Craft / Body Adorned. At the National Gallery, until February 14, 2027. Reviewed by MEREDITH HINCHLIFFE.

The National Gallery of Australia is showing a range of jewellery from its collection. It is rich and diverse and the exhibition is described by the gallery as “intentionally maximalist”.

The exhibition includes work from First Nation Australians, European, American, Asian and Pacific Islands artists and is displayed according to the parts of the body on which it is generally worn.

I do not like the way in which a large part of the exhibition is shown. The pieces are shown on quite tall, vertical showcases. As a fairly short viewer, I find it difficult to see them – some are quite small – at the top of the display. And I wonder how a viewer in a wheelchair would fare.

The NGA will argue that viewers can refer to a small screen to the right of the showcase, click on the chosen piece and an image will come up on the screen, with information about it. That’s okay if you are the only viewer looking, and the screen is working.

Having said that, it is great that the work is being shown. Much of it was collected for the gallery by the senior curator of Decorative Arts, the late Robert Bell, before he retired in 2016. I look on the show as being a tribute to him as well as the artists who are represented.

The term “adornment” has been widely interpreted: there are acrylic nails, hats, shoes and a ruler’s crown from Nigeria with wonderful beading.

The Adé ade – the ruler’s crown – is a magnificent beaded head covering at 41 cm high, and heavily beaded. It was created in Nigeria in the late 19^th – early 20^th century. It is imbued with “awesome power” in part from the spirit of the previous wearers and is only worn once – at the ruler’s investiture. The brightly coloured beads are densely stitched over the entire surface. It would be quite heavy to wear, and if you have a small head, it might slip down over your eyes.

Several years ago, the National Gallery had a wonderful exhibition of clothes and accessories designed by the English designer, Vivienne Westwood. A pair of woman’s stamped leather stiletto platform shoes by Westwood from 1994 are included in this exhibition. An overall pattern of white flowers is stamped on the surface of these special shoes. They are high, with platforms incorporated into the shoe and three straps holding the foot in place. I am sure they would be treacherous to wear, but are stunning.

Peter Tully was a jeweller, designer and was artistic director of the Sydney Mardi Gras from 1982 to 1986. His jewellery was made from non-precious materials, particularly plastic. The jewellery is brightly coloured and often features Australian iconic motifs such as the harbour bridge, the vegemite symbol, galahs and holograms. He was greatly influenced by seeing traditional tribal cultures in his travels, particularly in Papua New Guinea, and the creative urban sub-culture he saw in ‘tribes’ in New York.

To view this exhibition properly will require many visits – each time I expect an unnoticed piece will pop out. It is important, and a wonderful thing that the jewellery is being given such prominence.