Marija Patterson

Marija Patterson is a contemporary artist in Melbourne, Australia, and a member of the Association of Sculptors Victoria, Contemporary Art Society and the Victorian Artists Society. Her work explores a range of topics, from consumerism to women’s issues. Completing her BFA (Honours) at RMIT as a mature age student in 2003 (following a career in finance and research administration), Marija’s work using recycled materials was shown in “Re-invent, Re-interpret Re-make” in Melbourne, followed by solo exhibitions (using clay and bronze) in regional Victoria and Melbourne, (3 x 25, Voices, A Woman’s Journey and She said, “I’m moving on”. The recipient of several awards Marija has been invited to judge several art exhibitions. She has taught children with special needs, runs workshops, has completed several commissions and offers individual tuition in her Clifton Hill studio. Her works can be found in collections in Australia and overseas.

'Doll Obsession' by Marija Patterson

Ceramic wood pigment

Marija Patterson was a joint winner in the VAS Summer Exhibition 2025 with her bronze sculpture,

pictured at front.

'Away we go' by Marija Patterson

Ceramic 38 x 27 x 27 cm

Marija Patterson's winning bronze sculpture titled 'Over the sea to a new Beginning'

My story

"During a workshop for career development, I was asked, if I could do whatever I wanted, what would it be? I wanted to be an artist. That was not going to happen - my children were still at school and my work in finance was challenging and I liked it. I did not give myself permission to follow my dream!

At school I had followed the maths /science/language stream, which I loved. Whilst I did lots of arty stuff at home with my siblings and entered artwork into the local shows, a career in art did not happen. A course in accountancy was the springboard to my working life. Marriage, family, work and following my husband on his career path kept me occupied. During this period, I attended workshops in ceramics, completed a term in each of the following subjects - painting, photography, printmaking, silver smithing and drawing at the local TAFE colleges. This fed my art “habit”.

My children grew up, left home and so did I. My application for admission to a full-time student in the sculpture department at RMIT was successful. With my degree in hand, I moved into a shared studio in Clifton Hill where my art practice started seriously. My concerns at that time were about how much we waste. In my first body of work, I used recycled plastic bags and paper which came into my home. I shredded the bags and crocheted apples, making leaves from aluminium sardine cans – there are lots of stories about the apple as a symbol that provided a myriad of vignettes for my work. Papier mâché female figures inspired by the colours of Australian birds were emerging at the same time. I was always interested in women’s stories. For my honours project I explored the relationship between three generations of women. I created an installation and a three-minute film. “Three by twenty-five” became the topic for my first solo exhibition. The materials used were gypsum, clay and bronze. (Three women – three materials). Exhibiting several times a year, in group shows kept me occupied.

Following my mother’s death I spent a year in my studio coming to terms with the loss. I decided to investigate her journey as a spring-board for my work. After discussion with family I put together her story- a story about Janina, a courageous woman who left war- torn Europe with three children and a new husband. She carved out an extraordinary life for herself and her family, demonstrating tenacity, determination, vision and above all love. She left a legacy of strength, community and compassion. Janina was born on 2 April 1922 – died in hospital bed 22 on the 2nd floor. I used the reference to the numbers 2 and 22 in the work that was born out of this investigation, using two materials, clay and bronze, and making twenty-two works. The figures made in clay represented her physical journey and the bronze represents her essence. I found that many woman connected with the work and whilst they didn’t know the details of the story imbedded in each piece they were able to identify with it.

From childhood to adulthood, challenges have been faced and negotiated. Since the end of World War 2 there have been extraordinary changes in a woman’s life. Women have raised their voices, embraced change and moved on from the kitchen into the highest offices of government, business and research. The consequences are that the building blocks of a woman’s life born in the 21st century are different from those born in the “baby boomer” years. Since we have come out of the caves some things have changed and others not.

I have found that women are happy to share their stories, and this is now the basis for my current work."

Marija Patterson

February 2025