Bernard, Aidee (FRA) - 'Enlace #2'

WINNER: Awagami Paper Award in Recognition of the use of Handmade Paper – a selection of Awagami Editioning papers to the value of over AUD$500 - recognising the use of handmade, artisanal and/or non-commercial paper.

WINNER: Cocoon Designs Public Vote Award $500

Enlace #2 is truly a globe-spanning work - created by French artist Aïdée Bernard whist she was undertaking a residency Costa Rica earlier this year.

Aïdée Bernard is a rare woman who intimately mingles with nature, earth, water. Nature - with its variety and its creativity - offers her wild plants that she gathers and cooks for fibre extraction and thus makes her paper on which she writes words, words from others or her own. Whilst in Costa Rica, Aïdée used tropical plants which she did not know, experimenting with different varieties to find those from which she could extract cellulose fibres. 

Describing the process, Aïdée says: ‘What a joy to discover the vegetable laces of the big leaves of tropical trees! Then I worked in large screen immersed in vats of water, where I created each paper that makes up the dress. The celluloses are fixed together by water, there is no need for glue, it is a natural hydrogen bond that allows the assembly because the fibres have been previously cleaned by soda. All papers, even those on which you write, are made this way! To assemble the papers of the dress I sewed it with the cabuya fibre that I extracted. The dress is made of vegetable fibres of babananier, cacao, cabuya and other fibres of the jungle.

Aïdée Bernard lives and works in the south of France. It was not until she graduated art school that she discovered paper art and papermaking, and it has since become her dedicated medium. ‘…my desire [is] to create works that breathe, that dance, that melt with the cycles. Works that offer themselves as sensitive crossings and testify to the encounter between the plant world and the human world.’

Materials: Handmade paper plants, celluloses fibres extracted by ashes, gathered and cooked by Aïdée Bernard: cacao leaves, kapok, Carroubo, banana, leaves of the Costa Rican rainforest.

Artist’s Website

Clip of Aïdée in Costa Rica working with the plants

Bjerre, Sisse (SWE) - 'Paper Body Dress'

Sisse Bjerre has a bachelor’s degree and master’s in fine art and Fashion Design from the Swedish School of Textiles.

‘With and education in fashion design, I translate and interpret wearing in papier mâché and other paper material. Aesthetically I am fascinated with the look of work-in-progress and referencing the traditional uses of paper material… The diverse properties of paper inspire me to explore unusual silhouettes and textures that creates a tension between the aesthetics of work-in-progress and result. …I aim to challenge traditional garment conventions in both fashion design and contemporary art, as well as the general expectations of what a garment can be.’

Materials: Paper sheets, starch, paper yarn, metal eyelets and staples.

https://www.instagram.com/sissebjerre/

Britt, Diane (USA) - 'Fancy Dress Shoes'

‘The shoes are the hero of the ensemble, with the other pieces playing key supporting roles… They are a complimentary pair of wedding shoes, one with a flower-bedecked train, the other with objects tied to its bumper – honeymoon style.’

Diane’s design concept statement describes the shoes as follows:

‘The warm brown of natural, unrinsed flax will echo throughout the piece, with bold pops of colour drawing the eye to the shoes, flowers and other component details’.

Artist’s statement:

‘…my artistic practice extends widely through the medium’s expressive possibilities. In its most straightforward forms, this means creating works from freshly beaten pulp, forming sheets, and sculpting bold, expressive forms in wet, high-shrinkage flax. Using paper in its least stable or inert form means enlisting the elusive powers of alchemy to coax or simply allow paper to seemingly turn itself into wood or skin or other disparate materials. Working with 2 ½-4 hour overbeaten flax pulp also means incorporating expected wrinkling and shrinkage into any work, but with elements of drama and the unexpected; I can guide and anticipate much of what my work will be, but it will always contain surprise’.

Diane has an Education B.A. (Art) from the University of Massachusetts, Boston. She exhibited both in the US and internationally and has undertaken artist residencies.

Materials: Flax paper and paper pulp, linen cord, paper yarn, florist wire, dye materials.

https://www.instagram.com/diane11413/

Bryant-Duguid, Kelcie (AUS)- ‘A-Tisket, A-Tasket’

Kelcie Bryant-Duguid has a multi-disciplinary art practice that is materials based. Themes of identity, the environment, place and belonging form her personal narrative.

Her wearable art garments are a medium for storytelling, allowing the wearer to assume an alternative persona or character and act as a vehicle for expression of individuality and identity.

Kelcie has provided a comprehensive design document and Artist’s Statement which can be downloaded from the links below.

Materials:

Found and purchased papers. Flour sacks, paper raffia, greaseproof kitchen paper, masking tape, magazine images, washi papers,  zipper, thread, embroidery floss, cotton tape, ribbon.

Image below: Sample detail, provided by artist.

http://kelciebryantduguid.weebly.com/

Artist Statement

Design Document

Cios, Elzbieta (POL) - 'Wearable Sheets of Paper'

HIGHLY COMMENDED

As a textile and fashion designer, Elżbieta’s focus is the process of material combinations. ‘I’m searching balance between art and design related to the research for new areas of material exploration’.

The book The Fashion System of Roland Barthes provided the inspiration for Wearable Sheets of Paper. He described glossy magazines as a machine for making fashion. Elżbieta says: ‘In this project these words have become… a real attempt at redefining the fashion trade. The customer is buying a flat, virtual image. Cyclical fashion trends presented repeatedly in multipage journals have raised literal associations and questions: Can we wear a piece of paper? Can we be inside of the sheets of paper?’

For many years Elzbieta has been collecting old Vogue magazines from around the world. For this project she selected pages with many faces and red accents. Once selected, the glossy Vogue magazine pages are deconstructed through a technique of ‘erasing the print’. This involves abrasion, crushing, then scratching (see video clips). 

Materials: paper from Vogue magazines, starched cellulose-cotton fabric (bookbinding fabric), glue, metal eyelets, cords, transparent silicon

Elżbieta’s website https://www.ciosdesign.com/

Elżbieta’s Artist’s Statement

MAKING OF FILM - combination edit

Selecting the paper

Gluing the pages

Squeezing the material

Removal of the printing

Crowden, Polly (AUS) - 'Wildfire'

Polly Crowden is a three-time finalist in Paper on Skin. In 2018, Polly was awarded the Friends of the Burnie Regional Gallery Runner-Up Award ($1500) for her fantasy/sci-fi-inspired piece Adira of Aberlorne.

Polly is a Sydney-based Assistant Costume Standby who has worked on a number of Australian film and television productions since 2017. Polly is also an emerging textile, visual and graphic artist who uses her spare time to work on her practice. 

Wildfire is Inspired by paper honeycomb ornaments and flowering gums, and the blossoming reds and greens of the Australian bush.

As described in the design document: 

The cloak - The pieces will be in the shape of large gum leaves, but joined using the honeycomb method, which then expands to close over the model, and can be opened again from the inside. 

The skirt - will be folded to create an origami style tube that can expand and contract.

Materials - Majority of paper handmade by artist using recycled plain paper. The beads made from Japanese paper found at an op shop. Metal chains/closures/eyelets.

Polly on Instagram https://www.instagram.com/polly_crowden/

de Sailles, Lissa-Jane (AUS) - 'Red Waratah Girl'

WINNER: The Honourable Roger Jaensch MP Runner Up Award - $2000

Among a number of creative pursuits, Lissa-Jane is best known as a basketry and fibre artist. She has travelled extensively to pursue excellence in her arts practice. Lissa-Jane consistently exhibits both in Australia and overseas, and has been awarded numerous residencies and scholarships. Although a prolific solo artist, Lissa-Jane also makes time to teach and run workshops. 

Lissa-Jane on what inspires her paper art: ‘A deep love of the natural world, the Australian bush and a love of camellias seem to reappear as motifs in my work. Traditional craft work such as twining with paper connect me to practices where time and motion become secondary to the creative process. My paper art becomes a record of visual experiences of fleeting moments of beauty in a complex and ever-changing world’.

Red Waratah Girl is a hybrid camellia fairy living in a garden in the Shoalhaven in NSW. Some people are not sure where she has come from as she resembles the iconic red waratah of the Australian bush but also the ‘Red Waratah’ camellia. We see glimpses of her in the garden occasionally at the end of winter when she blooms but most of the time, she is off with the fairies doing what fairies do,’ (extract from Artist’s Statement).

In the making of Red Waratah Girl, around fifteen hundred petals were unfurled. This involved at least thirty hours of unfurling and the piece in total took over two hundred hours to make. Although a resident of New South Wales, Lissa-Jane spent several weeks in Tasmania prior to the event to complete the unfurling.

MATERIALS

The piece is 100% twisted Japanese tissue paper.

WEBSITE https://www.lissadesailles.com/

Flanagan P, Altavilla D, Donohoe M (AUS) - 'Walking Through Walls'

Walking Through Walls is a collaboration between Dr Patricia J Flanagan, Maeve Donohoe and Darcy Altavilla. Dr Flanagan is a highly awarded artist and published academic who has exhibited extensively both in Australia and overseas. She is currently a lecturer at the school of Art and Design at the University of NSW. Maeve and Darcy have worked closely with Dr Flanagan throughout their own studies at the UNSW. Darcy has a Bachelor of Commerce/Design (Honours), whilst Maeve obtained a Bachelor of Design (Honours) in 2021 and is currently interning with Dr Flanagan. 

Walking Through Walls is ‘…based on a modular system of interlinking stars, which can be reconfigured into diverse multifunctional forms. Designed to enhance a social economy, it is created from materials gathered from the urban environment… [and] can be reconfigured into clothing or functional objects and, in its conical form can be used to wrap around the body, as a mat, or to protect the body from heat and insects. 

The design leverages interlacing methodologies of making, drawing inspiration from traditional woven craft from across diverse cultures and communities.

The multifunctional paper element of Walking Through Walls takes many hours to link together, a process that is designed to foster community, conversation, and cultural capital. 

The design is extended beyond the physical form to the virtual realm through laser etched design motifs that trigger larger than life extensions and body augmentation, that are animated across the surface and around the body’.

Materials: vintage wallpaper, corrugated cardboard, and Phoenix palm fibre

Patricia Flanagan website

Walking through Walls video clip created by the artists, includes augmented reality footage https://www.youtube.com/watch?v=dDzOsAYqeTw

Giles L, Silk M & Mauer A (AUS) - 'It's Amoiré'

It's Amoiré is an exploration of circular and curved methods of folding. ‘Curves are seductive. They have an attractiveness… that straight lines cannot invoke. Curves are lines of beauty…’  (McRobie, 2017, p.1.)

The design employs digital fabrication techniques combined with the application of moiré pattern textures in the manipulation of a range of papers and semi-rigid materials. The design’s intention is to incite an aesthetic moment reminiscent of McRobie’s seductive invitation to respond to curves on a deeply instinctual level.

The collaborating artists - Lisa Giles, Annette Mauer and Melissa Silk - are involved with an initiative called STEAMpop Pty Ltd. STEAMpop explores and develops ‘…research-based experiences that acknowledge the relationship between science and the arts, with a particular focus on mathematics.’ All of STEAMpop’s projects involve a “flat to form” process so that participants can experience the wonder of transforming a so-called two-dimensional piece of paper into a beautiful three-dimensional object’.

Materials: Hand pastel coloured Rice Paper, Inkjet printed and hand folded Tracing Paper, Spray painted and digital die cut Watercolour paper, digital die cut cardstock, Tyvek

STEAMpop website https://steampop.zone/index.html

Guascoine, Simone (AUS) - ‘Resilient Gals – Jean Brown and Meg Gatti’

Simone is a mixed media artist living in the Snowy Mountains region of NSW. Her creations emerge from recycled, reclaimed and previously loved goods. Simone is a three-time finalist in Paper on Skin and her entries always have a rich story to tell – much like the discarded materials they are created from!

Resilient Gals – Jean Brown and Meg Gatti pays homage to the resilience of Jean Brown (93) and Meg Gatti (86). Simone has been inspired by their wisdom, their strength, and their zest for life - especially their adaptability in response to COVID. 

For example: The coloured panels in the skirt were completed by Jean Brown during lockdown. She coloured in using felt pens with the original being given to her granddaughter as a present. This was copied onto cartridge paper and stripped into lengths and woven. It not only represents Jeans determination to fill in lockdown periods with 'doing' something she loved but the additional mark-making and weaving represents the marks Jean and Meg have made in their lives on family friends and community. 

Design Inspiration:

French designer Paul Poiret's Hobble Skirt. The skirt was short-lived because of its constricting line that restricted movement, but it is a perfect analogy for the pandemic. 

Dress: The top part of the dress is made from tracing paper that has Jeans poem handwritten on it. I used tracing paper because of its transparency. Jean wrote her poem after strolling through the park using her exercise time during lockdown. She took note of her surroundings and the continuance of nature's daily happenings. And the presence of passing friends, taking joy that they could go for a stroll despite their inability to stop and chat. These observations are

described on the top of the dress and come from the heart. She has opened a window allowing people to see through. The tracing paper replicates this.

The collar: is made from rolled tracing paper in the shape of spikes using quilling techniques. Meg was a member of the Birchfield Harriers in the Midlands UK. A top pentathlon athlete, she was chosen to represent the UK at the 1958 Olympic Games. Meg came from a large working-class family who could not afford athletic spikes; these were bought for her by a fellow athlete who paid for her bus fares to Birchfield to train. She showed true tenacity by travelling 3 days a week after work & taking 2 buses each way. The spikes represent her inner grit and determination. She continues to cycle, lift weights and attend Zumba classes. During lockdown her veranda became her gym!

The Corset: The corset is made from cartridge paper that has been manipulated to show the etched lines in their faces (lifelines) and coated in tar and shellac. It represents the tough outer shell both women exhibit. 

Skirt: The skirt has vertical stripes consisting of tracing paper and a collage of artworks created by Jean and myself. They have been printed onto cartridge paper and embellished with line drawings that have been cut and woven using the twill weave and stitched together. This weaving and stitching adds strength to the piece and also emphasises the inner strength we have.

Simone on Instagram - https://www.instagram.com/simone_guascoine/

Howells, Mayhla (NZ) - 'he karere ki nga atua i te rangi'

WINNER – Mayor of Devonport ‘Behind the Curtain’ award $500

Highly Commended

Mayhla is a contemporary weaver and her life is immersed in her creative pursuits. The use of sustainable and repurposed materials features strongly in her practice.

Mayhla’s education includes a Certificate in Tevaevae (Traditional Cook Island Art) and a Degree in Māori Visual Arts. Both qualifications were obtained at Te Wananga o Aoteroa, Auckland, NZ.

he karere ki nga atua i te rangi – messenger to the gods in heaven is inspired by Mayhla’s love of Tui. In Māori culture Tui hold powerful significance having been used by Ariki (chiefs) and Tohunga (expert practitioners) as the medium to communicate with the Gods.

With their exceptional vocalisation skills Tui were trained to recite karakia (prayers/chants), and also to welcome guests with speeches, in te reo Māori. 

In honour of Māori culture this ensemble has been constructed using the traditional weaving technique of Whatu, including mawhitwhiti. The individual whenu (warp) are woven together with the aho (weft) using a double ply finger weaving method to fabricate the body and wings, simultaneously adding the handmade feathers.

Taking around 600 hours to create, the piece is made from 1.8km of recycled, deconstructed paper (end to end) sourced from recycling centres. It features 388 handmade and painted beads and 468 hand cut and painted feathers.

Mayhla Howells on Facebook https://www.facebook.com/mayhla.howells


Husø, Hanne Frey (NOR) - 'Dream Traveller'

Hanne Frey Husø has a background spanning the visual arts, literature, and puppetry. She has studied extensively and her work has been exhibited throughout Europe. ‘Being interested in books, writing technologies and oral transmission of myths and stories – I started working with paper as I studied Textile Arts. I have been working with paper for 20 years - building scenographies, making flat writing surfaces, spinning paper - as well as teaching botany to students about paper and cellulose and reflecting on paper as a medium of archiving knowledge and information.

Dream Traveller was created in response to life challenges experienced by Hanne Frey as a member of an ethnic minority in Norway. 

In her design notes, Hanne says: ‘I wrote down all I had experienced from different people with power. In order to neutralise the evil acts I described, I put in beautiful dreams about what I had experienced. I travelled in sleep and mirrored the cruel reality with allegories in sleep. Then I went through the text I had written and erased the acts – and kept the dreams. …Then I wrote the text again by hand - and as I was writing by hand, I shortened the text. The dreams I dreamt were in the first take from above: at a distance, as if I were not really there. Looking at what was happening to me as if I were a stranger. The second time I dreamt, I was inside the situation, feeling with my body. The third time I dreamt I realized what the dreams were symbolizing.’

‘I’m an ethnical Norwegian Muslim, so I wear hijab. I wanted to make this dream travelling into a hijab. I span kraft paper as a three metres long warp for a web. Then I span green paper into leaves and a pale red colour into flowers constructing the weft. On the warp I wrote down the third shortened version of the text. As I start weaving, the text disappears. As if I’m making these last two years into something beautiful. Making a monster shine in flowers and green leaves.’

Materials: Dress - handmade, plant colored kozo, gold leaf, pen, water colour, silk. Hijab - handspun kraft paper, silk paper, water colour.

Hanne-Frey Huso website https://www.waspwriting.com/

Attachment – Poem 1 (woven into the hijab)

Attachment – Poem 2 (text on the dress)

Kato, Kaori (JPN) - 'Bilateral Relations'

WINNER Paper on Skin 2022 Major Award $5000

Kaori refers to her garment as a hand-folded wearable abstract sculpture.  The title, Bilateral Relations refers both to the human form and the colours which reference the relationship between Australia and Japan.

Kato says she spent several weeks developing and designing the ideas - much more than actual production time. ‘I always think too much before doing something!’

All the patterns are folded by hand, and the garment was created from around 13 large sheets of paper (788mm x 1091mm).

The activity of folding paper originally began early in Kaori’s childhood. ‘The process is one of the methods of searching for myself. When I am folding the paper, I have to touch it hundreds of thousands of times and I find this activity to be the most absorbing as it makes me think about and explore who I am’.

Kaori obtained her bachelor's degree in Fine Arts (Honours) in 2009 and her master’s degree in Visual Art in 2010 from the Faculty of the Victorian College of the Arts at the University of Melbourne.

Since returning to Japan in 2013, her work has featured in numerous local and international shows and events. In 2019, for example, she was commissioned to show her works at the Museum of Contemporary Sculpture in Matera, Italy, and ran several workshops for students alongside the exhibition. Her work was part of the Vancouver Fashion Week in 2019, and the Western Canada Fashion Week in 2020. 

During October/Nov 2022, Kaori has a solo exhibition at KANDA NISSHO Memorial Museum of Art in Shikaoi, Japan.

Materials: paper, elastic band, glue, and hooks.

Kaori Kato on Instagram https://www.instagram.com/kaori_kato_artist/?hl=en

Kennedy, Marion (AUS) - 'Nature's Roots'

Marion is a local artist based on the North-West Coast of Tasmania. Nature’s Roots is her second successful entry into Paper on Skin. 

Her Artist Statement explains her passion for paper: ‘Paper art is a hobby and interest I’ve had for many years starting in high school art class. I find paper intriguing for its versatility and strength despite its weaknesses. Nature is an important theme that appears in my work. The irony of imitating nature with paper amuses me but also encourages me to use paper to remind viewers of its origins and original purpose. Reusing and recycling are key values for my work and respect for nature’.

At the time Marion was contemplating her entry for Paper on Skin, a devastating tragedy involving young lives lost struck her hometown. She experienced the waves of communal grief which turned people’s worlds upside down. Working through several design concepts, Marion eventually settled on the theme of the seasons - that there are new beginnings, and that time can heal. Although that pain may never go away, the cycle of life continues.

Marion states: ‘I have not made this design to impose my opinion on anyone, this is not a memorial but a way to depict my own grief and reactions to the tragedy.’

Marion’s 2020 Paper on Skin entry https://burnieartscouncil.com/film/2020/9/2/marion-kennedy-tas

MAKING OF

Killip B & Geissinger C (USA) - ‘Fire in My Soul’

This entry reunites two of the team who had great success with their 2020 entry to Design Eye Creative Paper on Skin, winning the Honourable Roger Jaensch MP Runner-Up award with Flower of Life and the Cocoon Designs Public Vote award. 

Brielle Killip is the designer/engineer of the team, utilising her creative and problem-solving strengths. Brielle has a Bachelor of Fine Arts from Washington University in St. Louis, School of Art, and a Masters of Business Administration from University of Missouri St. Louis. Christopher Giessinger has a long history of making, design and construction, and is known for his knack of figuring out how anything will fit together. He has a Bachelor of Arts from Anderson University.  

‘Fire in My Soul’ is inspired by the fire that burns within each one of us fuelling our passions and desires. Individual pieces are ‘knit’ together without any visible seams and form an airy, fluid sculpture that forms to the body. Fire in My Soul uses texture and pattern to capture the energy that starts deep in our core and radiates throughout our body.’ 

The team’s goal is to create something that is dramatic, has interesting details, moves naturally with the human body and pushes the boundaries of what is expected out of paper.

Materials: Paper from Mohawk paper mills, fasteners

Brielle and Chris’s award-winning 2020 work

Lamby, Denise (AUS) - 'Checks and Balances'

Denise Lamby is a visual and sculptural artist, photographer and author. In 2020, as a first-time finalist in Paper on Skin, she received the Tasmanian Hearing and Implant Centre, Dr Kellie Walker’s Encouragement Award of $1000 for her work New Life. New Life was a work of prodigious effort comprising over 3000 discarded teabags that Denise had repurposed in a variety of ways. 

With her 2022 piece, Checks and Balances, Denise has called on every variation of tea bag manipulation that she has experimented with over the past 6 years.

Denise describes the process: ‘Joining the tea bags into ribbons for weaving took weeks. The methodical hanging and drying of each tea bag became an addictive process. Emptying each individual bag was an exercise in patience, persistence and overcoming the inner voice of reason - 'what am I doing?' This process took months.’

‘Delicate yet strong, the train floats on the faintest breeze. The underbodice constructed purely from tea bags and joined only at the sides ensures maximum comfort that is structurally strong enough to lace securely.’ 

‘…finding a structure to support the headpiece was a difficult challenge, let’s just say my vision and thought processes changed frequently. A purist when it comes to recycled art it is important that only reused, reclaimed and recycled items are used.’

Thematically, Checks and Balances shows many faces and ‘…represents the facades and multiple images we present to the world as we strive to keep our lives in check. The multitude of roles we balance on a daily basis excitedly explode, unable to be contained.’

Denise’s work is a true reflection of her Artist’s Statement: ‘I am passionately influenced by the environment. Patterns in nature, repetition, texture and colour inform my art practice and feature predominantly in my creative outcomes. Currently focused on repurposing post-consumer products otherwise destined for landfill, essentially giving new life to unexpected reclaimed and recycled materials. 

Materials: Approximately 2000 reclaimed tea bags, systematically dried, untied, emptied and flattened before their creative adventures begin. The teabags have been dyed, sewn, gathered, chopped, woven, joined and/or hand rolled. 

DENISE LAMBY WEBSITE

DENISE LAMBY INSTAGRAM

Lee, Amanda May (AUS) - ‘Regeneration’

Following from the success of her entry Waratah in 2020, Amanda May Lee returned to Paper on Skin this year with another environmentally themed work, Regeneration. Waratah won the Design Eye Creative Major Award of $5000 in 2020.

Nature, manmade nature, and the relationship between them are strong influences on Amanda’s work. This feeds back into another interest – illusions, artifice, and representations. Blurring the lines between real and artificial, Amanda’s work allows detailed studies of natural subjects as well as exploration of structures that are not possible in nature. 

Regeneration highlights the increasing frequency and severity of bushfires. Amanda’s design notes emphasise it ‘…is the future we face due to human-accelerated climate change. Inspired by the dramatic return to life that eucalypts display after a tragic burning, Regeneration is both a sombre and hopeful piece.’

Amanda has an Honours Degree in Fashion Design from RMIT University. The focus of her practice now is creating custom handmade statement pieces for special events, decorations and styling. She has an interest in creating bold pieces which transform space and create immersive experiences. Paper is her preferred medium for lightness and malleability. 

Materials: Paper (produced from PEFC certified pulp and manufactured with a carbon neutral process), velcro, wire.

AMANDA MAY LEE WEBSITE

Mango A, Martin T (AUS) - 'Field of Dreams (Ethereal Trash)'

Anna Mango and her sister Tarja Martin work with items of trash and materials which they have collected from the streets of the inner west suburbs of Sydney, NSW.

Anna says: ‘I often let the material dictate the design I envisage, and it will be a spontaneous commencement into the work.’

Of the piece, Anna says: ‘The gown is a celebration beautiful voluminous proportions and trash reborn! …a sculptural moving entity, this piece moves and comes to life on the human body. With a beautiful ethereal quality, the concept of Field Of Dreams manifested in 3D. The flowers represent my dreams and aspirations and as the flowers appear on other parts of garment, these are the dreams becoming bigger and manifesting as they go out into the universe’.

Materials: street salvaged rolls of brick paving cardboard stencils, street salvaged rolls of white corrugated paper, pearls from broken necklaces, found golden thread.

Gold and silver rivets leftovers from previous projects.

Gold and silver leaf leftovers from previous projects.

Anna Mango, Siskosisko Designs INSTAGRAM

Work in Progress images supplied by the artist.

Marley, Likita (AUS) - 'Peacock dress'

Likita Marley is a Hobart-based freelance artist. She holds a Bachelor of Arts from the Sydney College of the Arts (now Sydney University) and a Graduate Diploma of Education from Charles Sturt University. Likita is an experienced theatre designer and maker of both costumes and sets, and has worked for such organisations as The Marionette Theatre, Death Defying Circus and Legs on the Wall. 

Her practice includes mixed media, installation and found objects. Objects from both the natural and built environments which evoke memories are woven together in personal stories. Likita’s recent foray has been into basket weaving, and she has employed this method to create the bodice of Peacock dress.

The dress is a reimagining the famous peacock dress of the 1900's as an homage to a bygone era of flamboyant luxury and excess. Likita is exploring how the physical material affects the shaping of functionality and form and the relationships that develop around their conception and use in an age of transformation and societal crisis. 

Materials: Wrapping paper, tissue paper, holographic wrapping paper, metalic paper, dyed paper string, paper raffia, assorted art paper, coloured card, brown paper, newspaper, paper clay.

Plastic buckle, metal button, hook and eye, ribbon, florists wire, paint, glue.