The purpose of the shell stringing practice is to create necklaces of delicate intricacy. In kanalaritja, there are examples made by Tasmanian Aboriginal ancestors in the 19th century right through to the work of today’s makers. Lucy Beeton’s delicate strands of rice shells have survived since the 1800s, while contemporary stringer Ashlee Murray’s king marina shells gleam with pearlescent hues as they catch the light. As one of the youngest shell stringers, Murray feels a deep connection to history as she hones her practice. “We are one of the only peoples in the world stringing shells like this, so I think it is quite defining of Tasmanian Aboriginal people.”

With modern tools and materials eventually replacing the sharp wallaby incisors used to pierce holes in the shells and the lengths of animal sinew and twine they were once strung upon, the necklaces in kanalaritja reveal how techniques have evolved. Over time, necklaces have become longer with multiple strings and it is clear makers have experimented with colour and pattern. Most necklaces possess hundreds of delicate shells and stringers – the acclaimed mother and daughter-in-law duo, Lola and Dulcie Greeno, use the contrasting size, texture and colour of di erent shells to create strikingly individualistic designs.