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Garland magazine The stories behind what we make Garland is a platform that features thoughtful writing about objects.

The quarterly issue includes a long-form essay on a single object, as well as a focus on a city in the region, craft classics, workshops and an online exhibition. Garland includes work from around the world, but with a Pacific perspective, reflecting the dialogue of cultures in this region. The first issue was launched at the Cheongju International Craft Biennale, South Korea, and the second is launched as part of the Adelaide Biennial.

Sam Tupou ✿ Flying colours for TongaPamela See writes about a contemporary reimagining of Tongan traditions that takes v...
13/12/2025

Sam Tupou ✿ Flying colours for Tonga
Pamela See writes about a contemporary reimagining of Tongan traditions that takes viewers on a journey of healing.
https://garlandmag.com/sam-tupou/

Bearing an uncanny resemblance to kites, the “wayfinding” constructions by Aotearoa-born artist, of Tongan and Polynesian heritage, may bring comfort to souls lost in a sea of change.

The nascence of his Lanu Lanu: the Colour of Language series was a year spent in Poland, intended to instil Polish proficiency in his son. The experience evoked his memories of a childhood “growing up” as part of a “first generation outside of Tonga”.

“It’s got its challenges. The language was this big one… In the seventies and eighties, [learning Tongan] definitely wasn’t encouraged.”

Find out more in Garland Loop ✿

Re-animating DaidarabotchiKyoko Imazu explored her lifelong fascination with Yōkai by shaping a new shadow puppet perfor...
12/12/2025

Re-animating Daidarabotchi

Kyoko Imazu explored her lifelong fascination with Yōkai by shaping a new shadow puppet performance titled “Wonder,” inspired by a gentle poem that magnifies the natural world.
https://garlandmag.com/article/daidarabotchi/

✿ Excerpts:

The world of Yōkai has been a constant, thrilling presence in my life since childhood.

The third piece took a decidedly different direction. It was directly inspired by the poem “Wonder” from my favourite poet, Misuzu Kaneko.

I wonder why
the rain that falls from black clouds
shines like silver.

The story follows the curious giant, Daidarabotchi, as he strolls after sunset, discovering the sheer wonder found in the world’s smallest details.

to have created lakes and mountain ranges such as Lake Biwa and Mount Fuji.

the widely recognised towering Forest Spirit in Studio Ghibli’s *Princess Mononoke*,

my Daidarabotchi eventually evolved into a simple, human-shaped boy.

The story was performed entirely on an old school overhead projector.



Read more in G41 ✿ Begin Again

Pangu and Tai Sui in Chinese CosmologyAngela Sim explores the foundational Chinese cosmological figures of Pangu (the pr...
09/12/2025

Pangu and Tai Sui in Chinese Cosmology

Angela Sim explores the foundational Chinese cosmological figures of Pangu (the primordial creator) and Tai Sui (the cyclical time-keeper), contrasting their roles as architect and governor of the universe, as celebrated in Zhuxian Zhen woodblock printing.
https://garlandmag.com/article/pangu-and-tai-sui/

✿ Excerpts:

Long before mountains shouldered the sky or rivers carved their silver paths through the earth, there was only a cosmic egg — silent, infinite, waiting. From within it stirred *Pangu* (盤古), the giant whose body held the raw matter of creation. With each breath, he pushed the heavens upward and pressed the earth downward, separating sky from soil. For 18,000 years, he laboured. When his work was done, he lay down to rest — and became the world itself. His breath became the wind, his voice the thunder, his eyes the sun and moon, his blood the rivers, his bones the mountains. The forests grew from his hair; the stars glittered from his beard. In Pangu’s passing, the cosmos took form.

*Yang Ren*, the *Jiazi Tai Sui,* who oversees renewal and new beginnings. Each *Tai Sui’s* reign is brief — just one year — yet their influence is profound, shaping fortunes, fates, and even the right moments to build, marry, or embark on a journey.

Without *Pangu*, there is no world to inhabit. Without *Tai Sui*, the world drifts without rhythm, unmoored from the celestial clock.

the rhythm of craft continues. A carver leans over a block, gouging delicate lines into the wood. Another worker brushes on colour, the bristles rasping softly. Sheets are pressed, lifted, then pegged to dry in neat rows on bamboo racks, filling the room with the scent of damp paper.



Read more in G41 ✿ Begin Again

On my journey translating the Ayvu Rapyta, mystery, and hummingbirdsAndrea Ferrari recounts the profound doubts she face...
09/12/2025

On my journey translating the Ayvu Rapyta, mystery, and hummingbirds

Andrea Ferrari recounts the profound doubts she faced while spending seven years attempting to translate the sacred Mbya Guaraní creation text, Ayvu Rapyta, as she grappled with the conflict between revealing its spiritual mystery and respecting the culture's strategy of evasion.
https://garlandmag.com/article/hummingbirds/

✿ Excerpts:

Wouldn’t it be better to keep what was always meant to be secret, a secret?

they’ve always moved away further into the jungle, avoiding white people as much as possible, and they seldom share any of their sacred beliefs with us.

It whispers of gods that care for us and shape our destiny with soul-words, of birds that predict events, of the striving to keep a pure soul under the “eye” of the sun, *Ñamandu Ru Eté,* the creator.

But this year I found a wonderful artisan, Ángel Ramos, grandson of the famous Ramos lineage of makers of wooden animals that the Mbya craft mostly for tourists. He is writing a book about how this tradition started, which follows a wonderful cycle of trial-and-error in the choice of materials that resembles creational myths.

He said he didn’t know, but that if I wanted, he could make one for me. And he did, with such shape and colour exactitude! He also—somewhat—confirmed my suspicion of the species when we talked about the sacred maino’i’s identification.

only Mbya gods and the Mbya themselves, the “beloved bearers of the emblem of masculinity, the beloved bearers of the emblem of femininity” carry the knowledge of what it means to be a Mbya Guaraní under this sun.
May the hummingbird continue to feed the gods, and the mystery.



Read more in G41 ✿ Begin Again
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Ngalak Wonga: Co-creation encountersJennifer Moyle Ogbeide-Ihama and Gregory Pryor explore trauma and renewal by renderi...
09/12/2025

Ngalak Wonga: Co-creation encounters

Jennifer Moyle Ogbeide-Ihama and Gregory Pryor explore trauma and renewal by rendering their simultaneous spiritual encounters with the Marri tree on Noongar Country.
https://garlandmag.com/article/ngalak-wonga/

✿ Excerpts:

I walked back to the marri and truly saw her for the first time. She was the visual embodiment of my inner grief and trauma: great rivulets of deep crimson gum, running from fissures in her bark like bloody waterfalls, launching from the trunk toward the ground and splattering all over the dried leaf litter. It looked like a murder scene

Wrapped tightly around this pillar like a serpent was a mature regrowth that had sprouted from below, where the lignotuber ensured that this tree would not die. A massive burl hung asymmetrically from the apex of the regrowth like the head of the serpent.

Each element carries the quiet insistence of creation and recreation: to begin again, to make it new, to heal by hand.

A critical component of this cathartic healing was the decision to write all the text by hand.

In exhibiting the cumulative dialogue along a ten-metre white wall, the canvases became a garland in themselves—given for a time to those in the community who will view them and make connections to their own stories.



Read more in G41 ✿ Begin Again

Tina Fox ✿ Pixelated crochetIn their new book, Textiles x Art, Ramona Barry and Beck Jobson discover the world of Tina F...
08/12/2025

Tina Fox ✿ Pixelated crochet

In their new book, Textiles x Art, Ramona Barry and Beck Jobson discover the world of Tina Fox, where the ancient craft of crochet intersects with digital media.
https://garlandmag.com/tina-fox/

Fina Fox,The Sentinel, 2022, stop frame animation, handmade crochet, cotton thread, glass beads, timber, LCD screen, nails, 162 x 30 x 30 cm

Fina Fox, The Sentinel, 2022, stop frame animation, handmade crochet, cotton thread, glass beads, timber, LCD screen, nails, 162 x 30 x 30 cm

Find out more in Garland Loop ✿

Matilda Davis: The beginning of the universe is loveLenke Barabasi interviews Matilda Davis about her works in paint and...
08/12/2025

Matilda Davis: The beginning of the universe is love

Lenke Barabasi interviews Matilda Davis about her works in paint and clay that re-imagine how things began.
https://garlandmag.com/article/matilda-davis/

✿ Excerpts:

It’s about blending fragments from across time, culture, and style into a ‘symbol soup’: a layered, personal world that reimagines the visual language of the past.

I find the cold and hard edge of a painting can sometimes break the illusion, whereas textiles make the surface feel softer and penetrable, almost like a portal you can step through.

Once the paintings are dry, I gather them all together, lay out the fabrics and ribbons, put on my headphones, and start what I think of as a ‘dress rehearsal’. I line them up and begin to dress each one.

Unlike painting, where I can control the outcome almost to the very end, ceramics demand surrender. There’s something ritualistic about it.

It’s about birth. I was thinking about the Big Bang, something violent and chaotic that ultimately gives way to something beautiful.

@ tildy_davis

Read more in G41 ✿ Begin Again

Diptej Vernekar ✿ Playing with DemonsKaamya Sharma talks with Diptej Vernekar about the effigy of Narakasura in Goa, a f...
04/12/2025

Diptej Vernekar ✿ Playing with Demons

Kaamya Sharma talks with Diptej Vernekar about the effigy of Narakasura in Goa, a form that is continuously reborn.
https://garlandmag.com/article/diptej-vernekar/

✿ Excerpts:

Diwali in India is a festival of many mythologies. One of those mythologies is that of Krishna vanquishing the power-hungry and tyrannical Narakasura

Every year, after the exams are done, our textbooks would be repurposed to make the Narakasura effigies.

People start preparing at least a month, sometimes several months in advance, scouting last year’s residue, to see what can be repurposed. The byproducts from previous festivals are used. When Naraka Chatudarshi is done, Narakasura sometimes morphs into Santa Claus for the Christmas processions!

There is an increasing professionalisation as well, while there has been a decline in casual making.

The ban on mining in Goa in 2012 resulted in a lot of unused trucks lying around. You see the trajectory of this story? That’s when we started seeing the use of hydraulics in the Narakasuras. Some Narakasuras are 35-40 feet tall with incredibly complex rigging.

With a demon, you can create anything. There is no boundary.



Read more in G41 ✿ Begin Again

03/12/2025
Garland is currently in Al-Jouf, Saudi Arabia, for a festival to promote local crafts. It's reassuring to see this focus...
02/12/2025

Garland is currently in Al-Jouf, Saudi Arabia, for a festival to promote local crafts. It's reassuring to see this focus on culture-making in the Kingdom as an alternative to energy-intensive industries like oil and now AI.

And who should we find? Amal Al Ismaili contributed the beautiful article "Shaabook silver jewellery in Oman: A secret currency of adornment" She is part of a worldwide network of more than 1,000 writers who have shared their inspiring stories of meaningful objects made by hand.

Amal gives her students in Oman an exercise of selecting five articles from Garland for analysis. Let the Garden of Stories flourish!

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