Making Sense amalgamates a number of conceptual premises. First the notion that 'everyday life' is a surreptitious form of production, a 'practice' with a systematic logic of its own. This thinking derives from the French philosopher Michel de Certeau for whom 'consumption' is a form of 'making': everyday life as an aggregate of the many ways we negotiate the objects, spaces and representations comprising the cultural landscape. We are always/already 'making do' or 'making of' that which is already 'made'. Second, the notion of the everyday as a particular concern for craft practice. Current debates have seen the artistic use of found or common materials subsumed under the agenda of sustainability: craft process has become a kind of conduit for the critique of the excesses of production.
All of the emerging artists in Making Sense use the repetitive choreography of the hand-made to explore the nuances of everyday life. Although diverse in technical application and aesthetic form, the artists represented begin from the non-monumental, benign facets of daily existence. The emphasis here is not so much on 're-making' as it is on 're-marking': referencing the everyday in the mode of tautology or superfluous repetition. The work in Making Sense attempts to think through systems of value via the ‘surplus’, the trace or remainder of everyday life that does not have a place or that remains unincorporated.
 Michel de Certeau, The Practice of Everyday Life (California and London: University of California Press, 1984) xii
 See Slavoj Zizek, For They Know What They Do (London: Verso, 2002)