Liliana Pasalic
Artist's Statement
Liliana Pasalic’s multimodal practice traverses painting, textiles, sculpture, photography, and drawing, investigating the physical and conceptual relationships between humans and their environments through fierce experimentation and the collision of diverse techniques. Operating between abstraction and figuration, she references art history, unseen worlds, identity, the subconscious, human relationships and iconography—each infused with her outlook as both creator and spectator.
For Pasalic, life is a source material, a tapestry of its own, built across Croatia, the UK, Australia, and Switzerland. Time spent in each place has shaped her understanding of both urban and natural environments, an understanding rooted in the interconnectedness of all things. This carries into the work itself; combining materials from tapestry and marble to spray paint and mirrors, Pasalic weaves a story of contrast, tension, unity and balance. By testing the limits of her materials and altering their properties, she intentionally disrupts the canonical understanding of textile art practice, welcoming both chaos and order. Pasalic translates the abstract into vivid, tangible expressions, offering an acute yet hopeful perspective on contemporary art.
Biography
Liliana Pasalic (b. 1979) is a multimodal artist based in Zurich, Switzerland, holding a Master of Design (2003) and a Bachelor of Design (2001) from the Faculty of Architecture, University of Zagreb, Croatia. A finalist in the Contemporary Art Prize, Canberra (2023) and the Woollahra Small Sculpture Prize, Sydney (2024), Pasalic has exhibited across Australia and internationally throughout Europe and the USA, and undertook a three-month residency at The Mill, Adelaide (2023). Her recent projects have been supported by multiple grants, including the City of Adelaide grant for Multiverse (2024), the City of Charles Sturt grant for On Aether (2024), and the Nexus Arts grant for From One Small Seed a Forest Grows (2025). Her practice has been the subject of critical and editorial attention across numerous publications, including VAULT Magazine, Mott Projects (New York), ‘Crystal Vision’ (curated by Tokujin Yoshioka and Marcel Wanders), and a four-page feature in Issue 132 of Frankie Magazine.
