My interest in visual narrative stems from a long-held fascination with, what could be described as, 'folk iconography.' This term refers to the recognisable, yet enigmatic, motifs and allegories we often recall from antiquity and which can be found in medieval proverbs of folly, fables, carnival comedies and festive symbolism.
The popular imagery of past cultures, particularly that of medieval/Renaissance Europe, complements a number of my own thematic leanings. These include:-
-The dichotomy of curiosity and repulsion.
-Grotesque eroticism and innuendo.
-Animal symbolism.
-The use of monstrosity as a narrative aid.
-Convergence of Christian and pagan iconography.
-The anarchic fool.
-Punishment with regard to gender and entertainment
The grotesque depiction of organic physicality is a recurrent, perhaps even inescapable, preoccupation of mine. This tendency to distort the human form originates from a desire to stimulate (with immediacy) those viewing my work. Any image of the body (be it male or female) is something to which we are all naturally drawn. Hence, when figures are rendered unfamiliar they become uniquely affective motifs.
The emotional complexity of the observer's reaction is of great interest to me and, it would seem, the level of dramatic impact attained through drawing can be exceeded with sculpture. Three dimensional pieces have a presence with which the audience may interact corporeally. Thus, the exhibition of exaggerated imitations of the living human form almost forcibly arouses beholders' feelings.
The sculptor of such creations would be justified in perceiving of them as actors performing static drama. By assembling anatomical casts, the artist can suggest sentient beings, the physical states of whom indicate individual roles. By natural extension, experimentation with theatrical characterisation invites the exploration of character-propelled narrative, with close consideration of its potential within a gallery setting.
The narrative aspect of my work is largely governed by themes related to punishment and humility. The penalties that a particular culture imposes on those who have contravened its rules vary a great deal according to the historical period, location, age and gender of the offender, as well as the nature of the offence itself. However, as with other customary aspects of any given society, punishments inevitably reveal an emblematic vocabulary of the culture to which they belong.
The diverse array of punitive measures typical of late medieval Europe was no exception to this tendency. Its foundation was the concept of humiliation or ridicule which often took the form of inversion, whether literal ( for example, suspending the offender upside-down or making them ride an animal backwards) or symbolic (as in forcing them to assume attributes of the opposite sex).
The custom of 'Riding the Stang' or 'Chiraveree' was a popular method of expressing disapproval of crimes committed within the context of marriage, usually either adultery or domestic abuse. The guilty party would be paraded on a pole, ladder, plough or hobby-horse by a crowd while being bombarded with refuse. Accompanied by the clatter of 'rough' music, and often the chanting of an obligatory verse, the infamous husband or wife was thus publicly shamed and vilified. The practice is just one model that serves to illustrate the absurdly dichotomous nature of folk iconography.
Carnivalesque rituals such as the above present numerous possibilities for visual narrative. In their vibrant dynamism, the festive customs of past European cultures can be explored both visually and aurally through a broad range of exciting media.
