Artist in Residence – Intentions Go Awry

Artist in Residence

The Artist in Residence Brief

As part of the “interaction with students” in the brief for the WAFTA Artist in Residence we were encouraged to give talks to groups of students and WAFTA members towards the end of the first week, and another talk towards the end of the second week.

The AHA Moment

Early on during the residency I realised that I couldn’t really create “an exhibitions’ worth” of necklaces, bracelets, brooches, etc. Two weeks simply wasn’t enough time. This was just prior to giving the first talk. I started thinking “if that’s the case, then why am I here” – and completely changed what I was thinking about for the remainder of the 2 weeks.

The First Talk

I decided to give my first talk as I had prepared it – describing what I thought adornment was, why we adorn ourselves, what types of adornment there are and the methods/techniques used to create them. I showed slides and talked about the type of imagery that inspires me – coral reefs, sea slugs, micro/macro images etc.  Then I showed images of works by artists that inspire me: Mariko Kumusoto, Nora Fok and Arline Fisch. These 3 artists inspire me because their work is delicate, transparent, and either depicts or interprets natural elements. Nora Fok also makes some work that is her interpretation of mathematical concepts – which I also find inspirational (even though I am hopeless at maths!).

In-between the 2 Talks

I was nervous right from the start about talking to the students – that I wouldn’t be able to communicate effectively with them. I don’t really know why – they are people (just like me), they speak English (just like me), and we had a common interest in art. I kept telling myself it should be a breeze. In an attempt to reduce my nervousness I started making a mind map on the wall on the afternoon of the very first day. The artist in residence mind map was partly to show how I planned and recorded my research, and partly an artwork designed to prompt discussion between the students and myself. This took me a couple of days and then I started doing some planned experiments with thin interfacing.

Mind map for WAFTA Artist in Residence 2017

Mind map for WAFTA Artist in Residence 2017

I did a lot of the research in the 2 weeks prior to the residency so that I would be free to “make” and talk with visitors while I was there.Somehow, while I was sitting making (very repetitive, meditative work – spinning, wrapping) my mind wandered onto the questions of “what would be a big issue for young adult students?” and “how can I tailor my talk to include those issues?”

The Second Talk

I “sort of knew” that this talk would be completely different to the first – even before I gave the first talk! The second talk was supposed to be more about what the experience of being AIR was like. But I had started to think about the many media reports I had seen about Youth Suicide – and that this would be a relevant topic to weave into my second talk. So I included slides of my own work such as this one of some Shibori,

and this “Whirl” drawing, that related to being in a bit of mess.

Whirl 1 (detail), 17 Nov 2013, 58cmWx84cmH


I didn’t want to get really morbid – so mentioned some of the organisations that are around to help such as Youth Focus, Beyond Blue and LifeLine, as these seemed the most appropriate. If I’d been a bit better prepared I would have got hold of some brochures – but this all seemed to come “off the cuff” at the time. I wanted these young people to know that there are people who care what happens to them and are trained to help – and they are only a phone call away.

My final slide was of some work in progress.

Some paper-mache works in progress based on diatoms and radiolaria.

I got lots of hugs from fellow WAFTA members at the end of the talk, which was great because it made me feel that maybe I had communicated well with the audience. I felt really glad that I had tackled this difficult subject rather than taking the easy path and just talking about the creative side to the residency.

The Biggest Surprise

Soon after our talks, the Manager of the North Metro TAFE Shop Front Gallery asked if Robi Szalay and I would like to stay on for another week. We were thrilled and soooo happy we immediately said “yes – we’ll do it” 🙂 So then I got to thinking – well, maybe during this third week I’ll make lots of necklaces, bracelets, barrettes, brooches, anklets, ear-rings, cuff-links, bangles, beads, lariats, hair-slides, toe-rings, cuff-links, ear-cuffs, rings……



Inspiration has struck! :)

Artwork by Liz, Artwork In-Progress, Uncategorized

Inspiration comes from the strangest of places. With all the printing I’ve been doing lately there have been quite a few painted baby wipes created by the clean up process. They are quite colourful and semi transparent so there were some interesting effects when I layered them (another thing worth collecting!).

The inspiration for these works were the semi-transparent clean-up baby-wipes with blue paint on them.

The 6″ canvas’s in progress. I’m debating the colour of the embellishments but I like the backgrounds I have created by layering clean up cloths (baby wipes)

They are a non-woven fabric similar to dressmakers interfacing so they can be stitched. They tear easily in one direction only. I have used those to make a background for the Fibres West donation pieces, on which I will stitch some embellishment in red. I haven’t yet decided which red to use – a more muted Indian Oxide type red to match the muted blue, or a bright “popping” Cadmium Scarlet. I’m going to paint the ribbon and the cardboard circles and then stitch them in place. I am thinking about the finishing process while I do all this.

Collagraph plate experiments – thin card

Artwork by Liz, Artwork Experiments, Uncategorized

I have been experimenting with making printing plates from various materials I had on hand (some of which I had bought years ago but never got around to trying of course). These can be used to remove paint to create texture on the Gelli plate (if they have some flexibility and no sharp projections) or as printing plates in their own right. I recently did quite a bit of reading about different ways to create collagraph plates. In particular I was interested in ways of waterproofing the plates if they were made from materials which weren’t already waterproof such as paper/card or fabric. This is because I have had experience in the past where some glues become sticky again when wet.


I have made one out of thin card (140gsm) and paper shapes glued onto a thicker card (600gsm) which I have sealed with 2 coats of Atelier Regular Gel (Gloss) and 2 coats of WestArt Crystal Clear spray varnish. Concerns are that the edges will not be waterproof as it is difficult to make sure they are coated. I haven’t tried it yet and as they say “the proof of the pudding is in the eating”. I have since read that Shellac waterproofs paper and card because it works by soaking in rather than sitting on the surface. This has 2 benefits: the entire plate is waterproofed rather than just the surface, and fine details are not filled in by the sealant.

I am therefore in the process of making another plate, with the texture of weaving, from the same thin card which I will glue onto thicker card and then seal with Shellac (which I have used before to seal wooden stamp blocks, but not for paper). I am interested to know whether the texture of the weaving will show or whether I will just get dots in a regular grid from the high spots.

These are the marks that were on the scrap paper that I cut into strips to make the woven paper collagraph.

These are the marks that were on the scrap paper that I cut into strips to make the woven paper collagraph.

While I was making this I became intrigued with the way the lines that were printed on the thin card were displayed in a completely new way. It looks almost like a code or cipher. So I’ve filed this away in the back of my mind in the “inspiration” category.