Sting Brochure.Indd

An exhibition of art jewellery created in response to Manchester Art Gallery’s Pre-Raphaelite collection, curated by Jo Bloxham. MANCHESTER ART GALLERY 11 JULY - 25 OCTOBER 2009 INTRODUCTION The title of this exhibition, The Sting of Passion, is taken from a Human weakness is at the heart of these tales. Love can be line in a poem, which the Greek poet, Sappho wrote as a hymn to a fatal drug. These women are not to be messed with! Aphrodite. A depiction of Sappho is included in this publication. The twelve jewellers were chosen because of the thoughtful I have always felt a natural empathy with the paintings of the Pre- sensitivity and feelings so clearly expressed and shown in their Dedicated Raphaelite Brotherhood. In them I can see a potent and enigmatic work. The resulting pieces comprise a varied and diverse body of quality that - despite the superfi cial appearance of warmth, work, which in some cases may be described as ‘belonging on the to my boys serenity and beauty - hide profane and often sinister meanings. fringes of jewellery’. It nevertheless shows that each jewellery Tom, Charlie Many Pre-Raphaelite and Late Victorian paintings were made artist has had - nothing short of - an ephemeral but deeply felt, in response to a poem or a piece of historical literature, often spiritual fl ing with their painting. and Harry belonging to medieval mythology. Likewise, the jewellery made for each painting in The Sting, is a contemporary interpretation I am proud to show the work of these jewellers in my hometown of something from the past. of Manchester, and I hope those who visit it will enjoy The Sting of Passion. I also hope it will encourage people to look at The twelve paintings selected for The Sting have a common jewellery in a new way, as well as appreciate the paintings on a theme. They are not just aesthetically pleasing and beautifully deeper level. painted; they all depict women in various guises. Be it the woman portrayed as the Temptress, Seductress, Femme Fatale or purely Jo Bloxham, Curator as an icon of beauty, there can be no doubt - these women are dangerous. They appear to have a hypnotic power over man, which serves to highlight and expose his vulnerability. Photo by Robert Walker. THE STING OF PASSION O so beautiful, and yet… maybe not... Looking at the idealised representation of women in Pre- On fi rst viewing the paintings we are impressed by represented In a world of uncertain meaning, contemporary or Victorian, we exclusion of what was considered conventional, ironic or learned Raphaelite paintings confronts us with an ambiguity that might ideas of hyper-sensuality, while at the same time the fi gure, fi nd distinctions between reality and story blurred; we are left repetition. Not so much different to today then, one might say, not have been intended at the time, but our ‘modern’ eyes see suspended in the space of the paintings, appears arrested in a to fi ll in with our own interpretations the emerging gaps in our only that what was established as artistic ideal in Pre-Raphaelite with suspicion. Victorian representation is usually explicit on state of loneliness, which in some paintings verges on despair, understanding. We might choose systems of ideas and theories art seems often conventional and stereotypical, if beautiful, to us the level of appearance, but reticent to the point of suppression madness and pain. Some of the paintings allude to an awareness like psychoanalyses, various methodologies of historical now. Ideas of innovation, romantic investment in the metaphysical on a range of issues - mainly sex, of course, but also other of social injustice and depict women left alone to bear the dissemination or other thought systems to help us along. Mainly ideal of art, complicated dynamics of nostalgia and utopia, and unacceptable issues, like madness, sanitary arrangements, the consequences of social or sexual transgression. The presence though, it is our imagination that takes over, fi ctionalising what the ideal of the beautiful body remain controversial and merit horrifi c conditions of the poor, the physicality of the body and, of the male is implied and makes us question the validity of a we are seeing and ultimately it is ourselves that we are looking creative engagement. by implication, its socio-political recognition in a wider cultural gendered sense of justice. I do think, however, that the embedded at, our fantasies, projections and invested emotions. Such activity context. narratives of the paintings offer a much more ambivalent reading and dialogue is not only instructive about a particular kind of Nowhere is this more so than in contemporary jewellery art, of the conundrum of gender relationships, fetishisation of the representation of the past, it also makes us enquire about our where so much creative work is motivated by the ambivalent and We are looking at women betwixt ideas of identity, which in its female body and social acceptance of the cultured body. The own present age, in which taboos and colluding silences continue questioning attitudes of artists whose practices resonate with re- most extreme oscillates between the stereotypical clichés of ambivalence we can perceive seems to come from an almost to exist - only now we are stuck in the middle of it, and our own inventing and interpreting notions of the beautiful, the body and the virgin and the whore, leaving not much space for domestic uncanny dynamic of hidden narratives that offer symbolic hang-ups are much more diffi cult to detect than those of the past. the romantic, while remaining critical about the repressive aspect triviality and self-motivated, applied activity. For a person living meaning, which reverses fi rst readings and offer alternative We delight in the exoticism of the past – fascinatingly similar and of the ideal. Making new work in response to Pre-Raphaelite today it is very diffi cult to empathise with the experience of normal explanations to the contrived poses in which the women are yet intriguingly different from our own period – while we remain paintings for the exhibition The Sting of Passion meant the living conditions of women in the Victorian age. Those who were depicted. When our eyes wander through the picture planes, safely remote, even though our safety is just as imaginary. opportunity for each artist to engage with the paintings on the born into the ‘better’ classes did not have much to do other than looking behind bushes, opening closed doors, wondering at the level of discovery and innovation. It called for a creative process to be pleasing (there did exist exceptions of course) to the men construction of impossible garments and indeed impossible What makes the paintings stand out against Victorian conformity that distinguishes itself from other design processes by inviting who, one way or the other, owned them. Those who were born bodies, we fi nd elements that are not consistent with the paintings’ is, however, that they counteracted the representational interpretative and emotional investments, idiosyncratic readings into the ‘lower’ classes often had to fi ght for their survival, and general appearance, elements that hint at danger, assertiveness conventions of their time – and that in my view relates them to and other embedded narratives to motivate the new creative being excluded from meaningful training and education, often is and complicity. After all, hardly any heroine in Greek classical contemporary artistic preoccupations. At the time when most of work. In turn, the new work invites us, the viewer, to share was sex that was left to be sold as a commodity. However, and mythology, which informed so much of these paintings, had the paintings selected for Sting Of Passion were being painted another way of seeing, subjective and often highly personal, and maybe because of this, Pre-Raphaelite representation offered been victim only - most of them had been ‘bad girls’, bending the they were viewed as progressive, even revolutionary. Writers and by doing so engage with the paintings in a new way too. an unprecedented viewpoint of the woman destroyed by love, rules, power-playing using their bodies as currency or weapons painters associated with the Pre-Raphaelites or belonging to the betrayed by love, seduced by love, victimised by love… Inspired by and that often with murderous intentions. But mythology, other society known as ‘Pre-Raphaelite Brotherhood’ (now, here is a © Jivan Astfalck medieval romance and classical Greek mythology the Victorian than history, is characterised by suppression and is ‘true’ only in term that raises questions…) were committed to advancing a style idea of feminine weakness took on another more ambivalent varying degrees of metaphorical investment. and attitude of Italian painting before Raphael. The artists aimed quality in Pre-Raphaelite depiction, while denying representation to express a genuine ‘new’ idea and professed a commitment to of the fulfi lment of true romantic love. what was considered heartfelt and serious in previous art, to the Iridescent-throned Aphrodite, deathless ahhh my heart, my heart beating blood-red fl eshiness in the shrine of woolly passion but before if ever you’ve heard my pleadings when at night love comes creeping in through those folded blinds and crumbled sheets nagging at the edge of consciousness then return, as once when you left your father’s golden house once there was a girl who had parents but really not a home wing-whirring sparrows skimming down the paths of the sky’s bright ether the earth she lived on was lacking full of loss she took her roots into her hands swiftly--then you stood with a sudden brilliance and planted she into another space and trading places she was looking for that home deathless face alight with your smile setting one word after another toetrippeditraptrap what would ease the pain of my frantic mind word after word a little way along here, to soothe the sting of your passion this time where I can follow Sting of Passion.

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