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Artist | Maker of Prints & Jewellery Things
Hi, I’m Ann-Marie, an artist creating prints and jewellery-things that explore through a phenomenological lens the connections between humans, animals, plants, the land, and the sea; also drawing inspiration from historical narratives, spiritual practices, and the afterlife of things.
I love my family of humans and animals, the sea, long walks, strandlooping, gardening, birdwatching, baking and reading.
Thanks for dropping in! Feel free to reach out with any queries.
Don’t forget to have a look at my Instagram and blog for more.
All Products
![A new edition of 'Archive Fever' matinee neckpieces ... @artistscollectiveza. See them @ #pointfriday from 17:00 & leave with your own vintage loveletter to the cycle of redundency and rebirth.
Dm to purchase online [+R120.00] shipping in ZA]:
Archive Fever: ‘Queenie’ (2025). Matinée neckpiece. Vintage slide frame, glass, vintage postmarked Australian “5d” pre-decimal postage stamp featuring Queen Elizabeth II (1959–1962), seed beads. H 35 cm × W 5 cm × D 0.30 cm. R485.00
Archive Fever: ‘Gandhi’ (2025). Matinée neckpiece. Vintage slide frame, glass, postmarked Republic of South Africa stamp honouring Mahatma Gandhi (1995), seed beads. H 35 cm × W 5 cm × D 0.30 cm. R485.00
Archive Fever: ‘Relativity’ (2025). Matinée neckpiece. Vintage slide frame, glass, vintage American 8-cent postage stamp from the Prominent Americans series honouring Albert Einstein (1965–1978), seed beads. H 35 cm × W 5 cm × D 0.30 cm. R485.00
Archive Fever: ‘Study in Blue (Quebec)’ (2025). Matinée neckpiece. Vintage slide frame, glass, Canada Centennial Definitive 20-cent postage stamp (1967–1973), seed beads. H 35 cm × W 5 cm × D 0.30 cm. R485.00
Archive Fever: ‘Airmail’ (2025). Matinée neckpiece. Vintage slide frame, glass, vintage French 2-francs postmarked airmail stamp featuring a Dassault Mystere 20 aircraft (also known as the Falcon 20) (1965), seed beads. H 35 cm × W 5 cm × D 0.30 cm. R480.00
Archive Fever: ‘Mouse-Deer’ (2025). Matinée neckpiece. Vintage slide frame, glass, vintage postmarked Indonesian 10 Sen postage stamp from the Fauna series featuring a Kantjil (lesser Malay chevrotain or mouse-deer) (1956), seed beads. H 35 cm × W 5 cm × D 0.30
cm. R485.00
#archivefever #smallthings #stampjewellery #slideframes](https://scontent-lhr11-1.cdninstagram.com/v/t51.82787-15/732445209_18542952523079259_711843911726718401_n.jpg?stp=dst-jpg_e35_tt6&_nc_cat=107&ccb=7-5&_nc_sid=18de74&efg=eyJlZmdfdGFnIjoiQ0xJUFMuYmVzdF9pbWFnZV91cmxnZW4uQzMifQ%3D%3D&_nc_ohc=uD-lEL6_TnYQ7kNvwF49lie&_nc_oc=AdpX25tR1HkXXtQwWGWMToVSbJC8IPM501tDXJGCWVN816dJvcb0yXqeqDOGnNnSBko&_nc_zt=23&_nc_ht=scontent-lhr11-1.cdninstagram.com&edm=ANo9K5cEAAAA&_nc_gid=nSQPrkplRtNVE_SGeYx0yQ&_nc_tpa=Q5bMBQJqO9lmvw3mTtdnHYuhC-FhNjhS1jAwDRHQcs3UGqdpfaLEFCBctt0HrLdhv5jPpl4dtOQBcSkr&oh=00_AQOVXECQHVVCfqir19hw8wdXIeS1-4xhL7gD-W-AO1pa_g&oe=6AE44114)
![LINOCUT PRINT ON VINTAGE LINEN & LACE
Shop link in bio. DM OR EMAIL anntullyart@gmail.com to enquire.
Morrígan at the Bluff with Umlazi Eel [African Longfin Eel–Anguilla mossambica]. 2025. Linocut print on vintage linen, heirloom lace, wooden dowel, thread and glass seed beads. 300mm x 450mm. 1 Available.
In the work Morrígan at the Bluff with Umlazi Eel [African Longfin
Eel–Anguilla mossambica] (2025), a spectral European figure surfaces from dark waters, accompanied by her corvid familiar and haloed by three moons marking cycles of birth, becoming, and decay, while a longfin eel drifts among her carnal flotsam on its catadromous journey between the river and the sea, echoing diasporic migration and ancestral displacement (umfokazi, stranger, wanderer).
Paper edition on the way soon ...
🌊🐍🧚♂️](https://scontent-lhr11-1.cdninstagram.com/v/t51.82787-15/627460630_18508227427079259_6845009257007322666_n.heic?stp=dst-jpg_e35_tt6&_nc_cat=110&ccb=7-5&_nc_sid=18de74&efg=eyJlZmdfdGFnIjoiQ0FST1VTRUxfSVRFTS5iZXN0X2ltYWdlX3VybGdlbi5DMyJ9&_nc_ohc=4VVoGKhMbrUQ7kNvwGozWm9&_nc_oc=AdpyRmJeBti6RKqsO3jBt_jK-kJWl99lHcyMd75b5t3J9l20Ob__a6UJYk3YZwIffQg&_nc_zt=23&_nc_ht=scontent-lhr11-1.cdninstagram.com&edm=ANo9K5cEAAAA&_nc_gid=nSQPrkplRtNVE_SGeYx0yQ&_nc_tpa=Q5bMBQLJuP-vcZOnONGGb22he92UOs_m_xEOttgV5VwBed_GV25iJF87ZNtn3OCe7PKsw3sCtC978M75&oh=00_AQNMIWBWdmJhpEuOV3dyrCT7Uydahl4HA7mbcQ4jSZ4j7g&oe=6AE4178B)
![Filling the cut away recesses of a linocut in progress with flour to get an idea of the printed look. This helps to tell me where I might cut away more for separation and accentuation of form. Very satisfying as well scraping away the flour to reveal the image ... this one is called 'Impungushe [Jackel]: A feast for and of crows [imikhovu]', following on my exploration of outsider/umfokazi figures, hybrid forms; situated landscapes, fauna and flora; thresholds between species, self and other, the living and the dead—eco-spiritual fabulations. The crows may be on the menu ... but their gaze devours the spectacle of predation, the becoming land of the predator. The creatures I focus on are all present in the KwaZulu-Natal landscape: indigenous, naturalised, migratory ... a meditation on the ancient and contemporary nature of being, becoming and belonging.
Apologies in advance for all errors in my isiZulu usage. I am very much a learner. Please comment with any corrections, words, or if you want to share stories. I am very interested!](https://scontent-lhr6-1.cdninstagram.com/v/t51.82787-15/612462454_18503382070079259_4152622382602062215_n.jpg?stp=dst-jpg_e35_tt6&_nc_cat=108&ccb=7-5&_nc_sid=18de74&efg=eyJlZmdfdGFnIjoiQ0xJUFMuYmVzdF9pbWFnZV91cmxnZW4uQzMifQ%3D%3D&_nc_ohc=iOODR6o235IQ7kNvwEkgTIX&_nc_oc=AdqB34pI-X_x-E2edB5VFB5dqhp66Q9FjG3npB2VXiMinzC95nlcwA8dPP28T2hct2E&_nc_zt=23&_nc_ht=scontent-lhr6-1.cdninstagram.com&edm=ANo9K5cEAAAA&_nc_gid=nSQPrkplRtNVE_SGeYx0yQ&_nc_tpa=Q5bMBQJWyTPcyP49LisGoSpQcN6jBraVWlQgIS-1pQXeuJItrxVoPHPkeEyNWhgLM-rk5f9UX_iU0GzL&oh=00_AQOssc1hsDsSrGFw_9eIy5jNYar5XfHHMb4FsAd5xX3f0w&oe=6AE448B3)
![Views and details of my installation of recent works, entitled 'Umfokazi: A Hydrocolonial Tale' on now at the DUT Fine Art & Jewellery Design 2025 Staff exhibition, 12-21 November @ the DUT Satellite Gallery, City Campus, Durban @dutartgallery. Some thoughts about the work:
This installation traces an estuarine seam where ancestral memory, myth, and ecological entanglement converge. Drawing on printmaking, textile assemblage, and contemporary jewellery, the works emerge from the shorelines of Durban’s Bay of Plenty, beneath the ancient shadow of the Bluff outcrop.
In the work 'Morrígan at the Bluff with Umlazi Eel [African Longfin
Eel–Anguilla mossambica]' (2025), a spectral European figure surfaces from dark waters, accompanied by her corvid familiar and haloed by three moons marking cycles of birth, becoming, and decay, while a longfin eel drifts among her carnal flotsam on its catadromous journey between the river and the sea, echoing diasporic migration and ancestral displacement (umfokazi, stranger, wanderer).
The work, 'Mamlambo at the Bluff' (2025) extends this hydro-mythic dialogue: the shapeshifting serpentine deity inhabits liminal waters alongside imported visual lineages including the Morrígan’s crow, a rendering of Hokusai’s 'Great Wave off Kanagawa' (1830–1833). The kimonoed figure gestures to trade, indenture, and hybridised cultures.
In 'Anthropocene Swimmer [Lace edition]' (2025), a female figure drifts through the gyre of culture and nature, suspended between creation and decay, embodying the posthuman aporia of the Anthropocene: caught between being creatures of nature and witnesses to its destruction. The heirloom lace elements in all these works represent a ‘cultural froth’ or fluid temporal strand, bearing memory and human artifice.
'The Tempest' (2025), a neckpiece of sterling silver, pearls, glass beads, and a Union of South Africa coin distils these currents through adornment: pearls reference the East India trade; the ship gestures to all who have entered Durban’s bay; the coin is an artefact of empire; and the ivory-coloured glass beads trace the circulating currents of empire and its progeny, globalisation.](https://scontent-lhr11-1.cdninstagram.com/v/t51.82787-15/583647094_18495018589079259_6573441556567212338_n.heic?stp=dst-jpg_e35_tt6&_nc_cat=110&ccb=7-5&_nc_sid=18de74&efg=eyJlZmdfdGFnIjoiQ0FST1VTRUxfSVRFTS5iZXN0X2ltYWdlX3VybGdlbi5DMyJ9&_nc_ohc=2RS3SWEHzm8Q7kNvwFLoyTH&_nc_oc=AdoTO8XwVoUGE1kwzNNm3WQcI8sMoLyLI_CuDyiEf4PKkA97AopL_pPmUNCEcZHew6c&_nc_zt=23&_nc_ht=scontent-lhr11-1.cdninstagram.com&edm=ANo9K5cEAAAA&_nc_gid=nSQPrkplRtNVE_SGeYx0yQ&_nc_tpa=Q5bMBQIn_VFCfVvftibbVQCeTMB5kA36vvRMcgQBCRYkiXzGuU3BSXL0-tZU_tBLjFsRblodYo4sYdaw&oh=00_AQPY8Ld4Rl2z0gwydmdBGb339atxgyLCV7ePuBiH7SXeag&oe=6AE437BB)
![Archive Fever: "Bokkie". Matinée neckpiece. Vintage slide frame, glass, postmarked Union of South Africa "Pictorials" series 1/2 Penny Springbok Stamp (1926-1954), seed beads. H 35 cm x W 5 cmx D 0.30 cm.
Archive Fever: "Independence". Matinée neckpiece. Vintage slide frame, glass, Zambia 1964 Independence First Definitive Issue: Cotton (1964-1968), seed beads. H 35 cm x W 5 cmx D 0.30 cm.
Archive Fever: "In Bruges". Matinée neckpiece. Vintage slide frame, glass, postmarked Belgian King Baudouin I stamp (1953-1972), seed beads. H 35 cm x W 5 cmx D 0.30 cm.
Archive Fever: "The American [Always]". Matinée neckpiece. Vintage slide frame, glass, postmarked "Prominent Americans" George Washington 5 Cent Stamp (1965-1970), seed beads. H 35 cm x W 5 cmx D 0.30 cm.
The 'Archive Fever' (2025) series transforms small, obsolete materials—postage stamps, slide mounts—and seed beads into repositories of memory, affect, and time. Drawing on Derrida’s Archive Fever (1995) and Appadurai’s The Social Life of Things (1986), I explore how objects accrue meaning through circulation, loss, and recontextualisation. These neckpieces inhabit the threshold between object and ornament, archive and adornment, thing and image.
Slide mounts act as archival frames, containing yet revealing. Circulated stamps bear traces of communication, displacement, and temporal passage. Strung with beads, a rhythm of repair indicates the desire to stabilise what is inherently unstable. These works function as postmemorial artefacts, fragments that emanate from and prompt diasporic and intergenerational memory (Hirsch 2012). Aligned with Appadurai (1986) these materials gain new social lives as they circulate—through the body, museum, or collection—becoming intimate, mobile, and affective.
#archivefever #stampcollector #stampjewellery #slideframes #vintagethings #thesociallifeofthings #afterlife #affectivethings #postmemory #postalart #unisexjewelry](https://scontent-lhr11-1.cdninstagram.com/v/t51.82787-15/567439875_18489645574079259_383014797499078454_n.heic?stp=dst-jpg_e35_tt6&_nc_cat=101&ccb=7-5&_nc_sid=18de74&efg=eyJlZmdfdGFnIjoiQ0FST1VTRUxfSVRFTS5iZXN0X2ltYWdlX3VybGdlbi5DMyJ9&_nc_ohc=G0SjUxg3zckQ7kNvwGdzRAK&_nc_oc=AdqnY_HGxZXcwPLVO3Cfx0UHGCGpDGQ9L_aZU7ZmRI3vV5Sw7VJvBaYx7YbYhfHQ4yI&_nc_zt=23&_nc_ht=scontent-lhr11-1.cdninstagram.com&edm=ANo9K5cEAAAA&_nc_gid=nSQPrkplRtNVE_SGeYx0yQ&_nc_tpa=Q5bMBQL_oTC3FbdFP4rGyFmSuYc_Sjx1npr65I8f_oq7U5gD2FVTdcl-3kh06Itg8JD80iGOAO1UdYCD&oh=00_AQMAhx5-Mrc1Vr5WYB1w428F9YRVylYYjSa0jUYTNqAaQw&oe=6AE44F23)
![A new print is off the press in a small handmade paper edition and some variable textile pieces in progress:
"Morrigan at the Bluff with Umlazi eel [African longfin eel - Anguilla mossambica].
This hydrocolonial tale relates to my ancestors who came to South Africa from Ireland, Scotland, and England. Under the shadowlands of the Bluff rocky outcrop in the tepid waters of the Durban Harbour, a figure of European origins, identified here as Morrigan (bringer of death, mother of chaos, witness to ruin) emerges from the dark waters. She is not alone, accompanied by her familiar and shapeshifting moniker, the crow. Concealed in a corvid countenance she masks her true identity, which is augured in the halo of waxing, full and waning moons: The triple goddess: maiden, mother, crone, a blood knot in the strand of time.
Beneath the surface of the Bay of Plenty, her tattered, skeletal form is made visible beneath the waterline by the wan light of the moon — a spectral allusion to famine, colonial consumption, displacement, and the sediment of generational trauma. Mingling amongst the marine brush in stroking distance of the wraith's hand is an African longfin eel. Her journey thence to spawn in the deep waters of the oceanic gyre connects this haunted body of water to a wider migratory cosmology. From that pelagic cradle, her larvae drift within the gyre’s slow, circling current, returning as translucent glass eels to the African coast and rivers of KwaZulu-Natal.
I feel kin to this strange and migratory life cycle — to the womb-like spectre of the oceanic gyre, that vast country for eels, ancestors, and umfokazi.
#morrigan #thebluff #ancestralwaters #africanlongfineel #durbanharbour #cosmology #hauntology #postmemory #printmaking #handmadepaper #textileprocess](https://scontent-lhr11-1.cdninstagram.com/v/t51.82787-15/564926125_18488724589079259_5251722463660416867_n.heic?stp=dst-jpg_e35_tt6&_nc_cat=107&ccb=7-5&_nc_sid=18de74&efg=eyJlZmdfdGFnIjoiQ0FST1VTRUxfSVRFTS5iZXN0X2ltYWdlX3VybGdlbi5DMyJ9&_nc_ohc=eE3yr10sKqsQ7kNvwHMVJKy&_nc_oc=AdrP2lhRtJf1EXBiYdFxv_YoEXkUy69nlg2n6PRrbxI43h1y1NoIEmTHR_xxdx89qM8&_nc_zt=23&_nc_ht=scontent-lhr11-1.cdninstagram.com&edm=ANo9K5cEAAAA&_nc_gid=nSQPrkplRtNVE_SGeYx0yQ&_nc_tpa=Q5bMBQI0trS01uLANxPnC1TPH4roKyFJ7ecfwQYqYdYHPZZtt0-f7RfeC-EQMX2OU7xe8d1x9ijC4ai2&oh=00_AQO4fCIbeK26HvWGXvacHpKOKrwaeRDz0Q8YVXem9BZ29Q&oe=6AE42B45)
![Working on this tetrapak print on textile (a limited variable edition), moving the 'Anthropocene Swimmer' into a tempest of lace. The figure is suspended within the lace edging [waves/tides] conjuring a threshold.
This work continues my interest in how material processes of making enable a reckoning of the penumbral layers of being, the seen and unseen, interior and exterior, nature and culture, memory, postmemory, and desire. As anthropocene 'navigators' we are adrift in the discourse, and artefacts of human history—migrations, colonisation, creolisations, globalisation; intersecting the phenomenology of being—feeling, loving, grieving, memory and postmemory (generational trauma).
The title of the piece, 'Anthropocene swimmer [umndau]: A tempest in lace', makes multiple points of reference: to Shakespeare's Tempest; to Milet and Tennison's 'Lady of the lake'; to the mythical water sprites and legends that abound in folklore globally. In isiZulu spiritual discourse the word 'umndau' refers to an ancestral spirit from outside one’s bloodline (amadlozi) often seen as a foreign presence.](https://scontent-lhr11-1.cdninstagram.com/v/t51.82787-15/559514671_18486230518079259_8165153081443265116_n.heic?stp=dst-jpg_e35_tt6&_nc_cat=106&ccb=7-5&_nc_sid=18de74&efg=eyJlZmdfdGFnIjoiRkVFRC5iZXN0X2ltYWdlX3VybGdlbi5DMyJ9&_nc_ohc=lhVNHUmnAR4Q7kNvwFgWW4n&_nc_oc=AdoUJTEV58x5WQCDQb8YlzwmD0lT1iP4OvYPjTT7xdAWCBL-AwgnkMyyQZf4GxGIi18&_nc_zt=23&_nc_ht=scontent-lhr11-1.cdninstagram.com&edm=ANo9K5cEAAAA&_nc_gid=nSQPrkplRtNVE_SGeYx0yQ&_nc_tpa=Q5bMBQLoQC1dXpcMdfZL480f97ZVBxElcqufxyO6hSZc0i3sA1s3ohvV0pkOOMrxGbetPp89DOYFawqE&oh=00_AQNXGxpxWDcNY2IFhr6hXAaBYYOEpBH6rwnR_iLQ2jJ-Tg&oe=6AE431D8)
![‘The Tempest [umndawu]’ in progress …](https://scontent-lhr11-1.cdninstagram.com/v/t51.82787-15/527676931_18475587124079259_7926988869291179835_n.jpg?stp=dst-jpg_e35_tt6&_nc_cat=111&ccb=7-5&_nc_sid=18de74&efg=eyJlZmdfdGFnIjoiRkVFRC5iZXN0X2ltYWdlX3VybGdlbi5DMyJ9&_nc_ohc=LbWleevgedQQ7kNvwHQ5nN8&_nc_oc=AdqIppg2W7XDOLCod2J-xWcr6fGvvRnePi0Y5j9X_xIGGrI8pBuvoe8-d41lU-BZ8mk&_nc_zt=23&_nc_ht=scontent-lhr11-1.cdninstagram.com&edm=ANo9K5cEAAAA&_nc_gid=nSQPrkplRtNVE_SGeYx0yQ&_nc_tpa=Q5bMBQLJTFtidOATvo3xShtFCFyopYADhlcHx5VIdAyZPp6sCQwmy1AHcHMQKeiKyILnCLdKLo24g5gc&oh=00_AQO1lgjX_7PTjoPloGtc8klQRz31oZTyYkRYaMtLCcbBng&oe=6AE42867)
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