In addition, the printed fabric has been used as a metaphor for the Chilean society and the way it functions in comparison to the Australian society. The distinct pattern a hybrid design in itself, composed of scattered red roses similar to roses found on teacups and a strange infrequent brown and grey checkered design possibly used in patchwork. The organisation of the design has its own methodology belonging to the designer, however the methodology is unknown and incomprehensible, similar to the unrecognisable procedures in Chilean society or the way society functions as a result of the many years I have lived in Australia and away from Chile.
Self-representation in this portrait is somewhat ambiguous, subtle or difficult to perceive, as it does not associate oneself as a Chilean or Australian with the typical symbology used in Chilean or Australian society, such as using the colours of the flag, white, red and blue or wearing the traditional floral dressed worn as part of independence day to promote nationalism in Chile or the green and gold used in Australia to separate Australian society from the British. On
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5) is a headdress worn by Mapuche women and it dates back to the 18th century, when it was originally a simple cloth strap with silver pendants hanging over the forehead and around the head. pg18 At the end of the 18th Century and the beginning of the 19th Century the trarilonko progressed to being entirely made from silver, consisting of silver chains that surrounded the head with silver pendants in the form of medallions that hung over the forehead and the circumference of the head. pg19 (fig. 7) The Trarilonko, is a ceremonial headdress worn during religious ceremonies, for example the Nguillatún, the ceremony I participated during my stay at the Mapuche Museum of Cañete and clearly identifiable on the artwork as insects’ bodies in alignment above the forehead (fig.