This paper aims at discussing the positions of art and design artefacts and their making in a practice-led research process. Three creative productions and exhibitions featuring my textile artefacts inclusively carried out for tackling specific research problems are examined as case studies. The first two cases include the production of two series of artworks and exhibitions namely Seeing Paper and Paper World created as part of completed doctoral research entitled Paperness: Expressive Material from an Artistʼs Viewpoint. The study examines the relationship between a physical material and artistic expression in textile art and design. The third case includes the production of a series of luminous objects called The White Light. These objects are expected to generate a discussion on boundaries between functional and aesthetic objects and those between art, craft and design disciplines. Both cases exemplify the roles of creative productions and artefacts situated in the process of inquiry. Throughout a practice-led research process, art and design artefacts can serve as inputs into knowledge production and as outputs for knowledge communication. As inputs, both art productions and artefacts can be the starting point of a research project from which the research questions are formulated. They can also provide data for analysis from which knowledge are constructed. As outputs, artefacts can indicate whether the research problem requires reformulation, demonstrate the experiential knowledge of the creative process, and strengthen findings articulated in the written output. Creative practice in a research context can contribute to generating or enhancing knowledge, which is embedded in the practice and embodied in and by the practitioner. This knowledge can be obtained in the artist creating the artefact, the artefact created, the process of making it, and the culture in which it is produced and viewed or used, all taking place at a different stage of a research process
