Hello christinawaterson.com

christinawaterson.com homepage. For all project details and photography credits go to christinawaterson.com

Our new website went live late last year and since then we’ve received some lovely feedback and interesting projects. If you haven’t checked it out yet please head on over to christinawaterson.com

Project: Plexa #1 on the William Jolly Bridge, 2015. Photography Christina Waterson

There you’ll find featured a selection of our favourite projects and collaborations; beautiful photography; and a little background to our projects.

Advocacy highlight page at christinawaterson.com  For all project details and photography credits go to christinawaterson.com

You’ll also find info about some of the great Clients we’ve worked with as well as some insight into the depth of our creative practice in Art, Design and Advocacy.

Thank you to Wes Davis (Founder of Netprophets and MoPad) for a great website and hosting, and being an awesome creative to collaborate with; and Craig Rochfort (Founder of Jane Fender, Co-founder of the brand Art Park and founder of Rochfort Design Management) for beautiful curation of content. A Dream Team!

 

 

 

Studio Sojourn in the Hills

View from the Studio in the hills with local wonder companion Benson who visits the studio daily. Photography Christina Waterson.

 

Textures and layering of beautiful landscape all around. Photography Christina Waterson.

I’ve enjoyed a studio sojourn since moving from my beloved long term studio in Brisbane. The move and new rural surroundings (with a great community of creatives and passionate people) have guided my work to new levels while allowing me to better balance work and life. I’ve had a deeper connection to nature (wildlife; seasons and natural cycles that inform my work) and to my inner self through the time and experience.

View to great studio with focused work space fitted out with beautiful objects including Darcy Clarke’s Tuesday Collection (Construct work table and Hoopla feature pendant pictured). Photography Christina Waterson.

Many of the projects I’ve worked on throughout 2015 have been large-scale high stake projects, so having a good base has been essential to keeping it real; staying relaxed and focused; and remembering why I am an artist.

Thank you to  Darcy Clarke for sharing the most amazing studio in the hills with the sky and beautiful things all around!

 

Launching the Stellar Collection with TAIT

The launch of the Stellar Collection at TAIT’S Sydney Showroom. Photography Fiona Susanto courtesy of TAIT.

The Stellar Collection was launched in Melbourne and Sydney during October and November 2014. I so enjoyed these events with TAIT because after all our hard work we shared Stellar with such lovely people. It’s a pleasure to post a transcript of the short speech I gave on the occasion of the launch of Stellar in Sydney, on 6 November 2014.

Christina Waterson in the moment welcoming guests. Photography Fiona Susanto courtesy of TAIT.

Thank you for sharing this special evening with us as we launch the Stellar Collection.

The Stellar Collection was inspired by the night sky. As a child I was in awe of the Milky Way’s beauty and would spend many a hot summer’s night out on the water tank star watching. My brothers and I would look for satellites and shooting stars, often making our own constellations using the stars we could see, and our different interests as a reference point. This playfulness is at the heart of the Stellar Collection as it encourages people to become modern-day astronomers, making their own constellations and patterns in the form of sculptural screens, ceilings, wall reliefs and objects.

While the names and patterns for our traditional constellations are inherited from Greek mythology, almost every culture on earth envisaged patterns in the stars that captured their unique culture and nature. For Stellar’s signature patterns I re-imagined the stars in the night sky to form a set of new constellations based on the patterns and lines of Australian flora and fauna.

Avid audience listens to Gordon Tait’s MCing for the Sydney Launch of Stellar. Photography Fiona Susanto courtesy of TAIT.

Tonight we are launching three signature patterns in the Stellar Collection called Kingii, Banksia and Rosella. Kingii reflects the distinct form of the Frilled-neck lizard’s open mouth. Patterns within the Banksia’s flower spikes at different stages of growth and blooming are reflected in the Banksia pattern. And my favourite pattern in the collection, Rosella, captures the moment when a family of Rosellas (birdies) alight from feeding on grass seed and pine nuts.

My passion is to create large-scale intricate surfaces whose depth, detail, and effect on light and shadow transform and bring a finer grain to the spaces around us. Therefore it’ only natural that Stellar’s elements form sculptural screens, wall reliefs and ceilings. The elements also make both functional and sculptural objects and we have a few of our favourites on show tonight.

We are delighted to share the Stellar Collection with you and can’t wait to see the unique patterns, objects and colour combinations that you create with Stellar.

Thank you and enjoy the evening.

What a wonderful evening made special by the lovely guests. Photography Fiona Susanto courtesy of TAIT.

Gordon and Susan Tait sharing a special moment with Christina Waterson. Photography Fiona Susanto courtesy of TAIT.

Stellar is a credit to all involved in the process. A massive thank you to Susan and Gordon Tait for your generosity of spirit and belief in realising the Stellar Collection. Thank you to TAIT’S fabulous team whose skill and expertise across all areas of streamlining, fabricating and sharing Stellar make it unique. To Max&You thank you for your amazing energy on all things marketing and publicity of Stellar for TAIT, and especially such enjoyable launch events. Thank you Mr Cameron Bruhn for MCing Stellar’s Melbourne Launch, and Gordon Tait for MCing the Stellar’s Sydney Launch – you both brought a personal touch through the insights you shared.

Thank you to all who attended the launch events – it was great meeting such lovely, enthusiastic and talented individuals.

Visit TAIT for more information about the Stellar Collection.

REPOST – TRACE The Work = Scale Screen

Scale Screen 2012 by Christina Waterson (Detail). Photography by Tobias Titz 2012.

With the Stellar Collection of sculptural screens and wall reliefs etc. soon to be launched in Spring 2014 by the fabulous Australian furniture icon TAIT, let’s have a look back at a post from March 2012 showing the development of Scale Screen 2012. Here in full follows the original post – ENJOY! You can also see the original post here!

The development of Scale Screen occurred over many years. This project was assisted by the Australian Government through the Australia Council, its arts funding and advisory body (through a New Work – Established – Australia Council Grant). Scale Screen’s origins are linked to my Bloom Series Home-wares and furniture range, launched in 2009. Scale Screen’s origins are linked to my Bloom Series Home-wares and Furniture range, launched in 2009. From the outset of the development of The Bloom Series, I had always envisioned Pixel Screen (pictured below) to be realised in coated sheet metal.

Pixel Screen part of The Bloom Series 2009 by Christina Waterson. Photography by Jon Linkins 2009.

Through the Australian Council Grant I rationalised the design of Pixel Screen in coated sheet metal to ensure modularity, as well as fabrication and installation ease. Importantly throughout this process I maintained the essential qualities of the original artwork. The streamlining of Pixel Screen however meant the adaption was different enough to warrant a new name. The name Scale Screen comes from the form of the elements that make up the screen. They look like reptile scales (especially Brown Snakes or Frilly Necked Lizards, and also like the opened mouth of a Frilly Necked Lizard) so the name directly reflects this quality and also references my unique country Australian childhood;

The surface, colour and depth of the Scale Screen project is informed by the skin of Taipan and King Brown snakes. In my hometown of Sharon in Queensland, the remnants of shedded snakeskin on timber joists proves a reminder of the local reptilian residents – snakes rub on the rough joists to break their skin for the process of shedding. Amongst Australia’s most aggressive and poisonous snakes, the beauty of their skin belies their potential danger. I play with the duality of the notions of protective efficiency and deadly beauty as being inherent to Australian native flora and fauna.

In the foreground: Scale Screen 2012 Photography by Tobias Titz 2012.

A distant and more acute view of Scale Screen 2012 to the right. Photography by Tobias Titz 2012.

My works are intended to be experienced in space, time and light. This is particularly clear in the development of Scale Screen 2012. The patterns within its surface are 3-dimensional; they are patterns that exist in space – new patterns are revealed and continuously evolve as you walk around the work.

I applied the knowledge I gained through the Australia Council Grant Research and Development to other subsequent commissions. Taking Flight (pictured below) uses the same fabrication techniques as Scale Screen but has dramatic differences in form and concept.

Conceptual Photography of Scale Screen’s sister work Taking Flight 2011 (Folded Aluminium wall relief commissioned by Aurecon) directly used the skills and knowledge from developing Scale Screen. Photography by Jon Linkins 2010.

Taking Flight 2011 by Christina Waterson installed in Aurecon’s Brisbane Head Office Reception. This work aimed to capture a sense of action and growth; similar to birds alighting from a forest or the flourish of blooms in spring. Photography by Jon Linkins 2011.

Scale Screen 2012 Detail by Christina Waterson within Trace at Pin-up Architecture and Design Project Space. Photography by James Braund 2012.

I would like to sincerely thank the Australian Government through the Australia Council, its arts funding and advisory body for assisting the Scale Screen project.

Go to TAIT’s Website and TAIT’s Blog for all news on the launch of the Stellar Collection in Spring 2014.

My Ivory St Installations

Fall 2002 Concept for Ivory Street Window Installation in 2005 part of Unleashed 2005, artisan. Illustration by Christina Waterson.

Over almost a decade I have enjoyed exhibiting my large-scale installations in artisan’s Ivory Street Window. The space is perfect; it’s protected while being very public; outward looking to Ivory and Brunswick Street and therefore an accessible way to present to people who wouldn’t ordinarily get to engage with my larger scale works. People can appreciate the installations there day and night as they walk, drive or bus by. The space also affords a different understanding of ones work through the light, movement, near and far approach; and the scale of the window space and street itself.

I’ve presented installations in artisan’s Ivory Street Window at key moments in my practice. Here I share with you a snap shot of the three installations undertaken in 2005, 2008 and most recently 2014.

Fall 2002 Detail of Ivory Street Installation 2005. Photography Andrea Higgins for artisan.

Fall 2002 was installed in artisan’s Ivory Street Window in 2005 as part of Unleashed exhibition.  Fall’s interlocking stainless steel elements cascade against the surface of the wall with its elements able to be reconfigured into a hanging installation (Rest 2002) and stacked horizontally (Align 2002).

Fall 2002 Detail of Ivory Street Installation 2005. Photography Christina Waterson.

Gravity transformed the perfect geometric forms into a scurry of movement and light. The stainless steel elements quivered with slight changes in air flow and their thin edges reflected the smallest presence of light. Street and traffic lights as well as headlights of passing cars were beautifully reflected in the work’s thin stainless steel edges. Fall is now an important part of my personal collection and takes pride of place in my living room.

Plexus #1 2008 installed in artisan’s Ivory Street Window in 2008. Photography by Andrea Higgins for artisan.

Plexus #1 (Cardboard Prototype Komodo Series) 2008 hand cut and woven in recycled cardboard. Presented in artisan’s Ivory Street in 2008. Photography Andrea Higgins for artisan.

In 2008 I showcased a preliminary hand cut cardboard prototype of Plexus #1 (Part of the Komodo Series launched later that year at Living Edge, Brisbane). The series includes three-dimensional arrays, weavings and sculptural objects that explore beautiful repetitive, structural forms at a variety of scales.

Plexus #1 (Cardboard Prototype Komodo Series) 2008 detail showing the space of the window and materiality of the work. Photography Andrea Higgins for artisan.

As people moved past the the window installation they would see ever shifting tessellation between the work and its shadow. Closer inspection revealed the delightful materiality and complexity of the interwoven elements. Over the month Plexus #1 was in artisan’s Ivory Street Window it evolved and grew; with new elements added weekly until it finally filled the window.

Day time street view of Sequence 01 – Soft Cell (Domestic Bliss Exotic Dream) 2014. Photography Christina Waterson.

Dusk street view of Sequence 04 – Soft Cell (Domestic Bliss Exotic Dream) 2014. Photography Courtesy of Richard Stride for artisan.

Soft Cell 2014 was installed during May 2014. The installation evolved through five distinct sequences and was a playful and colourful installation of my latest collection and softer direction.

Night time street view of the final sequence of growth – Soft Cell (Domestic Bliss Exotic Dream) 2014. Photography Christina Waterson.

More on this my latest installation – Soft Cell 2014 and the whole collection in a future post! STAY TUNED!

THANK YOU artisan; idea skill product for supporting my work through display and exhibition over the past decade. 

 

 

WOOD: art design architecture

WOOD: art design architecture exhibition view at Jam Factory Contemporary Craft and Design. Photography by Christina Waterson.

The national touring exhibition WOOD: art design architecture opened in Brisbane at the QUT Art Museum last week. I thought I would share with you my review of the exhibition written originally for ArchitectureAU online on the occasion of the exhibition first opening at JamFactory Contemporary Craft and Design, in February 2013. And so not to ruin the experience of seeing the work in QUT’s generous sequence of exhibition spaces, I have only included photos of the original JamFactory installation that accompanied the text below. Enjoy!

Greer Honeywill’s This housing estate is not to scale #2 (foreground) and Boot Lace by Sherrie Knipe with Colony by Christina Waterson, behind. Photography by Christina Waterson.

WOOD: art design architecture celebrates our long relationship with wood and presents its diverse properties and qualities, along with the multiplicity of ways it can be worked. The exhibition includes work from twenty-eight Australian exhibitors who either work directly with wood, or with skilled crafts-people. The pieces relate to each other on several levels to form an overall vision for the exhibition based on figure and form; pushing material limits; craftsmanship and our eternal connection to wood – through place, nature, use and memory.

Interior and architectural projects are part of the showing. These are often difficult to appreciate in an exhibition context without directly experiencing the made place in real-time, but each project is presented in a distinct way to give an insight not available in the experience of the actual project.

Brian Hooper and m3architecture’s Tree of Knowledge Memorial 2009 is presented through a single key image alongside one of the recycled hardwood elements used to reinstate the aura around the remains of the Tree of Knowledge. This allows an intimate experience of these elements (that hang out of reach in the actual project) and thus enables an appreciation of the hardwood’s age, materiality and previous life as telephone and electrical poles. A simple scale model of March Studio’s Baker D. Chirico on the other hand emphasises the contour like nature of its interior plywood ceiling and wall strata.

John Wardle Architects’ Jewellery Box with form studies of the Shearers Quarters project. Photography by Christina Waterson.

Small massing and form models of John Wardle Architect’s Shearer’s Quarters project are displayed in an elegant spruce jewellery box with sliding drawer. The Jewellery Box is crafted with the same care and attention to detail as the office’s architectural projects and represents a key part of the practice – the relationships formed with highly skilled craftsman to achieve complex architectural ideas. The fruit of these key relationships is found in the joyful and intimate experiences that punctuate life lived in and around this practice’s buildings.

Piti, 2012 by Billy and Lulu Cooley uses river red gum burnt with design, displayed alongside Clipped Wing Bench in Tasmanian Blackwood by Simon Ancher. Photography by Christina Waterson.

Hossein Valamanesh’s Breathe 2012, bronze cast from assembled twigs and branches, celebrates the life-giving force of nature, forests and trees. Architect Drew Heath’s spaces are warmed by light that has been warmed by wood’s hue. Developed within the experimental confines of his own home, Heath’s light lintels (on display) and layered ceilings incorporate marine plywood to warm our modern-day fluorescents.

Amore mio chair in American black walnut by Jon Goulder with Tom Miram’s The Memory Keeper, 2012 (background). Photography by Christina Waterson.

Tom Miram’s The Memory Keeper 2012 is made from the trunk of a fallen coastal grey box, and marks his connection to the place of his childhood, and the history of change along its river valley. Other works show the process of realising work in wood.

Requiem (spirit of the beehive) by Lionel Bawden (right) with Greer Honeywill’s This housing estate is not to scale #2 (left) and Plantation Chair by Alexander Lotersztain (behind). Photography by Christina Waterson.

Alexander Lotersztain’s marine plywood Plantation Chair prototype (a step to the final design with adjustment marks and cuts) is displayed beside a standard plywood sheet nested with the assembly elements of four Plantation Chairs and accompanying Eggcups. Sherrie Knipe’s patterned Boot Lace and John Quan’s incredibly thin Flexible Desk Lamp push timber veneer to its limits, while offering playful outcomes.

Visitors appreciate the detailed pattern in Boot Lace by Sherrie Knipe. Photography Christina Waterson.

Brief 2012 (my favourite work in the exhibition) by Damien Wright, is a large dining table made using ancient petrified Red Gum and Ringed Gidgee. Its honesty, logic and refinement exemplifies Wright’s adept skill and the unique techniques he has developed to form these hard to work timbers. The undulating drawer fronts of Khai Liew Julian Chest 2011 invite touch and use to appreciate the solid American black walnut. It is made with care and exactitude and will age gracefully over generations to come.

Up close with Khai Liew’s Julian Chest 2011, solid American black walnut with patinated copper inlay. Photography by Christina Waterson.

Throughout my visit to this exhibition, I felt a strong desire to touch the works – to get up close, to see the grain and smell the scent of the woods used. Our long, close up and personal relationship with wood is kindled by this heart-felt exhibition and beautiful accompanying publication. Wood is warm to touch, alive and ever-changing and continues to find a place within our lives and memories.

WOOD: art design architecture resulted from a collaboration between JamFactory Contemporary Craft and Design and Botanic Gardens of Adelaide, where it was presented in February through early April 2013 with the exhibition continuing its national tour throughout 2013 and 2014. The exhibition at QUT Art Museum continues until 29 June 2014. See their website for details.

Material Materials

Mastercut at Burleigh show me their intricate photo etching process applied to stainless steel shim for the electronics industry. Mastercut is pretty amazing! Photography Christina Waterson.

The past few weeks have been full of researching and sourcing a rich tapestry of beautiful materials. Many of my works respond directly to a material’s properties and nature. Sometimes it’s a material’s translucency, figure or friction that I am working with. At other times it may be weight, thinness, shadow, structure or simplicity that I am drawn to. A search for a natural rhythm coupled with a responsive intuition to materials means that my work is never finished and the process of understanding and exploring is never over.

I am always on the hunt for interesting materials, processes and passionate people with unique knowledge of the materials they work with. I travel to some far and distant places and form important relationships with craftsmen, stockists and suppliers. Here are a sample of a few of the places I have visited to source materials for upcoming projects.

Pottery Supplies Milton. Photography Christina Waterson.

Uncovering some of my ceramics vessels made while study Visual Arts at QUT back in 2001 spurred me to see if Pottery Suppliers Milton, the local shop I used to frequent, was still based in the same location. To my delight it was and still stocked a full range of clays, glazes, reference books, and tools while also offering firing services.

At Mac-lace leather supplier. Photography Christina Waterson.

I have also been spending a lot of time at Mac-lace, a leather supplier. My Nanna used to visit Mac-lace and Jolly & Bachelor in the 1940s and 50s when they were based in South Brisbane. My mum (who taught me leather work) shopped there in the 60s and 70s. I was lucky enough to visit Mac-Lace in its South Brisbane home in the early 90s just before it moved to East Brisbane then Capalaba. Great to see it’s still going strong!

A visit to The Big Red shed’s recycled timber yard, at Darra, to source timber for a client. Photography Christina Waterson.

The Big Red Shed’s been supplying recycled timber for as long as I can remember. On walking in to their timber yard I was transported by the scent of freshly sawn hardwood, the sight of each unique piece of timber and hearing provenance and previous life story.

Vinyl signage sheets waiting to be cut at Brand Productions, Brendale. Photography Christina Waterson.

In the process of designing an exhibition for a client I have been working with Brand Productions for the fabrication of the exhibition’s display devices, signage panels and custom vinyl signage. I have worked with Brand over the last ten years on projects for the Museum of Brisbane as well as for my own exhibition signage installations. Every time I visit they are making interesting things and are always on the go!

Staff at Brand Productions form custom signage letters in acrylic. Photography Christina Waterson.

 

From the Vault 02

In this the second instalment of From the Vault I’ve really dug deep and gone back to the early days; showing the diversity and richness of my practice. I’ve sifted through Polaroids, black and white negs, Kodak prints and drawings. Once again the process has been positively affirming. I have included a few descriptions for the harder to place projects and works. Enjoy!

House for Bachelard (1994). Design, models, drawings and photography by Christina Waterson 1994.

This exploratory project, House for Bachelard, was designed while studying Architecture at The University of Queensland in 1994. The 2nd Year Architectural Design Studio was run by Professor John Hockings.

PART 01: ABSTRACTIONS OF HOUSE. On reading The Poetics of Space by Gaston Bachelard, students were asked to communicate its essential concepts via a maquette (concepts such as curved space, corner/huddle, and progression between polar states etc) Through an intensive model making process I explored ‘hidden space’ and tried to capture the feeling of the spaces described in The Poetics of Space. Then in a series of exercises involving the abstraction, duplication and repetition of our original concept model we were challenged to consider the qualities of spaces revealed by this process and match them to the prescribed areas of a brief. The brief was for a weekend house for the author Bachelard.

Abstractions of House – Study Model 1 (1994). Photography by Christina Waterson 1994.

Abstractions of House – Study Model 2 (1994). Photography by Christina Waterson 1994.

PART 02: HOUSE FOR BACHELARD. My proposition for his ‘house’ was a camp-like structure providing basic necessities for Bachelard’s weekend stays. It was nestled within the landscape of Point Lookout and orientated to minimize oncoming winds. The long landscape wall allowed Gaston to survey the coming weather. It shielded his vegetable garden from the strong winds. The bookshelf was considered as a large ladder that stretched from the cellar, through the reading room and up to Bachelard’s sunny sleeping cone. The cellar lay within the earth and provided a dark cool retreat.

House for Bachelard – Sectional Project Model (1994). The model was 1.8 meters in length. The middle and bottom photos are taken from the same view but one shows the ground plane intact while the other reveals in section the cellar below. Photography by Christina Waterson 1994.

Peter Light 2000 lighting commission for Elision Ensemble’s practice space, South Brisbane. Photography Christina Waterson 2000.

Raku Test Patterns 2001. Made during a Ceramic’s Elective while studying Visual Arts at the Queensland University of Technology in 2001. Photography by Christina Waterson.

Ceramic Family of Vessels 2001. For a Ceramic’s Elective while studying Visual Arts at the Queensland University of Technology in 2001. Photography by Christina Waterson.

Array Study 01 (2007). Veneer. Photography David Sandison.

Array Study 02 (2007). Polypropylene. Photography David Sandison.

Fuzzy Dub (2010) the concept for my reloved – designer stories  piece at the Sydney Powehouse. Concept and drawing by Christina Waterson 2010.

“Once desired and loved but eventually discarded, the essential furniture item – the chair – has a long, rich and often poignant past… Contemporary design and bespoke beauty merge to transform a tired furniture piece into a work of art.” Brief by Sydney Powerhouse 2010.

Find a chair, relove it and tell a story. My response to this brief explored the origins of my own creative spark. The first chairs I distinctly remember were our school chairs and at that time I was heavily into craft especially making pom poms. I playfully combined these two memories together to make Fuzzy Dub for the exhibition. By taking two discarded and outgrown school chairs and binding them with recycled materials (including fishing nets and fabric strips) they were reused to make a large-scale pom pom. The exhibition was held at Sydney Powerhouse as part of the 2010 Sydney Design Festival. It included reloved chairs by Andrew Simpson (Industrial Design), Liesl Hazelton (Jewellery), and Adam Goodrum (Industrial Design).

Fuzzy Dub the process (2010). Photography by Jon Linkins.

My complete Fuzzy Dub (2010). Every time I look at Fuzzy Dub it makes me laugh! Pretty fun and out there! Photography by Jon Linkins.

 All works by Christina Waterson. If you would like to check out From the Vault 01, the previous post in this series, click on this link.

 

TRACEMETAL

Tracemetal 2014. Photography Christina Waterson.

I am excited to announce the launch of TRACEMETAL – a special edition of Tracelet made in stainless steel infused with bronze.

TRACEMETAL’s unique form originates from a set of sculptural studies that extend my woven Komodo Series, released in 2008. Its faceted surface was made by imagining a draped soft material or skin over the bones of these original weavings. These were ‘traced’ and drawn at a bracelet scale, though could be realised at multiple scales and have different functions. Using the latest in 3D technology TRACEMETAL was then made in the Netherlands.

TRACEMETAL’s different colours Umber, Flint and Bronze are achieved through patinas applied to the surface of each bracelet.

Tracemetal 2014. Photography Christina Waterson.

Tracemetal 2014 Detail. Clockwise from left to right – Tracemetal colours Bronze, Flint and Umber. Photography Christina Waterson.

While Tracelet can only be personally given to people I meet, the special edition bracelet TRACEMETAL is available for purchase exclusively in Queensland through the inspirational fashion designer and creative force Gail Sorronda, at Gail Sorronda Concept Store, James St Fortitude Valley.

Stay tuned for special exclusive stockists near you!

REPOST – The Gift of Giving TRACELET

Tracelet (Limited 777) Editions 1 (Salmon – Lemon – Aqua) and 2 (Scarlet – Vanilla – Baby Blue) released in 2012.

With some exciting news to be announced in regards to Tracelet this week I thought I would REPOST about the Tracelet Project.

It’s been just over a year since the Tracelet Project (777 Limited) was launched at Brisbane’s Saturday in Design 2012 (SID). Over that time two colour editions have been released and I have personally given more than 700 Tracelet sets to people in Brisbane, Sydney, Melbourne, London, Hong Kong and Singapore.

That’s a lot when you think each time I give a set I also share the story behind the inspiration, the maker and the process. Tracelet can only be given in this way.

Sharing the story of the Tracelet Project at SID Melbourne 2012. Photo James Braund.

Something quite magical happens each time. Tracelet ceases to be a bracelet made of Injection moulded food grade plastic and instead becomes a talisman about the gift of sharing knowledge.

Tracelet has travelled all across the globe and found homes with inspired individuals. Sometimes they run into each other while wearing Tracelet and say ‘You must have met Christina!’. Such beautiful stories keep flowing in from all over the world.

Beautiful messages, images and thank yous continue to keep me inspired!

I have received hundreds of thank you emails accompanied by images of people loving their Tracelets; wearing them for special events or in their everyday, or finding new ways to use them (drawing patterns or playing with them as earrings and crowns).

Thank you and stay tuned!