Seven hundred and seven buttons are suspended by many lines of embroidery thread—a button for each year from the birth of its existence. By honouring the button, the object rejects formalist notions in “high art”, while rendering the utilitarian aspects of craft functionless. As a ceramics artist, I am interested in incorporating the physicality of clay into my work, as ceramics is as tactile as it is visually involved. I am also interested in questioning the oppositional relationship between the handmade and the machine-made, while demarcating the traditional boundaries that separate art from craft from design.