I am a TasmAsian

Ahhh, it seems forever since I have updated any post here. I have been extremely busy with a few things. And one of those were, I have had a trip and fall just a day before my daughter birthday, fractured my ribs. No, that's not pleasant at all. Because of the current pandemic, lock down in Melbourne, border closures etc etc. I wasn't able to get the help that I needed. And that has made the recovery very slow. I did have a girlfriend who came and helped me, she is a godsend. I wouldn't know what to do without her. So, thank you from the bottom of my heart. 

Paper on Skin 2020.. what a year I must say. I think it has been enormous and a lot of new normal for everybody in the world. Beside the pandemic, me just had a baby, in a new home, managing 4 kids on my own is a lot. So making a piece of wearable art on top of that needs a miracle. I have promised everybody in year 2018, I will be in for the competition 2020. I will hold on to my words and do whatever it takes to make it work. Although I did think twice before submitting my draft.. then I thought.. "oh what the heck.. I will just do it!!!'

So... I have everything planned for my piece for year 2020 Paper On Skin a year beforehand. I had my models sort out. My draft completed and material ready for it. I have started the creating process, forming the shape of the garment even though the submission date for pre-selection not due and I don't even know if my piece will be selected. But I move forward with it as there are other wearable art event or competition that I can use it for. As times goes by..... they were about to announce the ones that got through the pre-selection for the final. I got a call from the beautiful Lyndal Thorne, Vise President of the Burnie Art Council that I got pre-selected as a finalist but there is a catch. Who would have thought that my initial draft somehow became "high risk"and no longer suitable for the competition. I saw this coming as the pandemic hit Australia. The judges would like to see a piece from me, so the only thing I can do at that time is to scratch everything and start again. Re-draft, and re-design. 

The theme of my initial draft hasn't change, it remain the same, it is called The TasmAsian

The TasmAsian

This year, I would like to use this opportunity to celebrate my culture and as a dedication to all the Asian that reside in this beautiful place called Tasmania. I remember when I first arrived to Tasmania over a decade ago, I was hesitated to go out and meet people. 

First, was the accent I have when I speak English, and my awful grammar, and my skin colour is different. Often when I go out or do something, I felt like many people will look at me. But, when I actually made an effort to get to know the localities, the feeling was great. I am coming from a big city in Malaysia, was brought up in a fast paced and different environment. I find myself eat, talk and walk faster than anyone here is Tasmania. It was weird. 

Back in Malaysia, the closest beach/sea or wilderness is about 2 hours away from where I live, but here, it is almost at my doorstep and the beauty of nature is available at our finger tips. And I get wallabies, rabbits in my backyard. Occasionally, many blue wren birds will land on my yard and chirping away. It is quite amazing. I have learned that life is not about what we owned or how much money we got. It is about living our life to the fullest by embracing what is around us, the people, the view, the place, the sea breeze, the beautiful sunshine. 

I have made a lot of friends and met a lot of beautiful people that is local, doesn’t speak my language but they made me feel very welcome and have me as one of their own. I often shared my culture by sharing food and our festivities with my friends. So, I get to stay true to myself, without surrendering my heritage and forget where I come from. Teaching my children that our root is important. 

In the piece, I have featured many beautiful things and places I seen in my entire time in Tasmania. The beautiful Rhododendron Garden, Stanley Highfield House, “The Nut” and Cradle Mountain are all featured in different component of the garment. I remember the very first time I arrived to Tasmania, the very thing that mesmerised my eyes was the beautiful Albino peacocks, also made an appearance in my piece. A mixture of Asian influences such as Dragon (represent the king/man), Phoenix (represent the queen/woman), cherry blossom were also painted. Alongside with some patterns that were inspired by Qing Dynasty ancient outfits and embroidery. 

The 12 years I have lived in Tasmania, I am yet to discover many more beautiful places around the state. The TasmAsian, is a piece of artwork I created to celebrate all the Asian that have lived here or wanting to call this place home. All I can say is I am proud to call this piece of paradise, Tasmania my home.

Following is my moodboard for the piece:

I envision my piece to pick up the feel of China crockery, or some known it as Willow. So white and blue are the only colours on the piece. High gloss spray are use to make the outfit shine like the real porcelain feel.

Combining Tasmania iconic landscapes, mascot and nature with the mix of Asian influence component as a Fusion piece.

Every corner, sides, of the garments means something significant to Tasmania and my culture. 

The Bodice

All the foundation component of the piece required a lot of setting, curing and drying time. none of the process can be speed up, that is why I was struggle with time.. but hey.. i got there 

Bodice has a Devil on the sleeve. Warratah are all hand embossed on the bodice. The entire thing are made of 100% butcher paper. There are some manila card to form the sleeve shape and butcher paper papier-mache applied on top. The devil eyes, and nose are hand embossed for 3D effect.

On one side of the bodice a Qing dynasty inspired component featured. "家" is written on 1 of the piece, meaning "family" in English, also means "home" to us. Cherry blossom also hand-painted on the bodice, a flower that symbolise the Chinese, we use this flower in Chinese New Year. It also represent luck in love/romance.

The Phoenix

The body of the phoenix is hand moulded, just like the way I made the dragon. The filling of the mould is removed, so that it become hollow allowing me to attached the boning and feathers and decreased the weight. The phoenix body featured hand embossed pattern.

Many hand-spun paper string are used; for the hair on the head, and to wrap around 4 feathers boning. 2 types of florist gauges are used to some feather to hold the floating shape.

The Headpiece

Headpiece is probably the easiest component out of the entire garment. It only took me 3 days to complete (few hours a day).

The orbs represent the lantern. In Chinese, lantern represent brightness, as it lead us moving forward, symbol of wisdom and luck.

All the orbs are hanged with hand-spun paper string.

The Shoes

This shoes are a major challenge in this outfits. The idea came to me when I stood on a rim of paper. It is strong, solid, almost unbreakable but the downside is, the shoes will get very heavy.

I have cut over 1200 pieces of butcher paper for each side of the shoes. I compressed them in different component to form the heel/base of the shoes. The entire creation of the shoes took me about 3 weeks, before I can actually paint them.

1 side of the shoe featured the very beautiful Rhodondendron Garden in Ridgley. The other side of the shoes featured the historical Highfield House in Stanley, and "The Nut". The other 2 flip side of the shoes featured some Asian inspired sceneries.

Many other Asian inspired patterns and drawing also painted on the shoes. The concept of the heel and form of the shoes are inpsired by the Qing Dynasty Imperial woman footwear, known as "Flower Pot Shoes".

The Skirt

This skirt has taken the most time to made as the shape of the skirt were created from scratch. Many many wire and card were use to create the shape. Many many layers (i lost count) Papier-mache then go on the top and then wait for it to dry, it took many many days for it to completely dried. And then, the hand made frame is removed. So this skirt is 100% paper with ZERO other material. Paper clay then needed another 7 days to completely dry after the application before I can move forward with it; also due to the cold weather and it has been wet.

At the front, the beautiful Albino peacock is then painted on the skirt. Along with a few blue wren birds. At the back is the iconic Cradle Mountain scenery.

The Final Product:

All photos by Grant Wells | Model: Brooke Suhirman

The competition this year was a little different. We don't have the finale runway and showcase where spectators can buy ticket and see the garment being parade on the runway. Due to the pandemic, the competition has transform to a virtual show. A film has been produced by some local professionals after the organisation has successfully received a grant from the Arts and Screen Digital Production Fund to support the film. The funding pool is part of the first stage of the Tasmanian Government's Cultural and Creative Industries Stimulus Package. The extra funding will enable the organisation to engage additional screen professionals. It will also allow them to expand the planned mentoring opportunities with North West Support Services and Project O.

During the filming:

Photos all by Grant Wells

I would like to take this opportunity to thank all that has involved to make this year Paper On Skin possible. Thanks to the judges who have awarded me "Highly Commended" for this year entry. And the magnificent film that was so beautifully done. Below is a link where you can enjoy all the finalists creations:

https://vimeo.com/454282363