About the artists:

Roseanne Bartley is an artist jeweller and writer. Roseanne's practice investigates the materiality of language through jewellery. Her studio works, artist books, and participatory projects consider adornment as a communicative practice, where meaning, identity, and belonging emerge through acts of making, wearing, reading, writing, and exchange. Working from Naarm/Melbourne, Roseanne holds a practice-led PhD from the School of Architecture and Design at RMIT University (2018). She was awarded an ARC scholarship in 2014, Creative Australia Barcelona Residency in 2006 and here work has been supported by Creative Australia (2001, 2004, 2012), Creative Victoria (2001, 2008), Punctum Live Art, and the Ian Potter Foundation. Her work is held in the collections of the National Gallery of Victoria, the Powerhouse Museum, and Toowoomba Regional Gallery.Her work was highly commended in the 2025 Make Award managed by Australian Design Centre.

Susan Buchanan is a Naarm-based artist and architect, currently undertaking a PhD in Fine Art at RMIT. Using traditional tools alongside modern technologies, Susan’s jewellery outcomes express an attitude and a way of thinking about how we both engage with our urban surrounds and consider the future. Her PhD project, Urban Jewels, offers wearable artifacts of belonging to the city. She typically works with mass-produced plastics and steel – often found or re-used material – and subverts their industrial production through making by hand. With slow and deliberate methods of seeing, beholding and responding to place, Susan uses the vernacular of contemporary jewellery to question the ways we see, feel, and inhabit the spaces around us. Her most recent series of flower forms are inspired by the resilience of plants pushing through the cracks in concrete footpaths - expressed as abstract, awkward, yet familiar forms - that speak of hope in their persistence and insistence in an often-hostile environment. Susan has degrees in both Architecture and Fine Art - Gold and Silversmithing as well as a TAFE Diploma in Visual Arts. Susan has exhibited locally and internationally including this year at Schmuck, Munich; Atta Gallery, Bangkok and as part of Nelson Jewellery Week in New Zealand. She was awarded a prize in the National Contemporary Jewellery Award 2024 and is a finalist in Contemporary Wearables ’25. Susan also has a collaborative practice with Eli Giannini as SUPERPLEASED presenting work in several sculpture shows including finalists in the Melbourne Prize for Urban Sculpture 2017. As part of Radiant Pavilion 2024 they presented a participatory event, ‘Taking up space’. Susan lives and works on Wurundjeri Woi Wurrung and Boonwurrung lands.

Thao Bui is a mixed media jewellery artist based in Narrm (Melbourne). Thao's practice investigates personal and cultural memory, weaving fragmented histories into a unified yet non-linear narrative. Drawing on her interdisciplinary background Thao explores complex and sensitive themes through wearable forms. Her practice is grounded in material experimentation, working across textiles and precious metals. Thao completed an Advanced Diploma of Jewellery and Object Design at Melbourne Polytechnic in 2024. In 2025, she participated in Craft Victoria's Fresh! Fellowship and was selected for exhibition at Romania Jewellery Week. Recent exhibitions include Craft Victoria's Members Only Show and Melbourne Design Week (2026). Prior to jewellery, Thao studied across several disciplines, including nursing, sexology, counselling, and criminology, which continue to inform her approach to making and material investigation.

Nadia is interested in the role objects play in representing the how and why of people, their communities, stories, and the ways in which they can bring strangers together. Her work spans across Performance, Making & Curatorial work under NC(-A). She works with jewellery, objects and Place to unravel how these themes lead us to new contexts, relationships and spaces. In her practice, objects serve as lenses into the in-betweens that are hard to reach. Nadia enjoys the process of sharing through objects and the dialogues that unfold. Nadia graduated with an Industrial Design degree (Honours) in 2019. Building on her formal education in design, she now works between Contemporary Art and Design spaces, maintaining a people-centred focus. Currently, Nadia is a workshop assistant at Workshop 3000 with Mentor Su San Cohn and at Lighting Studio B-TD with Jonathan Ben-Tovim. Recent works and exhibitions include: Object Forward‚ Blue Ballroom, Alcaston house, 2026, 1,001@W64, LM Ericsson factory, Broadmeadows, 2025, The lines we draw‚ Performance made with Su san Cohn, 2025, Missing in Action‚ Installation made with Mariia Tseveleva, Workshop 3000, 2024, Make it up Club, Performer participant, 2024, ‚Äò88 Shrines, Photo Hanoi in Vietnam, 2023.

Juliette Claire is a multisensory artist based between Naarm/Melbourne Australia and Toulouse France. Juliette's practice spans a broad range of forms, from installation, performance, sculpture, jewellery, mark making and process based works. Using multisensory installation and performance, Juliette’s works are spatial, durational and engage the senses, presenting audiences with a body of ephemeral and often biodegradable immersive installations, methodologically shaped by repetitive acts‚ and reciprocal relationship building. Juliette's work asks us to imagine possible material and life-worlds that challenge extractivist futures and the nature-culture divide. Juliette Claire holds a First Class Honours in Fine Art (2024), a Bachelor of Fine Art Sculpture from RMIT University (2013), and an Advanced Diploma of Object and Jewellery Design from Melbourne Polytechnic (2019/2023). Juliette is a multisensory artist working through many forms, recent work includes: Passage III‚ Toulouse France 2026 - part of an ongoing performative and sensory series that are durational, engage the senses and sites responsive; Ombres botaniques‚ solo show, rue de Provence Toulouse France 2026; Locating in Disarray, solo show First Site Gallery RMIT Melbourne 2025; The Charge that Binds - with Climate Aware Creative Practice at ACCA Melbourne 2024.

Katie Collins is a maker of jewellery and objects based in Naarm/Melbourne. Katie’s work explores the activation of objects and their qualities of engagement, often integrated through movement. She has an interest in understanding the connections between people and objects, and how this generates sentimentality, support, meaning or provocation. This new series of rings is an interrogation of the ring as a symbol. The ring often stands to represent continuity and consistency; however, our relationships can be more complicated. This series explores alternative storylines of what the ring may symbolise through the alteration of the form of the circular ring band. Katie is a graduate of RMIT, completing bachelor honours degrees in Interior Design and Fine Art, specialising in Gold and Silversmithing. Her work has been selected for national and international exhibitions, including the Itami International Craft Exhibition in Japan, Mari Funaki Award Exhibition in Australia and Talente in Germany. She is a sessional lecturer at RMIT University.  In 2014, Katie exhibited her jewellery pieces at Galerie Marzee, in the Netherlands, where she received the Marzee International Graduate Prize. Her work is included in permanent collections in the Dallas Museum of Art and the NGV.

Anna Davern is a Naarm based contemporary jeweller whose practice explores ideas of Australian identity, preciousness, devotion, and material value in jewellery and object-based works. Drawing on the imagery of the British monarchy and the Australian landscape, Anna combines humour with critique to examine white Australian identity within a postcolonial context. Anna Davern is an Australian jeweller who lives and works on the lands of the Wurundjeri people in Naarm, Melbourne. Anna gained her undergraduate degree from Sydney College of the Arts under the tutelage of Margaret West, and completed her Masters degree at RMIT, supervised by Robert Baines and Louise Weaver. In nearly thirty years of practice, Anna has been represented in numerous Australian and international solo and group exhibitions including three solo shows at Craft Victoria and selection for Schmuck 2025. In 2011 she co-founded Northcity4, an ARI that provided professional and creative opportunities to Melbourne’s contemporary jewellery community. Anna has been the recipient of grants from the Australia Council, Arts Victoria and NAVA and in 2017 she was awarded the Chairman’s prize for Innovation in the Victorian Craft Awards. Anna has taught and lectured at universities and TAFEs in Australia and overseas.

The notion of a sort of articulation of temporal-spatial continuum, via explorations with geometries of surfaces is at the heart of Helen Dilkes’ work, in art jewellery and small sculptural pieces. Paying respect to Paduan jewellers with whom Helen has undertaken workshops in Italy, Helen produced a small sculptural piece in 2015. 3D drawing a puffy self-intersecting surface in Rhinoceros, alloying gold, silver, and copper to produce Japanese alloys shakudo and shibuichi, drawing down 1mm square wires, soldering into sheets then a block 65 x 25 x 6mm, Helen then CNC milled two parts from the block, and joined them together for the piece. With a recent desire to use no new materials in her practice Helen remakes this small sculptural piece as a potentially wearable ring; setting two green diamonds into two previously milled holes, posing questions about our tendency to anthropomorphise and tell stories with our art jewellery. Helen is an artist-jeweller-researcher in Naarm, Melbourne. She completed a PhD (Art), 2017, and Master of Fine Art, 2010, in the Postgraduate Gold and Silversmithing studios, RMIT University. Helen also holds a Master or Education (Music), University of Melbourne; and Bachelor of Music (Performance), University of Western Australia.

Laura Eyles' creative practice is fuelled by adventure, lived experience, and a profound respect for materials. Drawn to remote Australia, she has immersed herself in worlds few encounters driving 80-tonne dump trucks at Australia's largest open-pit gold mine, and later relocating to the Dampier Peninsula, 250km north of Broome, to work at Australia's oldest operating South Sea Pearl Farm. Each experience has deepened her understanding of process, place, and the people who inhabit them. Having suffered a significant personal loss, Laura's work has turned toward exploring human existence and what it means to be alive. She is actively inviting joy and play into her practice. Her extensive education spans Fine Arts, Art Curatorship, Jewellery, and Business. A former TAFE teacher and jewellery department leader, Laura now serves as General Manager of e.g.etal, passionately championing contemporary jewellery and making. Laura holds a Bachelor of Fine Arts (Painting) from RMIT (2002), a Master of Art Curatorship from the University of Melbourne, and an Advanced Diploma of Engineering Technology (Jewellery) from NMIT (2010). She later returned to RMIT to study a Bachelor of Fine Arts in Gold and Silversmithing, followed by completing a Certificate IV in both Small Business Management and Training and Assessment, the latter leading to teaching and then a leadership role at Melbourne Polytechnic‚ jewellery department. Laura has exhibited nationally and internationally, with work published across books and articles. She has been represented by leading contemporary jewellery retailers throughout Australia since 2011. Most recently, Laura has stepped back from representation to create space for reflection, revisiting the intention behind her making and exploring making new work.

Debris Facility works 24/7 with the gradient-oscillations of waste-value, signal-noise, body-material and desire-decay. As a para-corporate entity they produce installations, jewellery, design, text, performance and other services. Debris Facility has operated for a decayed-decade in Narrm Melbourne. They have contributed to larger art institutions, independent galleries and initiatives, and other contexts. They have worked as a cultural worker and organiser, an educator and the conductor of Conduction. They are a 3rd generation white settler. Much of their work exists in a number of private collections and landfill.

Yuko Fujita is a Japanese contemporary jeweller based in Melbourne, Australia. She studied a Bachelor of Literature before moving to Australia to complete a Bachelor of Fine Arts (Gold and Silversmithing) at RMIT University. Yuko approaches jewellery making as a form of poetic composition, carefully arranging visual elements drawn from botanical forms, shape, colour, texture, and movement, to create small sculptural works that are expressive and open to interpretation. Through this process, her jewellery seeks to evoke emotion, memory, and personal meaning, inviting an individual connection between the piece and its wearer. Yuko Fujita completed a Bachelor of Fine Arts, Gold and Silversmithing at RMIT University in 2005 and an Advanced Diploma of Gold and Silversmithing at NMIT in 2003. She has exhibited both nationally and internationally, while maintaining a practice centred on the creation of limited-edition handmade jewellery. Yuko's work has been selected for several exhibitions, including the Victorian Craft Award at Craft Victoria, Contemporary Wearables at Toowoomba Regional Art Gallery, the National Contemporary Jewellery Award at Griffith Regional Art Gallery, and the City of Hobart Art Prize at the Tasmanian Museum and Art Gallery. In 2014, she was invited to undertake an artist residency at Spinifex Studio in Western Australia.

Eli Giannini is a Melbourne architect, artist and art critic. She has promoted design, theory and research through her writing, exhibitions and conference presentations. Eli’s contemporary jewellery has been exhibited during Radiant Pavilion in 2015, 2017, 2019, 2021 and 2024 and was selected for the Toowoomba Regional Gallery Contemporary Wearables Prize in 2017, 2021 and 2023 and for the National Contemporary Jewellery Award in 2024. Eli’s works have been shown in group exhibitions at: Alta Forma, St Kilda Road Melbourne. QV Mag, Launceston, Tasmania. First Site Gallery, RMIT and at the RMIT Gallery. As part of the SUPERPLEASED collaborative duo with Sue Buchanan, Eli was a finalist in the Griffith National Contemporary Jewellery Award in 2021 and was selected for the Melbourne Prize for Urban Sculpture, the Yerring Station and Montalto shows and the Helen Lempriere National Sculpture Award. Superpleased won First Prize in the Melbourne Futures Award in 2002 and completed a residency at the Australian Tapestry Work shop in 2017. Eli has reviewed contemporary art jewellery shows for Arts Crafts International, Klimt2 and Architecture AU.

Gilda Jones is a Naarm/Melbourne-based artist working across moving image, design and object-making. Her practice examines how meaning is constructed through spatial awareness and perception. She foregrounds embodied experience, while translating ephemeral moments and fleeting gestures into more enduring material and visual forms. Gilda completed a Bachelor of Fine Arts (Honours) in Film and Television at the Victorian College of the Arts, The University of Melbourne (2021), and is currently undertaking a Master of Communication Design at RMIT University. Recent exhibitions include Pretending Make Believe / If You Look Close Enough You Can See My Thoughts, Kings Artist-Run, Melbourne (2026); Stumpy (with Sam Blomley), Melbourne Art Fair with Alta Forma (2026); House Show (with Garry Emery and Jane Mooney), Robin Boyd Foundation (2025); On the Periphery of Architectural Thought (with Garry Emery and Jane Mooney), QDOS Arts (2025); and BOXedOUT, MPavilion (2024), which received Gold for Art, Innovation & Specialised Cinematography at the Australian Cinematographers Society Awards.

Ko Jou Chen is a Taiwanese artist based in Naarm/Melbourne working across contemporary jewellery, object-making, and spatial installation. Her work explores materiality, memory, and the quiet rituals of domestic space. Through making and display, she reflects on how objects can hold stillness, comfort, and presence within the shifting spaces she inhabits. Chen completed a Master of Fine Art (Coursework) at RMIT University, where she received the Dean’s Award (2025). Her work has been recognised with The Future Leaders Award at Fresh! (Craft Victoria, 2024) and the JMGA Award at Graduate Metal XVI (JMGA, 2024).

Anke Kindle is a German born, Melbourne based jewellery artist and object maker. Her research interest is in the politics of objects and the politics of labour. She has utilised the scrubbing brush and traditional brush making methods in order to investigate womens work both visible and undervalued. Her work sits within the realm of wearable sculptures questioning established hierarchies between art, design and craft. Anke Kindle holds a Bachelor of Fine Art (hons) with a major in Furniture Design from the University of Tasmania. In 2003 she completed her Masters in Design at Edinburgh College of Art with the assistance of the Anne & Gordon Samstag International Travelling Scholarship. From 2018-2019 she undertook further studies in Jewellery and Object Design at Melbourne Polytechnic. In 2019 she founded S T U D I O B L A U.- a jewellery and object design workshop in Northcote. Throughout her practice Kindle has exhibited her jewellery and furniture work in solo and group exhibitions both nationally and internationally. She has participated in the prestigious MAKE-Award celebrating excellence in Design & Craft at the Australian Design Centre/Sydney, The Toowoomba Contemporary Wearables Award and was part of Melbourne NOW at the National Gallery of Victoria. Her work is held in the permanent Collection of the Toowoomba Regional Art Gallery.

Laila Marie Costa is a visual artist who predominantly works with contemporary jewellery, though performance, installation and video are modes of engagement too (when engaging). Her work investigates the absurdity and banality of her life, the confusion of messaging, the rules of engagement and the peripheries that circumnavigate the whole murky mess. Melding new and traditional materials and techniques, pushing and uncomfortably leaning on the definition of body worn adornment, Costa aims to provoke mental meanderings on the whirlwind that is existence and the relentlessness of time. The rings from the Micro Monuments voor de Antverpians series were made during an artist in residence at DIVA Diamond Museum, Antwerp, and exhibited there in 2025.They are an awkward, unbalanced, motley crew of silver and gold and oxidised silver, sprinkled in places with diamond powder. This diamond powder in black, white and champagne, are used as an ornamentation devise, that can come off as kitsch and unsightly. Costa obtained a Master in Visual Art (Contemporary Jewellery Design) from PXL_MAD, Hasselt, Belgium, in 2023, a Postgraduate Diploma for the Victorian College of the Arts in 2003 and a Bachelor(ette) in Fine Arts at Royal Melbourne Institute of Technology, Melbourne in 1993. She has exhibited nationally and internationally in museums, galleries, project spaces and artist run initiatives. Costa was an Artist in Residence at DIVA Diamond Museum, Antwerp, in 2024, and completed an Emeritus Traineeship with Ralph Bakker, master jeweller, Rotterdam, Netherlands. In 2024 Costa returned to Naarm/Melbourne and is currently developing her Empire of Clean.

Lindy McSwan was born, lives and works in Naarm / Melbourne. After completing an MFA by research at RMIT University in 2023, her work continues to investigate the materiality and life cycle of steel and its social, industrial, and gendered histories within Australian steelmaking sites. The vessel form is typically the object of her practice incorporating varied materials including steel, vitreous enamel, found rusted objects, fabric, cardboard and handmade pigments. Lindy was a finalist in the Robert Foster National Metal Prize in 2022 and 2024. Her solo exhibition, The Steelworks: Womens Work, was held in Craft Victoria’s Vitrine Gallery in 2025 and more recently a collection of enamelled vessels were part of State of Flux, a curated exhibition held at both Alta Forma and Funaki Gallery.

Mascha Moje’s practice distils ideas of material memory, while employing the impeccable craft of the master maker across a broad range of materials. For more than two decades Mascha has predominantly worked within the field of Jewellery, her interest stemming from questions of how objects are worn and the interface of body and object. She employs a reductionist mode of making, fascinated with the language of the material and the essence of form. Mascha’s practice is not defined by material, craft or placement, but the careful consideration of given parameters, be they the interface of body and worn object or object in space. Mascha welcomes these challenges to expand on possible answers around closely investigated concepts. Mascha Moje was born in Hamburg Germany. In 1984 she travelled to Australia to undertake training in gold and silversmithing at the Australian National University, Canberra Institute of the Arts, completing her studies in 1989.  She went on to teaching roles at RMIT University, ANU and Monash University. Moje has exhibited extensively in Australia, as well as exhibitions in Denmark, Holland, Belgium, New York, Germany, Austria, Japan and completed a 3-month residency in the Ceramic Centre Hertogenbosch, Holland. Her work is widely collected in both private and public collections including NGA, NGV, AGSA, Museum for Art and Design in New York, and several public collections in Germany.

Flynn Parker-Greer is a Naarm/Melbourne-based emerging artist working across jewellery and objects. Grounded in craft, their practice explores construction, precision, and spatial interplay through industrial fabrication, traditional jewellery techniques, and computer-aided design. Influenced by the geometry, repetition, and sharp lines of architecture and design, their work examines notions of value and human perception. Flynn holds a Bachelor of Fine Arts (Gold and Silversmithing) from RMIT and an Advanced Diploma of Jewellery and Object Design from Melbourne Polytechnic. Flynn is an exhibiting artist and has already received recognition as an emerging talent for their technical excellence and skilled craftsmanship, as evidenced by a growing number of awards. This includes acquisitions and participation in a professional development fellowship program.

Penny Pollard is a Naarm based artist whose recent work investigates the slippage between Deaf and Dead. Prompted by autocorrect repeatedly replacing Deaf with Dead, this linguistic misrecognition becomes a point of departure for examining how deafness is often framed through absence, loss and deficit. Drawing on the history of memento mori, objects intended to remind viewers of mortality and the transience of life, Penny reconsiders this tradition through lived experience of deafness. Rather than signalling an ending, memento mori becomes a framework for transformation and the fluid nature of identity. Through jewellery and object based practice, Penny challenges narratives that position deafness as something lacking or in need of repair. Instead, her work presents deafness as a complex embodied experience that reshapes communication and relation and reclaims a language of loss and redirects it towards agency, embodiment and becoming. Penny Pollard is a Naarm/Melbourne based artist working across jewellery, objects, sculpture, painting and installation. She completed a Postgraduate Certificate in Disability Studies at Flinders University in 2016, a Master of Fine Art by Research at Monash University in 2013, and a Bachelor of Fine Art with First Class Honours from RMIT University in 2008. She has exhibited throughout Australia, with recent exhibitions including Worn at Untethered Gallery, Geelong (2026), Reworked at Track Gallery, Melbourne (2026), The A1 Darebin Art Salon at Bundoora Homestead Art Centre (2025), Flow Festival at Abbotsford Convent (2025), and Nimbostratus at Bundoora Homestead Art Centre (2023). Recent professional development includes the Craft Victoria Mentorship (2025) and the Monash Mentorship Program (2026). Pollard has held professional roles with Arts Access Victoria, Belconnen Arts Centre, the National Portrait Gallery and Arts NSW. Her work is held in public and private collections.

My work explores the tension between perceived value and hidden history. By transforming obsolete Australian two-cent coins into gold-plated rings, I reimagine discarded currency as wearable objects that question ideas of worth, memory, and economic survival. The process is both an act of contemporary alchemy and historical preservation. Each ring begins with a coin that has circulated through countless hands, carrying traces of everyday exchange and the imprint of changing economic conditions. Through cutting, forming, and plating, I alter the coin’s function while retaining its essential identity. The original circular geometry determines the architecture of the ring, creating a continuous form that connects past and present. The gold-plated surface intentionally disrupts assumptions about value, inviting viewers to respond first to its appearance before discovering the copper beneath. In this transformation, I challenge material hierarchies and notions of luxury, proposing that true value lies not in scarcity or cost, but in the stories, histories, and human experiences embedded within an object. Sarah Ross is a Naarm/ Melbourne based jeweller, silversmith, and sculptor whose contemporary practice is informed by the rich traditions and aesthetics of jewellery making. She completed a Bachelor of Fine Art in Gold and Silversmithing at RMIT University in 1991, followed by an Honours degree in 1995. An accomplished educator, Sarah lectured at RMIT for over a decade and has delivered workshops, guest lectures, and masterclasses throughout Australia and internationally. She is recognised for her expertise within the field and has served on industry judging panels, including the Jewellery Association of Australia’s Australian Jeweller Awards. Sarah is a founding Director of Studio Ingot, where she balances gallery management with the creation of limited-edition jewellery, objects, commissioned works. Her work has been exhibited extensively in Australia and overseas. Awards and honours include a Hill End residency, a Highly Commended award at Itami, an Honourable Prize in Tokyo’s 3rd International Jewellery Design Competition, and the JAA Platinum Jewellery Design Award.

Roma Turnbull-Coulter is an emerging artist based in Naarm, who’s practice includes slime, painting, drawing, photography, video, performance and sculpture. Roma’s first exhibition was in 2016 when she was invited collaborate with Meredith Turnbull in the group exhibition “Mum” at the Stockroom in Kyneton, curated by Claire Needham. She has subsequently exhibited in the annual c3 fundraiser, ‘Faux Studio’ in 2016, with Ross Coulter at Musée du Strip in 2019 and in ‘All Together’ at Social at Salamanca Arts Centre and at SAM Shepparton in 2022.

When I spent 3 months in Limoges in 2025 as an artist in residence I started developing these porcelain rings as a kind of quick exercises on a small scale that allowed me to play with forms and the use of underglaze colours. The ring shapes were to some degree influenced by the detailed ornaments of the architecture that I absorbed on my walks through the city. Porcelain elements frame rings like architraves adorn windows. Forms sit on fingers like capitals on columns. Manon van Kouswijk is a Dutch artist who lives and works in Australia since 2010 and is currently based in Naarm / Melbourne and Toora, South Gippsland. After formal training as a goldsmith, Manon studied jewellery in art school and graduated in 1995 from the Gerrit Rietveld Academy, Amsterdam, where she later on worked as Head of the Jewellery Department from 2007-2010. The word, findings‚ has multiple meanings. It is commonly used to describe the outcome of research, investigation or a discovery however it also refers to the small tools and various materials used by an artisan: a jewelers findings. This duality is very accurate in describing Manon’s position as an artist within the field of contemporary jewellery. She views her practice as an ongoing exploration of the potential for jewellery to happen. Her findings are mediated through the making of objects, through photography, drawing, artist books and exhibition making. Rather than having a recognisable visual language, Manon’s works are connected through a consistent interest in archetypal objects and in the public and private contexts in which these objects perform, are used, worn, displayed and / or preserved. Her work is exhibited in galleries and museums and is part of public and private collections worldwide.

Anna Varendorff is a Naarm based jeweller, artist, and designer. Her work is concerned with encounters - human, object, and material - and the resultant awarenesses of time, the environment, and constructions of power. Anna Varendorff is an artist, designer and educator working in Melbourne, Australia. Her practice engages with sculpture, installation, and object design. Anna teaches within Fine Art at Monash University. She has exhibited in Australia and internationally since 2004, including at the National Gallery of Victoria (NGV), at the Australian Centre for Contemporary Art (ACCA), Monash University Museum of Art (MUMA), in Milan for Salone del Mobile in 2017, 2018 and 2019 and as part of Collect at the Victoria and Albert Museum, London in 2008. She has created large public works for NGV, MUMA, Brisbane City Council and various private clients. In 2016, Anna founded the design practice ACV studio. ACV studio has received local and international acclaim, including winning a Wallpaper* designer of the year award in 2018 for the work Glass Half Full Vase.

Elisa is an Argentine jewellery artist currently based in Wadawurrung country. Her work responds to things she sees, conversations with strangers, thoughts about value, and impressions of her children. She centres her practice in the poetics of the everyday, honouring overlooked offerings and ephemera that go unnoticed in our fast-paced world, yet act as quiet anchors of presence for those who pay attention. Through slow, meditative processes such as saw-piercing, she approaches making as a way of being. These jewellery objects exist within liminal spaces, moving beyond traditional notions of value, offering a space to rethink what we take for granted. Elisa is a jewellery artist from Argentina and PhD candidate at RMIT University, Melbourne, exploring contemporary jewellery through community engagement and sustainable practices. Her research, "Crafting Connections: How Emergent Material Practices in Jewellery Build Community," investigates how jewellery creates spaces for dialogue and connection through playful, interactive designs. With an industrial design background, Elisa challenges fragmented, disconnected modes of living, by crafting objects that activate unexpected moments between strangers. Her work has been exhibited internationally, including Munich, Buenos Aires, New York, and Melbourne.