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Remade-Reloved 2025
Location: Australian Design Centre, 101-115 William St, Darlinghurst NSW 2010
Date/Time: 10th Oct – 19th Nov, 2025
Artist Floor Talk: Saturday 18th October, 11:30 – 12:30pm BOOK HERE
Jewellery Rehash with Bridget: Saturday 18th October 1:30pm – 3:30pm, BOOK HERE BOOKED OUT
Remade-Reloved 25 is an invitation to look again at what we discard and to imagine new possibilities for its worth.
Each year, this ongoing project, curated by Bridget Kennedy, brings together a group of contemporary makers to explore the principles of the circular economy through the lens of jewellery and small object practice.
For each iteration, participants, from emerging makers to well-established jewellery artists, receive a bag of broken or unwanted costume jewellery generously donated by the community.
The premise is simple, but provides a creative challenge: to take these overlooked, mass-produced adornments and transform them into new contemporary works that provoke thought about the value we place on materials.
Using costume jewellery as the primary material, invites makers to experiment and adapt their usual techniques, through smashing, melting, reconfiguring, layering, deconstructing, and reconstructing, pushing the material and themselves into unfamiliar territory.
Some of the invited artists are new to working with these materials, which allows exploration of jewellery-making in fresh ways, by stepping outside their usual practice to see how these materials can speak through new forms.
For others who already work with reclaimed or found materials, the exhibition extends their commitment to reuse, but within the specific context of these donated objects, each piece carrying traces of past owners and forgotten trends. In doing so, Remade-Reloved is not just an exhibition of contemporary jewellery and object; it’s an experiment in recontextualising the everyday. It invites both makers and audiences to consider how waste can be a resource, and how creative practice can shift our relationship to consumption and value.
This is adornment with a conscience and a reminder that transformation often begins with what we already have, waiting to be seen afresh.
Artists exhibiting – Linda Blair, Melissa Cameron, Anna Davern, Laura Deakin, Celia Dottore, Sian Edwards, Jenny Fahey, Lisa Furno, Szilvia Gyorgy, Pennie Jagiello, Bridget Kennedy, Erin Keys, Regina Krawets, Vicki Mason, Regina Middleton, Kaoru Rogers, Margarita Sampson, Mel Young.
Vicki Mason has had an article published in Garland about her work. Read it here.
CLICK ON THE IMAGES BELOW FOR CLEARER QUALITY – sorry, I have no idea why the small images are blurry, but would rather spend time creating than working out how to fix this tech ‘feature’ 🙂
Linda Blair
Artist Bio
Linda studied Jewellery and Object Design and Jewellery Manufacturer at the Design Centre Enmore. Her practice has largely been based around enamelled jewellery and small scale sculpural objects based on history or the natural world. After recently undertaking wood carving and surface finishing courses she has incorporated these techniques into her work.
Artist Statement
In these pieces I was interested in how wood can be reworked to change the shape of the individual elements and with the addition of colour and individual finishes , change the original pieces entirely.
Costume jewellery sent to the artist
Remade Wood 1, necklace Remade wooden beads, metal beads, steel cable, paint, sterling silver, wax, 280 x 220 x 40 mm, $320
Remade Wood 2, Remade wooden beads, metal beads, steel cable, paint, sterling silver, wax, 300 x 220 x 40 mm, $320
Melissa Cameron
Artist Bio
Melissa is an Australian artist who works on Whadjuk Noongar land in Boorloo/Perth, and has lived and worked in Naarm/Melbourne and on Duwamish lands in Seattle, USA. Her aesthetic sensibility is influenced by her early studies in computer science and her first career and BFA (hons) in interior architecture (Curtin University, 2001). She holds a Postgraduate Diploma in Jewellery Production (Curtin University, 2006) and a jewellery and metalsmithing MFA (Monash University, 2009).
Her practice alternates between meticulously researched socially aware / protest art, and technology / materials-based investigations.
She has works in the collections of the National Gallery of Australia, the University of Iowa Museum of Art, and Cheongju Collection in South Korea, amongst others, and she has exhibited in the prestigious Schmuck exhibition in Munich. Cameron has received grants and prizes, presented at conferences, attended residencies, and published writings on jewellery and architecture globally.
Artist Statement
Made from recycled steel chain that has been sandblasted and enamelled in red and white, the colours of a STOP sign. When decoded via ascii/binary, the sections of this piece read: “rapidly closing window of opportunity to secure a liveable & sustainable future for all – IPCC 2023”
(IPCC – Intergovernmental Panel on Climate Change)
Costume jewellery sent to the artist.
detail – rapidlyclosingwindow… #9, 2025, mild steel, vitreous enamel, 75 long chain x 10cm x 1cm, $2000
detail – rapidlyclosingwindow… #9, 2025, mild steel, vitreous enamel, 75 long chain x 10cm x 1cm, $2000
Anna Davern
Artist Bio
Anna Davern lives and works on Wurundjeri land in Naarm, Melbourne. She gained her undergraduate degree from Sydney College of the Arts in 1993 and completed her Masters degree at RMIT in 2003.
Anna has held three solo exhibitions at Craft Victoria and has been represented in numerous Australian and international solo and group exhibitions. Most recently she was selected for Schmuck 2025 with work that was made for the 2024 iteration of Remade/Reloved.
She has been the recipient of grants from the Australia Council, Arts Victoria and NAVA and in 2007 she undertook a residency at the Estonian Academy of Art. Davern has taught and lectured at universities and TAFEs in Australia and overseas.
Artist Statement
My practice begins with a fascination for the transcendent power of objects. As a jeweller I am interested in the ways objects can hold meaning and memory, inspire devotion, and invite connection. I am influenced by the lavish adornment of Byzantine icons, where embellishment with precious materials elevated the object into a vessel of reverence and metaphysical power.
In the parcel of materials I received for Remade / Reloved 2025 there was a curious clasp that I guessed had once been used as a cape or coat closure. On my bench I also had a biscuit tin depicting two terriers, which I had been wanting to use for some time. The clasp presented itself as the perfect mechanism through which to create this diptych.
These elaborately embellished puppy icons draw on the humour and excess of kitsch, while also honouring the overlooked and the humble, suggesting that reverence can extend to the most ordinary things.
Photo credit: Fred Kroh
Costume Jewellery sent to the artist
Brian the Tinkerer and Marge, Our Lady of Woy Woy, 2025, Clasp mechanism and beads provided for the project, biscuit tin, mild steel, sterling silver, sil thread, 300W x 160H x 20D (mm), $990
Laura Deakin
Artist Bio
Laura Deakin is an Australian-born contemporary jeweller whose work combines traditional jewellery techniques with modern and classic materials. Using this contrast, her work focuses on contemporary and political issues. In 2003 she completed a Bachelor of Fine Art (majoring in Contemporary Jewellery and Hollowware) at Monash University. In 2010 she complete a post-graduate Masters of Fine Art at Munich’s Academy of Fine Art (Akademie der Bildenden Künste).
She currently works full-time as an artist and goldsmith and is founder of the label Coral Covey Jewellery. Laura is represented by Galerie Wittenbrink, Germany & Gallery Loupe, USA. Her work can be seen in permanent collections at The National Gallery of Victoria (NGV), Museum of Modern Art & Design, Munich and Gallery Marzee in Nijmegen, The Netherlands. She lives and works in Melbourne/Naarm.
Artist Statement
Broken, damaged, ruined, unusable, battered and f**ked. We live in a ‘just get a new one’ culture where it’s often cheaper and easier to buy a new …… (fi ll this space) – than it is to repair, reuse and revive.
Nature and history teach us that there is great value and reward in taking the time to mend, fi x and/or restore something for further use and love. Pearls are a perfect representation of the reward given from destruction. A symbol born from irritation and damage. When a mollusc is broken apart, its defect shimmers in the light. It’s the imperfection is what makes it precious.
These synthetic pearls have been discarded, gathered, reused and reloved using a technique I created and developed almost 20 years ago. They are broken and remade, and revisiting this method has felt a like my own little journey to repair.
– Laura Deakin
Costume jewellery sent to the artist
A Ring of Pearls, 2025, Sterling Silver (oxidised), polyester resin, pigment, synthetic pearl lustre, 65 x 65 x 40mm, $9540
Ring of Pearls – on hand
Celia Dottore
Artist Bio
Celia Dottore is an artist, curator and writer living and working in Naarm/Melbourne. She holds a Bachelor of Visual Art and Applied Design from Adelaide College of the Arts and a Master of Arts (Studies in Art History) from the University of Adelaide.
Working primarily with sterling silver, alongside found and collected materials, Celia’s approach is largely intuitive, transforming and connecting her chosen materials. Her work explores themes of memory, ritual, superstition and sentimentality, often drawing inspiration from nature, religious art and philosophy. Through her practice she examines the deeper meaning and symbolism we attach to body adornment and decorative objects within our daily lives
Artist Statement
These works extend my practice of using reclaimed and found materials, guided by a commitment to reuse, sustainability, and the reinvestment of value in what might otherwise be overlooked. Each brooch pin incorporates found or gifted elements that carry a sense of history — connections to people, places, and moments in time. Like a charm bracelet, they each offer a small collection of stories. The recurring motif of the snake symbolises protection, healing, renewal, and transformation, infusing each piece with talismanic power.
Costume jewellery used by the artist.
Snake Charmer Brooch II, 2025,
sterling silver and mixed media,
Approx. 9 x 5 cm, 9 x 7 cm, $500
Snake Charmer Brooch I, 2025,
sterling silver and mixed media,
Approx. 9 x 5 cm, 9 x 7 cm, $500
Sian Edwards
Artist Bio
Sian Edwards is a jewellery and object artist and maker. Taking inspiration from a multitude of sources, her work is defined by an interest in detail, repetition, pattern, and light. With a focus on animals, her work references both the rich historical use of animals in adornment and the actual animals that share our world. Her work is playful, illustrative, and at times delves deeper, undertaking anatomical material studies of her chosen subjects. Her approach to materials considers their relationship to the body through tactile qualities such as movement and texture.
Artist Statement
The Remade-Reloved project allows me to step outside of my regular practice, challenge myself, and follow a tangent. Since first participating in the annual project, I have been reworking glass seed beads. For Remade-Reloved 2025 I have continued this exploration, resulting in a series of neckpieces.
With the aim to keep materials and construction simple, I have used fused Argentium silver links to support the glass beads. Knowing that glass can handle heat means that each link can be loaded with beads and then fused into the system using a tiny flame. Every link requires attention; too much heat and the metal join will melt away.
Each neckpiece explores a different chain system, all starting with a simple beaded link. Complexity begins to arise through layering links in repetitive patterns. These pieces are iterations of a simple idea, and an invitation to continue along this tangent.
Costume jewellery sent to the artist.
Linked Bead Neckpiece – Red, 2025, reused glass seed beads, Argentium silver, 490 x 20 x 5 mm, $540 (detail)
Linked Bead Neckpiece – Red, 2025, reused glass seed beads, Argentium silver, 490 x 20 x 5 mm, $540
Linked Bead necklace Red $540, Linked Bead Necklace Brown $420, Twisted Bead Necklace BRown $220
Jenny Fahey
Artist Bio
Jenny Fahey is a Sydney based artist who is drawn to small, overlooked treasures—the odd and beautiful elements that comprise both our natural world and our manufactured surroundings. Through repetition of forms and material experimentation, she creates intriguing works that she hopes invoke curiosity.
Artist Statement
When I was a child, my father unexpectedly received a big box in the mail, it was so exciting opening it! Inside, cushioned in straw, was a woven cane stool from India with a red leather top, embossed with colourfully adorned elephants. There was also a small wooden bookmark with three tiny carved elephants which would march atop the pages of a book. I was enchanted by that little bookmark & when my father died not many years later, I must have taken it from his desk for it has lived amongst my many small treasures, an echo of loss but also a beautiful memory.
The small elephants in the bone necklace—reminiscent of those atop the bookmark—led me to delve into its history. It was likely made in India in the post-WW2 Jet Age, when non-stop flights connected Bombay to London and New York and the souvenir trade in India boomed. The long craftsmanship of Indian ivory carving now catered to an insatiable tourist market, bone being an affordable substitute for ivory.
I have found meaning in my practice through exploration of materials and process teasing out ideas of value. Here I have carved bone elephants, a bamboo curtain rescued from curbside rubbish, the mineral pyrite fool’s gold & 3d printed samples. They reflect the ways we make, collect and transform materials into objects of use, ornament, and memory. Inevitably they reveal the ways we consume and discard objects, our thoughtless shifting notions of worth.
Costume jewellery used by the artist
Souvenir earring 1, 2025,m80mm x 30mm, bone, bamboo, acrylic paint, sls nylon, coated stainless steel, pyrite, sterling silver, $280
Souvenir earrings 2, 2025, 70mmx 18mm, bone, bamboo, acrylic paint, sls nylon, coated stainless steel, pyrite, sterling silver, $280
Souvenir Earrlings 3, 2025, bone, bamboo, acrylic paint, sls nylon, coated stainless steel, pyrite, sterling silver, $280
Souvenir necklace, 2025, 900mm x 110mm, bone, bamboo, acrylic paint, sls nylon, coated stainless steel, pyrite, $460
Lisa Furno
Artist Bio
Lisa Furno lives and works on Bundjalung Country. She is an artist that integrates photography, objects, performance, installations and contemporary jewellery into her practice.
Lisa uses second-hand materials to create thought provoking objects and installations. Each object invites audiences to unravel its layers of meaning and discover a slightly dark sense of humour, one that challenges our relationship with consumerism and asks important questions about its long-term social, ethical and environmental impact.
Costume jewellery sent to the artist
Untitled, 2025, pre-loved necklaces from bridget, black bead necklace from lismore lifeline op-shop, waxed cord, sterling silver, 270mm x 190mm x 30mm, Photography Anna Green, $820
Szilvia Gyorgy
Artist Bio
Szilvia Gyorgy is an artist who works primarily with porcelain and light, and enjoys making things that are on the overlap of sculpture and design. She is happiest when experimenting with various materials and responding to the qualities they have to offer.
Szilvia spent her formative years in Hungary, but has been living in Sydney most of her adult life. Her works are found in collections throughout the world.
Artist Statement
Finding beauty in a world of excess is not always easy, yet it is our responsibility to seek it. Every material holds a story waiting to be heard, and from those stories the smallest sparks of curiosity can grow into something meaningful. In every crafted object lies an entanglement of unseen hands, distant lands, and choices that echo far beyond the moment of creation. After many failed attempts to see how these narratives unfold, I turned my attention to the known. I thought of family ties I cherish and ties I don’t. Relationship dynamics shift suddenly – knots that form in an instant and can take forever to unravel. Open and enclosed forms are punctuated by the colours and shapes of given materials, taken from pieces once loved and now remade into something new. In the Entanglement series, parts are intentionally linked in a way that some of the components can be understood in isolation, therefore a simpler form can also be worn. My jewellery practice focuses on spirals and links, exploring how repetition and connection reconfigure both material and memory.
Costume jewellery sent to the artist
Entanglement Necklace, 25, 450 x 20 mm, $260
Entanglement Necklace, 2025, 300 x 50 mm, $200
Entanglement Earring , 2025, 70 x 40 x 25 mm, $90
Entanglement Square, two in one demountable Earring , 2025, 70 x 30 x 25 mm, $90
Entanglement Square, two in one demountable Earring , 2025, 55 x 10 x 20 mm, $90
Entanglement Square, two in one demountable Earring , 2025, 70 x 25 x 25 mm, $90
Entanglement Square, two in one demountable Earring , 2025, 80 x 30 x 30 mm, $90
Pennie Jagiello
Artist Bio
Pennie Jagiello is an accomplished Melbourne based contemporary jeweller who recently completed a Masters in Art at RMIT, titled: ‘Remains to be seen, worn and heard: an inquiry into anthropogenic debris investigated through contemporary jewellery objects‘. Her ongoing research investigates the objects we use & discard, and the environmental consequences of unsustainable practices. Her master’s body of work was constructed entirely from anthropogenic debris collected from beaches and coastal environs across Victoria, New South Wales & the Pilbara. Pennie was a finalist in the 2017 Victorian Craft Award, and recently selected for a residency with Form Gallery in Western Australia, which enabled her to visit the Pilbara during 2014-16. Her works have been exhibited nationally at selected Craft and Design galleries, as well as showing in alternative art spaces. Pennie is a short course lecturer in the School of Fashion and Textiles at RMIT, as well as a guest lecturer in the School of Art.
Artist Statement
For this iteration of Remade, Re-loved, I was gifted a parcel of costume jewellery. Among the assortment were brightly coloured pieces, yet I found myself instinctively setting aside colour. Instead, I was once again drawn to the imitation pearls—objects once manufactured to mimic preciousness but now dulled with age, their fading lustre reflecting our shifting, often misplaced, sense of value. In their deterioration, I saw an analogy for what humanity currently holds dear, and the stark dissonance this creates when viewed against the ongoing devastation in Palestine.
As I held these false pearls in my hands, I stripped away their decaying surface to uncover their core identity. What remained became something more enduring than imitation—beads reimagined as “Seeds of Hope.” From this, the collection takes its name.
The accompanying pieces offered another provocation: faceted plastic “crystal balls.” Cheaply manufactured, yet laden with symbolism, they pose a question—what future do we truly see or want to see? Their deceptive allure reflects not clarity, but the difficulty of discerning truth in a world clouded by factional politics, sponsored media, and the insidious weight of misinformation. What is real, and what is artifice?
I deliberately excluded colour in this series. Colour—whether in aesthetic terms or in racial, political, or religious contexts—should never divide. By working in a neutral palette, I invite viewers to step beyond distraction, to engage with the essence of form and idea rather than the superficial trappings of hue.
A recurring motif in my practice, the jellyfish, weaves its way through this work. It embodies a “lightness of being”—its physical fragility counterbalanced by its symbolic weight as an indicator of ocean health. The state of jellyfish populations, whether flourishing or diminishing, tells us much about environmental wellbeing. In this sense, they extend beyond the sea, serving as a mirror to how we treat each other and the planet.
Each piece within Seeds of Hope carries this duality: the fragility of costume jewellery – often dismissed as cheap, disposable, and unworthy – juxtaposed against its capacity to be remade, reloved, and imbued with meaning. The analogy to human life is clear. In a world where capitalism and greed are too often prioritised above empathy and justice, lives can be treated as equally expendable. Yet within each discarded bead, each false pearl, there is the possibility of renewal – a seed waiting to grow.
My practice continues to ask: will we keep polishing illusions, or face the raw truth of what we discard – objects, lives, humanity itself – and find a way to seed hope in its place?
Costume jewellery sent to the artist
Seeds of Hope Circle (earrings), plastic “crystal balls”, found silicon/vinyl/rubber (Abbotsford Convent), Telecom wire, recycled sterling silver, $240
Seeds of Hope (earrings), fake pearls, marine debris plastic (Coogee Beach), recycled sterling silver, vintage copper wire (Telecom), $170
Seeds of Hope (earrings), fake pearls, vintage copper wire (Telecom), $210
Seeds of Hope Half Pipe Pendant, fake pearls, marine debris plastic (Coogee Beach), vintage copper wire (Telecom), vintage ribbon, $360
Seeds of Hope Circle Pendant, fake pearls, marine debris plastic (Coogee Beach), vintage copper wire (Telecom), vintage ribbon, $320
Seeds of Hope Square Pendant/Bangle, fake pearls, marine debris plastic (Coogee Beach), vintage copper wire (Telecom), vintage ribbon, $360 (image of all three pendants)
Seeds of Hope Baby Jellyfish Chain, fake pearls, vintage copper wire (Telecom), vintage ribbon, $300
Seeds of Hope Jellyfish Earrings, plastic “crystal balls”, marine debris plastic (Coogee Beach), vintage copper wire (Telecom), recycled sterling silver, $160 (small, $170
Bridget Kennedy
Artist Bio
Artist Statement
Re-use and re-making have become part of my core practise as an artist. One of the things I enjoy about this project is the opportunity to play with new materials as a starting point. Sometimes I have an idea of what I’d like to make, and sometimes this doesn’t work out as the material doesn’t act in an expected way. Repetition is often utilised in my work, sorting and ordering brings calmness and time to think. It can also connect and bring together disparate objects. I’m not drawn to glitzy jewellery and originally wanted to totally cover these little rhinestones with enamel or electroplated copper but the materials didn’t want this, so this is where we land…with the process informing the outcome, a play on preciousness. I’m happy with this.
Costume jewellery used by the artist
Diamonds? Diamonds (Silver), 2025, brooch/wall work, repurposed rhinestones, diamonds, oxidised sterling silver, epoxy, nailpolish, stainless steel – $1357
(Wall mount – repurposed costume jewellery, felt)
Diamonds? Diamonds (Silver), 2025, brooch/wall work, repurposed rhinestones, diamonds, oxidised sterling silver, epoxy, nailpolish, stainless steel – $1357
(Wall mount – repurposed costume jewellery, felt) (BACK DETAIL)
Diamonds? Diamonds (Gold), 2025, brooch/wall work, repurposed rhinestones, diamonds, 14ct gold, epoxy, paint, stainless steel – $2408
(Wall mount – repurposed costume jewellery, felt)
Diamonds? Diamonds (Gold), 2025, brooch/wall work, repurposed rhinestones, diamonds, 14ct gold, epoxy, paint, stainless steel – $2408
(Wall mount – repurposed costume jewellery, felt) (BACK DETAIL)
Erin Keys
Artist Bio
Erin Keys is a contemporary craft practitioner with 25 years’ experience as a jeweller, designer and educator. Working on Gadigal land, she teaches from The Bench Sydney, a jewellery school and workshop. Her practice is rooted in fiction, archaeology and prehistory, resulting in a symbolic configuration that becomes an aesthetic artefact of her urban landscape. Exploring the space between materials and that which is concealed, she collates memories and draws meaning from remnant matter. By mapping her body within space, she simultaneously assumes the roles of both archivist and interpreter, obscuring the distinction between a fictional and an archetypal archive.
Artist Statement
Through deliberate destruction and mindful reconstruction, this brooch series explores transformation through intention. Each piece begins with whole glass beads—turquoise and coral—that I deliberately shatter through hammering; a necessary dismantling that creates possibility. I carefully arrange these fractured, lightweight elements within sculpted brass settings; what was once light becomes avoirdupois—the measured weight of all we bear. Applying symbolic interactionism, each brooch becomes a wearable metaphor for resilience and healing, inviting wearer and viewer to engage with narratives of personal transformation.
Costume jewellery sent to the artist
Regina Krawets
Artist Bio
Having enjoyed a career in interior design, in 2021 Regina completed a Bachelor of Design at UNSW Art & Design and a jeweller’s trade course in 2023 to hone her technical skills and pursue her passion for creating contemporary jewellery pieces in fine metals that merge a love of architectural forms, colour and textiles to create contemporary objects of adornment.
Building on an appreciation of repetition in design and the belief in the maxim that the whole is greater than the sum of its parts that first attracted her to complex beadwork, Regina continues to draw inspiration from her urban environment exploring notions of its intersection with nature and its inhabitants, identity and belonging as well as issues of sustainability.
Artist Statement
Toxic Beauty
When asked what kind of materials I might like to work with for this year’s iteration of Remade-Reloved, without much forethought I replied “resin”. So that is what I got. A
whole lot of different types of resin. Despite having worked with resin in previous years I had never given much thought to the material beyond its visual appeal. However material should not only be an aesthetic consideration, it matters as much ethically and ecologically. Resin’s allure is understandable. Unlike metalsmithing it affords a low cost, low tech entry into the world of creative adornment. Yet, transparent or marbled, vibrant or pastel coloured, its candy-coloured, glossy goodness hides toxic truths. Which I uncovered while researching ways the material could be manipulated. Most resins used in jewellery contain harmful compounds such as toluene, benzene, and bisphenol A – all of which pose significant risks to human health. These substances are not only carcinogenic; they are also endocrine disruptors, with long-term effects ranging from hormonal imbalances to neurological damage and reproductive harm. Additionally, inhaling fumes or the fine dust created when cutting or carving resin can result in aggressive forms of cancer, particularly those affecting the respiratory system and blood. The environmental impact is equally alarming. Resin production relies heavily on petroleum, generating hazardous waste and contributing to microplastic pollution. Once discarded, resin jewelry does not biodegrade; instead, it breaks into fragments that persist in ecosystems, leaching toxins into soil and water. Each brooch in this collection represents a different harmful chemical compound. The
necklaces represent the damage these substances can inflict. Through this work, I invite viewers to reconsider the materials we celebrate and choose to wear. True adornment should not come at the cost of human health. Beauty, after all, should not be toxic.
Costume jewellery sent to the artist
Benzene, Brooch, 2025, repurposed resin and glass beads, sterling silver, Stainless steel, $500
Bisphenol, Brooch, 2025, repurposed resin, sterling silver, Stainless steel, $500
Dyspnea 1, Necklace, 2025, Assorted repurposed resin beads, sterling silver, $230
Dyspnea 1, Necklace (small), 2025, Assorted repurposed resin beads, sterling silver, $230
Toluene, Brooch, 2025, repurposed resin and
pearl beads, sterling silver, Stainless steel, $500
Vicki Mason
Artist Bio
Vicki Mason (b New Zealand) completed a Bachelor of Arts in Classical Studies at the University of Otago and a Diploma in Craft Design from Otago Polytechnic School of Art (Jewellery) before working at Fluxus workshop/gallery with renowned goldsmith Kobi Bosshard. She was awarded a Master of Philosophy degree (Research) in Gold and Silversmithing (ANU) in 2012.
She runs production and exhibition practices, teaches, and interviews for Art Jewelry Forum, the international online platform for contemporary jewellery. Mason has been awarded many grants and awards including the prestigious Australia Council for the Arts Barcelona Studio residency in 2014. Her work is held in both public and private collections including the Shanghai Institute of Visual Arts, Shanghai, Powerhouse Museum, Sydney and the Art Gallery of South Australia. She is treasurer of the World Crafts Council – Australia
Artist Statement
Every drop counts and Squeeze the cloud
Many states of Australia are experiencing one of the driest periods since the millennium drought. Some farmers are having to buy in water, crops are being affected, and water restrictions are in place in certain areas. It may well be a portentous glimpse of what is to come as the climate changes.
These jewels are amulets and talismans, a form of jewellery designed to protect and give beneficial powers. The series Every drop counts and the work Squeeze the cloud are embedded with thoughts of quenching rain, its drop like forms, water’s ability to revive and heal, and the cool blues of rivers, lakes and streams. Squeeze the cloud is a necklace to be squeezed when needed and a gentle touch of the circular raindrop brooches and pendants of the Every drop counts series serves to attract the good fortune of a downpour. These works are for farmers, their families and all those who need soaking rain and believe small but powerful artifacts can help maintain hope in trying times.
Costume jewellery sent to the artist
Every drop counts amulet, 2025, Wood, enamel paint, ink, sterling silver, 3.9 x 3.9 x 1.3 cm, $420
Squeeze the cloud, Dyed wood, unknown plastic, nylon, glass, wool, acrylic, cotton. mohair
Dimensions: 40 x 18 x 3 cm, $525
Squeeze the cloud, with every drop counts brooches
Every drop counts for the flora, 2025, Wood, enamel paint, oxidised sterling silver, $195 (right), Every drop counts for the animals, 2025, Wood, enamel paint, sterling silver, $195 (left), Every drop counts for the farmers and their families, 2025, Wood, enamel paint, oxidised sterling silver, $195 (bottom)
(from left to right) – Every drop counts for the rivers, Every drop counts for the gardeners, Every drop counts for the soil, Every drop counts for the planet, 2025, sterling silver, oxidised sterlingsilver, enamel paint, nylon, wood, 1.9 x 1.6 x 0.8 cm (pendant), $175 each
Regina Middleton
Artist Bio
Regina Middleton is an Artist and Jeweller who resides on Wadawurrung Country along the coastal dunes of Torquay. Regina holds a Bachelor of Arts – Jewellery Design, Curtin University and an Honours in Fine Art, Monash University. The works made for re:made re:loved were completed during a 3 month secondment to Aotearoa, with the highs and lows of being the mother of two young energetic children.
Inspired by the natural world, Regina’s practice begins with collecting, predominantly drawn to weathered plastics/ marine debris/ flotsam and jetsam. These materials are then paired with traditionally precious materials, elevating their perceived value. Themes of femininity, consumption and grief are intertwined; enticing the viewer to pause and reflect, igniting curiosity and welcoming connection.
Artist Statement
The Weight of Waste
A wearable (albeit uncomfortable) artwork made with some of the left over materials from last year’s re:made re:loved. Embellished and decorated with the materials from this year. A work that is reflective. Uses text, and the decorative form to engage the viewer. A work that weighs more than a wearable work should. A piece that sits on the precipice of wearable and sculpture. Potentially causing the wearer physical discomfort. I’ve been on a studio hiatus. Consumed with managing our wee family and working close to full time. Not an intended decision but one that was offered to me as a short term opportunity which I have enjoyed and quickly become reliant on financially. I haven’t thought much about making during this time. Sure I’ve facilitated a few workshops, which I have loved, but I haven’t really had the time to actually slow down and be. Until a winter lurgie finally caught me in its grasp. And after many months the familiar feeling of inspiration reignited within my veins.
Unfinished Business
Arose in response to The Weight of Waste, at a moment where I wasn’t sure if the work was going where I had intended it to. It flowed intuitively and swiftly, utilising the remaining plastics I had gleaned along high-tide lines during our time in Aotearoa; incorporating left over ‘gems’ from last year’s bag whilst celebrating the fun found in this round.
Costume jewellery sent to the artist
The Weight of Waste, 2025, Found weathered plastics, faux pearls, glass beads, plastic beads, glass gemstones, rose gold plated sterling silver, non-precious metals, plastic pretending to be metal, linen, cotton, silk thread, 44x19x7cm, $485
Unfinished Busines, neckpiece, 2025, Found weathered plastics, faux pearls, glass beads, plastic beads, glass gemstones,
rose gold plated sterling silver, non-precious metals, plastic pretending to be metal,
linen, cotton, silk thread, 44x11x5cm, $500
Kaoru Rogers
Artist Bio
Kaoru Rogers is a Japanese Australian artist exploring materials, repetition and combinations. Her process is akin to puzzle making, shuffling elements into the right composition and finding the perfect balance in how forms can sway, flutter, hang or perch.
Born in Tokyo but growing up, living and working in Canada, New York, Hawaii and Los Angeles, her work is influenced by her diverse experience.
Artist Statement
“Reimagined Faux Gem Suite”
A necklace and earring set made from reimagined faux beads created from paint and gold thread already in my studio. I’ve also been experimenting with some kiln-fired enamel on copper this year and elements from that has been added for some fun. Nothing new was bought to make this sweet suite.
Thought process and technique :
From the package I received, the fake pearls and a string of clear beads strung on orange rubber cord popped out at me.
I saw that the faux pearls were peeling and a little damaged. I was curious to see if I can dye the pearlescent coating. I dipped them in a hot indigo dye bath and saw that some of the coating started to peel and bubble off. Then I thought I’d just peel them off and ended up with some plastic white
beads. After roughing them up a little with some sandpaper in my bench tray, I started painting them with acrylic and oil paints off my studio shelf. Just tried painting any color without much thought. I also gilded some with gold leaf, silver leaf and copper leaf I had. After awhile, 4 colors that look like real gems stuck with me. Coral, Malachite, White Bronze and Yellow Gold. Since the orange rubber cord was broken on the clear beads, I restrung them with different string I had in the studio. The gold string stuck because it made the beads look like Citrine. Interesting because the orange cord made them look like Agate or Carnelian. This is always the case when you
buy a string of clear beads. The color of the cord always tricks your eyes! This year, I bought myself a little kiln and have been playing with it, enameling on strips, tubing and discs. I thought I could add some sample experiments for some fun. This is how I ended up with my new remade “Reimagined Faux Gem Suite”.
Costume jewellery sent to the artist
Reimagined Faux Gem Suite – earrings, Imitation Citrine/ Gold/White Bronze/Coral/Malachite,(recycled plastic beads and core of fake pearls, 22k gold gild and paint) Enameled Copper Discs, 10k yellow gold wire, 2cm wide x 5.5cm, $450
Reimagined Faux Gem Suite – neckpiece, 2025, Imitation Citrine/ Gold/White Bronze/Coral/Malachite,(recycled plastic beads and core of fake pearls, gold gild and paint, gold thread) Enameled Copper Tubing, 125cm long, $650
Margarita Sampson
Artist Bio
Margarita Sampson is a Norfolk Island based sculptor and maker. Her work is strongly influenced by her Norfolk Island background, referencing natural forms, patterns & textures, in particular underwater lifeforms.
Artist Statement:
I set out to make a work 100% out of recycled materials. This work is made from recycled copper telephone wire from scrap cables, which have been unwound, and then respooled into these links. Some of the links carry a little cup-shaped bead, like a sprout, which to me signifies growth or exponential, making this work have a suggestion of the organic. I had several other experiments with this project which didn’t turn into anything I felt were resolved enough to exhibit, but this is nature of creative exploration.
A note on the title: On Norfolk Island, the Polynesian/Tahitian word for a kind of drum has become the word for ringing in the Norf’k language, as in ‘no tola’ if someone doesn’t pick up the phone, or ‘tola mii” to say ‘call me’.
Costume jewellery sent to the artists
Tola Neckpiece, 2025, provided plastic beads, reclaimed telephone wire,
28 cm x 27cm x 4 cm, $450
Melinda Young
Artist Bio
Melinda Young lives and works on Dharawal Country. Her research-based practice spans jewellery and intimately scaled textiles reflecting experiences of being in and understanding place, underpinned by complexities of place-based making in contemporary Australia. She is interested in materiality – the traces of human and non-human interactions left behind on the body and the land. Exhibiting extensively in Australia and internationally since 1997, her work is held in public collections and included in numerous publications. Melinda is an Associate Lecturer, Faculty of Arts, Design & Architecture UNSW and undertaking a PhD in Human Geography and Creative Arts, University of Wollongong.
Artist Statement
The re-use and re-working of carefully chosen and combined found materials is central to my practice. My work reflects the sensations inherent in making and wearing, such as the texture, colour and sound of materials. I am motivated by the transformative power of adornment and its ability to make a statement through the sharing of stories as a form of quiet activism.
The call to participate in remade/reloved presents a range of material challenges, it is a playground for exploring new techniques and ideas or revisiting old ones. The materials have come from the bag of things Bridget sent this year. I asked for beige things (and hoped for some pearls and shells), because I knew that I wanted to use this plastic sand shovel, shaped like an ice cream cone, that I found washed up on the beach over the summer to make a piece with cascading (or erupting) materials. Kind of like reverse sand, in that the shells have not been crushed by the elements, yet.
Costume jewellery sent to the artist
Soft Serve (natural and artificial ingredients)
Necklace or wall hanging, 2025; A toy plastic shovel found on the beach,
mother of pearl, faux pearls, shells, bone, rose gold coloured chain, silk thread,
paint , $299
