Keri-Mei Zagrobelna writes about Taurangi, her jewellery work that embodies Māori values of honour.
Neke Moa writes about role that Handshake has played in her life as an activist Māori jeweller.
Kirsten Lyttle has developed a photography/weaving practice that reflects indigenous values of respect and reciprocity.
Harriet Litten reviews the exhibition by jeweller Areta Wilkinson and photographer Mark Adams that navigate biculturalism through an inventive combination of material and image.
Karl Chitham reflects on the power of Māori mythology that Todd Couper is able to express in his carvings.
Tessa Laird takes a serious look at the cliché of the Pacific lei through the work of Lisa Reihana and her own experience as a wedding guest.
Warren Feeney traces Michael Parekowhai's work from Ten Guitars to Lighthouse as a worldly expression of welcome.
Tarisi Vundilo describes the meaning of the salusalu, reflecting the power of the maternal aunt (nei)
Poet Emelihter Kihleng conjures the yellow snake, which leads home, where the fragrance waits.
Ioana Gordon-Smith cautions that the state-driven recognition of Pacific Moana culture should not lead to centralisation, but we should seek a plurality of platforms.
Fran Allison follows a path towards the Pacific lei via the European garland and doily
Kristin D'Agostino seeks to identify a common element behind the surface in Aotearoa artists working with disparate media.
Jane Groufsky visited weaver Christopher Duncan and designer Joseph Yen in their welcoming TÜR Studio on K Road, Auckland.
Jaqui Knowles explains the ways in which the NZ Maritime Museum has unraveled the potential of Jae Kang's tomato plant installation.
Chaco Kato describes the mental benefits of knotting that she discovered during her residency at Boorhaman.
Belinda Newick introduces Island Welcome, where Australian jewellers created leis to reflect on the quality of welcome currently extended by their country to refugees.
Simone LeAmon travels to the islands of the Torres Straits to commission contemporary leis for the National Gallery of Victoria.
Katharine Ahern follows the debut Lauren Simeoni's plastic leis into China.
Sahr Bashir reflects on the uncanny material adventures of Pakistani artists Masooma Syed and Affan Baghpati.
Freja Carmichael visits Penny, who uses sgraffito in her ceramics to reflect her Kamilaroi/Gomeroi heritage.
Mark Stiles interviews Sydney printmaker Anthea Boesenburg.
Sali Sasaki questions the developmental focus of Western craft education in Southeast Asia.
Nodoka Murayama takes us inside this remarkable museum dedicated to tiles.
Tomoko Kawakami describes three ceramic works from the Ushida collection.