Helena Bogucki reflects on her collaboration with Jimmy Poland for
Abdul Abdullah talks about his collaboration with Indonesian embroidery workshop DGTMB
Gopika Nath mends a life as shells along the Indian Ocean
The Indian Ocean has been a region where cultures meet, including the great trading civilisations of Malay, India, Oman, China, Portugal, Netherlands, France and Britain. The shores across the Indian Ocean are strewn with objects from foreign cultures.
Glenn Iseger-Pilkington takes us on a journey to Ngaanyatjarra Country, to work with people whose sense of home seems timeless.
Sharyn Egan reflects on her work Nullians which fossicks settler-colonial history from the turned balga craft objects abandoned in second-hand shops.
Gemma Watson considers the quality of time experienced in Broome that is re-created in Clare Peake's ceramics.
Jilinbirri is the Yamatji word for an Australian bird, also known as the mudlark in Western Australia. It is the title of an exhibition by Yamatji fibre artists whose work was transformed into bronze.
In seeking to draw the landscape of Yilgarn Craton, Greg Pryor discovers mysteries of reflected light in Western Australia.
Andrew Nicholls writes about FORM's project with Tjanpi and Polyglot Theatre that discovered the wiltja as a symbol of home.
Kevin Murray talks with Nalda Searles about the major influences in her artistic development.
Koral Ward reports the inspiring new model to support Fremantle's artistic community.
John Matter reflects on Indian Ocean encounters in two exhibitions - In Confidence and Invisible Genres.
Bernard Kerr describes the epic production of a 3.5 m high terra cotta horse at the Midland Junction Art Centre by potter Mr Kasirajan from Tamil Nadu
Maggie Baxter writes about two public artworks: 'Spanda' by Christian de Vietre on the new Elizabeth Quay Big Healer made of recycled Peppermint Trees by Lorenna Grant Busselton.
Qassim Saad examines the Perth Mosque as a product of Islamic influences in Western Australia.
Marziya Mohammedali writes about her installation that identifies refugees who have died while held in detention by Australia.
Mahjabin Ilkhanipour is a weaver from Sirjan, recently made a World Craft City for Kilim Weaving. She tells the story of her first rug, based on the pomegranate.
Peter Botsman's Wakuwal braids together the fibre traditions of Yolngu like Batumbil Burarrwanga with the journey of Irish prisoners to Australia
Belinda Cook explores the revival of home-grown African fashion on the streets of Joburg.
Chrischona Schmidt recounts the new collections of screen-printed fabrics coming from this creative central Aboriginal community.
Veemanda Curpen finds new Mauritian approaches to constructing floats for Tamil festivals
Tallara Gray and Neil Aldum talk about the collaboration with Baluk Arts to develop objects that tell powerful life stories for the exhibition In Cahoots.
Janet Teowarang interviews Melie Indarto, the owner of KaIND, the sustainable textile in Pasuruan, East Java.
Nancy Adajania delves into the map shields of Madhvi Subrahmanian and discovers a sense of place in an interconnected world.
Laila Al-Hamad identifies the austerity of a Bedouin life as the inspiration for Arab design
Dayang Yraola traces Fiona Gavino's post-colonial journeys through Manila.
Yasmin Masri explores the new genre of ceramics emerging in the medium of Instagram.
Kevin Murray talks with Adrienne Kneebone, one of a generation of fibre artists who emerged from the Northern Territory scene in the 2000s.