Liane Wilcher is the sole creator of My Flat Mate, a 3D puzzle and art piece collection that has earned a spot as finalist in the ‘For the Young or Young at Heart’ category of the Sydney Opera House Uncovered program. Now in its fifth year, the Uncovered program aims to support up-and-coming local artists and has provided a platform for Liane to showcase her work to a broader audience – further fueling her artistic vision and growth.
Liane’s work brings together her passion for interactive art with her love of Australian wildlife. Here, we dive into Liane’s creative process, challenges and the inspiration behind her unique pieces.
Tell us about yourself and My Flat Mate.
I grew up in Sydney and have always had a flair for design and creativity. I’ve studied interior, set and costume, and corporate design, which all gave me a strong foundation in 3D and technical design.
My Flat Mate products allowed me to combine all my skills into something physical. I didn’t know where it was going when I started in May 2023, but I knew I wanted to find a way to bring my creative talents together. Once I got started, the process snowballed – starting with the kangaroo puzzle, which led to the dog and cat ranges. Creativity and design came naturally to me – despite it being a challenging journey!
What is the inspiration behind your My Flat Mate products?
I actually got the idea of producing puzzles while working with flat packs. I wanted to create something that was easy to make, as well as to post and package. Drawing from my theatre background, I liked the idea of objects being interactive and enjoyable for both the young and the old. From there, my interior design background kicked in and inspired me to create something that could serve as a design statement in any interior.
In terms of design, I’ve always loved animals – and, oddly enough, animal heads on walls. A few years ago, I discovered a weaver in Spain who made woven cow and bull heads, and I fell in love with them. I brought one back and placed it above my bed. A nice bonus of this project has been that I’ve become even more aware of animals and can now name every type of bird and dog.
“…I liked the idea of objects being interactive and enjoyable for both the young and the old.”
What is involved in the puzzle production process?
It’s been a steep learning curve. I had to figure out everything from scratch. It all started with finding the perfect timber and where to source it from. After a lot of trial and error, I settled on an eco-friendly basswood from an amazing supplier in Melbourne. I then had to learn how to use and communicate with the laser cutter for the patterns – which may as well have been an alien. The smaller details – like beads for the eyes and the wire for the whiskers – are just as crucial to getting the functionality and look right.
What challenges have you faced along the way and what has kept you motivated?
A lot of my previous experience was with large-scale projects, so working with my hands on such a small-scale creation like these puzzles was a totally different ball game. It was incredibly detailed work, and I had to solve a lot of practical problems along the way. It’s one thing to design something, but another to actually produce it. Finding the right materials and ensuring everything was perfect for the machines made up about 50% of the project alone.
The project was definitely outside my comfort zone, and I didn’t know what was at the end of the tunnel, but I knew I had to try and see it through while I had the energy for it. Once I started, I couldn’t stop and actually got a bit addicted! In all my previous roles, I’ve been part of a team, but this project was all me. Although it was difficult at times, that feeling of satisfaction in doing it myself – from concept to creation – is what pushed me to keep going.
“I’ve always thought to never throw anything away when it’s not working – I’ll put it away, take it back out and that’s usually when something will happen.”
Do you have a favourite piece in your Opera House collection?
I love all of them, as there’s a massive sense of pride in seeing my products come to life. However, I do love the bird designs and all their unique characters. The cockatoo, in particular, makes me smile because it was originally a mistake that I put in the drawer after months of struggling. I’ve always thought to never throw anything away when it’s not working – I’ll put it away, take it back out and that’s usually when something will happen.
What really matters to me is that these designs reflect Australia’s unique wildlife. Living here and working with animals from my own country has made me more appreciative of them and has meant a lot to me from a design perspective.
What does it mean to be a part of the Uncovered program?
When I applied for the Uncovered program, I didn’t know what to expect, so it was a wonderful surprise to win – and the first outward positive acknowledgment of what I’ve created. To have someone else appreciate and purchase something you’ve made carries such weight.
I have a deep admiration for the people and businesses that produce things in Australia, and I think it’s incredibly bold and brave of the Opera House to create a platform for Australian creators like this.
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