Abstract

The artwork on show at the Cheongju International Craft Biennale, Korea consists of life-size readymade ceramic ornaments of an English Setter, Cocker Spaniel and Yorkshire Terrier wearing hand-knitted coats emblazoned with the slogans, Commodified, My body my choice and Does my bum look big in this? The life-size ornaments present a familiar reference point in which to engage the viewer in a sense of reality enhanced by the actuality of the knitted functional garment. This artwork is a socio-political commentary on the commodification of animals in contemporary society and speaks to emerging debates around interspecies communication and the formal recognition of animals as sentient beings by several countries. The use of textual humour is crucial to the conceptual underpinning of the work and proffers craft material as political through subversive familiar presentation. The readymade has been utilised as part of an ongoing sustainable working practice that is employed by the artist.

Andrew Livingstone explores the intersection of craft practice and social commentary, using everyday objects as a vehicle for political expression. In his latest work presented in this exhibition, he dresses mass-produced ceramic animal figurines in hand-knit garments, onto which he inscribes socially charged phrases. Livingstone’s work opens a contemplative arena in which to reconsider the relationship between human and non-human beings, and addresses complex social issues including animal rights, gender, and consumer culture through the language of craft with sharp clarity.

The 14th Cheongju Craft Biennale in 2025 is themed
'세상 짓기(se-sang jisgi): Re_Crafting Tomorrow’.

Derived from the Korean word 짓기 (jisgi), meaning 'making,' the theme encompasses fundamental acts of human sustenance, including crafting garments, preparing food, and building homes.

Rooted in these fundamental aspects of life, the Biennale explores the evolving identity and possibilities of crafts in their relationship with humanity, nature, and objects. It seeks to highlight craft’s role in collective culture, emphasizing its potential for community collaboration.
Furthermore, in an era increasingly driven by digital technology and instant gratification, the Biennale aims to rediscover the intrinsic value of craft in healing the body and enhancing material intelligence.
On September 4, 2025, Cheongju, as the World Craft City, will once again serve as a historic venue where the global significance of craft comes together to shape the future through Re_Crafting Tomorrow.