'Attachments and Fasteners' 2025
Curated by Jennifer Lind and Paige Laundy, Attachments and Fasteners was a group exhibition showcasing the work of Brisbane/Meanjin-based artists as they explore the theme of connection through jewellery and small objects crafted from diverse materials.
Connection is an inherent part of the human experience-sometimes enriching, sometimes challenging. This exhibition delves into these relationships, whether to the body, the environment, the self, or beyond, offering a rich tapestry of interpretations.
Guided by the concept of "Attachments and Fastenings," exhibiting artists employ a range of jewellery-making and sculptural techniques, using materiality, metaphor, and representation to examine what it means to connect. The exhibition highlights a variety of practices, pushing the boundaries of traditional metalwork and embracing materials of all kinds.
Gulnoza Akhmedova, Octavian Alsop, Katherine Bracco, Breanna Burke, Ella Collopy, Taya Fay, Gabi Harris, Catherine Henley, Anna Krispel, Paige Laundy, Jennifer Lind, Susan Richardson, Elsie Salkeld, Toni-Maree Savage, Kimberly Smith, Kelsey Tregear
Curators text below
Curators Text
In 2024, Paige Laundy and myself had decided to become co-curators for what would be become the 'Attachments and Fasteners' exhibition in February of 2025. For the exhibition we wished to curate a selection of wearables and small objects which not only showcased strong thematical elements but also the high level of skill and wide variety of practice within the Meanjin fine jewellers space.
Attachments and Fasteners was born then of an exploration of the physical and non-physical attachments which bind us together and to other - focusing on both jewellery fasteners in their unique way to connect body to art, but also to the deeper connection this medium forms.
We chose 14 exhibiting artists and arranged the room so that opposing and complimenting pieces were parallel, perpendicular and opposite to each other – we expanded that notion of connection past the works themselves to encompass the physical layout of the space. In one room, a bed scene by Taya Fay explored masculine dysphoria while facing it in the room next door was a small plush bed by Gulnoza Akhmedov of very different thematic origins. Then again we had Breanna Burke's contemporary metal-paper compositions directly facing Catherine Henley's more classical jewellery approach to combining material.
The room is filled with these parralels and juxtapositions and these vignettes further provide discourse to the already complex web of attatchment within the space. The exhibition itself as narrative to transcend the 'white box' which simply houses the 'work of art.'
Jennifer Lind 2025
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