Why stickers?

Why stickers?

Elizabeth Ann Day, 22

Within my practice I aim to understand and analyse the fads of certain time periods. In the past this interest has led me to create works about pop star memorabilia and collectable plates amongst others. With 'Offer (126)' I have been investigating sticker albums (such as those produced by PANINI) and the amount of time and money we spend on these in an attempt to complete them.

The work aims to bring attention to online trading websites that specialise in sticker collection wherein it is necessary to obtain an insane backlog of stickers that you personally do not need in order to successfully trade with those that do. The idea is that this will eventually lead to a completed album. I have been working on completing one album for 13 months. This has led me to a stalemate situation. The last 4 stickers I need seem impossible to find, however my backlog of stickers keep growing, hence 'Offer (126)' which details every single sticker I own that I do not need.

Ultimately this work is highlighting a very specific community who spend unfathomable amounts of time and money to complete a paper booklet that only costs pennies to produce.


Title: Offer (126)', wall vinyl + research material
8m x 3m

See more of Elizabeth’s work at www.elizabethannday.com

Elizabeth Ann Day’s practice has been primarily led by intense research into collecting, and its relationship to mass production and consumerism. The fad known as “instant collectibles” (coined by American business professor Russell W. Belk) has continually interested Day and has ultimately led to the subject of her current practice; PANINI Stickers.

Since November 2017, the artist has been attempting to complete a childhood PANINI album from 2009. This has led Day to discover online trading sites, such as LastSticker.com, wherein available stickers are advertised on public profiles. In ‘Offer (126)’, Day displays available stickers from her own online trading profile. Out of context and blown up in scale, the digits appear like a secret code of sorts, to be unravelled by the viewer. In truth, it is a simple list, a marker of the volume of stickers that have to be purchased in order to complete one single sticker album.

Alongside the wall vinyl, the artist has chosen to display different research materials as well as a new publication documenting each and every sticker Day’s trading profile currently has up for offer. The audience is encouraged to view this material at their leisure.

The John Byrne Award