernity and how they can engage with it in a way that evolves contemporary artisanal practice. Her engagement with design students looks at developing pedagogical methods for students to interact with craft communities in ethical and sustainable ways.
Anchor, Wool Initiatives, The Centre for Pastoralism
Shouryamoy Das is an engineer and financial risk manager by training. He has been working with local communities on opportunities related to craft and pastoralism for the last six years. His primary areas of interest lie in assisting community-based production systems and communicating the value of such systems to a larger world.
Penny Smith | The Terroir of Terracotta
Smith, a practicing potter and writer from Tasmania, is represented in numerous national/international collections. Currently an IAC member; previously Senior Lecturer, Head of Ceramics and the Ceramic Research Unit at the University of Tasmania, Smith has over 40 years of educational, curatorial, publication and ARC research funded experience.
(Re-locating the) Power, politics and agency of craft practice through slow making and sustainable making
Day 2 in Room 202 BLDG 501 Education Building
How can the materiality of craft be used to raise awareness of, and reveal stories of disappearing ecological systems and issues of politics and social justice? Can craft and repurposed material be used to successfully challenge global issues?
This session explores perspectives and experiences from slow making artists from around WA telling story on country through the handmade. The session also highlights the courage of artists living and working under an oppressive dictatorship in Zimbabwe. It explores how visual arts and craft is used as a conduit for expressing and challenging political dogmas. Images of powerful sculptures and 2D artworks give voice to underlying socio-political problems, in a country where in the past, craft markets and artworks had been bulldozed to oblivion. The use of recycled material is prolific; transforming discarded materials, some sourced from rubbish dumps, into strong, resolved artworks that interrogate and comment on prevailing conditions in a country in free fall.
Dr Annette Nykiel & Nien Schwarz | We Must Get Together Some Time: our slow making stories
Dr Annette Nykiel
Independent artist-researcher, Annette Nykiel, PhD, wonders about the interdependence of ecological systems including her own in local heath, wetlands and woodlands. She uses gathered natural materials to relate to the materiality of non-urban spaces while wandering amongst urban, regional and remote areas as a geoscientist, artsworker/manager and fibre/textile artist.
Nien Schwarz, PhD, taught sculpture and environmental art at ECU for 18 years. Geoscience and interdisciplinary interests inform the making of installations intended to provoke consideration of human relationships to the ground, particularly mining, agriculture and urban encroachment. Always asking: "Why are we not building more respectful relationships with Earth by living more sustainably?
Valerie E. K. Shaw | The power of the recycled object
Practicing Mixed Media Artist and Sculptor, Researcher, Educator
Valerie Shaw: 4th Generation African, immigrating from Zimbabwe under duress, 24.11.2010. Shaw, an award-winning, conceptual, mixed media artist, sculptor, educator, curator, and researcher holds an Honours Degree in Visual Arts and Diploma in Textiles, Printing and Design (Lyle Taylor Scholarship). Departmental head, Visual Arts in 3 private schools in Zimbabwe, senior examiner with the IBO world schooling system in visual arts and extended essays 2005 - 2017. Schools Festival Director, Allied Arts, affiliated to Zimbabwe National Gallery 2008 – 2010. Shaw’s research and practice includes documentation of oppressive, socio-political situations, promoting the therapeutic value of creativity, teaching, and supporting those with disabilities, depression, and loneliness. Shaw’s interests include photography, genealogy, history and the undeniable link between the ‘word’ and the ‘image’.
Gestures of Welcome; exploring jewellery as a gesture of welcome in response to Australian immigration policy
Room 201 BLDG 501 Education Building
Join a panel of socially engaged practitioners to discuss how craft can be provocative. Successful craft objects have a transformative effect, elicit emotional responses and thus extend dialogue beyond craft audiences. Reflecting on works by 18 jewellers/artists curated by Belinda Newick in Island Welcome, this panel discussion examines how craft can interrogate complex political issues, Australian identity, and value systems.
Panellists: Contemporary Jewellers, Mel Young (NSW), Lauren Simeoni (SA), Vicki Mason (VIC) Melissa Cameron (WA), Marziya Mohammedali (WA) Ph.D. candidate, Art Activism, and Dr Anne Farren, Curtin University, Deputy Head of School; School of Design and the Built Environment; Faculty of Humanities.
Topics address issues around the intersection of materiality in craft practice, Australian identity and socio-political ecology.
- How can curatorial and arts practice engage and comment on cultural diversity and global displacement?
- How can creatively considered materiality in craft practice express itself through complex social issues and elicit emotional audience response?
- How can migrant, refugee and asylum seeker experience in the Indian Ocean region and nationally be amplified via craft practice?
Melbourne Polytechnic, AUSTRALIA
Belinda Newick is a contemporary jeweller/artist whose work explores cultural hybridity, place and social engagement. She is an educator at Melbourne Polytechnic, in Jewellery and Object Design, a curator and a Master of Creative Arts candidate, at Melbourne Polytechnic. Newick is the curator of the nationally touring exhibition Island Welcome.
Communication: How to stay connected and visible as a community
Curtin University Education BLDG 501 Rm203
Most people in the crafts feel that their work has little profile in the wider community, compared to sport, and other art forms such as visual arts and music. Since the defunding of Craft Australia, the national platform has been left to World Crafts Council - Australia, managed entirely by volunteers. How can we increase the visibility of craft and grow its recognition? How can we stay connected and help each other, across the country? Besides the established social media, such as Instagram and Facebook, how can new platforms like Padlet and Obsidian help us work together, more visibly?
The importance of local context in the co-design of collaborative frameworks and signalling sustainable value.
Day 2 in Room 202 BLDG 501 Education Building
In this session, we explore ways in which craft practices can sustainably cater to an international market by adopting design thinking and embedding ideas of authenticity to add value to craft objects. The presented papers focus on how collaborative and democratic knowledge sharing as well as capacities to guarantee craft’s authentic value and understand value addition in the maker-audience transaction are adaptive business strategies in the craft export trade.
Perspectives gathered from experiences of Making Links (Indonesia), a collaborative team of UK and Indonesian women working with Indonesian craft producers to develop new products for the international market, and research from Sri Lanka exploring value addition between craft-persons and tourist in the sale of authentic craft souvenirs are discussed.
What role does an appreciation of how craft objects are packaged and marketed play in creating value in the craft object?
Veronica Ajeng Larasati, Ellya Zulaikha, Maria Hanson & Laura Cave | Making Links: Crafting Creativity and Collaboration
Veronica Ajeng Larasati
Industrial Design Graduate | ITS, Surabaya
Veronica Larasati is an Industrial Design Graduate from ITS, Surabaya. She is an independent designer who is interested in exploring sustainable local crafts such as textile and jewelry. She’s also a worker-member of Sanggarè (Creative Studio Cooperative) and currently developing worker co-op experimentation focusing on democratic collective-based economic organizing.
Dr Ellya Zulaikha
Associate Professor | ITS, Surabaya
Dr Ellya Zulaikha is Associate Professor in the Faculty of Creative Design and Digital Business at ITS, Surabaya. Her research interest is in Creative Collaboration and Participatory Design, engaging with the development program for rural and urban craft industries in East Java. She gained her PhD from Queensland University of Technology, in 2014.
Reader and Principle Lecturer | Sheffield Hallam University, UK
Maria Hanson is Reader and Principle Lecturer in Jewellery and Metalwork at Sheffield Hallam University. She is Course Leader for MA Design; supervising post-graduate and PhD students alongside undertaking research and practice. Since 2014 she has worked on a number of projects funded by the EPSRC, AHRC, and Research England.
Royal College of Art | London, UK
A graduate of The RCA, London, Laura Cave has over 20 years’ experience of working co-creatively with artisan craft-makers in emerging economies. She is the founder and director of Just Trade Ltd supplying over 300 retail outlets in the UK and internationally, including independent boutiques and leading Museums and Galleries.
Agampodi Panchani Sulakshana Mendis & Sumanthri Samarawicrama | Prestation stage in Sri Lankan Authentic Craft Souvenirs
Agampodi Panchani Sulakshana Mendis
University of Moratuwa, Sri Lanka
Ms Panchani S Mendis is currently reading for her M.Phil Degree as a postgraduate student at the University of Moratuwa, Sri Lanka. Her research is on Branding for Sri Lankan export packaging design with special reference to traditional arts and crafts products. She earned her Bachelor of Honours degree in Graphics Design at the same university.
Dr. Sumanthri Samarawicrama
Senior Lecturer | University of Moratuwa, Sri Lanka
Dr. Sumanthri Samarawickrama is a Senior lecturer at the Department of Integrated Design, Faculty of Architecture, University of Moratuwa, Sri Lanka. Her research areas include Sinhala typography, Packaging Design and Design education. She is currently the Director Research at the Faculty of Architecture Research Unit (FARU) and member of the Advisory Committee on Packaging Sector, coordinated by the Ministry of Industries, Sri Lanka to promote the Packaging sector.
Fashion, design, aesthetics and survival
Room 201 BLDG 501 Education Building
Fashion, design, and aesthetics are all influenced by the contexts in which they are created and the purpose objects are made for. This session explores the relationship between craft and its geographical context. It proposes that craft objects are both physically and mentally interactive providing unique user satisfaction. It also looks at the development of craft and the associated design, aesthetical value, and religious influence. The session uses as examples, perspectives from speakers from Pakistan and Saudi Arabia investigating the cross-pollination of crafted objects within our living spaces and interior design as well as historical development of techniques employed in weaving the covering of the Kaaba throughout Islamic history.
Nada Abdullah Basahih | Crafting the Kaaba Kiswa’s: Context and traditional practices
School of Design and the Built Environment | Curtin University, AUSTRALIA
Nada Basahih is a graphic designer, who received a bachelor’s degree in Housing and home management from, Department of Designs and Arts, Umm Al-Qura University. From 2012, she is an assistant teacher of design, Taibah University, Saudi Arabia. She received a MA degree in Applied Design and Art; from Curtin University, Perth, Australia, in 2020. She is currently a PhD candidate at Curtin University. Her research interests include Design; Graphic Design; Aesthetics; Design education; Education; Creativity.
Muhammad Umer Rehman & Wafa Ali | Materiality, Craft as an occupation, an emotion and an object
Muhammad Umer Rehman
Associate Professor | Indus Valley School of Art and Architecture, Karachi, Pakistan
Pursuing his calling in Fashion at Pakistan Institute of Fashion and Design and Master’s at Savannah College of Art and Design, US. Muhammad Umer Rehman had the opportunity to work for some leading designer brands, honing his skills in design before deciding to take teaching as a permanent career path. My teaching philosophy is influenced by my experiences both as a student and designer.
Assistant Professor | Indus Valley School of Art & Architecture, PAKISTAN
Wafa Ali is an Assistant Professor at the Indus Valley School of Art & Architecture in Karachi, Pakistan. She is a design aficionado who aims to promote designing safe spaces via interior design interventions with her freelance practice. Her research interests revolve around topics such as phygital commercial interior spaces, retrofitting interiors, bio-materials and finishes as well as craft in interior spaces. When she is not facilitating cognitive development or designing, she is found dabbling in various things such as drawing, graphic design, DIY projects, and travelling the globe.
Education and the future: How to keep teaching craft when tertiary courses are cut
Curtin University Education BLDG 501 Rm203
Education reforms in the late 20th century have seen craft education flourish in the university sector. We now have an unprecedented generation of practitioners with postgraduate degrees. But the recent round of funding cuts prompted by the COVID pandemic has seen craft departments close or suffer severe reductions. The perception is that craft workshops in universities are no longer "under the radar" and vulnerable to further unilateral budget decisions. At the same time, there has been growth in online education, even in crafts. Many makers at least supplement their knowledge through YouTube. What is the ongoing value of formal tertiary craft education? How can it adapt to the changing climate of funding cuts?
Hybridised, transcultural experiences as innovative approaches to making
Room 202 BLDG 501 Education Building
The process of creating craft or art objects is a very personal one, outwardly expressing the internal thought processes, feelings and attitudes. Where the object is purely functional it becomes threatened by its inherent obsolescence in the face of evolving technologies. This session explores (i) the innovative potential of transcultural experiences in creating a third space of new ideas by considering the experiences of Chinese-Vietnamese Australian craft designer and maker Bic Teu in investigating Australia’s history and relationship with Southeast Asia, and (ii) the challenges faced by creative domestic craft in India in the face of advanced technologies in contemporary culture (Pragya Sharma).
Bic Tieu | Designing the In-between: Traversing Biography and Place through Objects
The University of New South Wales, Australia
Bic Tieu is a Sydney-based designer and maker. Bic’s works draw on traditional and contemporary crafts methods and technology, inspired by her Asian sensibilities, to communicate narratives based on personal cross-cultural concepts. Her practice ranges from teaching, research, artist residencies, industry collaborations, curatorial commission and exhibitions.
Pragya Sharma | The Domestic Craft and the Artifact: Exploring interrelationships in a post-colonial India
Indian Institute of Art and Design (IIAD), INDIA
Pragya engages as a design practitioner, academician, and researcher. Her practice encapsulates different aspects of sustainability including zero-waste design, domestic crafts, community & cultural narratives. Alongside academics and research, she runs a studio wherein she experiments with the techniques of crochet and hand-knitting to design and create contemporary pieces.
Beyond aesthetics and the handmade: crafting in the age of digital automation and machine learning
Room 201 BLDG 501 Education Building
Digital production tools have advanced at a rapid pace, transforming art objects and the relationships between artisans and their production tools. Hybrid craft drafted on digital platforms, designed in CAD and 3D printed; what new languages emerge and how does this change our relationship to crafted objects.
This session draws on auto-ethnography to challenge perceived notions of the beneficial effect of advancing technologies on craft practices to propose a new, future focused digital craft ethos. It explores the value of hands-on engagement, how technology affects learning and teaching and forces craft practices to evolve.
What is the future of making? what might it look like? What are the implications of digital technology in art education? and what do we want our roles to be as both makers and users?
Dr. Justin Marshall | Craft-oriented hybrid analogue/digital practices; their values and our future relations with technology
Associate Professor of Design, Northumbria University | UK
Dr. Justin Marshall is an Associate Professor of Design at Northumbria University in the UK. He is an experienced digital craftsperson, maker and researcher and for over twenty years his research has been investigating the integration of digital design, production and interaction technologies into art and craft practices.
Aliya Yousuf | Traditional Skill and Craft in Digital Age
Artist, & Assistant Professor, Indus Valley School of Art and Architecture
Aliya Yousuf (b. 1973, Karachi) received her B.A, B.FA from Indus Valley School of Art and Architecture in 2003 and Post-graduation Diploma in Photography from Indus Valley School of Art and Architecture in 2011, she has also completed her Masters in Art Education from Beacon House National University 2020. She has participated in several residencies and her work has been exhibited in solo and group shows in Pakistan, Canada, South Korea and the UK. Ms. Aliya has been associated with the Indus Valley School of Art & Architecture since 2006 and is currently working as Assistant Professor Fulltime Faculty. She is also teaching as Adjunct faculty at Karachi University in the Vis.
Inclusive codesign using digital technologies, connectivity, and sustainability
Room 202 BLDG 501 Education Building
The ease of access to technologies like smartphones and the internet has made it possible for artisans to connect directly to their buyers, cutting out the middle man. India and Egypt have long histories of traditional craft practice dating back to antiquity. Craft traditions are, however, increasingly under threat of extinction in an increasingly technologically advanced world.
This session uses case studies from a project connecting a Kashmiri artisan community in India to customers in Australia to explore benefits of using technology in the codesign process between inter-cultural participants. A second case study explores the contemporary Egyptian craft ecology to argue that digital technology, connectivity and documentation can stabilise traditional craft economies. The session gives insight into how creative technology application can facilitate knowledge exchange and innovation, and sustain traditional craft practice across communities. We explore if, and how, digital communication empowers artisans, builds sustainable ecologies, engenders inclusivity and equalises power imbalances in globalised commercial arrangements?
Deborah Emmett | Co-design dialogues through digital connectivity: sustaining future practice for traditional textile artisan communities in India
University of New South Wales, Australia
Since 2002 Emmett has used her design background to work with artisans in India to develop a range of textiles. She completed a Masters in Design at UNSW and is currently a PhD candidate at the university, her research area is co-designing with artisans in India. Deborah lectures in design at ACU in Sydney.
Prof. Andreas Sicklinger & Habiba Shawkat | Online Service Design for craft innovation
Prof. Andreas Sicklinger
University of Bologna, ITALY
Andreas Sicklinger (German, 1970) is Full Professor in Industrial Design at the University of Bologna (Italy) He has been head of department at the German University in Cairo (Egypt) for several years. He has published several books and articles on new ergonomics, design education, future design aesthetics, design of territories.
German University in Cairo, EGYPT
Habiba Shawkat (Egypt, 1992) is a full Lecturer Assistant in Fashion Design at Ryerson Cairo University of Canada in Egypt. Received her MSc degree in product design from German University in Cairo in collaboration with HTW Berlin in 2019. She worked as a Product Design Teaching Assistant since 2014. Co-founder of awarded start-up Dawayer Design Studio.
Plenary session | Craft sector discussion summary, conclusion and pathways
Room 203 BLDG 501 Education Building
Plenary and wrap up in John Curtin Gallery
BLDG 200a John Curtin Gallery
Friday 17, September
WA Maritime Museum
How do the places we live in
reflect the objects we make?
Sunday 19, September
Boola Bardip / WA Museum
Curiosity and the Cloth