Craft and Design week 2026
BC+DW
BOUND
https://www.creativeballarat.com.au/craft-design-week-2026
Bound Collaboration.
Main themes highlighted.
textile, memory, resource, materiality (light being made material?), and connection.
Selected on uniqueness, quality, and user experience plus the potential ongoing nature of the project.
List of other elements they are interested in which I wrote from listening to Webinar.
Assessment: concept and technical excellence make up 50 percent.
Words pertaining to us and our potential collaboration.
Place and content: Central Vic, Dja Dja Wurrung, greybox, preservation, texture, erosion, water, dust, geography, moon path, trees, land forms/geography, birds. Moon path to Ballarat - unesco creative city - crafts & folk art.
Words pertaining to materials and practice.
Words pertaining to outcome form.
Can be potential functional manufacturable product OR ephemeral.
Perhaps is both.
Shows awareness of environmental considerations.
Combines environment and science with broader ephemeral, poetic aspects of light.
User experience.
Through light and experience of being in the space prompted by story to mine personal memory?
Our theme.
bound by moonlight
CUCOLORIS
Conceptual and storytelling thoughts.
I see the movement of light from where I lie to where Jayne lies when the moon is full - the arch it takes and the shadows it makes.
drawing, paper collage, light, weaving, diorama
ceiling to floor light trunks
ceiling to floor light forms that cast shadows
ceiling to floor banner drawing with two sides
is it a light and a screen
mining exchange - take advantage of height
box tree bark texture, experience here and deep observation
maps, neon, moon paths, memory, screens, silhouettes, looking through, walking around, looking at, casting light, casting shadows, reflections
limbo image with the black/grey wash and ghostly white could make a good subtle treed image and on the reverse side could be a bare landscape with mountainous horizon and moon hole
we can also use drawing projected, or parts of drawings ripped and included in weaving
Moonstruck by Kev Carmody.
When the western sky’s ablaze
And the sun lays down to rest
When the curlew starts to cry
And the birds fly home to roost
When the full moon begins to rise
Satin moon beams on my face
Beauty of the night goes far beyond
Far beyond both time and place
Chorus
No-one’s lost who finds the moon
Or the sweetness of the wattle’s bloom
Rebirth with the rain in spring
Or the dingoe’s howl on the autumn wind
Spirit of the moon here calls me home
Spirit of the moon here guides me home
Moon it draws me to the scrub
Night voices raised in song
Past the water lilies bloom
In that tranquil billabong
Walkin’ on the shadowed leaves
That are reflected by the moon
To the rocks and hills an’ caves
Where the dingoe’s pups are born
Stars ablazin’ across the sky
In the brilliance of the Milky Way
I’m surrounded by the beauty
Of every night and every day
Walkin’ towards that morning moon set
Caress of moonlight on my skin
Knowin’ that freedom of not carin’
Of why I’m goin’ or where I’ve been
https://en.wikipedia.org/wiki/Cucoloris
Jayne:
Really loving the idea of me weaving a cucoloris which when combined with a light source “the moon” interacts and creates another layer to your work.
Wondering if we could produce a conceptual installation artwork, and a functional lamp shade/s following the same concept.
Just watching the shadows from the wattles play on the stone walls the gentle movement brings such peace, as opposed to hard slow moving or static shadows of a man made building for instance.
Tiff:
Yes absolutely. I feel it’s a conceptual light or diorama setting which is also a functional model for a light. I completely felt like it had that potential to be both.
Had this idea about it which also includes a reverse side on the drawing.
Moon as guiding light without being literal - the use of light and shadow, following the moon light or shadow. Night shadows.
When I was very small one night the family were walking in the bush and suddenly I would not budge to walk any further. My grandmother always told me about this as I did not remember being perhaps only 2yrs. The moon was out so they said look at the moon and she taught me to say ‘I see the moon, the moon sees me, god bless the moon, god bless me’ then I was happy and walked in wonder. I don’t think you have to be religious to love the spiritual and grounding sense of that saying.
Recently I was on a rooftop in Naples. The moon was big and bright over the bay with Mount Vesuvius in the background. That famous sight. Wherever we are in the world the moon can be in our view and we can be cast with its light and shadow. So if we ever wonder where we belong or who we are, or should be, the same moon and stars can guide us home.
When growing up in the suburbs I would sometimes follow the moon past streets and along the bay but it was never until I lived in central Victoria that I knew where the moon would be depending on its phase of light and shadow.
Other references.
making a woven stiff form by using a baloon and glue
https://www.instagram.com/reel/DOHB9p9jrZ0/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
A light-screen-ceiling of lit panels with imagery
https://www.instagram.com/p/DP2gpkLjxrw/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
Kathy textile artist map work
https://www.instagram.com/p/DENyIW4zfbk/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
Dianne Fogwell
Louise Bourgeouis
Danielle Brustman light
BC+DW
BOUND
https://www.creativeballarat.com.au/craft-design-week-2026
Bound Collaboration.
Main themes highlighted.
textile, memory, resource, materiality (light being made material?), and connection.
Selected on uniqueness, quality, and user experience plus the potential ongoing nature of the project.
List of other elements they are interested in which I wrote from listening to Webinar.
- cultural referencing
- raw materials
- storytelling
- restorative
- environment, sustainability, climate change
- sustainability
- connection to place, community, producers
- new using old techniques and skills but developing something new
- impact on natural world
- working beyond technique to why and meaning, merging ideas and techniques - as in concept.
- design thinking
- curiosity
- craft
- thread
- exhibition ready experience
Assessment: concept and technical excellence make up 50 percent.
Words pertaining to us and our potential collaboration.
Place and content: Central Vic, Dja Dja Wurrung, greybox, preservation, texture, erosion, water, dust, geography, moon path, trees, land forms/geography, birds. Moon path to Ballarat - unesco creative city - crafts & folk art.
Words pertaining to materials and practice.
- weaving (Jayne)
- drawing (Tiff)
- wool (GOR woollen mill Isabel, a part of the collab)
- charcoal (made on property from gum tree refuse)
- photography and projection also a combined practice or profession, light.
Words pertaining to outcome form.
- sculptural, drawing, light, shadow, textile
- room divider
- screen
- light screen in frame stand
- light
- light, shadow, drawing, space and story of memory as experience
Can be potential functional manufacturable product OR ephemeral.
Perhaps is both.
Shows awareness of environmental considerations.
Combines environment and science with broader ephemeral, poetic aspects of light.
User experience.
Through light and experience of being in the space prompted by story to mine personal memory?
Our theme.
bound by moonlight
CUCOLORIS
Conceptual and storytelling thoughts.
I see the movement of light from where I lie to where Jayne lies when the moon is full - the arch it takes and the shadows it makes.
drawing, paper collage, light, weaving, diorama
ceiling to floor light trunks
ceiling to floor light forms that cast shadows
ceiling to floor banner drawing with two sides
is it a light and a screen
mining exchange - take advantage of height
box tree bark texture, experience here and deep observation
maps, neon, moon paths, memory, screens, silhouettes, looking through, walking around, looking at, casting light, casting shadows, reflections
limbo image with the black/grey wash and ghostly white could make a good subtle treed image and on the reverse side could be a bare landscape with mountainous horizon and moon hole
we can also use drawing projected, or parts of drawings ripped and included in weaving
Moonstruck by Kev Carmody.
When the western sky’s ablaze
And the sun lays down to rest
When the curlew starts to cry
And the birds fly home to roost
When the full moon begins to rise
Satin moon beams on my face
Beauty of the night goes far beyond
Far beyond both time and place
Chorus
No-one’s lost who finds the moon
Or the sweetness of the wattle’s bloom
Rebirth with the rain in spring
Or the dingoe’s howl on the autumn wind
Spirit of the moon here calls me home
Spirit of the moon here guides me home
Moon it draws me to the scrub
Night voices raised in song
Past the water lilies bloom
In that tranquil billabong
Walkin’ on the shadowed leaves
That are reflected by the moon
To the rocks and hills an’ caves
Where the dingoe’s pups are born
Stars ablazin’ across the sky
In the brilliance of the Milky Way
I’m surrounded by the beauty
Of every night and every day
Walkin’ towards that morning moon set
Caress of moonlight on my skin
Knowin’ that freedom of not carin’
Of why I’m goin’ or where I’ve been
https://en.wikipedia.org/wiki/Cucoloris
Jayne:
Really loving the idea of me weaving a cucoloris which when combined with a light source “the moon” interacts and creates another layer to your work.
Wondering if we could produce a conceptual installation artwork, and a functional lamp shade/s following the same concept.
Just watching the shadows from the wattles play on the stone walls the gentle movement brings such peace, as opposed to hard slow moving or static shadows of a man made building for instance.
Tiff:
Yes absolutely. I feel it’s a conceptual light or diorama setting which is also a functional model for a light. I completely felt like it had that potential to be both.
Had this idea about it which also includes a reverse side on the drawing.
Moon as guiding light without being literal - the use of light and shadow, following the moon light or shadow. Night shadows.
When I was very small one night the family were walking in the bush and suddenly I would not budge to walk any further. My grandmother always told me about this as I did not remember being perhaps only 2yrs. The moon was out so they said look at the moon and she taught me to say ‘I see the moon, the moon sees me, god bless the moon, god bless me’ then I was happy and walked in wonder. I don’t think you have to be religious to love the spiritual and grounding sense of that saying.
Recently I was on a rooftop in Naples. The moon was big and bright over the bay with Mount Vesuvius in the background. That famous sight. Wherever we are in the world the moon can be in our view and we can be cast with its light and shadow. So if we ever wonder where we belong or who we are, or should be, the same moon and stars can guide us home.
When growing up in the suburbs I would sometimes follow the moon past streets and along the bay but it was never until I lived in central Victoria that I knew where the moon would be depending on its phase of light and shadow.
Other references.
making a woven stiff form by using a baloon and glue
https://www.instagram.com/reel/DOHB9p9jrZ0/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
A light-screen-ceiling of lit panels with imagery
https://www.instagram.com/p/DP2gpkLjxrw/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
Kathy textile artist map work
https://www.instagram.com/p/DENyIW4zfbk/?utm_source=ig_web_copy_link&igsh=MzRlODBiNWFlZA==
Dianne Fogwell
Louise Bourgeouis
Danielle Brustman light
Tiffany Titshall, potential examples of work. Choose 5.
|
Echo in the Hollow, 2023
ink & charcoal on primed Saunders Waterford 300gsm diptych 2 x 76 x 56 cm unframed |
Shadow, 2023
ink & charcoal on primed Saunders Waterford 300gsm diptych 2 x 56 x 76cm unframed |
The Inland Seas, 2024
ink & charcoal on primed Saunders Waterford 300gsm 76 x 56 cm unframed |
The Guardian, 2018
charcoal & ink on primed paper 655 x 650mm framed |
Blood Flow, 2018
charcoal and ink on primed paper 1025 x 660mm unframed |
Cold Discovery, 2024
ink, pastel, oil & charcoal on primed Saunders Waterford 300gsm 76 x 56 cm unframed |
Tiff's photo reference - will use something from these for long drawing/2 sided. Includes some silly iphone moon shots for the feel. The red one I also filmed bubbling sway like a tiny red light orb.
Other examples of layers of white before charcoal and a hand developed glass plate image of a window.
Images taken in Ballarat. Interior trades hall, night moon and lights - one used on an album cover. From a hill in Ballarat. Some composites by Amy Tsilemanis when we did a night walk following the moon as women and asked people where they last saw it.
Jayne - cucoloris shadow
Lights
Randomly organised art reference including Neville French moon jar, watercolour colage, baskets at Melbourne Now, magic lantern at CAM, Eva Selva at Venice, textile at Ballarat, artist books at Albury, Albert Namatjira trees at Bendigo, Joshua Yeldham, Louise Bourgeois textile landscapes and peep hole drawing with threads, Daniel Boyd large pixelated works, paper textile at works on paper prize Mornington, textile quilt Portugal, paintings on metal/screen stands Nicholas Thompson Gallery.
