Lichen Morphology continues Svenja’s fascination with, and exploration of, intriguing textural forms in nature. Svenja’s first exhibition titled Morphology (2009), focussed on ‘the fascinating surfaces and forms of fungi and lichen through contemporary textile practices.’ When travelling, Svenja photographs lichen and funghi. ‘Lichen Morphology’ is based on one of her favourite photographs of the ‘foliose’ lichen taken at Port Arthur, featuring the dark cupola shapes in the centre.
Adira of Aberlorne is an original concept bought to life from Polly’s imagination. Polly wanted to present a strong female character who was in keeping with her love of Sci-Fi, fantasy and the post-apocalyptic genres of film and literature. Her artist statement explains: ‘…drawing inspiration from a post-apocalyptic world, Adira of Aberlorne explores the female protagonist, embodying the spirit of a warrior.
For Empress at Forbidden City, Cynthia draws her inspiration from the impressive clothing worn by the ruling elite in China during the Tang Dynasty. Her focus of the piece is specifically Wu Zetian, the only female emperor in the history of China. The Empress’s life began as a concubine. When she married Gaozong and became empress consort, she was know to be the power behind the ruler. After he died she removed two of her sons from the throne and proclaimed herself Empress, a position she held until a year before her death at the age of 81.
Liz, Denise and Kath chose to collaborate on their entry. "Combining forces to realise an idea means that members of the team can develop an idea unconstrained but complimented by the technical knowledge of others." (From Artists Statement submitted for entry). Between these three gifted, experienced and awarded artists, there was a wealth of technical knowledge to draw on.
Bushido - Way of the Warrior, explores the tensions between the martial and non-martial philosophical aspects of the Samurai tradition, (whereby aggression is tempered by self-discipline, honour dances with loyalty, and justice and benevolence are inseparable).
There are other ways of knowing... Is a visual exploration of the shape shifting practices of a shaman using their totemic form to explore and gain knowledge from the non-material world; in this case the Raven totem. The ensemble includes an interpretation of a ceremonial dress and coat and a totemic body mask. The body mask is the 'magical' component of the dress, acting as the gateway for the shaman to move beyond the physical realm.
The work is a child's cape, symbolising protection, a social uterus, a garment which shelters a child from the pressures of the outside world. The cape allows the child to grow in a safe, nurtured environment, where individual thoughts can be valued and protected as they develop.
Burnie Bride of Yesteryear reflects the history of Burnie and the key place of paper making within that history. The piece is a replica dress worn in the 1920's by a local bride. The photograph is housed in the Burnie Regional Museum.
As the title of the piece suggests, Douglas has drawn on a variety of sources as inspiration for his winning work. It consists of two garments, a dress with a bolero jacket for a female, and a tailcoat with tails for a male. Inspiration from the natural world is evident in the leaf-like motif of the laser-cut patterns which are a key component of both garments
With Shadows that were their nightgowns… conveys a narrative that reveals – partially - a hidden internal story of the body, and the inherited cultural text we receive when we are bought into the world.