Baby’s Nightgown Circa 1860’s – Cloth of Memory

Loss of presence... will now hang... in honour of its work.  

Baby’s Nightgown Circa 1860’s  – Cloth of Memory  


My great grandmother, Annie Donald was born in 1844 and arrived in Australia from Scotland as a young adult in the 1860's.  She made this baby’s nightgown sometime during her early twenties whilst awaiting the arrival of her first son, the first of her 13 surviving children of 20.  To my knowledge the gown has only been worn by my great uncle and possibly his younger siblings.

Annie lived in the port of Adelaide around that time so the laces and fabrics would have been brought with her from home or procured from travelling traders.  It is also machine sewn in parts but family tales have it that she made it all by her own hand.  It is a traditional style of the 1860’s and made of typical fabrics and trims, etc of that time. 

Why is this item in my possession?  It has been handed down from mother to daughter for three generations, that is to me and I in turn will hand it down to my daughter as well.  Each generation has carefully preserved the gown by storing it away for safe-keeping.  Although there is little inherited value the gown holds a strong archival reference and family association. Tradition and preservation therefore are two words that best describes the existence of this garment. 

This cloth of memory is however vulnerable not only from injury but from the presence of minerals such as Rust.  A mordant once used to preserve eventually causes harmLoss of preservation will eventuate bringing a loss of tradition to create a loss of presencePrussian blue was also being used at the same time this garment was being made.  The gown therefore would have been accompanied by blue dyed accessories.

As I document the deconstruction of the garment I explore it section by section and represent it by applying rust to cloths.  A well constructed cotton unbleached muslin is chosen to best represent this work as it captures the 'fragility' of the work.  Prussian blue is then added to the cloths and the colour gives it back its life as the subtleness of the blue rebirths a faded memory.  To extend this work further the gown is also blueprinted using a cyanotype technique with the Prussian blue for wool to 'preserve' a captured image on the cloth and with a subtle, final over-dye in a bath of rust water the cloth's transformation is now complete.  The sepia tone that has been created in the cloths now brings forth a bygone era from whence the memory of the cloth began.  

The garment's cloth is then reconstructed section by section with a simple hand sewn, tacking (running) stitch, pressed and left to hang by the shoulders as is done in preparation to be fitted, honouring the work while it hangs, awaiting its side seams and hems.

This work now takes on a new presence that could be likened to a kimono (trans. thing to wear) that is humbly hung in honour of its work.  Loss of presence for this cloth of memory will now hang in honour of its work.  Being honourably returned, the transformation complete, this garment can now continue its journey to again represent preservation of tradition in all its humility. 

Loss of Presence, Cotton, Mineral dyes, Kantha stitch, 150x200cm, 2012.

Gallery - Portfolio Study Journey

When I was introduced to mineral dyeing with rust, I found a new way to visually express myself using textiles.   

The world I grew up in taught me anything rusting away was supposed to be removed, avoided or replaced. 

When making my first rust water, the dye bath turned my cloth orange and appeared meaningful to me as I remembered bath time as a small child when the pipes spluttered out the last of our water supply that was rich in red dust.

Remembering a childhood spending hot sunny afternoons gathering my rusty treasures from the dump to create sculptures of endless, imaginative play.  I now find myself looking again for those treasured rusted objects with a new purpose of creativity.

  • Sub-soil #1 and Sub-soil #2 found cotton fabric, found rust

    The resist-dying method using found object reveals to the horticulturist within me, the patterns the sub-soil weaves beneath the surface of the top soil.

"Looking Out"

The Greek influence that is expressed in this work comes from my personal interest in the Aegean culture.  One summer holidays I put together a photo montage of all the images I could find on the internet of the island of Santorini and ended up discovering the village of Oia (pron. Ia), with its 250 something temples and cave houses. The montage soon turned into a paper collage plan of the images changing the photographic angles and expanding the horizons tracing over to sketch to produce a line drawing plan.  I have not had the opportunity to visit Greece but now I feel I know this island intimately.

Upon further historical research of Greek art I became interested in the tomb reliefs of sculptured stone wall surfaces and ancient fresco wall paintings of everyday life.  Focusing on wall surfaces my interests diversified to include the Mediterranean mosaic floor stones found in the villas of Pompeii under volcanic ash and finally the pebble mosaic floors 'Pella Mosaics' of Hellenistic art.

'Looking Out''

Panel Top Santorini's Temples and Houses 50cm x 60cm
Panel Bottom Santorini's Walls and Courtyards 50 x 60cm

After researching the techniques used to create fresco painting I became interested in creating portable fresco panels that could be installed both indoors and outdoors.  With the right selection of media and processes I created 'Looking Out'.  

The frescos are handmade in pine and MDF timbers covered in Duck Cotton Canvas and painted in Acrylic with a Liquid Epoxy Resin finish poured over the top.  It is as if the viewer is standing within the temple.  The frescos have a ceramic tile edge to depict the frames of the windows and graphite and metallic embelishments are also used to complete the details of this work.


EXISTENCE SERIES OF WORKS - Altered Book: School of Mathematics and Science CROP CIRCLE Construction Part One

Hard copy re-used schoolbook. Relief and Intaglio print (front cover), inkjet (inside pages onto re-used book pages), balsa and jute . 15cm x 20cm.

My research on Sacred Geometry led me to the discovery of Crop Circle Sculpture and the work undertaken to identify the artist by deconstructing and reconstructing the aerial image. A presence of advanced quantum mathematics in particular quantum geometry is present and  goes beyond the knowledge and the understanding at this point in time.

After researching a variety of crop circles from the past 10 year period I discovered the representation of the progression of the learning of mathematics.  The book used for this art piece is an old secondary high school mathematics text book of algebra, trigonometry and dimensional geometry.

This provided a universal language to support a selection of crop circles that contained mathematical form such as binary, Phi, geometric theorems, 2D and 3D geometry.  I could use crop circles as a way of developing an advanced school of thought, that is a school book for future generations of our youth to decipher crop circles to learn quantum mathematics.

I found two books Part One and Part Two published in 1969 and well used by a female student from the Eyre High School in Australia.  The Part One book fitted the criteria needed with its four chapters on Algebra, Trigonometry, 2D and 3D dimensional geometry.

The Part two book was also used but only for the unprinted pages to use for printing the new pages, to insert into the Part one book, to alter the book's contents.


The results of my research lead to the inclusion of two crop circles for each of the five chapters. Crop Circles were chosen for the inclusiveness of arts, mathematics and science.  The book represents the binary for the chapter on algebra, phi and theorems for the chapter on trigonometry, two-dimensional geometry for the 2D chapter and three-dimensional geometry for the 3D chapter.

Cuts were made through layers of pages to alter the books construction, to represent an appropriation of the crop circles that altered the appearance of the landscape.

The chapter 'tabs' are made from balsa wood and twine (jute) to remind us of the 'hoax' theories that Crop Circles are made with planks of wood tied to lengths of rope. 

Artiste Book: Narrative Structure - Existence

This artiste book unfolds into a 12 pointed star, each page holds a symbol on transparent vegetable paper. The 12 images form this pattern when viewed in a straight line it appears as one image. 20x25cm brown card, textured coloured card, vegetable palette paper, photo polymer, jute string, relief and embossed prints.

This body of work is a 12-pointed star artiste book that unfolds into a straight line.  The text and image is contextualised thorugh my research and my understanding of the celestial bodies, sacred geometry and writings from a past civilisation known as the Mayan culture.

Each page is titled to represent a stage of the reconstruction of the deconstructed crop circle to determine the origin and the meaning of the design.

To visually depict a deconstruction of a reconstruction the design aspects are islolated by the possible process used for construction.  The outcome of this work is then depicted to reveal the forms and shapes that developed during the reconstruction.

The idea of the narrative is a sequence of images recording each form that appeared after geometric mathematics is applied onto each page, to record the elements that are present.  This is then represented by a simple shape to map an aerial view in logical, sequential, geometric form of the outcomes of an equation.  

The images are mathematical, two dimensional forms and the text is written in an information technology code used prior to liquid crystal display known as the Baudot Code.  In this form the information can be transferred into binary to be applied to composite into a recognisable spoken language for print.   In this instance an English translation was selected using a typeface that best associates with the period Baudot Code was last in use.

Landscaped Quantum

'Landscaped Quantum' poured recycled paper pulp embossing 40x80cm

Landscaped Quantum                 

The creators of crop circle landscapes use an unknown quantum energy form to create their designs.  There have been 10,000 or more designs made on natural earth surfaces during the last millennia.  The ones that I am interested in are related to the "water sphere" as this is what is needed to supply the energy of existence in the form of propulsion for travel.  A quantum energy, that is a free energy that is supplied by water and an electromagnetic radiation.

Throughout the process of making paper water is the carrier for the paper to develop.  There are a series of crop circle designs that maintain a presence of water when represented as hydrogen and oxygen to produce an energy for motion.   This Crop Circle depicts theorectical three dimensional plans to become a ship for travel.  The expansion of the molecules is expressed on the typography of the crop fields up to 100 metres in length. 

This such a crop circle was laid out on the Neolithic site at Windmill Hill at Wiltshire on October 14, 2012 and emerged late in the season for crop circle appearances, amongst fields of barley, towards the end of the harvesting period.  This is because the crop had an environmental component been sown with a crop of indigenous weed seed to encourage the return of native birds for organic production.  The crop circle displayed precise three and two dimensional symmetry from aerial views which has since been speculated by theoretical research to represent a slice of an 'Asymmetric Rotor-stator Magnetic Motor' (www.cropcircleconnector.com) to produce motion with water.


They are coming

These photo-etched, engraved wall tiles of fifteen QR Codes represent the translation of 15 sacred symbols. The centre code is made up of 730 hand built, mosaic tiles and is the title of the collection of work.  The sacred symbols are currently under construction and will represent a new language to assist the development of intelligent life on planet earth.

Atana Dapuritojo Potinija

This body of work has been influenced by the fields of thought related to ancient archaeology, the social symbology of ancient and tribal art and an alternate heritage directed to re-trace the beginnings of civilised existence.  This body of work explores the origins of nature, through the cultural and spiritual symbolism of feminine energy and the connection to place and time within the eroded geographical formations is present to accurately record the past beginnings of existence.  The motivation for this work is the theoretical discoveries made in the research to depict a visualisation of what once existed on an ancient site of the Aegean chosen for the unique archaeological discoveries of an ancient royal city. 

Atana Dapuritojo Potinija - Athena, Potnia (the Lady) of the Labyrinth (first being) 36 tiles 20x20x2.5cm

The Labyrinth now sits in silence beneath this Royal City of the Aegean.


Remembered in this cradle of creation

 …the horns of Poseidon protected

…the Labrys of Potnia

…and all of life

…that this union created

…in the birthplace of our existence

…the place where the divine

…first landed upon the planet.



#15 Throne Room Complex, Antechamber and Central Shrine of the Bull

A portal for Goddesses, Gods, Gold

…and Forbidden Knowledge

…for the Ancient Builders

…of the Future

…from the Past

…this Four-sided Amphitheatre

 …of harmonious oscillations.


The original landing platform

…of the fallen Angels

…of Atlántida found.


O Sons and daughters

…they serve the creator

…to rise up unto the universe once again

…to return to those creators

…of all creation.

by  Marye Hobbs

Lady of the Labyrinth, Queen Bee Linear B

The existence of the labyrinth throughout history, in particular from the ancient pre-language of clay tablets.  The linear visual mathematics identifying the labyrinthine key patterns are presented as the movement of energy to represent regeneration. The Lady of the Labyrinth depiction taken from a seal stone of the Mother Goddess, the Queen Bee.  The Linear B language I use in the background is the written language used during the time of creation, of the artefact, around 1300-1400bc.

Labyrinthine Existence triptych x 3 acrylic and cotton on canvas boards.
This work went to Finland for the Bridges Conference 2016 Mathematical Art Exhibition and then onto a European travelling exhibition (as seen on youtube). The work is the visual mathematics of vertices of the seven sided ancient labyrinth of Crete.

Honours Degree

Honours Exhibited Work for Assessment, 2015.

This work focuses upon techniques I use for the construction of fabric to produce handcrafts and my interest in archeology, cognitive science and visual mathematics - the conceptualisation of Geometric Abstraction to influence cognitive perception.

Masters Degree

The process of applying sensory perception as an aesthetic exercise to harmonise and balance cognitive perception. The outcome of this neuro-diverse perspective is a generative expression of order from chaos. Both form and space become representative of the harmony and balance within the gridwork and metaphorical for the systems of order in contemporary life. 

Cognitive Immersion II 450x450mm, acrylic, markers, graphite and cotton 2017

The Cognitive Matrix 90x90x5cm mixed media 2017.

Ecology Under Construction

The observation of a parcel of pasture land, better known as the Larratinga Wetlands, Laratinnga-parra (trans.Flooding Land Creek) excavated and landscaped into a natural eco-system to recycle the nearby waste water, captures the abstract expression approach to express visual inquiry into the dimensional existence of visual pattern energy. 

Through the use of resist dyeing with found objects, mark-making depicts a matrix of stained earth, with the passing parade of machinery and equipment, of ecology under construction.

The gridded patchwork was carefully constructed layer by layer and secured with Kantha stitching to represent the progression I witnessed, made on a construction site of a natural reserve once known as Laratinnga-parra (trans. Flooding Creek Land) located on a flood plain, it now recycles the town’s waste water. A Southern Hemisphere first.

The work is ongoing as the stitching records the tracks of the machinery, the gridwork records the planning and the dye marks reveal the impressions left by the work in progress. 

The final layers to the art piece were created using resist-dyed with hardware parts (found objects) placed upon a bed of hemp. This process uniquely represents the passing parade of machinery and equipment that came, went and stayed. 

 “The surveyors surveyed, the bulldozers cleared the land, huge holes, drainage, pipes and pumps went in and then as nature’s richness waited in turn to be released a blanket of orange brown sat upon the earth in waiting.”

Laratinnga-parra (trans.Flooding Creek Land) Ecology Under Construction, Resist dyed cotton, rust, hemp, and acrylic, Kantha stitch construction, mounted on mdf and pine board. 2019.

Laratinnga-parra (trans. Flooding Land Creek) Ecology Under Construction

“As we cut into the soil the land bleeds for us… the transition begins.

Chaos transcends the imminent order. 

Through adversity we ascend with a promise of healing, directing nature, fulfilling our experience of creation. 

Working together the system of life is called forth to become the sustainable entity of our desire ‘co-habitation’… the unison of natural forces through intervention.

All life is restored but now has a renewed purpose, function and direction.”

(in remembrance to the Peramangk people who use to call this place home)

                                                                                                by Marye Hobbs


Laratinga Wetlands - Laratinnga – parra (flooding land creek) by Marye Hobbs

 This work evolved from a walk that I have done many times and over many years.  The walk came about through an environmental recycled sewerage system situated in a wetland area alongside a main creek that was located on the outskirts of a semi-rural township in the Adelaide Hills within walking distance to our residence.

The area that includes the walk underwent intensive developmental planning to create a pilot system that gave birth to an environment of natural habitats by recycling sewerage into clear water and dispersing it throughout a collection of lagoons and lakes that weave and wind their way from the sewerage ponds to the start of the farmlands at a bordering main road intersection.  The walk is what connects each body of water.

The representation depicts the planning and progressive development to create a series of paintings of each of the areas that can be reached by these walks.

As I visualise the walk or as I am on the walk all I see is the beginning of its existence like any piece of art work or creation that I have produced or for that matter anything created or growing my mind is breaking it down into logical sequence of development or simply put into compartments .  All I see is the process not the outcome as the viewer sees it.  The grid is my base to work from. I break down each step of the way.  As I fill in each square I see it as a quadrant of measured steps. I am in everything  from those steps as I sensory interact with the environment with sight, sound and touch the view I see is past, present and future rhythmically calculated as I take in every living element... it is my matrix.  I hope my words for you as the viewer make the connection and to follow me on this journey of planning.

Laratinnga-parra (trans. Flooding Creek Land) The Matrix 120x185cm x 7 paintings on canvas paper, acrylic, graphite, mdf and glass frames 2019.

The planning of a parcel of pasture land, known as the Larratinga Wetlands, Laratinnga-parra (trans.Flooding Land Creek) was developed into a natural eco-system to recycle the nearby waste water of residents.  Hobbs observes and uses a combination of her creative arts practice together with her experience in environmental management and horticulture to translate this environment into a recreational collection of paintings, to map this body of work.  Hobbs constructs and transcribes mathematical equations using a square grid to investigate the mapped modularity of data, expressed through a predetermined number of divisions on an overlying grid, resulting in a pre-pixilation method that forms the foundation of this work.  Her method of daubing was developed for her creative arts practice to construct the visual mathematics, mark-making her system for order in contemporary life.  A matrix of natural landscape, this visual representation depicts a legacy to the spirit of the Peramangk people who use to call this place home.


#1 The Lagoon, #2 The Island, #3 The Stepping Stones, #4 The Boardwalk, #5 The Huts, #6 The Parking, #7 The Bird Hide