sea to industrial interior. They get sent to Panipat, a sleepy town and the only place in the world that wants them, recycling them back into yarn.

Reshma is a bright, inquisitive woman working in a textile recycling factory in small time India, who dreams of travelling the vast distances the clothes she handles have. While Reshma shows us how these garments get transformed, she and other women workers reflect on these clothes. Despite limited exposure to western culture, they construct a picture of how the West is, using both their imagination and the rumours that travel with the cast-offs.'

Meghna made a conscious decision to steer away from portraying a pitiful view of the workers and instead floods us with imagery of their smiles and infectious laughter. She alsothe notion of life at the margins. The majority of them live and work in an area called West Jutland which is in a remote location on Denmark's West coastline. The essence of the area, that of tranquility with only the sand dunes, birds and wind farms really resonate through the work which involves poetic texts, traditional needlecraft and textile installations hinting at stories of rural decline.

I was particularly fond of these pieces because I found them extremely meaningful yet their message was portrayed in a subtle and thoughtful way. For example Karen Havskov Jensen's concerns about rural decline in West Jutland are portrayed through hidden symbols of decay carefully incorporated into her traditional crochet in the work Around in the Reserve. Theses appear in the form of