Memento Mori with Lozzy Bones
Lozzy Bones captures macabre moments using stark, clinically precise monochromatic imagery. Most artistic processes have begun with 1:1 life studies taking inspiration from Victoriana, anatomical illustration and antique woodcuts. Despite their dark callings most of Lozzy’s images have a kind of gallows humour and an almost warm, cheeky, black comedy to them. Decidedly an English creature at heart her penchant for the theatrical shines through with every blackened pen stroke.
Explore Victorian silhouettes with a deathly twist, creating your very own macabre portrait, a memento mori and keepsake to take home after the conference. Lozzy will guide you through the process and be on hand to help, sharing inspiration and insight into her methods.
Mapping the Remains with Lisa Temple-Cox
Lisa Temple Cox’s research interests revolve around the aesthetics and symbolism of the medical museum; using its collections, taxonomies, and histories as metaphors for a contemporary subjective experience of the body, in life and death. Her history as a mixed-race, post-colonial child informs a practice exploring interstices: between science and religion, the normal and the pathological, the familiar and the uncanny. These themes are visualised through mixed-media processes which include drawing, assemblage, and installation.
Lisa’s recent work combines historical and contemporary anatomical imagery with maps and literature to create layers of image and meaning, evoking new considerations of anatomical collections and their role in creative responses to the body. This mapping process – anatomical, geographical and conceptual – forms part of a metaphorical locating of the ‘self’: the medicalised or pathological self becoming a metaphor for the ‘stateless’ self that is brought into question by relocation from one country or state to another. In this workshop Lisa will teach the transfer technique, transfert-collé that she uses in her ongoing project Mapping the Remains.
Shroud Embroidery with Yuli Sømme
Yuli will be offering a taster into the process of decorating a shroud, using the needle felting techniques she has developed. The act of making and creativity is meditative, therapeutic and emotionally healing. The technique is very simple and quick to learn, but it is the imagery or words of participants which are important when thinking about personal symbolism which, as a group, will be committed to a ‘universal shroud’ (a group piece).
Yuli’s journey started when asked to take part in an exhibition; ‘treading lightly on the earth in your craft practice’ her thoughts turned immediately to the Cycle of Life. “My question to myself was, how can we expect to heal the planet if we are so distanced from our own mortality and the Cycle of Life? My response was to make a shroud”.
Yuli spent several days physically rolling and pounding wool to make it become felt. She sang, she ranted, and she thought. Thinking deeply about what might happen to her body when she died. Decomposition, putrescence (yes! She didn’t spare herself) and little creatures innocently going about their wonderful feast.
“The effect on me was very unexpected. It was cathartic. My personal anxiety and taboo about Death seemed to leave me, allowing me to feel more alive and more engaged with Life!”
Yuli is a weaver by background and training, but switched to felt making in the late 1980s, making commissioned one-off pieces. For the last 15 years or so she has been working in the funeral world making shrouds for burial and taking reference from an ancient law that decreed that the dead must be buried in wool. Her researches indicate that wool is a gentle and sustainable choice for an environmentally benign funeral. Yuli lives and works in an area where sheep have co-existed with humans for thousands of years, and remains convinced that this co-existence has a long while to run.
Victorian Hairwork with Courtney Lane
In this workshop, attendees will be introduced to the traditional Victorian hair art technique of wire work in which the artist loops hair tightly around wire to create three dimensional flowers. Participants will delve into the history of using hair art as a sentimental relic to commemorate and mourn deceased loved ones as well as gain an understanding of how and why hairwork has historically been a female-dominated art form. By the end of the workshop, all in attendance will be able to perform the ‘gimped’ hair technique which was the most common form of wire work practiced that is identifiable in a majority of hair wreaths still around today, and I will give instructions on how everyone can use this technique to create full wreaths, jewelry, and other forms of memento mori in future projects-perhaps even with the hair of their own departed loved ones.
Courtney Lane is an artist and historian based out of Kansas City who has dedicated her life to pursuing knowledge of hairwork techniques as well as the peculiar history behind the art form. By creating modern pieces of Victorian hairwork and educating the public about the often misunderstood background, Courtney seeks to ensure that this sentimental tradition is Never Forgotten.