May 2016 - Holly Hunt

Confessional

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Doubting Thomas framed

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The crucifixion of Donald Trump

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Shroud of Turin: Lamp

After much research into the shroud of Turin, there was no final explanation as to how the image of Christ was transferred onto the piece of cloth; yet the shroud is still worthy of veneration. Ray Downing and his research team hoped to 3-dimentionalize the image of Christ, which is essentially what I am trying to convey. As I found from my researcher, the shroud was carbon dated as being only 700 years old, however this cloth, containing photo negative information, would be far too advanced to be a medieval forgery. There was also no trace of pigment on the cloth when the microfibers were tested. The only explaination that was humoured was that Christ's body must have been glowing/radiating when he came back to life; this would have apparently caused a photo negative to transfer onto the cloth.

There was a wiped out form of Christianity that was touched upon in my research; the Nostics/Heritons. They believed that humans cannot see the world in its true 3 dimensions; they suggest that there is an invisible universe. This could correspond with the shroud as it appears to have a hidden 3rd dimension inside due to the distorted contours in the flat cloth; like a hologram? Perhaps the shroud is a metaphor for the universe as heaven is also a hidden universe.

Keeping this information in mind, I tried to think of a way in which I can create my own shroud of Turin that would be suggestive of an invisible dimension and a glowing radiation from his body. This led me to the fairly simple idea of using a lamp on which to map out a design. This would appear as if it were a normal lamp, until the light is turned on, to reveal a hidden image. I first painted the lamp in gold, in keeping with my ostentatious Catholic colours, and drew the outline of the shroud onto tracing paper; after placing this over the top I was able to puncture the design through using a needle. This process is quite fitting as it echoes the way in which Christ died; crucified with nails pierced through his hands and feet. This process was generally quite gruesome as I was puncturing the image of Christ. The end result was quite amazing. I hadn't anticipated that the lamp would glow a reddish colour, like the blood of Christ. The image of the shroud is definitely recognisable on the lamp, however it could have been a tad clearer. I chose to do a pointillism design instead of cutting out the shapes of the face. I think the pointillism gives makes the image appear as if is still in the process of being materialised, as if the face is emerging in front of our very eyes.

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Saint Catherine: Phenakistascope

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Saint Catherine of Siena

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Repeating Saint Thomas's reliquary

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Stain Glass windows

If I am going to make Donald Trump into a relic, then I need to have records of his time as a 'saint', in the most ironic way possible. I thought that mixing topical events in the news with the ancient art of stain glass windows; kind of like a news report through art. I chose to depict the recent story of Donald Trumps argument with the Pope. The pope questioned Trumps Christianity, as he announces his plans to build a wall across the border of Mexico, by saying that he should be building bridges, not walls! Trump comes back asking why the pope should be entitled to have a wall around his Vatican City. This is quite an interesting debate as both have valid points. I do not think that Trump is right in what he hopes to acheive, by any means, however he does raise the valid point, why should the pope be allowed to have a wall around his city? Because it is holy and sacred land? Or just because tradition has overruled modern day reason?

Plan for stain glass window

Trump assumes that anyone migrating from Mexico are criminals and rapists, it would seem that he has little faith in the good of humanity. I have depicted Trump as pointing his little fingers at the pope as he stands in front of his 'Great Wall of Mexico'. The pope is holding out his staff, which divides the two and raises his hand in an attempt to stop Trump. The Pope stands infront of his bridge with waters flowing around him. I think that this visual representation of the news has quite effectively gaged the personalities of the two men involved; Trump aggressively pointing his finger, and the pope peacefully trying to stop the madness.

I didn't have any glass paint at hand, so used some acrylic. This looks fine when there is no light shone through it, but that is the point of a stain glass window of course. There is quite an interesting texture to the paint and the small scale makes the piece provides a sense of vulnerability. The piece is painted onto a sheet of glass inside a frame, the fragility of the glass is a statement about Donald Trumps current political position; if he is elected into power, the glass will surely smash.

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Loving Vincent: a film made by paintings

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Phenakistoscope: The shroud of Turin

As my Donald Trump phenakistoscope animation worked so well, I thought about trying something a bit more complex. And after seeing the trailer for the film Loving Vincent I thought that painting each frame of the animation on a small scale, would make a rather beautiful animation. I first looked for images of Christ so that I could guess the facial reconstruction from the relic, shroud of Christ.

I then had to fill in the gaps of the development of Christs face as I had to make the piece 8 frames long for it to work. I began by cutting a circle of card and, like the the first phenakistoscope, I used a protractor to divide the circle into 8 equal segments. In the first segment, I sketched out an outline of the shroud of Turin.

I then used tracing paper over the top of the first sketch and filled in a few more details. This drawing could then be transferred to the outer segments of the original. I repeated this technique until I had a study of Jesus Christ, as represented in paintings throughout history.

I wanted the piece to look as if Jesus' face emerges from the relic, so I painted the first frame very faded. I then painted the successive paintings slightly clearer and brighter.

The final frame, revealing Jesus, is the most detailed of all of the paintings. This was quite hard to achieve on such a small scale, however I do think that I have made him recognisable as well as haunting.

Next, using the same stop motion application as before I animated the wheel by taking a photo of each painting at the exact same position. It took quite a few attempts to produce a smooth animation. I am very happy with the result (below) as there is a clear transition from relic to person, from life to death; a perfect cycle. The peice is a materialisation of the resurrection of Christ. As it is in animated form rather that just a series of paintings there is a dynamic element that is fast and cyclical. This piece doesn't neccissarily have a sense of humour, however, I was thinking of making this into a triptych with one other Saint and with Donald Trump. I think it would be quite funny and culturally relevant to translat the idea of worship from a traditional sense into a topical one. Again this would be a juxtoposition of the traditional and the modern.

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Hanging Saint Thomas sculptures

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Ron Mueck

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Contemporary debate: Is there a return of religion in art today?

Is there a return of religion in contemporary art?

The article explores how controversial debates about the Catholic Church and Islam are becoming more important in our cultural identity.

Anselm Franke says that there is not a wave of religious works in contemporary art, however artists are engaging and citing religion more in their work. He refers to Bruno Latour’s hypothesis. He says that “faith,” as it is known today in secular societies, is an invention of modernism, precisely because it is perceived to be detached from another reality.

Although I am not religious myself, just investigating the concept, I'm not sure that I agree with this hypothesis. Is faith really an invention of modernism? Surely you can have faith in anything and anyone at any period of time. I do accept that we live in a secular world however I don't think that faith has been a recent invention, but a concept shared throughout the ages.

Jörg Heiser says that 'Art and religion are the antithesis of one another, like water and oil (although emulsions are possible). The thirst for knowledge is constrained by belief and its claims to power, and art is instrumentalized in the service of religious incarnations.

If art and religion are like water and oil then my project would be impossible and redundant! Before the Renaissance period had dissolved and society had moved on from the influence of religion all of art was focused on religion; why can't that be revisited today? I think that the absence of religion is just as important, to discuss, as the abundance of it. I do however agree with his second statement as religious beliefs are somewhat clouded by logic; concepts such as evolution, Stem cell research, IVF etc. I think when infiltrating the relifgious world in art you have to probe, be controversial and challenge perception.

Silvia Henke says 'Religious art is taboo!', 'contemporary art exhibitions full of religious symbols, themes and staging see themselves as events of culture rather than religion',

This point of religious symbols being cultural rather than religious is quite thought provoking. The main differences between culture and religion are that religion is an organised and filtered system of beliefs followed by people, whereas culture is shared ideas of knowledge and beliefs that don't neccissarily have to be followed. So what would you have to do to make the work religious rather than cultural? Would a religious person have to make the piece of work in order for it to be truly religious? And if so would it be taken seriously or would it be a mockery?

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Maurizio Cattelan

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Louis de Belle

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Lorraine Loots

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Soasig Chamaillard

"I grew up in a Christian Western society. My perspective on life has been a result of my environment and background.

The playful interaction of society’s many icons, physical transformations, and the resulting improbable combinations, have culminated in my vision of a woman’s role and place in our society.

This inner questioning of a woman’s role, has led me to use one of the most sacred icons in my work, namely, the Virgin Mary.

Initially, I begin with damaged statues, either donated or discovered in garage sales, which I then restore and transform.

I surely do not mean to shock those who believe but rather to move those who see"

Chamaillard has taken the most iconic female figure of the past and has transformed her image into several different combinations. In this way she is challenging our perception of the role of women in modern society. The act of restoring and transforming these sculptures may be the key idea here. As women today in a developing society, we are transforming into stronger, more independent figures.

She is being playful rather than trying to shock. I would like to take this concept forward into my work as I take on the iconic figures of the saints and animate them. She is being playful with form, like a child, to avoid being shocking in her efforts. I think that is is a really clever and more laid back way in which to explore the topic of religion; of course some observers will take offence and find some atrocity in the manipulation of religious figures.

I really think this work is so similar to mine in terms of theme and tone; it is quite clearly religious and humorous. The idea of taking the Virgin Mary and refurbishing' her seems like such a funny concept, however I see it more as recycling; as if she's taking this iconic figure and bringing her back to life. I can see connotations of reincarnation which is quite controversial as this contradicts catholosim and touches upon a whole other belief (Hinduism and Buddhism). Maybe the artist is making a point of having a sort of cultural exchange with other religions? There is such an overlap in religious concepts and figures that it should all be shared and respected.

Lady Octopus 2015 Acrylic and resin

Saint Liberty

The piece above is a parody of the iconic Statue of Liberty in America. Saint Mary takes the place of lady liberty and tourists still queue up below. I think that this piece is a very playful way in which to transform a beloved American figure into a saint; perhaps I could do the same thing with Donald Trump? He is an increasingly iconic figure today as his campaign to be president of the United States is fully underway. I'm sure Trump thinks of himself as a saint, so why not make him into one?

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Group Tutorial

After having my tutorial I felt a lot happier about how my work translated to my audience. In this tutorial the person presenting their work had to stay silent whilst the group had to voice their thoughts. The first word that someone came up with was RELIGIOUS. This made me so happy as I wasn't sure that there was enough evidence in my work of it being obviously religious. Of course I don't want to be too obvious with what I'm trying to present, as I think the observer should have room to interpret the work for themselves.

Another member of my group made a very interesting comment that I hadn't actually thought about before. He mentioned that the work could be fetishised due to the fixation on the finger. I suppose the piece does have a few sexual connotations, especially the 3D zoetrope of Saint Thomas's finger poking into the air. In this way it seems that sexualising the relics is just another way to 'probe' the subject; almost mocking the idea of worshiping the relics when there is an underlying grotesque history (the violent way in which the saints were killed).

The symbol of the finger was discussed. Someone mentioned the heirachy of the finger and its authoritative power. The members of the group worked out that the finger was the index finger, however they thought that they were cast from a persons actual finger. This made be quite happy as they were essentially praising my sculpting skills without realising. I had played with their perceptions and made all of the fingers to look identical when they were made in different ways.

The Donald trump pieces (phenakistascope and stainglass window) were appreciated as funny and with some relevance to my overall theme, however people mentioned that it was so separated from the other pieces, as it was quite obviously political. I couldn't really help the fact that these pieces were read as political as Trumps campaign is very topical at the present moment. I tried to bring his arguments with the pope into the piece however I need to appreciate that not everyone has read this in the news/researched on Trump as much as I have.

I think that I really need to consider attaching labels to my work and maybe even a description/narrative. I have taken from the tutorial that I am going in the right direction and the observer can sense the theme themselves (religious/humorous) however there was a too small chance that they would have worked out which Saint was being represented and the story behind it. I need to remember why I set out to do this; it was supposed to be an investigation into Catholic relics, to poke fun at, materialise and bring them back to life. If I am to stick to this initial idea then I need to provide further information along with my piece in order for the observer to appreciate it fully and to learn about the saints who's tales are becoming increasingly less relivant in today's secular society. I was also told to go bigger and more controversial; push the boundaries of the topic that I have chosen. Perhaps I can make a larger reliquary encasing Donald Trumps tiny hands? I could make my prints, of Saint Thomas's finger, larger or more repetitive; almost wallpapering my space?

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Frederik Scheve

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Possible finger zoetrope animations

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Phenakistascope

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