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Garland magazine The stories behind what we make Garland is a platform that features thoughtful writing about objects.

The quarterly issue includes a long-form essay on a single object, as well as a focus on a city in the region, craft classics, workshops and an online exhibition. Garland includes work from around the world, but with a Pacific perspective, reflecting the dialogue of cultures in this region. The first issue was launched at the Cheongju International Craft Biennale, South Korea, and the second is launched as part of the Adelaide Biennial.

Hamid Shakib"The present collection, titled Venus, is inspired by historical Venuses such as the Venus of Willendorf, th...
19/05/2025

Hamid Shakib

"The present collection, titled Venus, is inspired by historical Venuses such as the Venus of Willendorf, the Venus of Sarab, and the Venus de Milo. These Venuses symbolise beauty, fertility, and love. The engravings on them are influenced by astrolabe imagery as well as the poetry of great Iranian poets."

Three body problems: New Iranian jewellery
Recent jewellery from Iran reflects alternative forms of embodiment.
https://garlandmag.com/three-body-problems-new-iranian-jewellery/

Find out more in Garland Loop ✿

Solidarity at hand: Support Vietnamese craftsThe US tariffs threaten Vietnam’s unique craft culture, but there are ways ...
16/05/2025

Solidarity at hand: Support Vietnamese crafts

The US tariffs threaten Vietnam’s unique craft culture, but there are ways we can provide support through our purchases.
https://garlandmag.com/support-vietnamese-crafts/

"According to the Vietnam Bamboo and Rattan Association, a 30-40% drop in U.S. exports due to the tariff could result in approximately 50,000 job losses in 2025."

Find out more in Garland Loop ✿

US makers react to tariffs: Global craft exchange is a net goodUS makers claim the new tariffs will damage a respectful ...
16/05/2025

US makers react to tariffs: Global craft exchange is a net good

US makers claim the new tariffs will damage a respectful and beneficial relationship with makers in other countries.

[Foreign] artisans bring “a rich material heritage or a special skill set or creative possibilities that we couldn’t achieve on our own”.

https://garlandmag.com/tariffs/

Fatemeh Mohammadian"I aim to design and create devices that fall under the category of wearable sculptures or contempora...
15/05/2025

Fatemeh Mohammadian

"I aim to design and create devices that fall under the category of wearable sculptures or contemporary jewelry, intended to depict the challenges of contemporary city life, particularly in Tehran, the capital of Iran. These challenges arise from cultural, environmental, and urban regulations I encounter daily in the city. Each device addresses one or more issues of urban living, incorporating its unique set of mathematical formulas, attempting to resolve urban challenges by critiquing them through a mathematical lens.

"Although my intention is not to inflict pain, I believe that some aspects of urban life do echo elements of constraint or discomfort. Metal was the material best suited to this device, and by darkening and patinating the steel, I minimised its purely industrial feel. The form is tailored to the ergonomics of my own body as a contemporary urban resident. The device’s mechanism demonstrates, through mathematical formulas, a critique of urban population density issues, as detailed in the following description.

"The city compels me to tilt my head unnaturally high, just to experience something as simple as the sky.

"Modernity is constantly constructing a new world atop its own ruins. Marshall Berman, in All That Is Solid Melts into Air, describes this as an ongoing process in which cities are perpetually transformed, and their inhabitants are forced to continuously seek new tools to survive within this unstable environment.

"Living in cities that are no longer sanctuaries but rather aggressive environments demands protection, calibration, and a redefinition of our relationship with space.

Three body problems: New Iranian jewellery
Recent jewellery from Iran reflects alternative forms of embodiment.
https://garlandmag.com/three-body-problems-new-iranian-jewellery/

Find out more in Garland Loop ✿

Fatemeh Pour Yousefi"Over the past few months, the human ear has become, to me, a safe and nurturing nest. The ear is no...
14/05/2025

Fatemeh Pour Yousefi
"Over the past few months, the human ear has become, to me, a safe and nurturing nest. The ear is not merely an organ for hearing, but a keeper of whispers, secrets, and untold stories.This earring is not just an ornament; it is a reflection on the power of listening and the profound connection we share with our bodies and memories."


Three body problems: New Iranian jewellery
Recent jewellery from Iran reflects alternative forms of embodiment.
https://garlandmag.com/three-body-problems-new-iranian-jewellery/

Find out more in Garland Loop ✿

Collaborative duo Pit Projects (Anni Hagberg and Michael Gittings) glean debris from illegal tips, transforming discarde...
13/05/2025

Collaborative duo Pit Projects (Anni Hagberg and Michael Gittings) glean debris from illegal tips, transforming discarded materials into design-driven functional objects

The exhibitions are part of Conscious Craft, a movement conceived by Craft to redefine our relationship with materials and forge a path towards a more sustainable future.

Future Ambition | 9 May – 21 June

For Future Ambition they present a collection of functional objects – a pendant light, table lamp, side table and wall cabinet – created from discarded glass and metal salvaged from illegal tips in Melbourne’s west, along with roadside refuse – including a shattered glass bus shelter. As artists working in ceramic, craft and metal disciplines respectively, Hagberg and Gittings apply their deep material understanding to the found materials, embracing the process of experimentation and discovery. The textured, kiln-formed glass featured in their works is made from glass cast into moulds created with wet cardboard litter, while the welded steel is textured by rust and lives of past use.

“Working with found materials develops your material and technical skills in uniquely tacit way,” says Pit Projects. “This way of working invariably results in unexpected discovery and new directions, something that is both highly generative and inspiring.”

Chamak: A tale of embroidered fragments shining againBahareh Zaman is gifted the branch of a yew tree as the perfect jew...
12/05/2025

Chamak: A tale of embroidered fragments shining again

Bahareh Zaman is gifted the branch of a yew tree as the perfect jewel to honour an Iranian forest.
https://garlandmag.com/chamak/

✿ Excerpts:

I brought out my grandmother’s old sewing machine. I sat on a handwoven rug that my parents had made years ago. The air smelled like the past. I placed my hands on the embroidery and began sewing a piece that had once been the pocket of a traditional Balochi women’s garment—something they call a “pandol”. I added a woven strap, a fastening cord, and finally, a wooden button with a tiny mirror at its center—like an eye for dreaming.

Now, my very first fully hand-embroidered bag is complete. I’ve named it Chamak, a Balochi word that means “sparkle” or “shine.” This bag is woven from memories, from the sound of rain and the gaze of my grandmother, from dreams that did not turn to ashes, but instead came to life.

Chamák is not just a bag; it’s the only version of my first step into this journey. It’s part of a living narrative, a thread spun from listening, seeing, and remembering. That’s why I’ve decided to offer it in an auction. A portion of the proceeds will support future travels, educational opportunities for children I meet along the way, and the creation of new works born from these encounters.

If your heart is moved by stories like this, follow along through my stories. Maybe you’ll become part of this journey, too.

Find out more in Garland Loop ✿


To purchase the bag, contact

"Pōhatu Roa: Stories in Stone" is an exhibition until 10 August 2025 at the Dowse Art Museum, Karl Chitham, Director of ...
12/05/2025

"Pōhatu Roa: Stories in Stone" is an exhibition until 10 August 2025 at the Dowse Art Museum,

Karl Chitham, Director of The Dowse Art Museum and curator of the exhibition, explains “stone is an incredibly evocative material. We can all talk about specific associations we have; whether it is a whānau taonga handed down from generation to generation, a significant mountain or outcrop in the landscape that conjures special memories, a much-admired piece of beautifully crafted art, or a pebble collected from the beach to remember a special holiday.”

The works in Pōhatu Roa, which loosely translates to the long or enduring stone, cover a surprising range of topics include the touching story of whānau memories lost to time told through a series of bread plates carved from slate repurposed from a disused pool table; a 3 metre tall ‘necklace’ that acts as a literal and metaphorical anchor point for cultural histories; and the delicately carved objects of the everyday such as usb cords, clothes pegs and tiny birds eggs frozen forever in time.

Chitham adds, “Pōhatu Roa includes artists from a range of backgrounds and experiences including Māori, Moana Oceania and Pākēha. The most inspirational thing about this project is the level of respect they have for one another’s expertise—and their generosity in sharing that knowledge not only with the audience but with one another.”

The artists featured in the exhibition are Chris Charteris, Craig McIntosh, Fayne Robinson (Kāti Mamoe, Kai Tahu, Ngāti Apa Ki Te Rā Tō, Ngāti Porou), Joe Sheehan, Neke Moa (Kāi Tahu, Ngāti Kahungunu ki Ahuriri, Ngāti Porou, Ngāti Tūwharetoa, Te Whare o Papaīra), Renée Pearson, and Tim Steel (Kāi Tahu, Kāti Mamoe, Pākehā). These artists offer unique insights into the materiality of stone carving and its role in both personal and collective storytelling.

Khneng embroidery: Weaving the past forwardNisaphi Lyndem returns to her roots in Meghalaya to celebrate a beautiful cra...
09/05/2025

Khneng embroidery: Weaving the past forward

Nisaphi Lyndem returns to her roots in Meghalaya to celebrate a beautiful craft traditions of the Khasi hills.
https://garlandmag.com/khneng-embroidery/

✿ Excerpts:\
After nearly seven years, I found myself once again journeying with my students to Mustoh, a quiet village nestled in the heart of Meghalaya, India, to witness the resilience of a nearly lost tradition—Khneng embroidery. This intricate and painstaking craft, the only embroidery form practised in the Khasi hills, had once teetered on the edge of extinction. Passed down through generations, from mothers or grandmothers to daughters, it is a symbol of heritage, patience, and storytelling.

Find out more in Garland Loop ✿

Master artisans of Yucatán: Hands, faces and spacesPhotographer Sergio Autrey pays tribute to the artisans of the Yucatá...
07/05/2025

Master artisans of Yucatán: Hands, faces and spaces

Photographer Sergio Autrey pays tribute to the artisans of the Yucatán Peninsula.
https://garlandmag.com/yucatan/

✿ Excerpts:
For the past three years, I have travelled across the Yucatán Peninsula, documenting its landscapes, people, and traditions. My journey has taken me deep into the heart of the region, capturing the essence of its history and culture. However, along the way, I realised my archive was missing an essential part of the region’s identity, its traditional crafts.

One day, while out in the field, I stopped by a local market in search of some embroidery. Instead of the intricate, handwoven designs that have been passed down for generations, I found mass-produced garments, the once vibrant patterns now reduced to printed imitations on cheap fabric. It was a disheartening sight, a rich artistic legacy fading in the face of modern convenience.

Determined to uncover the true masters of the craft, I set out on a side quest, this path led me into the homes and workshops of the artisans who continue to create with skill, patience, and a deep connection to their heritage.

This photo essay is a tribute to them, the guardians of tradition, the keepers of knowledge, and the artists whose hands continue to shape the cultural identity of the Yucatán Peninsula. Through these images, I hope to share a glimpse of the magic, dedication, and soul embedded in their work and lives.

Find out more in Garland Loop ✿


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Stoneware dreams of plastic memories Liisa Nelson shares the inspiration behind her works for an exhibition at The Clay ...
06/05/2025

Stoneware dreams of plastic memories

Liisa Nelson shares the inspiration behind her works for an exhibition at The Clay Studio.
https://garlandmag.com/stoneware-dreams/

✿ Excerpts:

I’ve been drawn to the night in this season of my life especially—the way it makes space for reflection, for emergent dreams, for grieving and celebrating life behind a veil of privacy and anonymity, for falling in love again and again with mystery and silence. The stars feel like a connection to realms beyond but are tied to the earth, guardians, and conduits for the subtle threads that stretch across all of time, space, and culture, deep into the past and far into the future.

Making this work, I am holding many layers of experience at once, feeling small yet significant in the presence of the vastness of the world and its changes, navigating the nature of reality and my/our place in a world shifting between physical to ethereal interactions. Most of the works are titled with lyrics from the songs that infused them with atmosphere. The playlist has become as much a material as the clay, the glaze, and the imagery. It does not encompass my taste in music but rather a certain night mood, one of layered emotions suspended by specific energies and themes that I have tried to conjure but perhaps fallen short of here.

I’ve been drawn to the night in this season of my life, especially—the way it makes space for reflection, for emergent dreams, for grieving and celebrating life behind a veil of privacy and anonymity, for falling in love again and again with mystery and silence. The stars feel like a connection to realms beyond but are tied to the earth, guardians, and conduits for the subtle threads that stretch across all of time, space, and culture, deep into the past and far into the future.

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