This tapestry was inspired by the medieval tapestries I saw during my travels as a Winston Churchill Fellow and the medieval frescos I saw in Bulgaria. Many I saw depicted various Marys weeping over Christ but it occurred to me one would not be caught weeping in front of the murderers of one’s loved one, but as an accuser one would look back with dignity and a spine of oak. The idea had a personal resonance with me and this is the result, I as the weaver, and also a Mary (my middle name) gets to look out through them. The medieval images are known as the Lamentation of Christ, and I have called this The Lamentation as a nod to the original source.
This tapestry was inspired by the medieval tapestries I saw during my travels as a Winston Churchill Fellow and the medieval frescos I saw in Bulgaria. Many I saw depicted various Marys weeping over Christ but it occurred to me one would not be caught weeping in front of the murderers of one’s loved one, but as an accuser one would look back with dignity and a spine of oak. The idea had a personal resonance with me and this is the result, I as the weaver, and also a Mary (my middle name) gets to look out through them. The medieval images are known as the Lamentation of Christ, and I have called this The Lamentation as a nod to the original source.
This tapestry was inspired by the medieval tapestries I saw during my travels as a Winston Churchill Fellow and the medieval frescos I saw in Bulgaria. Many I saw depicted various Marys weeping over Christ but it occurred to me one would not be caught weeping in front of the murderers of one’s loved one, but as an accuser one would look back with dignity and a spine of oak. The idea had a personal resonance with me and this is the result, I as the weaver, and also a Mary (my middle name) gets to look out through them. The medieval images are known as the Lamentation of Christ, and I have called this The Lamentation as a nod to the original source.
Chrissie Freeth
Maides Coign
2014
Cotton warp, hand-dyed woollen weft
1.48m x 1.90m
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I've archived much of my earlier work from the website, but this tapestry remains special to me. As Artist in Residence at East Riddlesden Hall, a National Trust property in West Yorkshire, I wove a tapestry inspired by an inscription scratched into a fireplace and dated 1648. Its reference to daughters being 'cornerstones' or 'pillars' began a journey exploring the role of women during the Civil War and in particular Grace Murgatroyd, the daughter of the house's builder who married into a parliamentary family despite the very strong Royalist loyalties of her father. Further work explored the role of women/daughters within families as supports and lynchpins and the result is an abstract design that hopefully expresses something of that role, as well as hints of the pressures it can bring. It was woven using hand-dyed and carefully blended reds and browns on a scaffold loom. I blogged weekly during the project and you can find further information and pictures here. The tapestry was purchased for the house and now forms part of the permanent collections.