Liliana Pasalic’s work centres on painting and tapestry while drawing from design recollections, blurring the boundaries between these vaguely intertwined forms. Occupying the realm between abstraction and figuration, she references art history to explore female identity, the subconscious and human relationships through symbols infused with her individual outlook as both creator and spectator.

For Pasalic, responding to her work as it evolves is more important than following a fixed, pre-conceived idea from start to finish. Through the combination of unconventional materials, Pasalic continually seeks to redefine the boundaries of painting. The rich, tactile texture of tapestry—woven from Australian wool—invites the viewer to engage in a dynamic, sensorial experience. She employs a lexicon of forms and symbols across a variety of techniques, challenging the operation and apparatus of art-making itself. Here, tapestry is approached as a form of painting, with patches of colour added where needed and two yarn colours mixed to replicate the process in a pointillist fashion. The overlapping layers, often found in traditional painting, create frames within frames, much like a collage.

Interbeing 123 explores the interdependence of everything in the universe, using materials to represent either man-made environments (LED, spray paint, ripped posters) or natural environments, nature (sheep wool, drawings inspired by Australian native plants). Often, that which represents the city covers what represents nature, almost in a violent way. With the use of colour and composition, as well as softness of tapestry, it aims to evoke feelings of hope for humanity and where we are going. Whatever is happening in the world right now, we need awareness of events, we need solutions, but we also need to reconnect with joy. The work uses texture and three-dimensionality of tapestry to lean painting into sculpture.