Stewart Weaver

Curtain (1 and 2) by Rachael Thomas

Introductory Thoughts by Stewart Weaver

Several months ago Rachael contacted St. Philip’s to ask if she could hang some of her final year artwork at the church.  The material suggested Holy Week and we initially planned to hang the works in the southeast and southwest corners of the church.  But when she arrived they pleaded to be placed more prominently.

Below you will find a general description of Rachael’s work, her description of Curtain (1 and 2) and a few ruminations from the minister.  He can’t resist putting his oar in!

Underlying Principles (Rachael Thomas)

My practice begins with the collection and recognition of mundane materials.  These substances, such as tin foil, cling film, chalk, cardboard and flour are steadily accumulated in my studio, their properties noted and their materiality explored.  Through acknowledgment, appreciation and manipulation I am able to transform such substances into objects that no longer look like their original state; a process that aims to confuse the readings between an art object, a readymade and a well, known, everyday substance.  I play with the connotations of these ephemeral substances, allowing my own knowledge of their prior uses to determine the forms they will become.  My pieces are often vulnerable and fleeting and the making, transportation and installation of these objects brings about their premature old age and destruction.  I allow for my materials to rip and flour to rub away, confirming the throwaway nature of their original form and questioning new appearances and functions.  As fragility and a finite nature confuse any potential uses these objects are inherently useless, transcending their usual values to create something of perplexing and shifting interpretation.

Curtain (1 and 2) by Rachael Thomas

These two pieces, installed within St. Philip’s, are tinfoil constructions covered in oil paint and flour.  The fragile, worn surfaces created are at odds with the newly brought materials used and falsely convey an image of battered but revered objects.  Here, mundane, under-appreciated materials use the Sanctuary as a starting point to creating hypothetical narratives, questioning the importance of the everyday within our lives and challenging our notion of the significant.

Reflection on Curtain (1 and 2) by Stewart Weaver

These two hangings spoke to me first of the shroud of Good Friday and suggested to Alex the bandages typically wound round wounds, suggesting the scourging of Christ.

Transformation is a part of the Easter celebration that follows Holy Week and these works suggest this vital transformation.

At the death of Christ the temple curtains tore in half, providing access to God through this new relationship.

The shroud and bandages of suffering are transformed into the robes of glory.

The transience of mundane flesh and blood is transformed into the eternity of the spirit.

The gap on our wall awaits fulfilment with our lovely Easter banner, and the gaping door to the tomb is filled by the risen Christ.

Rachael’s thoughts too prompt further questions and observations. What is important within our everyday?  What is significant?  Easter is less an arcane or esoteric belief than a leap of faith.  We are called to live lives transformed and transforming in generous, sacrificial love.

The narrative of Easter and the narrative of our lives fuse.

We move from hypothesis and theological conundrums to reality when we move from darkness and despondency into eternal, transforming action guided by everlasting, sacred, irrepressible love.