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
Second Sight
2020
Cotton warp, hand-dyed woollen weft
1.80m x 1.56m
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Apparently my traditional, church-going great-grandmother had the 'second sight'. I suspect a mix up with her schizophrenic/bipolar mother-in-law whose delusional beliefs did include predictions made from the Victorian asylum that housed her. Either way it occurred to me that that is what anxiety is, a second sight, another level of seeing things albeit over and over, a constant and ever shifting reworking and second guessing, and we can cripple and drown our own selves with it. All this formed the basis for this tapestry; the main figure holds onto the real world via a stylised plant rising up from the landscape, in her other hand sits a second pair of eyes and from them tears form waves swallowing her. The motifs in her frock are stylised irises, a play on the eyes/sight theme. About her float figures representing voices from the subconscious, the causes of anxiety, the self doubt, the intrusive thoughts; their banderoles are empty for us to fill in, as all our triggers are different. Hiding in the landscape is a burrowed rabbit, a nod to this tapestry having been woven during the lockdown, a time when everyone faced unimaginable and unexpected anxiety, when everything we thought we knew was over turned, all of us swallowed by the enormity of what was going on, all of us second guessing what once was a familiar future.
Photo Credit: Rob Janaway