‘Opal (Demarcation N.2)’ is inspired by my personal story and vision for a world without borders. It combines high-tech manufacturing processes and surface design in order to create a dynamic installation. By visually referencing the transparency of an opal, an iconic Australian stone, to depict hypothetical borders that we can see, the work critiques the opaqueness of Australian government border policy. It challenges transparent lines that define our geographical borders and create restrictions on peoples’ freedom of movement. Thereon, ‘Demarcation’ is a critically and designed artwork. It is designed to raise awareness, demystify assumptions, and provoke action on issues relating to immigration and borders. Border restrictions and their domino effect on human displacement, geopolitical determinism, and the concept of the international borders underpins the theoretical framework of the research behind this work. Based on a data visualisation book by Andy Krik, the form of the ‘Demarcation’ metaphorically refers to the basic concept of borders as a vertical line. The surface of the design can move and establish a waving pattern that refers to the events of human displacement. The solid-like structure of the installation will turn into a dynamic model based on peoples’ interaction with it. The structure’s interactivity has a symbolic interpretation of how boundaries limit our actions and how we transform borders by breaking them apart from all limitations. The shape of the installation changes by altering the orientation of each line. As an object and textile design practitioner with a passion for combining 3D design skills with surface design. My experimentation process was developed by investigating dynamic structures, robotics, material behaviours, cutting methods, and an interactive system of controls. The conceptual framework of ‘Demarcation’ is integrated into the design practices to produce the final work. The experimentation process includes; 1. Data visualisation, physicalisation and analysis: Data from Australian migration flows, borders, and the Nauru refugee processing centre. I extracted data from related published graphs and added them to the variables of coding for Processing visuals to show an abstraction of displacement, movement, and borders that comes from the interpretation of the original concept. Canalisation of data that includes data collection and analysis (with respect to the ethical constraints on the use of data from the Australian Bureau of Statistics) recording, rescaling, and visualising it, is based on the sculptural body of the design to compose a design pattern in order to produce an aesthetic structure. The experimentation process also included range of experiments with Bio-mimicry inspired textures and patterns, transforming them by cutting edges to mimic borders and limitations. "No borders, just horizons — only freedom!” — Amelia Earhart. (ariaswritingjournal, 2019)