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Additional Artworks

From NIADA Gallery

  1. Kintsugi Blue by Pat Lillich, Image 1.

    Pat Lillich

    Kintsugi Blue

    Handcast Resin

    7 x 5 x 2.5 in (17.78 x 12.7 x 6.35 cm)

    $175

  2. Winter Antelope Sprite by Pat Lillich, Image 1.

    Pat Lillich

    Winter Antelope Sprite

    handcast resin, lambskin wig, paper flowers, wooden and metal base

    12 x 3 x 3 in (30.48 x 7.62 x 7.62 cm)

    $125

  3. Peppermint Bart by Pat Lillich, Image 1.

    Pat Lillich

    Peppermint Bart

    handcast resin, acrylic eyes

    5.1 x 4 x 3 in (12.95 x 10.16 x 7.62 cm)

  4. The Real Richard Henry by Tanya Marriott, Image 2.

    Tanya Marriott

    The Real Richard Henry

    3D printed resin, Acrylic paint, Mix media

    12 in (30.48 cm)

    NFS

  5. Kintsugi Princess by Pat Lillich, Image 4.

    Pat Lillich

    Kintsugi Princess

    Handcast Resin, pressed metal crown and ribbon

    7 x 5.5 x 4 in (17.78 x 13.97 x 10.16 cm)

  6. Kōtukutuku Guardian by Tanya Marriott, Image 4.

    Tanya Marriott

    Kōtukutuku Guardian

    3D printed resin, Acrylic paint, Felt.

    11.5 in (29.21 cm)

    NFS

  7. The Kākāpō Collector by Tanya Marriott, Image 4.

    Tanya Marriott

    The Kākāpō Collector

    3D printed resin, Acrylic paint, Felt.

    14 in (35.56 cm)

    NFS

  8. The Rescue by Tanya Marriott, Image 3.

    Tanya Marriott

    The Rescue

    Polymer Clay Painted mixed media, Wool, Leather, Cotton

    6 x 14 in (15.24 x 35.56 cm)

    NFS

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About the artist

Tanya Marriott

New Zealand

The most important attribute I feel within my work is achieving character believably, through their physicality, expression, attention to scale and proportion, texture and tone. I believe that there is a “golden section” or a hierarchy of rules which determines good doll design. Like good architecture and design, there are attributes which when addressed in correct proportion, and composition create the believable being. The expression in the eyes; the size of the head in comparison to the limbs, each decision plays a valuable role in the development of the whole. This meaningful being is a timeless creation who has it’s own world, purpose and ambition. For me to achieve success in my work, a piece needs to speak to me, and continue to express long after my pleasure in its creation has waned. It is this challenge that I am sure most artists’ encounter in their work through self-critique and iterative advancement, and for me, it is this driving force that keeps me creating new work.

I am a character designer and researcher who works in a variety of media including interactive storytelling, playful interaction and character-centric communication. My practice-led research seeks to build meaningful experiences and storytelling opportunities between digital and tangible activities and objects. With a specific focus on environmental advocacy for issues such as predation, ecosystem collapse, and conservation through my character toy designs. I have qualifications in Industrial design, Illustration, and Interactive design and has worked for Weta Workshop on the Lord of the Rings Trilogy, Aardman Animation, The World of Wearable Art, and within the UK Toy industry as a product designer.

I am an internationally recognised doll and toy artist and the former President of the National Institute of American Doll Artists, and an alumna of the Pictoplasma Academy.

A Senior Lecturer at Massey University, College of Creative Arts in New Zealand where I am the program lead for Concept Design and the Weta Workshop School at Massey Masters program. I am a current PhD candidate, my practice-based research “Wild Play” explores the design of eco-fiction toys that engage children in outdoor imaginative play
Image of artist

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