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AROUND THE WORLD, 2024
GRAPHIC COMPOSITION
Inspired by the utopias of 1970’s storytelling, this piece offers a wanderlust more than most in the collection. The viewer is called on to recall the Tabby’s vintage ancestors, pre-millennia collectables that form the backbone of its design. Here, it takes flight in all its newness and effuses the universal desire for a propitious future.
For the first time, the complete works of Coach Tabby Shoulder Bag 26 are presented in a singular collection*. An oeuvre of dynamic graphics in existential compositions, it marks a turning point in artistic sartorial possibility, venturing beyond the scope of needle-and-thread reality. Spanning cinematic fantasies, dreamlike opulence and meditative strangeness, the instalment is groundbreaking in the phantasmic execution of exquisite portraiture.
From imagining a quilted Tabby ingenue as blossom pink hovering above a cumulus blanket, to merging an exquisite green façade with an illustrative forest, to one of egg yolk yellow nesting within a fantasy ecosystem, the works expel the expected and invite the inscrutable.
When Salvador Dalí journeyed into Freudian psychoanalysis, he found great freedom in accessing the unconscious, allowing him to bypass the real and fall into the surreal – a place where both non compos and sensory objects could exist together. By untying expectations from what should be and grappling with what could be he discovered the creative mind to be exponentially more powerful. Here, these Tabby works of graphic art ask us to open our minds to being as perplexed as we are persuaded, forgoing the barriers of sartorial non-fiction and instead tempting the purpose of believable fantasy.
The object of desire is, of course, what sets these works apart – making for a graphic thesis and conceptual analysis on why the Coach Tabby Bag 26 is both illustriously and romantically beguiling. It is a postmodern still life study, one that not only fetches wonderment but articulates all its favoured physicalities. The use of frontal orientation allows the viewer to notice its supple nappa leather fabrication, its iconic insignia clasp and its quilted tactility, and begs us to tussle with a brilliant dichotomy – that style can be as mesmerising in fantasy as it is in reality.
(*VISIT THE REAL TABBY ON TOUR POP-UP AND ACTIVATION IN MELBOURNE’S CBD FROM 14 – 17 MARCH, 2024)
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Daisy Chain, 2024
Graphic composition
An emphatic dissection of the beauty of rarity, the daisy signifies the turn of season, the joy of youth. Yet, this composition also delivers perfect symmetry, an intentional method that actualises one-point perspective. This visual contortion unconsciously calms the viewer, its focus leading straight to the heart of the Tabby. An equilibrium that also highlights a perfect order of form.
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Forest For The Trees, 2024
Graphic composition
Exploring the concept of coexisting to the point of convergence is apt to our times. Possessions, accoutrement, build aesthetic exteriors while also having significant impact on internal experience. Attachment to a singular thing, can be as honest a sentiment as revering memories, recalling a moment out of sentimentality, and relishing the pieces we carried with us.
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The Snow Queen, 2024
Graphic composition
A study of resilience and survival, ‘The Snow Queen’ explores the modern complexities of human experience. Though bearing a hardy armour, the Tabby, here, shields a softer, hidden interior. This introspection asks the viewer to venture beyond expected disposition and confront the conflicting ideas of protection and projection.
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Nest Egg, 2024
Graphic composition
A golden talisman perched in the largest nest of the forest, ‘Nest Egg’, is shamanistic in its portrayal of uniqueness in beauty. Its stylistic nature draws comparisons to 19th-Century Russian ultra-realists and their depictions of forest folklore while the use of high-contrast invokes an auspicious narrative. Here, the Tabby, is the work of a Fabergé, it becomes the birthright ruler over an allegorical monarchy.
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Kaleidoscope, 2024
Graphic composition
The collective noun for butterflies is a ‘kaleidoscope’, yet this piece, featuring a shadowed central figure, offers an irony – the Tabby, in achromatic gradients of black, absorbs all light around it. Yet, in its darkness, colourful strangers are insatiably drawn in. Much like Pierre Soulages explored in his monochromatic masterpieces, the use of this singular colour is anthropologically poetic, allowing the viewer to be lured despite its visceral guise.
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