The Lore of Curious Things
This solo show was held in 2017 at the Gallagher and Turner gallery, Newcastle and featured 11 drawings of Curious Things. I use objects and creatures (natural and artificial) which may initially seem to be of modest importance but which are, to me, touchstones with a richness of associations, narratives and significance. Some are toys which are framed by the culture of their origin or appropriation which trigger imagination and memories of stories both learned and invented. Some of the subjects I use are are real flauna and flora, some living and some dead. They are all beautiful and I study them as subjects for my own narratives hoping to generate new connections through the compositions. Much of my work explores the Seduction of Artifice by using rigorous observation and figurative representation I explore implied factual truth and personal intrpretation.
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The Lore of Curious Things, View 1. Gallagher and Turner GalleryThe Lore of Curious Things, View 1. Gallagher and Turner GalleryGeneral view of 'The Lore of Curious Things exhibition in Gallagher and Turner gallery.
2017 -
The Lore of Curious Things, View 2. Gallagher and Turner GalleryThe Lore of Curious Things, View 2. Gallagher and Turner GalleryGeneral view of 'The Lore of Curious Things exhibition in Gallagher and Turner gallery.
2017 -
Mortuus Merula 'Salvation'Mortuus Merula 'Salvation'When I found the dead blackbird it looked perfect - it had only the tiniest drop of blood on its beak. Once I had drawn it on the white paper I was strongly reminded of the colour combination of red, black and white in fairy tales: so I referenced this in the beauty of the bird's black feathers, the statue's black dress and the red of drops of blood contrasting with the purity of the white paper. The blackbird lies at the bottom of the drawing and nearby stands an antique statue of the Virgin of the Seven Sorrows with an exquisite but disintegrating black silk dress. I echoed the blackbird's black feathers with the textures of her of dress. She watches over the dead bird and holds her votive bag in which a devil’s head (a terrifyingly strange wind-up toy from my childhood) is either contained or escaping. Both butterflies were painted from antique specimens and reference 17th century Dutch still life symbolism where the bright fire-red colour and velvet black of the red admiral butterfly was thought to come from its wings touching the fires of Hell. At the top of the drawing the white orange tip butterfly is a symbol of purity and hope of resurrection with the orange flowing from the butterfly in a continuous circle or halo.
h:82cms x w:65cms (framed).
Ink with watercolour and pencil on paper
2016 -
Mortuus Merula 'Requiem'Mortuus Merula 'Requiem'I found this perfectly exquisite blackbird lying dead in an alleyway, so I made the ink drawings directly and quickly from the body onto separate sheets of paper. Once I had made the drawings of the blackbird I buried him and some months later dug his skull and bones out of the earth. I drew the skull alongside the bird to preserve the memory of the life of this lovely creature. In this drawing, the dead blackbird is almost consumed by darkness but the 3 swallows (vintage wall ornaments) swoop down in tribute carrying flowers (made by my son in primary school for Mother's Day) and illuminate the body of blackbird. There are many wonderful folklore narratives woven around blackbirds and after reading various tales, imagining images and listening to its song, I drew my own stories about this beautiful bird by adding drawings of objects from my own collections alongside the original studies of the blackbird.
h:66cms x w:74.5cms (framed).
Ink with watercolour and pencil on paper
2016 -
Mortuus Merula 'Death of a Songbird'Mortuus Merula 'Death of a Songbird'I found this perfectly exquisite blackbird lying dead in an alleyway, so I made the ink drawings directly and quickly from the body onto separate sheets of paper. To the right of the drawing lies the blackbird. I wanted to honour the beauty of the blackbird’s song so I have surrounded him with sources of music. I used my little childhood toy plastic songbird in a cage: the bird ‘sang’ if you moved the handle up and down. There is a yellow toy birdsong whistle and a vintage 50’s musical clockwork birdcage that plays birdsong while revolving and lighting up. Finally, there is an songbird (I think it is a Black Hooded Oriole, drawn from an antique taxidermy specimen) which flies free of any cage and pulls my childhood spinning musical tin toy behind it. There are many wonderful folklore narratives woven around blackbirds and after reading various tales, imagining images and listening to its song, I drew my own stories about this beautiful bird by adding drawings of objects from my own collections alongside the original studies of the blackbird.
h:56.5cms x w:71cms (framed).
Ink with watercolour and pencil on paper
2016 -
Mortuus Merula 'Memento Mori'Mortuus Merula 'Memento Mori'I found this perfectly exquisite blackbird lying dead in an alleyway, so I made the ink drawings directly and quickly from the body onto separate sheets of paper. I wanted to reference traditional Memento Mori imagery so I used my lovely Pelham Puppet Skeleton to gently hold the blackbird’s skull. When I dug the exquisite bones out of the soil I was struck by the startling contrast between the weightless delicacy of the skull and the heavy, coarsely textured dense mass of the earth.There are many wonderful folklore narratives woven around blackbirds and after reading various tales, imagining images and listening to its song, I drew my own stories about this beautiful bird by adding drawings of objects from my own collections alongside the original studies of the blackbird.
h:72cms x w:55cms (framed).
watercolour and ink and pencil and acrylic and sand on paper
2016 -
Lady and CamelliasLady and CamelliasI have loved ‘La Traviata’ ever since I saw Zeferelli’s film version of Verdi’s glorious opera which was based on Dumas’ original novel ‘La Dame aux camelias’ (Lady of the Camellias). In Dumas’ novel the ill-fated heroine is a courtesan called Marguerite, but in both the film and opera she is called Violetta. Early in the story she gives her aspiring lover a red camellia: “When can I bring it back?” he asks. “When it is withered.” she replies. It is such a short time until the plucked flower dies. I bought this Boudoir Doll (such dolls were fashionable accessories for young women in the inter-war years) at an auction: grey, dirty, neglected and well past her prime yet still with too vivid cheeks and vibrant pink dress I thought her most beautiful. She was certainly the sort of Boudoir Doll a dying courtesan would have had by her side. So there are three flowers in this work: Marguerite, Violetta and Camellia.
h:51cms x w:35.5 cms (unframed). h:70cms x w:53cms (framed.
Watercolor and pencil on paper
2016 -
Beetles and CamelliasBeetles and CamelliasI dried some red camellia flowers and preserved them in an egg box sarcophagus. One summer later I opened their tomb and there they lay, desiccated and paper dry yet still slightly waxen. I was given some large toy beetles and I have a preserved Victorian rhinoceros beetle specimen (possibly Augosoma centaurus, from Africa) so I decided to bring them all together, Low down in the drawing, a brown beetle from the earth crawls towards a dead flower. Higher up, a blue beetle from the sky reaches a vibrant, saturated living red camellia flower while overhead the rhinoceros beetle looks on. There is an interplay between which subject is living, dead, preserved, plastic, resin, real, contemporary, antique, past and present. It is all the same and yet different in the interconnected world of this drawing.
h:51cms x w:35.5 cms (unframed). h:70cms x w:53cms (framed.
Watercolor and pencil on paper
2016 -
Vitae Cyclum Fritillaria MelegraisVitae Cyclum Fritillaria MelegraisIn making this drawing, I had in mind images from Maria Sibylla Merian’s gorgeous book ‘Metamorphosis Insectorum Surinamensium’ of 1705. From two eternally entwined toy snakes a real purple snakes head fritillary grows. Its seed pod ripens as it journeys through a snakeskin until it emerges out of the skin’s mouth. The seed pod bursts open and disgorges its seeds onto the lizardwoman who is climbing up the fritillary stem. The fertilisation flows back into the pair of snakes and the cycle begins again. There is an interplay between which subject is living, dead, preserved, plastic, real, contemporary, past and present. It is all the same and yet different in the interconnected world of this drawing.
h:45.5cms x w:30.4cms (unframed). h:72cms x w:55.5cms (framed)
2016 -
The ParasolThe ParasolI found a wonderful old rag doll on a market stall and from her a beautiful skirt, blouse and jewelry I think she might be from India. She has a separate doll's face crudely sewn onto her cloth head which in some ways is rather poignant, but in others quite disturbing. Is she an expression of a thrifty use of materials for a child to love, is the dolls face European in which case it could provoke a culturally problematic discourse, or is this appliqued visage just plain creepy? Her dissonant appearance makes her more beautiful to me and I think she provokes questions better than I can answer them. I felt her delicate face would need protecting from the sun so I found this dead leaf (fatsia japonica?) on the pavement and decided it would make a lovely parasol for her. I liked the way it still looked so animated as if caught in the breeze. I bought a new watercolour tube of the most beautiful rich colour that reminded me of dried blood and used this for her shadow in tribute to the life stages of women and their tragedies and triumph
h:51cms x w:35.5 cms (unframed). h:70cms x w:53cms (framed.
Watercolor and pencil on paper
2016 -
Immortelle with Purple Skeleton and Painted LadyImmortelle with Purple Skeleton and Painted LadyThe pink and white Immortelle flower remains unchanging while the purple skeleton dances, joined to the flower by a black bead butterfly. In making this drawing, I had in mind images from Maria Sibylla Merian’s gorgeous book ‘Metamorphosis Insectorum Surinamensium’ of 1705. This drawing shows the life cycle of the Painted Lady (Vanessa cardui) butterfly on the Immortelle flower. I used a plastic toy set of a Painted Lady egg, caterpillar, chrysalis and butterfly from the Natural History Museum, London. I also painted from a faded real antique Painted Lady specimen. I drew around my own hand and used my purple nail varnish to feed the flower. I found a bouquet of large and striking vintage bead flowers in a bric-a-brac market. I read that in the 1800s in some French funerals, glass bead flower wreaths or bouquets called ‘Immortelles’ were left on graves to preserve memories and the wires which supported the beads disintegrated over time. Then, when only a pile of beads remained, the beads were gathered together and re-worked to create new memorials. So, I have separated each Immortelle flower and drawn it with a dancing paper Hallowe'en skeleton (made by my son in primary school) and black antique millinery bead butterflies. I was intrigued by the possibility of echoing still life Vanitas or Memento Mori imagery in this context.
h:66cms x w:50cms (framed).
watercolour and ink and pencil and nail varnish on paper
2016 -
Immortelle with Blue SkeletonImmortelle with Blue SkeletonThe flower remains unchanging while the blue skeleton dances. There is a plastic Red Admiral butterfly egg (from the Natural History Museum, London) within the flower. Above, the black butterflies writhe, mate and fight in a heavy black cloud of their own making. I found a bouquet of large and striking vintage bead flowers in a bric-a-brac market. I read that in the 1800s in some French funerals, glass bead flower wreaths or bouquets called ‘Immortelles’ were left on graves to preserve memories and the wires which supported the beads disintegrated over time. Then, when only a pile of beads remained, the beads were gathered together and re-worked to create new memorials. So, I have separated each Immortelle flower and drawn it with a dancing paper Hallowe'en skeleton (made by my son in primary school) and black antique millinery bead butterflies. I was intrigued by the possibility of echoing still life Vanitas or Memento Mori imagery in this context.
h:66cms x w:50cms (framed).
watercolour and ink and pencil on paper
2015 -
The EncounterThe EncounterA while ago a group of children gently and carefully rescued a dying bumble bee and asked if I would put it into a drawing. Some time later I returned to the bee to find it had dried in a most peculiar pose and so I began this drawing. Out for a walk and holding a sweet pea (Lathyrus odoratus), a strange creature encounters a buff-tailed bumble bee (bombus terrestris). Is the unidentified little animal carrying a knitting needle for safety, or is it an entomologist’s pin? All the element are shown 1:1 scale which I think enhances it's oddity.
h:31cms x w:23cms (unframed)
watercolour and pencil on paper
2016