That question threaded its way through every piece in the exhibition. A rich offering of materials – ranging from finely worked timber to wool, ceramic, metal, leather, glass and paper – encouraged visitors to reflect on the origins and transformation of each object. From the warm, tactile tapestries of Emma Shepherd of Sundance Studio to the delicate brass flowers of Andrew Hustwaite and Moya Delany’s ethereal pendant lights, each piece opened a dialogue between maker and viewer. “Where did the materials come from?” says Fernandes. “What journey has it taken through hand, repair, transformation and use?”At the core of the exhibition stood a sculptural tent, made from remnant fabrics and leather ties. Drawing on the symbolism of tents across ancient cultures as spaces of sanctuary, ceremony and power, it referenced structures such as the Khayamiya of Egypt and nomadic dwellings of the Middle East and India. Within this space, the works spoke to craft traditions from around the world. Thang Do’s gold-leaf screen was inspired by his queer identity and Vietnamese heritage. Nearby, Lana Launay’s luminous floor lamp in beeswax-soaked Kozo paper sat side by side with a walnut armchair by Nick McDonald of Made by Morgen and a curvaceous ceramic vessel by artist Martyn Thompson. “Each object is in conversation with the next,” says Fernandes. “It’s a celebration of craft, not only as a technical skill, but as a source of comfort, surprise and joy.”
