Statement
  
(In order to read more information on topics and works discussed within this statement, click on the underlined words)


My work so far in Studio Three has been based around exploring the historical persecution of ‘witches’ from a contemporary perspective while acknowledging topics such as gender, sexuality, and modern practices of witchcraft. I am interested in how historical events, such as the European witch trials of the 17th Century, continue to be relevant hundreds of years later. As well as how the same groups, in this case women and marginalised genders, continue to be disempowered and controlled within modern society.

Throughout my practice I have looked at historical imagery of gender related persecution and reclaimed it to use within my work, comparing historical depictions of witches to the reality of herbal healers and those who practice magic. The core value of my practice is creating research informed art, as well as taking inspiration from the use of curatorial techniques, drawing together historical readings with contemporary perspectives and artistic ideas.

When attending an interview with Tracey Emin in October 2024 I started to view my practice in a new light. Emin described how she ‘paints without thinking.’1 This has caused me to not take my work too seriously and inspired me to let loose and experiment more. I have had the realisation that I do not need to stick to one medium or idea but can explore a wide variety of things at the same time.

I have looked at secondary research of the history of the persecution of witches (Read more here) and used my readings to expand my practice. As well as this I have conducted more personal research by learning the practice of contemporary witchcraft. This has given me a deeper personal connection to the work that I make, as well as proving the close link between contemporary artists and contemporary witches.

It is important that my work is accessible and could be displayed outside of a gallery setting, in order for it to be inclusive and accessible to all. The idea of writing and printing was also important to me due to its historical significance involving the persecution of the witches. It is discussed that the invention of the printing press is said to have spread the word of witches and create a moral panic, especially with the publications of Malleus Maleficarum (1486) and Daemonologie (1597).2

Semester 1 Exhibition
In October 2024 I took part in the first studio 3 exhibition of the year. Hold Your Tongue was a development from my reading over the summer, Natasha Ginwala’s ‘Untaming Restraint and the Deferred Apology.’3 It expands from the initial video and evolves into a whole installation experience for the viewer. The choice to display the work within a toilet acknowledges a sense of community and strength for women and marginalised genders, one that cis men would struggle to relate to, protesting against the control that is places upon us by a patriarchal society.

Winter Cabaret
During December 2024 I took part in the Winter Cabaret. This fell at a time when I was working on a few different projects at the same time, so I decided to include them all within this piece. Artist’s Studio//Witch’s Altar exemplified the connection between art and witchcraft, taking influence from Linda Stupart’s A Spell to Bind Male Artists from Murdering You4 (2016) which brought together the practice of witchcraft and spell work, with the creation of art. As a continuation from Hold Your Tongue, I included a zine which could be taken away by the viewer. This links to my core value that art should be accessible, and the message behind a work is still just as relevant when the audience has stepped away from the piece.

Current Project
My work has a close link to my personal feelings, experiences, and connection to the world, this causes me to be constantly making and exploring new concepts and ways of creating. I want to expand my use of mediums and delve deeper into sculpture and performance art. I feel as though being physically present with my art will deepen my connection to it.

‘My Art Is Me. I Am My Art.’ – me

I am in the process of making a Metal Sculpture that replicates a stake at which a Witch would have been burnt at. I hope to use this sculpture in a performance. As well as this I am looking into how to link the materiality of printing to my practices of witchcraft, such as creating my own inks from plants or my own period blood.

To discover more about my research and reading click HERE


1 Emin, T. 2024. An Audience with Dame Tracey Emin. 28 October, Cadogan Hall, London
2 Hessel, K. And Roper, L. (2024) ‘Witches in Art’, The Great Women Artists Podcast [Podcast]. Available at: https://podcasts.apple.com/gb/podcast/bonus-episode-witches-inart/id1480259187?i=1000674644656 (Accessed: 19 November 2024)
3 Natasha Ginwala Untaming Restraint and the Deferred Apology. (n.d.). Available at: https://editor.e-fluxsystems.com/files/220044_e-flux-journal-untaming-restraint-and-the-deferred-apology.pdf [Accessed 15 Sep. 2024]
4 Linda Stupart