Crucifixion
Crucifixion explores, on a larger scale, my themes of both the body and the cross, creating abstractions of both. Crucifixion uses wood salvaged from historic sites (holding centuries of knowledge) to create the shell and internal space. The wood and space are pierced by glass nails which are both a symbol of aggression and a symbol of creation. They might also be viewed as symbols of home in that they hold things together.
Crucifixion II, 2014
Wood from Durham Castle, Lampworking glass
Photographed by Tim Adams
Crucifixion V, 2014
Wood from Durham Castle, Lampworking glass
Photographed by Tim Adams
Crucifixion IV, 2014
Wood from Durham Castle, Lampworking glass
Photographed by Tim Adams
With Crucifixion I also returned to working on a small scale with jewellery as with Peaceful Relict (talisman) where I first explored the idea of a universal cross.
Crucifixion XII, Necklace, 2016
Lampworking silvered glass nails
Photographed by Tim Adams
Crucifixion XI, Brooch, 2015
Glass nail, wood from Saint Basil’s Cathedral, Moscow
Photographed by David Williams
Crucifixion IX, Ring, 2015
Lampworking goldened glass,
wood from the Kremlin, Moscow
Photographed by David Williams
6th Moscow Biennale 2015
Created for and exhibited in the Moscow Biennale, 2015, Crucifixion was placed with a mural using religious symbolism which was a collaborative work by a group of my students who came from different religious backgrounds and who had to navigate an understanding of each other and their perspectives to create the piece. Exhibition title: Revision of Borders.
Crucifixion V, 2015
Our history – Crucifixion, 2015
Design of Peaceful Relict, 2015
Photographed by Daria Nikitina and Denise Kuzniecov (Денис Кузнецов)
Crucifixion was subsequently exhibited in temporary buildings of Skolkovo Institute of Science and Technology (as Tolerance I), and is now on permanent exhibition in their new contemporary buildings in Moscow, Russia.
Moscow Biennale Archives, 2015
