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Beautiful Death Exhibition;

An exhibition market-like event at the Guildhall Leicester using the theme ‘Death’ to produce a wide range of different products through different mediums. From using traditional and contemporary taxidermy to entomological designs printed on to pillows and mugs.

The exhibition really helped me gain insight and inspiration on where my work could go after I finish university. The exhibition inspired me on how I could use my studies as printed designs on potential products. It also helped me gain a rough Idea of price range for my own work (and future works). Along with this, I was able to see a variety of different displays and ways of setting up and how I might want to present myself as a business, this will be useful for when setting up for future exhibitions.

The event was a huge success than imaged by the curators as the whole venue was not nearly big enough to contain the demand as all people all ages turned up to admire these works, much like a museum, whilst also having the opportunity to buy them.

Throughout the event, it was stressed, that all work that was presented was all ethically sourced (specimens had died from natural causes) which might have added to the success of the exhibition along with entry fees being donated to animal charities.

This event is open to the public to join and come sell their work. Due to demand, it will be held in a bigger space. (Entry; November-January- Takes place; October 2018 –date to be confirmed).

Things Displayed;

Textiles; pillows.

Pottery; teapots, mugs, saucers, trinket trays ect.

Skulls and Bones; curiosity boxes, viles, keyrings, re-articulated bones.

Prints; studies of specimens

Taxidermy; (mostly) traditional and contemporary, wet specimens

Other; chocolate sculptures, enamel of studies, framed bones organised in a pattern,

Process Image 5;

This image challenges juxtaposition between formal and casual, formality of tools set out and labelling to the informality of a half-drunk coffee giving a more light-hearted and comedic feel to the piece, to help relieve the audience of something that is quite emotionally heavy. However, with this, I hope to attain the audiences sense of morbid curiosity.

Process Image 4;

This image transitions the same kind of feel as the previous image and carries a dramatic feel, a common theme I want to keep throughout to engage the audience with a morbid curiosity. The subject speaks a lot about the fragility of life as it purely focuses on the subject and its delicate position. It also carries on the suggestion of process as it is now out of the bag.

Process Image 3;

This image appropriates the normal everyday freezer in contrast with the packaged frozen food. A contrast between natural and unnatural- suggesting human interference. This piece, I feel, has a very striking feel to it due to it uncanniness. This defines the start of preservation with an attempt to help the audience to normalise this idea.

Process Image 2;

Process Image 1;

In this image, I wanted to begin with the ‘birth place’ of where my specimen was found. I decided on a close-up as I did not want to give too much away with the background meaning the audience could begin to guess where it had been found and how it may have died. A starting point to my series of images describing process.

Migrant Exhibition

The Migrant Exhibition was held in the hive on the 2nd level and communicated imprinted heritage. One of the pieces involved was the black pear tree that symbolised family heritage, much like a family tree, and expressed the idea that because it was a cutting of a black pear tree it linked into the history of Worcester and the black pear following the idea that most of Worcester’s history has been made by people that have migrated and settled. Around the pear tree were black casts of the black pear symbolising what felt like individuals/people. These were scattered around the exhibition which I felt really helped bring the whole set up together. Another piece that caught my eye was the image of the foot with the word ‘MIGRANT’ tattooed communicating that everyone has imprinted heritage from all over the place and that we are always a part of that heritage. This exhibition prompted me to think about my taxidermy’s heritage and its migratory patterns, where they originated from and how I can incorporate that into my own work.

Walter Potter Talk, London

Walter Potter’s Curious world of Taxidermy: A Talk and Screening The Last Tuesday Society hosted a talk at the Viktor Wynd Museum of Curiosities with author, collector of Walter Potter’s split off collection and historian, Pat Morris. The talk began with a brief history of taxidermy and its popularity in the 1800’s. He explained the influx of people wanting taxidermy during the Victorian era was in relation to their lives living in busy cities where not much if any wildlife was about. Most people thus wanted it in their homes, to enjoy and appreciate a piece of the countryside. It then became quickly fashionable to own. We discussed Walter Potter and how the era reflected on what he could source and where it was source as things were not particularly ethically considered as it is in the present. The main thing which was discussed was the charm of his work, although his work was scrutinised by critics and naturalist as not being atomically ‘correct’ or ‘tasteful’. How each piece has very subtle things and themes happening throughout in this almost alternate reality due to him anthropomorphising them. Within almost his work there are intricate details that add to the build a story. For example; ‘The Lower Five’ (the lower class) a piece of his work that explores and exposes social classes has, in the background; peeping through the window, a federal looking small mammal looking at the rats playing their illegal game, ready to be busted. Whereas, ‘Upper Ten’ shows the red squirrels (upper class) playing cards and smoking cigars. The subtle details such as this really helps to set his scene and gives them a deeper understanding as you try to build a story with all of these little snippets of narrative and although some pieces might seem creepy, it has to be admired that it was not about how pristine the end result was, but how much story it told. We followed with, after discussion, a short film about Pat Morris and his collection was played. This helped everyone gain an idea of scale and understanding of each piece as he talks through them- trying to keep their stories alive. (watch here:https://www.youtube.com/watch?v=LsuzAXN3IEk ). Walter Potters was loved and admired at its time due to its obscurity- As taxidermy was only ever made with the intention of being ‘correct’- a perfect resemblance. This, in my opinion, makes Walter Potter the first known artist to create contemporary taxidermy. Sadly, when he died, his family home that he opened to the public as his own sort-of museum and all his collection was sold off to private collectors- hidden away. Pat Morris stressed his personal importance with this issue (as a long-standing fan of the work) and has spent half his life hunting the work down, researching and valuing and building his own personal collection of Walter Potters work as he explained it was a loss to the art world and it should be enjoyed once again by people of all ages, like it used to.

Blackbirds;

Blackbird References; Dreams; dreaming of a blackbird is a sign of a bad omen and impending bad luck. Dreaming of a flying blackbird however means good fortune. The Greeks; The Greeks considered the blackbird as a sacred bird due to its beautiful singing. Characteristics; As a territorial bird, it displays a unique ‘bow and run’. The blackbird lives for roughly 2 ½ years. Songs; Blackbird by The Beetles was written about civil rights during the U.S race riots in the 1960’s Blackbird’s call; Males often sing from high perches. Both sexes produce many sounds including mimicking other birds. Nursery Rhymes; ‘Sing a Song of Sixpence’- about black birds being baked into a pie. Symbolism; Represents knowledge, wisdom and joy. Druid Legends; Legends say that the birds of Rhiannon are three blackbirds which sit and sing in the ‘world tree’ of other worlds- their singing would put the listener into a deep sleep/ trance which would then enable him/her to travel to other worlds. It was said to import mystical powers. Religious Symbol; In Christianity, the devil appears to St. Benedict to tempt him in the form of a blackbird. Black birds in flight represents the temptation of desire in some religions however, in Christianity, it symbolises evil.

Stock

Taxidermy requires being frozen when found in order to kill off any nasty bacteria or bugs. For how long is usually dependent on how big the animal is and what state it has been found in however, 2-4 weeks will do the trick

In My Freezer;

1x small mouse

2x jumbo mice

2x medium rats

1x blackbird

Going Into 3rd Year, Art & Design.

Picking up from 2nd year I will continue to use ethical taxidermy as my practice however, focus more on making more contemporary taxidermy rather than creating traditional taxidermy. Looking more into the process rather than just the outcome. This way I hope to communicate something subtle but also be able to give the audience the change to perhaps change their views or impressions on taxidermy as a practice and hope to show more the beauty of the process, why it is important to people such as myself, to honour somethings death rather than letting it die in vain due to human interference. i.e: roadkill for instance. To preserve, repurpose and immortalise beauty from death.

My Pieces in the end of 2nd year ‘Engage’ Exhibition (The Hive, Worcester.)

‘Three Blind Mice’

‘Hickory Dickory Dock’

Setting Taxidermy: 3 Blind Mice

Three blind mice setting in place, almost ready to be exhibited after they have been brushed and have fully set in place.

Defrosting mouse, ready to be immortalised!

ENGAGE EXHIBITION

The exhibition that we will be hosting is called Engage and will include nine artist’s works situated at The Hive. The theme ‘Engage’ is about the ways in which the audience will interact and move around the work within the space of The Hive. Furthermore, the viewer’s personal exploration and understandings they discover through the power of engaging with various artists works. The Hive deems the most suitable location for our exhibition as within its building, day to day, the public will engage within the space in unique and different ways that is personal to them- exactly what we want to encourage within our ‘Engage’ exhibition. Exploring different ways of interaction.

Final outcome of my Taxidermy and further development

(using an eyehook and catgut/fishing wire I was able to create the illusion of reanimation within my crow)

I was really pleased with the outcome as I was a little nervous about putting the hook and string in after the piece had set, however seemed to work effectively and really changed the environment and surroundings once suspended.

Furthermore to develop from this, I want to perhaps mirror him and create another crow in the same kind of position -almost like a reflection and suspend some sort of found object between them.

British Academy of Taxidermy

2 day course : How to stuff a Crow- Islington, London (6-7th December)

(In order to use the whole of the animal and not waste anything, scraping out the scull etc.. means we can re-purpose and keep the natural shape and beak).

To further my ability and broaden my opportunities I decided to book a two day course to learn how to stuff a crow.

Birds tend to be very different from mammals and are a lot more difficult in terms of the skinning and tanning process as the skin is much more delicate and wings of the animal have to be negotiated in order to keep the best structure and realness/likeness to the animal.

To make sure I knew what I wanted as my result I explore reference pictures, particularly ones that capture movement (in flight) which is something I am interested in.

The first day involved physically skinning and removing meat. overnight the skin was left to dry out with borax then the next day involved removing any sinews and sculpting a new body.

(using wood wool, string and galvanised wire to create new body)

(after first day, letting Borax dry the meat off skin and bones)

(the internal part of the bird is kept and measured for help accurate replication of new body)

(washed with detergent twice- ready to blow dry)

(once stuffed and wired, the crow will take 2-4 weeks, depending, to set into a stiff position, once this has been accomplished the wires can be cut)

(Ideally, if it wants mounting onto something or suspended from a hook this ought to be done during its few weeks of setting).

In conclusion, I really enjoy the course and found it, although very hard, the result was very effective and have developed a passion for bird taxidermy and excited to explore further how I can create different and chaotic scenes.

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