Paper short abstract:

Through object-focused interviews with hobbyist finder-collectors, we document the ways in which they interact with and understand the ancient objects in their stewardship. Some finder-collectors incorporate their finds into handicraft or adopt innovative ways in which to display their discoveries.

Paper long abstract:

Metal-detectorists and other hobbyists that search for material from the past can be defined as finder-collectors. Many of them curate objects which they have found and legally own. Some finder-collectors have private collections or even home museums consisting of thousands of objects, and in some cases they have adopted innovative strategies for both displaying and even reusing artistically their discoveries.

Through object-focused interviews with finder-collectors in Finland, Norway and Belgium, we document the ways these individuals interact with and understand the objects in their stewardship. Many finder-collectors touch and caress their objects while talking about them. In addition, some finder-collectors incorporate their finds into contemporary handicraft activities or adopt innovative ways in which to display their discoveries for friends and family, as well as often expressing concerns about the trajectory of their objects after their lifetime.

Contemporary handicraft activities involving found objects, as well as the ways in which finder-collectors choose to display their collections - often mimics museums or at least mimics their perception of what a museum is. Furthermore interviewees often discussed the past ‘lives’ that they imagine their objects to have experienced. In this way they create new narratives for their objects incorporating a constructed past.

We reflect in this paper on our experiences and findings in the field, noting also that the ethnographic process is an embodied one, also for us as the researchers.

Paper short abstract:

Labelled unsightly litter or hazardous vandalism, love-locks have been routinely removed from many of the world's bridges. Their stories do not end there though. In many cases, these tokens of love are often either reunited with their depositors or creatively recycled into works of art.

Paper long abstract:

Love-locks are padlocks that have been inscribed with names and initials, and surrendered to bridges and other public structures worldwide. This is a twenty-first-century ritual typically conducted by couples as a statement of romantic commitment; the love-lock is locked in place and the key consigned to the water below. The padlock is thus recycled as both love token and ritual deposit, embodying the sentiments and ceremony of a moment shared on a bridge. 'As long as this is locked, so will our hearts', declared one inscription. But most love-locks do not remain locked.

Labelled unsightly litter or hazardous vandalism, love-locks have been routinely removed from many of the world's bridges by local authorities. Their stories do not end there though. In many cases, efforts are made to reunite these tokens of love with the lovers who originally deposited them. The fact that many people are eager to reclaim their love-locks demonstrates a retained link between depositor and deposit. In other cases, however, local authorities commission artists to creatively recycle these love tokens. Sculptures are crafted from the love-lock unlocked, with proceeds going to philanthropic use. With a focus on Melbourne, Australia, this paper explores the notions of heritage 'value' behind this process of creative regeneration.

Paper short abstract:

A narrative reframing of objects may have a therapeutic function, and simultaneously endow them with new forms of agency. This study on museum-donated artifacts, suggests that objects can help both in expressing feelings for which we might lack words and in aligning the personal and the communal.

Paper long abstract:

In an age of global consumerism, purchasing objects becomes part of an identity project (Belk 1988). In addition, people use commodities to create cohesive self-narratives (Schau 2018). However, our belongings might also evoke painful memories. Purging ourselves of such objects may consequently have a cathartic effect (Miller 2010). This process of unburdening is the underlying idea for the Museum of Broken Relationships (MBR). Starting out as an art-based project, the museum has become a worldwide success, with travelling exhibitions and a permanent museum home in Zagreb. The exhibition consists of donated personal objects accompanied by a story of a broken relationship. Articles may act as symbols and containers for stories, but may also actively help us to tell stories. The objects, here, help both in expressing feelings for which we might lack words and in aligning the personal and the communal – to strengthen our sense of self while communicating complex emotions to others. With a point of departure in the MBR we explore how a narrative reframing of an object gives it a new form of agency and “second life” (Honko 2013). Through this recrafting process, everyday objects otherwise anonymous and destined to be discarded, may take a crucial position in communicating emotions and aesthetics, as well as having the power to coalesce the past and the present.

Paper short abstract:

The presentation examines life with vibrant clothing from acquisition to disposal in the context of sustainability. We examine the co-agency between craft consumers and materials in the consumption of clothing and consider its significance in the formation of sustainable material relationships.

Paper long abstract:

Because materials are an integral and essential part of life, we should learn to live in a sustainable way with materials. Recent scientific debate has highlighted the active agencies of materials in the relationship between human and materials. Empirical research on the phenomenon is still relatively limited, especially in the context of sustainable consumption, where the consumer is mainly seen as an active actor, but the intertwining of human and material is often ignored.

The objective of the study is to understand the relationships between consumers and materials in nurturing behavioral changes when reaching towards sustainable living. The research examines the structure and significance of co-agency between consumers and materials in the formation of sustainable material relationships.

The data consist of craft teacher students' writing assignments (N=18), where they reflect on their relationship with the clothes they own. The data are analysed with a narrative research approach depicting students' writings as cultural stories describing the world of consumer experience.

Clothes interacted with students evoking affects and activity – a pleasant garment might increase care, while an unpleasant one might call up disguise and rejection and possibly, the desire to buy new clothes that bring in a revived sense of joy. Clothes can also wear out and their positions change over time or reappear due to changes in fashion or the body of the consumer. The writings embody the intertwining of human and materials and the active role of clothing in sustainable consumption.

Paper short abstract:

Pandemic restrictions led to increased crafting and to shortage of supplies. Creative use of materials found at homes came to play important role in craft making. By rethinking the possibilities of materiality new good practices, including the idea of recycling and sustainability, were created.

Paper long abstract:

World Health Organization declared global COVID19 pandemic on March 2020, which led to drastic changes in people’s lives in form of restrictions and quarantines. As craft making has been related with dwelling in a positive space, domestic settings and cosines, meant the requirement to stay home for many a longed-for opportunity to have time for loved hobby. On the other hand, the exceptional time aroused conflicting feelings, and craft making was experienced differently as before. The lockdown reduced also possibilities to buy materials in shops in person. Online shopping does not allow the multisensory approach to supplies. Touching and feeling materials, as well as observing the colors in daylight are important for many crafters. The increased amount of craft making led also to shortage of supplies, e.g. yarns. Pandemic aroused also concerns about the ecological crises and the over-exploitation of natural resources. To many crafters creative use of materials and recyclable ´trash´ found at home came to play an important role during the restrictions.

The presentation explores what effects the pandemic caused for the use of craft materials and how hobbyist experienced these changes in materiality. Moreover, it opens up what kind of good practices and new forms of using materials were created during the pandemic. The presentation is based on 120 stories and images of craft making at homes during the COVID19 restrictions. Research material is collected online in 2020–2021 by Craft Museum of Finland, in co-operation with Intangible Cultural Heritage Crafts Circle coordinated by Finnish Heritage Agency.