In collaboration with Public Assembly (http://publicassembly.com.au/) Roseanne co-produced a performative and social compendium of jewellery concepts and techniques, with input drawn from Melbourne’s contemporary jewellery community of practice.
Operating from a studio located in Public Assembly’s converted van situated on the streets of Melbourne, PDF Exchange was activated alongside programmed Radiant Pavilion events.
Synthesising DIY tutorials with traditional training methods, P.D.F Exchange facilitated an alternate framework for tacit knowledge transmission. The project acquired momentum through daily repetition of a jeweller’s task with conceptual and technical resolutions generated via verbal instruction – sharing of specialised know-how between a revolving visiting instructor participant ‘VIP’ and an in residence novice maker. Stylistic variations were observed, abstracted and annotated as sequences of movement or verb chain, by an in house dedicated scribe.
a Volunteer Instructor Participant (VIP) Guest Instructor
Stationed curb-side somewhere nearby
of reconditioned brakes and retro attire
loiters Daisy our Studio On Wheels (SOW) Daisy the Van
recently equipped with bench top and wire
hammer, file, bench peg and flat plier
Residing inside, filled with patient yearn
sits one super keen Novice Maker (NM) LR
bright eyed, eager and ready to learn
Accompanying this positivist vibe
awaits the finely crafted stencil
and patiently poised sharpened pencil
of one amateur yet Dedicated Scribe (DS) RB
Threshold of Welcome mat traversed
VIP, NM & DS become acquainted,
Operational procedures are rehearsed
Objectives are firmly stated
we ask that one simple task is taught
Earring Wire: Hoop/Hook
with stylistic variation eagerly sought
Upon instructional direction
Issued from the visitor VIP
Implicit and explicit know-how
are transmitted to novice trainee
as stylistic variations are proclaimed
verbal actions are duly exclaimed
in timely response, a duet resonates
lyrics of which the scribe annotates
imparted know-how textually rendered
prudently abstracted each gesture lingers
in sound, artefact and verb chain
making frenzy once replete
memento photo taken to complete
our VIP receives a pocket print
and a copy of the manuscript
the original is mounted for general display
the third collated without delay
as the PDF Exchange field manual
an open source anthology
of abstract personal know lodgy
Eating Daisy 2017
Anna and I met up for lunch in a cafe, and in breathless relay she tells me about her recent forays into the art world and I tell her of my recent foraging exploits in rural Victoria. When I say recent I mean instructive – learning more about weed and fungi identification in localised community workshops. These efforts complement my existing range of fruits, fungi and greens I currently procure from over and under fences, or from just around the corner.
We arrange to meet up in a few weeks at a nearby park to pick, slit, and thread daisies into chains and then through an advanced manoeuvre, consume – bite, chew, and then dispel as a continuous process (if possible). I think it sounds like fun but Anna is less convinced of the strange connection I making with foraging, jewellery and nourishment. I’m not sure either, or at least how exactly my proposition will pan out. I try to reassure her with a quick summary of my knowledge. ‘Dandelions are well regarded as a bitter green. Leaves and flowers are high in vitamins and can be eaten raw in salads or cooked like other greens. They’re easy to identify’. I endeavour to reassure her by saying, ‘I’ll bring along a fact sheet’.
I arrive prepared with a chopping board and paring knife. On second thought, I think they look too brutal for the genteel action we are about to commit. I packed them for Anna, being of artistic persuasion I wasn’t sure if she bit her nails – the horny covering at the end of the thumb is the tool required to impart the split. Location and season are in alignment. It’s rained recently, the grass is long and lush and fortunately for us the council mowing budget is always a bit stretched this time of year. I indicate areas to avoid, along fence lines or landscaping furniture, rock features and around trees. These I advise knowingly, are localised sites where dogs urinate and council workers spray poisons.
We begin harvesting. ‘Flowers and stems’, I offer in guidance, but Anna seems able to intuit this and we arrive back to where knife and chopping board are patiently waiting.
As a co-elaborator Anna is fantastic, her enthusiasm for the task is bountiful. Dandelion on the other hand seems to carry on with a mind of its own, coming untethered when faced with teeth, tongue and jowl. Together we persist. Intuitively I follow the course of the action, feeding Anna dandelion flower heads, as she splits, threads, suspends then mouths, chomps and chews them. Normally, making daisy chains from flowers is associated with innocence, tranquil past times or green living. In our hands the activity becomes unfettered, the articulation of Anna’s jaw is sensational, ferocious and carnal.
2017 Annotating Daisy
Tracking down Bellis perennis, a solar responsive plant, took more sunlight hours than first anticipated. Not found within my own garden, I foraged for it further afield. According to another search method Google, my associate and collaboratively resourced Wiki suggests that the etymology of Bellis comes from bellus, Latin for ‘pretty’, and perennis is Latin for ‘everlasting’. This may account for its use as a flower extract in skin care products, ‘including astringents, whitening agents, toners, serums, lotions, ointments and poultices’.
My hunt began in early summer. On first assessment, local nature strips and parklands were either too dry, or cultivated in a coarse couch grass, providing less viable growing conditions for the rhizome to take hold and spread. Working with the basic tenet of a forager – the universe provides – I kept an eye out in my travels, eventually spotting a patch on the grassy rim of a busy public park near lakes edge in the South Island of New Zealand. Climate, season and region were in sync on this day. Growing in close proximity to each other it didn’t take long to gather enough flower heads, and I sat cross legged on the garden edge to make up a chain. Making in this manner didn’t seem too far out of the norm, the park was crowded with families with young children, elderly tourists and backpackers, some of whom were practicing walking a tightrope strung between two trees. I reached the end of my supply and fortunately their combined effort produced enough length to place over my head. The only problem I faced was I couldn’t recall how to join the ends into the continuous loop. Working within externally applied time constraints, I decided against public consultation although I felt sure the answer lay close at hand.
Returning home, I consulted with the online oracle to see if there was an agreed finishing method and was surprised by the range of definitions and options I could pursue, should I wish.
Definition of daisy chain: a daisy garland created from daisy flowers or one of the following: https://en.wikipedia.org/wiki/Daisy_chain (accessed March 20, 2018).
Within days of the back of our house being knocked off, I configure a makeshift photography studio on our side of the temporary black plastic wall. In amongst the dust and rubble I rummage around for a response to HEAT, a group exhibition and programmed performances exploring solar radiation as an artist’s medium. I’ve been having second thoughts, ruminating on my initial proposal for hosting shadow walks, in part because I know how temperamental the weather conditions are in Auckland at the time of year the programme is proposed. As an artistic medium, I’ve found localised calibration of the sun’s solar forces is doable. However, as a co-elaborator in public facilimakings of the broach/brooch technique I’ve grown weary of its seasonal proclivities, or at least wary of scheduling public solar activities that rely on the sun’s ability to show up on time and shine.
I look around for other alternatives, however from the distance it seems to be stretching my own and others resources to establish a source of the sun sensitive bellis perennis growing nearby, or to guarantee public safety in my ad hoc method of creating heat sensitive smoke rings. Working within these constraints (in conjunction with others of my own) was testing of my ability to respond timely to externally applied schedules and deadlines. I decide on stepping back from the front line of facilimaking a social ornamental happening, and took a low public risk and subsequently lower social investment approach. I proposed to submit a series of artefacts accompanied by accoutrements that tell of the relationship between jewellery and heat through solar, incendiary effects and dehydration. These lightweight effects of heat flout energy intensive transformative processes, that as a studio jeweller I’d frequently performed, such as: casting, soldering, reticulation, fusing, forging and smelting.
My contribution to HEAT was an assemblage including: photographic trace (silhouette casting, collaged daisy chain, and smoke ring), accoutrements (selfie stick and smoke ring device), artefacts (the South Island daisy chain dried but not pressed) and charcoal stencilled wall texts, annotating gestures of making as a verb sequence for DIY public uptake. In some regards my hunch paid off, the weather was as unreliable as I’d predicted. The process of making the annotated wall text in situ, (charcoal trace, marked through a lowercase alphabetical stencil) proved a richer than anticipated material experience. This insight, along with other serendipitous discoveries advanced through ancillary doings of myself and others, grew my appreciation of previously under realised aspects of the operational apparatus of ornamentation.
Matteo (my son), flicks his finger on the rubber surface, it sounds more like a ping than a pong. To begin with smoke dribbles out in a loose spiralling formation, it looks more like a whiff than a puff. We repeat the action, practicing incense cloud ratio to finger flick intensity and soon voluminous smoke rings exhale from the belly and mouth of the plastic bottle. I watch and wait for the vortex of smoke to converge within the camera frame, while Matteo, the smoke ring maker, dashes around putting fingers through their centre or making a grab for them just before they atomised into thin air. These made for strange leapings about, gestures that caused us to fall around with laughter. However, the level of more serious wonder arose when seeing the detail of the toroidal vortex suspended in the picture frame. The flow of particles was amplified beyond what we could see when looking at with the naked eye.In the image, we caught sight of a form invigorated by a lively porosity, which in our grasping of it, gave us some pause to reflect on the porous materiality of ourselves.
 Heat: Solar Revolutions held at Te Uru Gallery, Auckland NZ February 2017
2015 Postcards From the Ring Road: Mailbox ARI installation & Paleo-fantasy walks
In readiness for setting out, co-elaborators are rudimentarily equipped with a bucket containing symbols – lines, circles and squares, in felt, paper and plastic, in three primary colours (instruments to assist us in the indexing of ornament); a blackboard pendant accessorised with chalk – a wearable accoutrement to make notes, symbolic drawings, or maps (in case we get lost); and a pamphlet outlining a step by step guide to the broach/brooch shadow-casting technique. Prior to this engagement I’d requested interested parties to bring along a smartphone or camera, for this is how the trace of our collective experimentation would register. I carry a rechargeable spotlight attached to a 2.5 metre pole.
Intuitively we form a procession; in single file our pace is meandering. Even though I’ve taken the bookings I haven’t fully planned our route. Our way forward is chartered according to the nearest available light source: cultivated light (hand held spot light), artificial light (existing foyer, mall or parking lot light) and natural light. The walk’s effect is reliant on the sun turning up and performing on schedule, but for two of the walks it clouds over and the sun’s emergence is fleeting, and on the last one it starts to rain. This wouldn’t be the only time during research that I discover that working in conjunction with the elements is a real test to the spirit of co-elaboration. I guide co-elaborators down a scaffold-covered side alleyway. It’s dark, dusty and smells of urine, and I am quietly thrilled by the theatrics of the space. Let’s imagine, I say, this is where it all began, we’re in a paleo-fantasy and this is the site of the Blombos cave.
Emptying buckets of felt, plastic and paper shapes, co-elaborators begin to sort them, arranging them as symbols on the ground and walls. Holding the spotlight high, one by one I back-light each of them in turn. Registering silhouettes prompts the initial association between shadow-casting and the indexing of ornament as a symbolic act (one that is simultaneously presents as an abstract ornamented silhouette on their phone screens). In the relay between doing and seeing, we’re attempting to re-surface the emergence of a preconscious relationship between ornamentation, language formation, and the movement of our bodies in space and time. Where acting out what I refer to on occasion as a paleo-fantasy. Our gestures may not cast in the same configuration that Plato was envisaging with his cave allegory, but small shifts in our perception begin to occur just the same. It’s music to my ears when I overhear ‘I’ll never think of jewellery or the city in the same way again’.
Security have requested we leave the complex. We’ve been here less than ten minutes and I’m impressed by the immediacy of the uniformed guard’s arrival on the scene. Fuzzy felt symbols adorn the alcove, although he doesn’t seem cognisant of their presence. We’re not given a specific reason for our ejection, but initial advice is that what we are doing is out of the ordinary, and it requires centre management permission.
Since leaving the scaffolded cave, our course has taken on a life of its own. Co-elaborators have become more intrepid and intuitive with their practice of the broach/brooch technique. Advancing up Flinders Lane we’ve dipped into foyers, parking lots and now Collins Place Mall. Walls, floors, foyers, stairwells and footpaths have been temporarily adorned. Co-elaborators seem more attentive to the viability of existing artificial light, and skilled in their directives – requests of me to assist them in their speculations on the ornamental event. I respond by augmenting low light conditions with the handheld accoutrement: a pole mounted Halogen spotlight. We move on every five minutes or so, supplementing our fantasy of the ornamental event, and of the becoming of ourselves, with a Paleo snack of blueberries and 90% chocolate. We take shelter under a skyscraper eave, to mark symbols with chalk on our blackboard pendants that trace something of the journey so far.
It’s a subtle, primal experience and the effects of the experience are shared conversationally and through the silhouette images posted with a hashtag online. As our climb nears the top of the hill, I’m hopeful the sun will come out for the advanced section of the shadow-casting technique. On this occasion we are rewarded for our efforts with a fleeting outpouring of the finest light known to ..….?
 An invented term. Co-elaborators are human and non-human contributors whose making and unmaking elaborate research tasks. Iterative engagement between these diverse agents mobilise the operative agency of co-elaboration.
 An archaeological site located in Blombosfontein Nature Reserve, east of Cape Town on the Southern Cape coastline of South Africa. The cave contains Middle Stone Age deposits currently dated at between c. 100,000 and 70,000 years Before Present (BP), and a Late Stone Age sequence dated at between 2000 and 300 years BP. The archaeological record from this cave site has been central in the ongoing debate on the cognitive and cultural origin of early humans and to the current understanding of when and where key behavioural innovations emerged among Homo sapiens in southern Africa during the Late Pleistocene. https://en.wikipedia.org/wiki/Blombos_Cave (accessed March 27, 2018).
Postcards and light boxes
Co-elaborator buckets, black boards and instructional prompts
Preparing to enter the cave.
Broach/Brooching inside the 'cave'.
Hands free: Walking the Ring Road shared trail.
The breadth of Melbourne’s urban sprawl never ceases to amaze me, and in driving towards Epping I observe a change from white picket fence to Italianate concrete gargoyle. Genres of ornamental embellishment signal expansionist aspirations of Melbourne – a stylistic shift occurs approximately every ten kilometres, with post 1950s becoming more apparent as I travel north.
Before stepping out I reach for the conveniently named (yet indelicately titled) strap-on selfie stick. I’ve modified a store-bought selfie stick by screwing its base onto a black plastic lid, threaded with a found black nylon strap, pre-equipped with plastic findings on each end. Compositionally it’s ad hoc but functional. The plastic lid positions high on the front of my chest, straps go under each armpit, while the stick cranes out in front of me I frame my silhouette in the phone screen facing me. I couldn’t say how I came up with the idea, I was simply looking to enhance both the look and feeling of connectivity with the broach/brooch technique. I’ve tried it out in private, posing hands free with the sun on my back out in my yard.
This is my first time walking the Ring Road trail. From Google Maps, I can tell there’s a concrete path that runs east west between housing estates and the freeway. It’s protected by sound barriers on one side and lined in sections, with a narrow strip of what from above looks like bush or grass. On first impression, it doesn’t look nearly as appealing as the Merri Creek trail located just around the corner from my house. Nevertheless, I’ve chosen to walk out on the shared trail as a poetic gesture of encircling, played through the M80’s ambition to circumnavigate suburban Melbourne’s outer urban rim. Alongside this intention I’m equally concerned for the sensation of ‘falling out of formation’, an aspect of getting lost, and allowing for the ‘unfamiliar appearing’ that Rebecca Solnit writes about (2005, 6) that may issue forth when exploring an adaptation of the broach/brooch, shadow-casting technique when walking along this outer suburban walking trail.
‘To be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery’ (ibid.).
The mysterious act I was about to commit in a less familiar situation was my equivalent to facilitating the sensation of getting lost – working with not knowing what next and being alive to the discomfort of uncertainty. My research appeared most generative when I unsettled habitual problem solving (explicit and implicit) approaches to thinking through the doing of jewellery. As my research progressed I developed a heightened sense of awareness for the emergence of excess arising within formal and informal research situations. During these occasions, I endeavoured to attend to the potential material, spatial and temporal side effects by growing attentive to the surplus of excessive gestures, misdirection, inefficient or repetitive processes, accessorial registers, and residues of coincidental material and immaterial traces. I grew to think of these sensate experiences as ornamentation in its effect.
In endeavouring to attend to these extraneous yet somehow essential concerns I began to draw inspiration from political theorist Jane Bennett when she suggests ‘what is also needed is a cultivated patient sensory attentiveness to nonhuman forces operating outside and inside the human body’ (2010, xiv). In the research, these forces demonstrated a tendency to arise in restless, lively situations of play where the ‘energetic vitality’ was precocious, double edged, or moving in several directions at once. In effect, these forces were more than likely to prove unrecognisable or unstable. Emergent agential conditions that I discovered I could easily be overwhelmed by in the midst of their presence.
As I became more familiar with an arising sensation of unease towards an unexpected disruption to an otherwise straightforward task, I began to take note and consider my sensate responses to a disorderly manifestation as a sign that the effect of the research I was grasping for was actually happening, or in fact working. On occasion, I would regale myself for responding to such encounters in a manner that I would later reflect on as being, in effect, too precious, or at other times, not precious enough. I yearned for an easy comfort and imagined how otherwise it could be, if only the research could correspond more convivially in the hinterlands, somewhere in between.
I’ve set myself the task of walking along the Ring Road trail in an attempt to recast the Barcelona feeling of being disoriented and at a loose end. I set myself up – strapping on the modified selfie stick and inserting my smartphone. These preparations occur in the company of the morning sun, my shadow falls in oblique alignment, slightly ahead and veering off to one side. Surprisingly, I note, I feel stretched, slightly out of my comfort zone, vulnerable but not in any real danger. I steady myself, inhale sharply, exhale shallowly then ease my way forward. Every strand of my body feels alert, tensioned in alarm – viscerally shrieking you can’t make anything beautiful out here let alone jewellery. My pace reveals something of my diffidence: le ef fff ftt tt pause, rii iiiig hhhh ttt pause; extended pause to adjust selfie stick; le eft tt pause, ri iiigh hht tt pause; extended pause tweak and tighten strap ….
I can’t recall if it was scholar Rebecca Solnit or author Will Self (another tenacious walker) who said the heartbeat was equal to, or an even multiple of, the rhythm of walking. Such an account might prove unreliable in source as well as measure, because in this instance I detect my pulse beating much faster than usual. Each stride facilitates greater ease – I move with greater confidence relative to becoming more accustomed to the projection of my chest-mounted appendage. Forward momentum increases, prompting me to keep an eye out for debris that might herald the potential for ornament. Every few meters or so my ambling forward adjourns. I pause, and pose with poise, gathering myself to enact an enhanced version of the broach/brooch technique. Casting silhouette in relation to stuff on the ground: crumbling Styrofoam container; rumpled juice box; windswept plastic bag; crinkled drink can; and spilt water bottle to characterise a few. Though even for this chest-mounted selfie stick wearer, broach/brooching with dead rat in a bush was, I decided, a step too far.
Mid-morning and the trail showed signs of moderate use; joggers, bike riders, dog walkers came towards me and passed me by. Staging this action on the Ring Road trail was hardly demonstrative of a social attempt to blend in. My presence here was more akin to the vibrant mix of guerrilla gardens and orchards growing out from behind the houses I passed along the way. I too was taking liberties, cultivating the porosity of an artificial boundary, and making something of a curious interest from an otherwise underused interstitial space or material.
In distinction from My Shadow Wears, I’m advancing the process of shadow-casting with the addition of the hands-free method, an improvement on my handheld Barcelona (and later Merri Creek) broach/brooch technique. Along the Ring Road shared trail, I shadow-cast with arms stretched either side, palms facing forward and fingers mostly spread as if greeting the world afore me with open arms. With the sun on my back I hold my position, breath in hold one, two, three, four (checking out of the corner of my eye that I’m meeting by approximation with horizontal and vertical Texta lines marked on my screen). In the doing I notice a shift in my demeanour – from awkward anticipation to something more sympathetic with, even advantageous to, the sensation of being alive. I stay with my arms in position long enough to feel for a presence. It’s not anything like a religious experience, but to a stranger looking from afar, it might appear as if along the Ring Road trail, I’m creating re-enactments of a holy scene.
Indelicately titled Strap on Selfie Stick
Performative Jewelling (hand activated artefact)
2012 My Shadow Wears:Barcelona
Introduction to broach/brooching
The day began as it often does, with me going for a walk. I had no reliable sense of where I was, or much of a plan for what I was going to do. I knew parts of the city from my time spent there some years previous on an Ausco residency, and even though I was disoriented (exacerbated by jet lag) I knew I wasn’t lost. Without a specific task orienting my morning however, I was feeling at a loose end. I stepped out the door filled with an anticipation of opportunity that comes with a life that is ‘not fully joined up, not fully articulated’ (Ingold 2013, 132).
‘What is life if not a proliferation of loose ends!’ writes Ingold encouragingly (ibid.).
I allow myself to meander, weave in and out of the flow of foot traffic. In an attempt to centre, or familiarise myself with myself, I began to practice a technique I tell of as surface archaeology. An amateur technique that I developed to trace the relatively recent effects of human and non-human activities. Like Rebecca Solnit ‘I catch sight of what at a little distance looks like a jewel or a flower’ (2006, 23). However, rather than acquiesce and see small items of debris as trash, as Solnit does, I suspend my disbelief. I practice surface archaeology with one rule, if it’s caught my eye, I pick it up, because later I won’t be able resist thinking about its potential transformation into something wearable and somehow precious.
On this morning, brightness of sun and time of day conspire to great effect, and my rule begins to perform more like a prompt. Rather than pocket selective debris to transform later I surprise myself by casting my shadow in relation to it. Veering and pitching forward I project my silhouette towards debris on the ground, aligning material residue in relation to silhouette as if it were an ornament or jewel. My effort to broach and simultaneously index a brooch is recorded on the screen of my smartphone. Holding my hands slightly forward in front of me I continued the process, framing the alignment of cast shadow with debris-ornament with the screen of my phone.
Within the to and fro of doing and seeing my bejewelled silhouette on the screen, I sensed a loosening of the armature between the precious jewellery of the jewel, and the distinguishing features of me, myself, I. In practicing this ornamental penumbral technique, my sense of identity began to unfasten from the spectre of self and correspondingly the debris ‘brooch’ appeared to detach from the characteristic preciousness of jewel. The accumulative effect of this nonprecious non-preciousness event of jewelling absorbed me. Time and space merge as I/we were carried along by the technique of broach/brooching along with train ticket; pie bag; chocolate wrapper; scrunched paper; chewing gum; cigarette butt; and plastic bag.
My Shadow Wears : Green Ticket
My Shadow Wears : Scrunched Paper
My Shadow Wears : Packing Tape
2010- Seeding the Cloud: a walking work in process
For some years prior to undertaking doctoral research, my social practice ran complementary to my studio and exhibition situated makings of contemporary jewellery. In this approach, my interests were more readily expressed through narrative than plotted through advancing technical prowess. My creative considerations were with repurposing materials and discarded matter (including text). Aside from fittings and fixtures made from precious metals, my material resource was gleaned from urban social spaces. Material residues that I fossicked for included: wood, (icy pole sticks); plastic (disposable cutlery, lollipop sticks, drink bottle and jar lids, bread ties); rubber (tennis balls); steel (can lids, bottle caps); and aluminium (ring pulls, street and car signage), all left behind and processed in day to day outdoor urban activities such as lawn mowing; dog chewing; bat hitting or ball kicking; picnicking; natural weathering; sport watching; criminal activity; and transportation to itemise a few.
In an effort towards deepening my collaboration with the variety of ‘vibrant matter’ (Bennett 2010) and the vital processes already affective within the environment, I initiated a move from the comforts and convenience of a well organised and equipped studio, and began improvising with a transient method of making outdoors. In one project, Seeding the Cloud: A walking work in process (2010-) I adapted public architecture as temporary work stations and enacted a type of ritualised jewelling. This involved stitching gleaned plastic fragments with silk thread and seeding with pearlescent beads into a linear trace. In meeting with thread’s end, I’d tie off, and after knotting, proceed home adorned, accompanied by the weight, movement and sound of the trace in its wearable form.
As familiarity grew, with technique and neighbourhood, I began to tell of subtle differences in interaction with material, time and space. In response to twice weekly iterations of un-plotted transient jewelling, the threshold of my relational exchange with material and its mattering began to affect a shift, between interactions prescribed in terms of a knowing subject making with intention, i.e. a hylomorphic practice (Ingold 2013) to a relational ratio more akin to an entanglement, co-evolving with a system of making along with gleaned material and transient makings of others.
Traces of my makings in this project were less defined by mastery, measured by perfection, or overly concerned with producing an outcome or an income.The accumulative effect was configured via a strategy of ‘care making’ (Splawa-Neyman 2014) – bringing a material resource to life that was otherwise undervalued and frequently overlooked.I open-sourced the project with a guidebook of instructions and hosted small group walks in multiple cities and countries.I worked alongside others, offering instruction and encouragement for them to take up the responsibility of hosting.The project continued to socialise in small clusters locally, nationally and internationally beyond my immediate reach or control.As a serialised sequence of actions and activities, Seeding the Cloud: a walking work in process knitted together the micro event of jewellery (making and wearing), the local event of inhabiting urban space through public actions of making, and the macro or global event – the prevalence of oil-based plastic pollutants converging in gyres in our seas.In impulse this project aligned with Jane Bennett’s notion that ‘moments of sensuous enchantment with the everyday world – with nature but also with commodities and other cultural products – might augment the motivational energy needed to move selves from the endorsement of ethical principles to the actual practice of ethical behaviours’ (2010, xi). Through making this connection I began to speculate on how else the ornamental event of jewellery might play in re-configuring my, your, our own and the world’s becoming.