How do you transform Bali from a holiday escape into a creative home?
Local authority Mas Ruscita offers a Balinese perspective on Banten Jerimpen, the diving offering that reaches to the sky and a reflection on the unique attitude of nakmulaketo (“As it is”).
We chat with Gede Kresna about his place in north Bali, Rumah Intaran, which practices a
Fresh from an Australia-Indonesia fashion exchange, Carla van Lunn reflects on two Indonesian designers, Novita Yunus and Lenny Agustin, who are creating vibrant clothes from textile traditions.
Elizabeth Shaw reveals a scene on the verge of formalisation, awaiting a national network and tertiary courses.
An artist couple established a socialised platform, Ketemu Project which is an organization for socially engaged practices in art.
Marty Hope attempts to revive the old days of Bali by returning to the craft of batik, impressed with the efficiency of Javanese workshops.
Adat rituals involving textile and fibres crafts remain a vivid part of Dayak cultural life.
Stephanie Brookes visits the Dayak village of Bukit Rawi where she finds Mina Herta who shares her knowledge of rattan weaving that is so important for the Ot Danum tribe.
Alexandra Cosby interviews Andriew Budiman, director of Surabaya Design Summit about the unique approach to design in Indonesia.
Annie Gobel brings a collaborative Indonesian mindset to the Melbourne jewellery scene by offering
Yogyakarta diorama makers made figures based on stories of Hazara refugees.
Inspired by tribal Indonesian culture, the artist developed a unique language of art from the kelp from her rediscovered Country.
Jessica Hutchison and Alex Jack articulate their thinking and making as woodworkers commissioned by the Australian Centre for Contemporary Art to produce furniture from the installation by Goldin+Senneby.
Rosslynd Piggott travels to Murano, Venice, to work with specialist glass engravers who help her achieve a tangible ethereality.
Helen Wyatt is a Sydney artist who first began making jewellery while studying Fine Arts at the University of Sydney in the 1970s. Mark Stiles spoke to her on the eve of her latest exhibition, Thresholds, at Studio 2017 Project Space, North Sydney.
Global Indigenous Runway involved a three-way collaboration between an Indigenous artist (Lisa Waup), fashion designer (Ingrid Verner) and retail manager at Craft (Sarah Weston). The results take two-dimensional designs onto the body and into the world.
A project at A Casa museu do objeto Brasileiro, São Paulo City, commissioned local crafts from across Brazil to create a house of embroidery.
Artists and makers from Indonesia and beyond were invited to share the results of their collaborations. The works and text below reflect ways in which people can create together. 
Jessica Hemmings reflects on an innovative fashion exhibition involving an autobiographical display based on a curatorial conversation between the artist and designer Jessica Ogden and Professor Carol Tulloch.
Shoko Aono describes the work of a Japanese ceramist who seeks to still time.
Inspired by her home town Kyoto, Machiko Hashimoto finds resilience in the fragility of her medium.
Madeleine Kelly's article about Claudia Fernandez reveals practice that oscillates between that of an artist who circulates objects and a curator who heals the wound modernity inflicted on hand-made creations. Her work responds to a range of Mexican crafts.
Minoyaki is one of Japan's signature ceramic traditions, practised today in Gifu Prefecture. We learn about where it is taught at ishoken and displayed at Gallery VOICE.