Toma Jucevičiūtė has a great job. She is the regional coordinator for Asia, Africa & Oceania for the Michelangelo Foundation for Creativity and Craftsmanship – the founders of the craft platform Homo Faber. The platform was set up to celebrate and preserve contemporary craftsmanship and its diversity of makers, materials, techniques, by increasing crafts everyday recognition and its viability as a professional path. And now, it is looking for Australians.
‘We are well aware of our Eurocentric ways of working,’ admits Jucevičiūtė, who spoke to members of the Australian chapter of the World Crafts Council.
She adds that the Foundation is focused around three signature projects, all under the umbrella of Homo Faber. The main pillar is the digital platform, the Homo Faber Guide, which showcases over 200 different types of crafts. ‘There is no limitation in terms of types of crafts that we present in the guide,’ Jucevičiūtė tells us.
The second pillar is Homo Faber Biennial exhibition in Venice, and the third pillar is called Next Gen, which contains educational programs for the next generation of makers. ArtsHub caught up with Jucevičiūtė to learn a little more.
In this story:
ArtsHub: Do you think craft is on the cusp of a new wave – a new renaissance?
Toma Jucevičiūtė: Yes, we believe that craft is experiencing a new wave of interest after a period of relative quiet, and this is due to a number of reasons. In part, it expresses a kind of a counter-culture vis-à-vis the increasing digitisation and a sense of material simplification in the world around us. More and more people are seeking objects that are tangible, beautiful, and meaningful.
While it is tempting to call it a renaissance, we should consider precisely what is being reborn. It is not a simple return to pre-industrial craftsmanship. Instead, it might be a renewed conversation between makers and their clients, the necessity to integrate design with environmentally sustainable manual techniques, or a heightened consciousness of responsible production methods.
The Homo Faber cultural movement celebrates and preserves craftsmanship and its diversity of makers, materials and techniques by increasing craft’s everyday recognition and its viability as a professional path for the next generations.
AH: How is Homo Faber shifting the language around craft through its flagship project, the Homo Faber Biennial?
TJ: Every two years, Homo Faber moves to Venice during September to host an immersive experience celebrating global contemporary craftsmanship.
We focus on visibility, promotion, and protection, but also on reviving the concept of beauty in every choice we make. The ancient Greeks saw beauty and justice as intertwined; beauty inspires us to pursue the good and the just. This resurgence of craft offers a way to bring that ethos back.
During the last edition in 2024, we exhibited over 800 crafted objects from around the world. Our aim is also to showcase the beauty of the meaningful creation processes behind the objects themselves. We invite artisans to give demonstrations, showcasing their intricate making process and techniques live to visitors in Venice. This provides artisans with the opportunity to participate in a world-class cultural event and connect with large international audiences, highlighting the beauty of the making by human hand.
AH: What do you see shaping the sector globally, and how do you see Australia fitting into that larger picture beyond our Pacific region?
TJ: It is challenging to pinpoint a single influence shaping the global craft sector right now, as it encompasses everything from everyday functional items to more artistic expressions. However, a key element is the growing desire to create objects with inherent meaning and lasting value, rather than disposable items. This encourages a greater attention to materials and design, and is boosting an interest in collecting craft, something that was relatively uncommon to the world of collectors up to 10 years ago or so.
We believe that this emphasis on meaningful creation is a significant global driver. Australia’s success in recognising and protecting its unique crafts is significant. With its strong indigenous craft traditions and its embrace of multicultural influences, is well- positioned to contribute to a global dialogue about the value and significance of handmade objects in the 21st century. Its distinct perspective, shaped by its own history and environment, can enrich the broader international conversation.
AH: How many artists globally are profiled on the Homo Faber Guide?
As of today, Homo Faber Guide features 4,278 profiles of craft artists from 51 countries, showcasing 200 different types of crafts. The Guide also lists experiences such as atelier visits or workshops offered by some of the artisans represented.
We published the first selection of Australian artisans on Homo Faber Guide in 2024, with the invaluable support of Kevin Murray and the World Crafts Council Australia, and we are continuously enriching this selection with new profiles.
Homo Faber Guide currently features a selection of 38 artisans based in Australia. In addition, we have identified and selected another 90 talented makers in Australia, and their profiles are being prepared for publication. We publish new artisan profiles on the Guide every week.
Homo Faber Guide is intended as a craft travel companion for tourists, artisans, collectors and buyers that allows to discover local artisans around the world.
AH: How can Australian craft practitioners put their name forward for consideration by Homo Faber?
TJ: Artisans are added to the Homo Faber talent pool through various channels. These include sourcing by our internal team, recommendations from network members, craft experts, and ambassadors, and direct applications from the artisans themselves.
Artisans can apply for Homo Faber projects via our digital platform, Homo Faber Studio.
All artisan recommendations, including self-assessments, undergo an internal review based on specific criteria. This review assesses whether an artisan’s work is technically, creatively, and culturally relevant to the Michelangelo Foundation’s projects. To be selected for our projects, such as Homo Faber Guide, artisans must meet the 11 Criteria for Excellence, also known as The Master’s Touch Evaluation Process.
These criteria are the result of a study conducted by our executive director, Alberto Cavalli, along with researchers Giovanna Marchello and Giuditta Comerci, shortly after the Foundation’s establishment. Their research defined the key criteria for assessing the exceptional skill and quality that define master craftsmanship.
This study, encompassing legislation, literature, and interviews with master artisans and experts across Europe and Japan, was published in The Master’s Touch and establishes a framework for understanding what is often loosely termed “excellence” in the diverse and ever-evolving world of artistic crafts. It contributes to the development of a shared international language and provides a reference system for evaluating artisanal excellence.
Currently, the Michelangelo Foundation is reviewing and enriching The Master’s Touch to ensure it remains aligned with our evolving values.
Kevin Murray is kindly contributing to this project by sharing his insights and research, and we’re working with other experts from different regions around the world whose contributions will be crucial for the new edition of The Master’s Touch, which will be published next year.
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