Start Date
26-5-2026 2:15 PM
End Date
26-5-2026 2:30 PM
Description
This paper is three-fold. The first section enacts a process of “fielding,” generating what might appear as a genealogy of practitioners, but is rather an interdisciplinary collection of precedents, that when drawn into relation, constitute a field—defined by yet redefining each precedent. The field that is drawn into relation here uncovers a compulsion toward planetary healing in the post-war period—a compulsion that appears to have been reactivated today. Each of the practitioners that are touched on have, in some way, whether intentionally or not, played a role in healing our connection to the moment, to ourselves, and to our environments through creative practice. In enacting this field, food-based practice is situated in relation to more traditional artistic mediums and centred as thread of hope for a future trajectory. Grasping at and pulling out this thread, in the second section of the paper, I reflect on an experimental unit taught at the Royal Melbourne Institute of Technology (RMIT) and the food event that resulted: HAT HAND BOOT, which was hosted as part of Melbourne Design Week. In the final section, the established field creates a gravitational force that pulls the practitioners that collaborated on this unit into its orbit.
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Included in
HAT HAND BOOT: An Essay in the Form of a Shared Meal
This paper is three-fold. The first section enacts a process of “fielding,” generating what might appear as a genealogy of practitioners, but is rather an interdisciplinary collection of precedents, that when drawn into relation, constitute a field—defined by yet redefining each precedent. The field that is drawn into relation here uncovers a compulsion toward planetary healing in the post-war period—a compulsion that appears to have been reactivated today. Each of the practitioners that are touched on have, in some way, whether intentionally or not, played a role in healing our connection to the moment, to ourselves, and to our environments through creative practice. In enacting this field, food-based practice is situated in relation to more traditional artistic mediums and centred as thread of hope for a future trajectory. Grasping at and pulling out this thread, in the second section of the paper, I reflect on an experimental unit taught at the Royal Melbourne Institute of Technology (RMIT) and the food event that resulted: HAT HAND BOOT, which was hosted as part of Melbourne Design Week. In the final section, the established field creates a gravitational force that pulls the practitioners that collaborated on this unit into its orbit.