SomeBody, split view

 

'just a few shots here of the way the pages can be split into three and then layered to simulate an operation. The top image shows how the cobweb integrates with the blood vessels,

   

 ...here the blood vessels and muscle layer are shown in a transverse section,

and here one of the lungs folds back to reveal the heart.

I will upload more images as we explore the possibilities of the model.

My thanks go to Imperial College and the SHARP project led by Professor Roger Kneebone. Also to my collaborators Rachel Warr, Rachael Matthews and to Kaori and Pauline at the Wyvern Bindery.

SomeBody, endpapers and binding

 

 

   The first and last pages of the book are of wide woven silk ribbons all embroidered and slashed. Gold and silver are interwoven to suggest the two lives woven together in this tragedy. 

 The inspiration came from Tudor slashed doublets, a technique popular during the 16th C. to create texture on leather or silk, fashionable for both men and women.

 The book itself was constructed and bound for me at the Wyvern Bindery in east London. The covers, hinges and page mounts are all in black silk with silk covered rods holding the split pages together. We spent a long time working out the depth of each page and how it was to turn, making mock up paper hinges to see how the rods would slide in and out.

  There was also a lot of time spent playing with the contents to ensure they all turned happily with the heavy pages. Above you can see the guts having a little surgery to keep it all in one place!

 There is also a cover, not pictured here, which has volvelles in the front which rotate to reveal the name of the piece.

next: a split view

 

SomeBody, the future

 

 

  JOY, HAPPINESS, CONFIDENCE and PEACE, this is what the Navajo people say that all of us deserve.

  Turning the page from the dark to the light, the fresh green of spring and of youth. Here there are the spaces for tools; on the left a knife, scissors and a hammer,

...on the right a screwdriver, pliers, pencil and a credit card. The spaces have yet to be filled, they contain only potential. One tool is damaged by a stab wound, others are open to interpretation. The knife could be put to a different use, how do you interpret what it means?

  

 After deciding which tools would 'read' well in silhouette I chose to use an old workshop method to illustrate life choices. At my college the technicians kept track of tools by having them hung on a board and drawing around each one, if one was in use the outline was a reminder of its absence.

  It was the Wyvern Bindery who constructed the pages into a proper book for me and they made this page completely. It was laser cut, beautifully covered in green silk and then embossed with the lettering.

Wyvern Bindery here

next: endpapers and construction

SomeBody, the puppet

 
 What happens when you are actually in a bad situation? most of us can only guess. Do you lose your head? do you act how you'd like to think that you would? What if you don't feel in control? What if there are social pressures, peer pressures making you act up, act badly?

  If you are young and other people carry knives do you do the same? do you feel safe without one? do you feel that others are telling you how to behave? Who do you turn to when you are in trouble? what happens if there's no-one there for you?

 Many questions can be asked with this page.The puppet rises from the page and leans across to mobile phones and a knife.

Puppet in progress

One phone has pictures of friends and loved ones on it the other has a cracked screen and no battery charge.

The knife is a simple kitchen knife, easy to snatch on the way out.

  Here everything is dark, a black silk background with strong contrasts and plain objects to reflect the reality of the situation being discussed. A stark life choice is about to be made.

next : the future

SomeBody, invisible

     When you turn the giant page over from the 'bramble' page to this one at first there is nothing to be seen, just red organza pages with a hint of the yellow fat layer behind. The stab wounds are clear but the rest is uncertain; with clever lighting a face and waving hand is revealed. This is the last of  three overlapping emotional states that are illustrated within SomeBody.

   

   It is easy to overlook people and their experiences especially if their lives are so different to ours. We may only see what we want to see. When young people feel isolated they can feel invisible in society or that their problems are invisible.  This feeling and similar ones can run concurrently inside us with those of emotional pain, loss and helplessness.

Ghost embroidered panel in progress

    

 I chose to do a simple (!) line drawing of a face and hand which was then embroidered onto one layer of silk and then overlaid with more silk organza. Once inside the 'body' it lays against the muscle and fat layers obscuring it.

   

 

   The reds are chosen deliberately to seem deep inside the body itself but the next page changes completely and looks at physical scenarios and their consequences.

next: the puppet

SomeBody, brambles

 

    

  At first this just looks like the vascular layer again but look harder and there is a layer growing through it almost unseen; brambles. They are sharp and tangled and grow quickly like invisible pain.

   This is the second of the three pages that deals with complex emotional states, here it is unseen pain. It asks what we know about someone just by looking at them, what is hidden and what are the consequences of unspoken feelings and experiences. As before the split pages enable this layer to be laid back over the previous 'emotion' showing young people how emotional layers exist alongside each other.

  I used the same construction technique here as the vascular layer but made double layered rouleau which could be cut into to reveal darker colours. Some of them were then embroidered onto with picot spikes or had strange berries. The fruit were created with old button making methods either as Medieval style padded forms or as Tudor stitched beads.

n.b.   rouleau are narrow fabric tubes, rouleaux are stacks of blood cells...I like a bit of serendipity!

next: invisible

SomeBody, the cobweb

 

    The first of the three pages which look at complex emotional states is the cobweb. It is semi-transparent with web like layers the top one of which is the most obvious. Underneath the beaded webs which move around and shout fragility lay two more webs, one in thread and one in shredded silk. 

 The thread layer is an expanded form of needlelace and the shredded silk was inspired by illustrations by Angela Barrett of thick ancient cobwebs hanging like torn sails. Taken all together a very complex and hazardous depth is revealed behind which lies the muscle layer of the body. You can poke a finger through and not know it's even there.

 Cobwebs suggest being trapped, being caught and feelings of powerlessness. The divided nature of the pages enable the viewer to turn back one emotional layer over another laying bare simultaneous emotional states. For a young person only just beginning to articulate deep feelings there is a language here which can enable them to explore empathy and insight.

next: brambles

SomeBody, a family tree

 

    Families take many forms but we all understand the idea of a family tree, a network that is both emotional and physical. When it works it's great but when it is damaged or when parts are missing we are shaped by the consequences. 

     After the page that asks question about self doubt and self esteem the book turns to our roots and asks us what is important and what family means to us. Part of the trunk stands up like a pop-up book but it is a dead trunk, there are no leaves, maybe it is an old tree. On the rest of the branches the leaves grow, the colours are bright and everything seems well. Each leaf is embroidered in 'braille' with the words 'mother', 'father', 'sister', 'brother', 'grandad', 'nan' and 'friend'; you can not see the words you have to feel them.

                  

...and there are still stab wounds, here they damage the trunk and the sky. The greens are a brief respite from the reds but the red is still glimpsed through the gaps.

  

  

   I leave the metaphors open to interpretation as it is not for me to say what they mean to a troubled teenager. What is difficult to ignore though is the fact that this tree is hidden behind the guts, it is as much a part of the human body as the physical anatomy. 

next up: the cobweb

SomeBody, I AM

                   

  What do you see when you look in the mirror? Is there any positive reinforcement in your life? Many people do not hear happy words spoken about them. The work of the Circle of Compassion Prison Project both moved me and shocked me with its' statistics on crime and its roots. I followed this with  research into why and how some peoples lives go so wrong; what happens when children are deprived of touch, the problems of misandry and how teenagers can stay on a good path. 

 My research went far and wide across the internet when I began to think about how we represent the body in our (European) culture and others too. How do we engage with the body in art? How do we show empathy with the bodies of others. This was really just picking up from where I had left off with the Textile Body and the surgical residency.

  I amassed a stack of images of the body in art and went to some extremes in the concept of 'body' ending in ghost sock puppets, knitting patterns of gloves and medieval armour. What was missing was the emotional side of us and the psychological. Music and poetry cover that very well but otherwise it was hard to find many images of 'hurt' or 'loneliness' or more importantly how you can feel several emotions at once and the intersection of those states, the liminal.  

  A book of physical anatomy was not enough and this is why I chose to make this a double sided or concertina book. On the reverse of each 'page' of visceral parts there is an emotion.The first is self doubt, the root of so many problems.

  I chose to embroider a positive phrase with no negatives at all, the brain does strange things with negatives. And I thought how would it be if a young person had to sit and embroider that every day? If they had to slowly say the phrase " I am a good person" as they stitched....it takes an hour.  Then I considered the pressures of being a teenager, the need for affirmation and not getting it. I embroidered the same panel again with the words and meaning back to front and sat them side by side, mirrored, as the first page that you see as you turn the book over.

 Technically it began the real challenge of how the knife wounds related to the other side of each page and how I both disguise and integrate this emotional body into its physical counterpart. The wounds meant something different here so it meant changing how you saw them, if at all.

...and some yielded their own meaning.....

     Why the lettering??? it is from the Bayeux Tapestry and I find it a very human type face. The Tapestry is very long, very beautiful and has a complex history . It also depicts some brutal scenes and has layers of repairs and damage, all of which seem to be appropriate as a metaphor of a human body in trauma. 

    The words have the appearance of being thrown in after the main embroidery was done and so by recreating them myself I had an understanding of who made them and what it was like to make such a piece of work.  They require some skill as they are done by eye and retain an energy not usually found in embroidered letters. This makes for an interesting meditation on the history of literacy amongst women previously assumed to be unable to write...and thus begins a rabbit hole in itself.   

 I would also like to acknowledge the assistance of my sisters with the original research as they are both holistic therapists and know what they are talking about!!!! 

one sister    

two sister                      

see a circle of compassion here

next: the family tree

Breaking news!

 

'just heard! Rachel Warr and I have ben nominated in the art and science category of these awards!!!!!

  Rachel Warr is the theatre director, dramaturg and puppeteer that brings the SomeBody to life.

SomeBody, the knitted aneurysm

   In order to make the SomeBody into a much more immersive piece there are a few removable parts. It seemed to me that for a work to be relevant to as many people as possible I would have to put in more than would appear necessary. This work must perform without me and I can not dictate or even imagine the many ways it will affect the viewers so I put in everything that I can imagine.

   I am however not always able to create all that I would like so there are three collaboration within this piece, the first being with Rachael Matthews an olympic level knitter and textile artist!! She has already worked with me on the spinning of fat but here I needed her to knit an aorta with main arteries attached. 

   I presented to her my model of an aneurysm that had been used by medical students (complete with bulging and burst aneurysms) and said 'can you knit one of these?' Without hesitation she said 'yes' and over the extended periods of lockdown sourced a suitable yarn and knitted this section of human.

   The entire work was knitted in one piece, no joins and there are bifurcations and enlarged areas of aneurysm. It was knitted on three fine needles in fine yarn and is full size.

here it is all coiled up ready to be plugged into the heart......

 

..a close up of the bifurcations

...and here filled with blood

...and empty of blood......blood made of all of the offcuts from making the vascular system (featured earlier.)

NB. although they aren't relevant in the anti-knife crime context we left the aneurysms in so that the model can have another life if need be.

next: what happens when we turn the back page of the book.

SomeBody, (other organs)

 

gall bladder on the liver

  How many organs are there???? For the purposes of the model and with expert consultation as to positioning them I placed the gut on the previous 'page' .This way I could have the heart, lungs, liver, spleen, pancreas and kidneys all together as an origami like section which was simultaneously physically behind the gut but narratively following on from it . I mixed my paper folding techniques as I needed to use sturdy structures for both handling and for construction. This also gave a very different look to this page so implying a different surgical approach.

liver against the muscle layer

  I employed the Chinese thread purses, origami fortune tellers and one ornate folded napkin technique all in correct colours ( as I saw them) and layered sheer silks on top of taffetas to suggest membranes, structure and fragility.

spleen

   The softer organs as I think of them, spleen, pancreas and kidneys were eventually mounted into organza purses so that they could be folded back during an operation. This is where the triple page construction came into its own as organs could be juxtaposed against 'flesh' as well as examined more metaphorically. Each page is divided into three as in those children's books where you can swap heads, bodies and feet around. This method is found throughout the book save the first and last pages.

pancreas

  The kidneys sit inside their silk pouches, one folded back across the other but tethered by long arteries.

kidneys against the vascular layer

next: the knitted aneurysm