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Shopping trolleys on a yellow warning tape
ACC figures show the number of young children being injured after trolley mishaps (Image: Archi Banal)

SocietyApril 29, 2024

The surprising number of babies being injured at the supermarket

Shopping trolleys on a yellow warning tape
ACC figures show the number of young children being injured after trolley mishaps (Image: Archi Banal)

More than a thousand claims have been lodged with ACC over children, some younger than a year old, being injured by shopping trolleys in the last five years. Stewart Sowman-Lund looks at why.

Madeleine Holden was at her local Countdown when she heard something no mother wants to hear: her baby screaming in anguish.

Holden had put 12-month-old Belle in the seat at the front of the trolley with each of her legs through the holes. “I guess there must have been a thin little black strap to clip around her waist, but I didn’t notice it when I put her in the trolley, or realise it was meant to go around her,” Holden, who is a writer at The Spinoff, said. “I figured that given she was in the right spot with her legs through the holes she’d be fine.” 

Holden parked the trolley by the deli cheese section and left Belle momentarily to grab some fruit just a few metres away. Then, a woman was shrieking, Belle was crying and, not only that, she was dangling from the front of the trolley. “She’d slipped out somehow and was hanging on for dear life, and a woman had come out from behind the deli section where she was working to help,” said Holden. 

Thankfully, Belle was fine and Holden said the deli worker showed her the clip that was meant to be used to keep children in place in the trolley. But Holden and Belle were the lucky ones. Sometimes incidents like this can end in disaster. On Facebook, a concerned shopper recently shared a similar incident with their local community group and urged parents to take extra care. “I am shaking,” they wrote. “I just saw a baby … fall out of a trolley at the supermarket. Please please please always restrain your bub while in a trolley.”

Are these unfortunate but isolated incidents, or is this a common occurrence around the country? And how often are these trolley accidents leading to injuries that require medical treatment? 

Image: Archi Banal/The Spinoff

According to Holden, the Countdown staff member who came to Belle’s rescue told her that “heaps of parents” either don’t notice the strap in the trolley or don’t know how to use them, “so kids often don’t get clipped in”. Data released to The Spinoff by ACC appears to confirm this, showing the agency has received just short of 1,100 claims related to babies or toddlers and shopping trolleys in the five years since 2019. More than 100 of these claims were for children younger than one-year-old.

In 2019 for example, there were 306 new claims lodged for children under the age of six. Of those claims, 21 incidents involved children under the age of one, with 80 between one and two-years-old and 76 between two and three. The data does not specify the type of trolley incident, but it would be safe to assume that for children who cannot walk yet, a fall is likely.

ACC data relies on information provided at the time of the claim, so the number of children being injured on a grocery run could be higher in reality, though the agency said it compiled the data by looking at key words like “trolley”, “supermarket” and the names of New Zealand’s biggest grocery store chains. The data also took into account claims where the accident was caused for reasons like “slipping”, “tripping” or a “misjudgement of support”.

The issue of trolley safety itself isn’t new. In 2016, Stuff published similar ACC data revealing over 400 babies had been injured from trolleys in the previous year. At the time, some supermarkets said they were considering using in-store signage to encourage parents to safely restrain their children in trolleys. Skip forward eight years and the use of signs doesn’t appear to be widespread in stores, though some supermarkets, like Pak’nSave, play audio messages encouraging parents to properly restrain their children. Woolworths told The Spinoff its stores have information on correct shopping trolley use printed on the handlebars. 

But despite these steps, accidents are still occurring – though the numbers have decreased since 2016. 

So what options are available for parents with children at the supermarket? Most stores provide different trolleys for parents with young children. Some come with booster-seat attachments designed for babies, while many simply have the cage-like seat for older children that also doubles as extra trolley storage. “Both baby carriers and toddler seats are fitted with infant/child restraints, and we regularly check the safety features on our trolleys,” said a Woolworths spokesperson. 

Worksafe told The Spinoff that, under the Health and Safety at Work Act, businesses such as supermarkets must ensure the health and safety of other persons is “not put at risk from work carried out as part of the conduct of the business or undertaking”.

While there are safety guidelines in place, trolley rules are less stringent than for other baby-carrying devices. There is a slight step up, for example, when looking at prams, which are individually certified during production. However, compliance with the standard isn’t mandatory in New Zealand. But while a parent’s pram might be the more secure option at the supermarket, pushing a pram and a trolley at the same time is hard to do.

Abandoned trolley
(Photo: Getty / Treatment: Archi Banal)

Unsurprisingly, the most specific regulations are reserved for car seats, given motor vehicles travel a lot faster than prams or trolleys and the risks to the child are more severe. Car seat rules are embedded in legislation, requiring all children under seven years to use a child restraint that’s appropriate for their age, size, and development. They can’t travel in a vehicle if you can’t put them in an approved child restraint.

Whānau Āwhina Plunket’s principal clinical advisor Karen Magrath said that while going to the supermarket can be a great learning experience for young children, they should always be within arm’s reach to avoid potential disaster. And that goes for any activity where a child is seated above the ground. “Active supervision and strapping them in where a harness is provided is key to keeping young children safe in trolleys and this includes other everyday items such as highchairs, strollers, capsules, and swings,” Magrath said.

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Stuff’s 2016 story referenced several serious injuries sustained by children in supermarkets, such as one in which a child’s teeth went through their lips. However, neither Foodstuffs (owners of Pak’nSave and New World) nor Woolworths NZ could point to any specific incidents involving young children in their stores when asked for comment by The Spinoff. A Woolworths spokesperson acknowledged there was potential for “serious injury” to young children and infants who fall from a trolley. 

While the stats may have improved over the past eight years, there’s still room for close shaves like the one Madeleine Holden had with Belle. “Now I keep such a close eye on her if she’s up the front of the trolley,” Holden says. “We both got such a big fright that day.”

Keep going!
Claudia Kogachi and Josephine Jelicich in the studio, and Selecting Wood, Claudia Kogachi, 2024.
Claudia Kogachi and Josephine Jelicich in the studio, and Selecting Wood, Claudia Kogachi, 2024.

SocietyApril 28, 2024

In the studio with artist power couple Claudia Kogachi and Josephine Jelicich

Claudia Kogachi and Josephine Jelicich in the studio, and Selecting Wood, Claudia Kogachi, 2024.
Claudia Kogachi and Josephine Jelicich in the studio, and Selecting Wood, Claudia Kogachi, 2024.

The pair opened their first fully collaborative exhibition, Nina for Flowers, last Saturday. Gabi Lardies visited their studio to find out who Nina is and what working together was like.

‘It didn’t start out like, ‘This is a show about Nina,’” says Josephine Jelicich, gripping a thermos of peppermint tea. Next to her on a little vintage chair, Claudia Kogachi agrees. The idea that sparked the exhibition was “creating a domesticated space in real life, in the gallery”, they say.

We’re at The Warren on Auckland’s Cross Street, a workshop Jelicich shares with a handful of other woodworkers. It’s long and narrow, packed with workbenches, electric saws, drills and pieces of wood poking out everywhere. In the weeks leading up to the Nina for Flowers opening, the pair say they took over almost the entire space, their work spilling out of Jelicich’s designated area.

Now, the work is on the walls and floor of Laree Payne Gallery in Kirikiriroa Hamilton until May 11. The pieces are rugs set into cabinets, portraits of horses with hand-carved wooden combs, detailed wooden stools and a glass-topped, heart-shaped table. They’re a perfect marriage of the two artists’ practices. Kogachi began making pictorial rugs in 2020, two years after graduating from University of Auckland’s Elam School of Fine Arts. She switches between her tufting gun and paintbrushes, but always produces stylised images full of detail, colour and energy. 

Kogachi’s not yet 30, and one of just a small number of artists in New Zealand making a living from their practice. 

Jelicich studied fine arts at Massey University in Wellington, then spent a year at Nelson’s Centre for Fine Woodworking before returning to Auckland in 2019. Her considered furniture sits both in the art and woodworking worlds, as she works on commissioned projects and exhibits in contemporary art galleries.

Claudia Kogachi (left) and Josephine Jelicich (right) working on Nina for Flowers (Photos: Supplied)

In the combination of furniture, imagery and materials, Nina for Flowers forms a romanticised living room. The tufted rugs are soft and many feature flowers. The stools, though beautiful, are to be sat on, and it isn’t hard to imagine placing a honey-sweetened tea on the heart table. Then there’s the namesake of the show, a tufted Nina, with grey hair, holding a bunch of flowers, with her horses at her sides, smiling. It’s a portrait of Jelicich’s mum, who is a florist.

The pair came to Nina for her flowers. When thinking about the domesticated space they wanted to create, they knew they wanted Kogachi to paint (or tuft) still lifes. “We were like, ‘Oh, we should do flowers, that would be so cute,’” says Jelicich. “And then, ‘Oh! Let’s use mums.'”

Nina began sending Kogachi photos of flowers. “Mum takes photos of random flowers in the bucket on the floor – you know, not just pretty Instagram photos,” says Jelicich. They looked back through years of photos of flowers, as Jelicich would also “take photos of weird flower arrangements that were in the corner” when visiting. The flowers Kogachi and Jelicich were interested in weren’t the perfect bouquets, but instead ones with a more casual, homely and accidental beauty. 

Photo of a rug depicting a lady holding flowers
Claudia Kogachi’s Nina Arranging Flowers with Olympia and Duchess, 2023. Wool with cotton backing, framed by Josephine Jelicich in cherry, ebonised carved cherry comb (Photo: Laree Payne Gallery)

For Kogachi, family is never far from her mind. Early paintings depict her in sports competitions or domestic settings with her mum, their skin coloured a bright blue. Kogachi was born in Japan, but her grandparents live in Hawai‘i, having moved there to work in pineapple plantations. Her obachan (grandmother) has featured in her work, most notably in a series of rugs picturing her at home. While they aren’t pictured in Nina for Flowers, they weren’t far. “My obachan flew over from Hawai‘i to be here for the show,” says Kogachi. “She’s a huge part of my life, but she’s not overly fond of the gay paintings.” 

Part of the imagined audience of the exhibition was that 91-year-old grandma. “Some flowers and horses and your mom and the domestic scenes: those were things my grandmother was gonna really love,” Kogachi says. It hasn’t stopped the “gay paintings” of course, but they were sent to London, “where she would never go”, says Kogachi, as both artists laugh.

That series of paintings, titled Labour of Love, picture Kogachi and Jelicich working together in a kind of meta-narrative.They look over plans, pick out wood and Kogachi “helps” Jelicich by hugging her from behind. Finally, they kiss. “The method of working together so closely within the relationship doesn’t come new,” says Kogachi. Previously, Kogachi hired Jelicich to make custom frames for her paintings and rugs. The frames are artworks in their own right, hand carved and unlike any other frames I’d ever seen before. “I guess your name wouldn’t technically have been on the works – but we always do write Jo’s name on the back.” What’s different about the works in Nina for Flowers is the artists worked together from the conception of the exhibition.

Selecting Wood, Claudia Kogachi, 2024. Acrylic on canvas, carved walnut frame by Josephine Jelicich

I’ve caught the couple a few days after the show opened, and they’re relaxed and open. You get the feeling they’re taking a moment after being under the pump. They say two weeks ago they were frazzled, different people, under the influence of too much caffeine. Both wear hoodies and loose pants with plenty of pockets. Jelicich hasn’t yet tidied up her workspace: it’s covered in hand tools, small offcuts of wood and scrawled notes. Kogachi has come from her studio in Epson, where she’s returned after spending a few weeks working here at The Warren. There’s still a to-do list with her name on it taped to the wall.

“It was quite special to work on a show within a partnership. I don’t think it really happens much,” says Kogachi. “You can see how much love goes into the work as well. And there’s a lot of affection in the work without it being, necessarily, directly about that.” They’re themes that fold nicely into Nina for Flowers. “There’s so much care that’s gone into every tiny little drawer, every little handle that Josephine’s carved,” says Kogachi. “If I worked with anyone else, they just wouldn’t care as much.”

Claudia Kogachi, Water Lilies, 2024 (Photo: Laree Payne Gallery). Right: reference photo from Nina.

Something else happens when you invest so much care into your art. “It’s hard to say goodbye to the works,” says Jelicich, “ which I think is a good sign … It’s kind of like when you get a present for someone – I find if I don’t want to give it away that means it’s a good present.” 

“I just love the heart table so much,” Kogachi adds. “I’m secretly hoping it won’t sell.”

With the works gone from their studios, both artists are looking towards the rest of their year. “I have my commission work to get back to now, which is nice,” says Jelicich. She feels like she’s only just starting her career. “Being a woodworker is a really long-term commitment. The best woodworkers I know are like 70, and they’ve been doing it since they were 30.” By comparison, Jelicich is “just a baby”.

Left: heart table in progress (Photo: Josephine Jelicich). Right: Claudia Kogachi and Josephine Jelicich, Heart Table with Poppy Anemone Rug, 2024 (Photo: Laree Payne Gallery)

Jelicich has an exhibition with about 25 other fine woodworkers at the end of the year, put together by the Nelson woodworking school. “I think I’m gonna make a cabinet that’s just got, like, heaps of drawers in it and it’s just something really beautiful and timeless,” she says. Making more of her own designs is something she’d like to work towards. 

For Kogachi, the next few months will be spent working towards a group show at Season Gallery and a solo show at Jhana Millers Gallery in November. For her solo show, she’s setting aside time to read and research deeper into her family history, especially on the migration journey of her ojiichan (great-grandfather). He was from Okinawa Island, a place she wants to visit soon. 

“It’s a funny experience being an artist,” Kogachi muses. “I think what’s most important to me when I’m making is having fun.” Sometimes, when she’s alone in her studio, in a big, dark, old building that leaks, she thinks about how weird and silly it is that she spends her days painting while other people are in offices. “I have to be having fun,” she adds, “because this is such a strange, lucky and privileged position to be in.”

Nina for Flowers, an exhibition by Claudia Kogachi and Josephine Jelicich, is running until May 11 at Laree Payne Gallery in Kirikiriroa Hamilton.