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In 2010, three exhibitions articulated Zellweger's enquiry, using the exhibition format as discursive element: a joint exhibition with artist Emma Woffenden, the medical/artistic context of a group show for the benefit of a Breast Cancer Foundation, and a solo show as installation.

The 'Make, Do and Mend' project explores how we might reinvigorate community-based approaches to the repair of clothing and examines the potential roles for online and offline activities to facilitate knowledge exchange, build communities and develop new repair processes and strategies.

The brooches pictured belong to a series of over 100, made for The Campaign for Objects in Purgatory. They were given to contributors to the Objects in Purgatory exhibition (Sheffield Institute of Arts Gallery 2011) in exchange for contributing their story or drawing of an uncherished gift. The project has been initiated and developed by designer Julia Keyte.

This research examines a viewer’s experience of an ‘original’, authentic artefact and has generated the following outcomes: 23 mixed media drawings, a live work, a digital app, a limited edition print work and a print portfolio.

Mokume gane is a high value, decorative laminate material used in the jewellery industry. Production of mokume gane is difficult and expensive at both small scale and industrial levels.

Through a series of oral testimonies and carefully composed portraits, Alone Together, the Social Life of Benches explores how individuals and groups spend time in two distinctive public London locations

The Repository of Irrational Gestures proposes and tests the notion that moving image work and sonic composition can critically investigate and illuminate the turbulent but permeable boundaries that differentiate between ‘rational’ and ‘irrational’ actions, thinking and/or behaviours.

This solo exhibition continues Kivland’s longstanding enquiry into ‘the material relations between persons and the social relations between things’, following Marx.

The research ‘Vaccine Hesitancy’ explores the health beliefs of vaccine critical parents.

This solo exhibition, realised in three evolving, discrete iterations, addresses questions of role attribution, gender construction, and economic exchange (value forms, after Marx).