Tan Arlidge
A conversation with Bondi-based Tan Arlidge—an independent Australian artist transforming hard materials into fluid sculptural forms that fold and curl, like soft, billowing fabric.
Words: Hande Renshaw I Photography: Holly Ward
Bondi-based independent Australian artist, Tan Arlidge. Photo: Holly Ward
BON BON - Lightest Blue #05 by Tan Arlidge.
‘Australia has an incredible pool of talent and ingenuity in the arts. We live in the most beautiful country in the world, in my opinion, and we’re blessed to have so much space to roam and nature to inspire us,’ says Tan Arlidge. Photo: Holly Ward
‘I love the way I can manipulate the material while hot to achieve a ‘moment in time’ effect, where the hard material looks like soft, draped fabric,’ says Tan Arlidge. Photo: Holly Ward
Inside the studio of Bondi-based independent Australian artist, Tan Arlidge. Photo: Holly Ward
Hello Tan—can you introduce yourself?
Tan: My name is Tan Arlidge, an artist and mother of two boys living and working in Sydney.
Take us back to the beginning, why did you move away from working as a set designer, visual merchandiser and stylist in the fashion industry to focus on your own art practice?
The catalyst for change was definitely welcoming my first son in 2017. I began creating more and more from the heart and less to a client brief. But it wasn’t until I had my second son in 2020 that I took the final leap to solo art practise.
When did creativity first have an impact on you?
When I really think about it, my creativity came from my mother and father growing up—dad is a builder and mum is a painter. The defining moment though, would be when I met Sarah-Jane Clarke and Heidi Middleton in 2007, and began working with their eponymous brand, sass & bide. They placed such a strong focus on art and handmade elements, and Heidi herself is an artist/painter—I found both women so inspiring.
Where do you mainly draw inspiration?
As cliché as it sounds, I draw my inspiration from natural forms: the curvature of a leaf, the movement of the waves and sand… all of it informs my shapes.
Tell me about your process…
My process of thermoforming polymer is entirely intuitive. I have an idea of the form I’d like to achieve and there is slight control in the decision of size, but from there it’s all free hand-forming with no moulds. I simply place down blankets and use my eye to guide where I push and pull the material.
You work with thermoformed polymer—how did you discover this material?
I first began working with paper, mesh and cellophane when I was in the set design space. I discovered I could make an installation more permanent when I began thermoforming polymer in 2014 for a national window campaign with sass & bide. I was fortunate enough to have my sculptures in the windows of all their boutiques nationally and in New York. I love the way I can manipulate the material while hot to achieve a ‘moment in time’ effect, where the hard material looks like soft, draped fabric.
What does it mean to be artist in the current Australian creative landscape?
Australia has an incredible pool of talent and ingenuity in the arts. We live in the most beautiful country in the world, in my opinion, and we’re blessed to have so much space to roam and nature to inspire us. In an ideal world we would have greater access to funding for the arts and a stronger presence of cultural programming, but in the landscape of the world we are still very young.
SOFT SAND #28 by Tan Arlidge.
‘As cliché as it sounds, I draw my inspiration from natural forms: the curvature of a leaf, the movement of the waves and sand… all of it informs my shapes.’ Photo: Holly Ward
“I’m extremely grateful to see the world through my eyes. To be able to wake up each day and focus on pure creativity and production is a gift I don’t take for granted.”
‘Be confident in who you are and what you create through your own eyes—don’t allow others’ opinions to cloud your judgement.’ Photo: Holly Ward
PACIFIC BLUE #3 by Tan Arlidge.
The most rewarding part of your job is…
I’m extremely grateful to see the world through my eyes. To be able to wake up each day and focus on pure creativity and production is a gift I don’t take for granted.
And the most challenging aspect of your job is…
I’m proudly self-taught and self-represented in Australia, which at times can feel quite isolating. I’m certain many artists would attest to the same though. I love cultural programming like Arts-Matter to bring artists together and be graced with new perspective.
Tell us about your current exhibition REVERIE, what were you most hoping to achieve with this body of work?
Working with fellow artist Joshua Space was such a great experience. He is a master of his craft and from the get-go I knew I wanted to incorporate polished stainless steel into my work to honour his use of mirrors. Rainbow Studios approached us to create a collection for an incredible heritage listed venue in The Clarence Rooms in the Sydney CBD, and our work looks so elevated against the matte brick textured walls.
The most valuable piece of advice you would give to emerging artists looking to break into the industry is…
Be confident in who you are and what you create through your own eyes—don’t allow others’ opinions to cloud your judgement.
Are there any dream projects or collaborations you aspire to undertake?
I have wished for many years to find the right project to work on with Sydney Dance Company. The movement inspires me so much and I think a film or live theatre set design collaboration would be incredible. Rafael Bonachela’s, Momenta, which I saw recently solidified this dream for me.
What are you most excited about that’s coming up?
I’m grateful to already have a schedule of projects in the works for the remainder of the year. I recently worked with a videographer to create a film on a new series called Sacred Geometry—I can’t wait to share the magic we created at a show in October.
For more information about Tan’s work, visit her website or follow her on Instagram.