The unsolicited proposal I made was met with more enthusiasm than I could have possibly expected. Grateful thanks to Martin Lloyd-Williams, Rector of St Michael’s Without, Bath, for taking me up on the proposal and making the suggestion that the sculpture be there for Holy Week as well as the Bath Fringe Arts Festival. It is a piece based on the Good Friday moment, so the timing is apt. Installed, it seemed to fit like a piece of the jigsaw, even the colours worked perfectly. Amazing!
I have just heard that ‘The Case of the Relic Hunter’ and ‘Box of Delights’ will be exhibited in the Fringe Arts Bath Festival, May 23rd- June 8th
At last, I have decent photos of this work which is carved from Portland stone and has a base of wood mudlarked from the Thames.
Now what to do with it? I think its natural environment is a church or cathedral. If you know of anywhere that would like it on loan for a while, do get in touch.
I’ve had a terrible time with migraine for the past few months – it’s been a battle of constant catch-up in between episodes, whilst still having a background headaches of varying strengths. Now I don’t have a headache (hopefully the new meds are kicking in and things can be controlled). Now that my head is clear, I can enjoy my work and community again.
Today I showed a friend a couple of pages torn from vintage children’s encyclopedia. Many people wouldn’t understand the pleasure of the information combined with the subtle but beautiful printing but this artist went into spasms of joy. I showed others some tarnished metal pots from a car boot sale and they understood why I had insisted to the stall holder that I wouldn’t want to ‘polish them up lovely’. Here people take joy in a demonstrating new cutting knife, or paper, found textures. Here is an oasis of mutual joys and commonality.
At last the piece is finished and is on on display in the foyer of Cardiff School of Art and Design. Initially the case* was filled with the history of the piece: sketches, tracings, etc. Following discussion, I removed all the ephemera, leaving only the sculpture in the case, to test the idea that in this way the object becomes more powerful and the viewer is not overwhelmed with objects and text. (I tried placing ‘Orthodoxy’, the source book, alongside but was uncomfortable with the arrangement.)
Canvassing an opinion of the piece, I was told that it was morbid,; the words ‘Father forgive’ denoted pain and the baby hand was losing the grasp of the adult thumb, engendering a sense of loss. This is interesting as it was not so far from the intent. What could be more morbid than the crucifixion? The instant when God seemed an atheist was the same moment that he let go his Son and they were separated. It is exciting to see how the message could be read in this way.
I was limited to using the display case, a plinth was not an option. The radiator is an unpleasant background but not normally seen by the viewer close up.