Exhibition Work

This series of work takes inspiration from decades of research into Helen's family's varied history to weave narratives that extend beyond personal anecdotes, contemplating their relevance to broader societal issues and questioning their persistence in contemporary times.

"Veiled"

Photography by: Dave Williams (black background), Claire Louise Photography (gallery shots)

Pate de verre cast bodice, pate de verre underskirt, frit lace overskirt,(all Bullseye clear fine frit) mild steel frame.
Story book pages- pate de verre with ceramic decals.

165 x 135 x 68cm

With gratitude to:
Colin Rennie- welding and CAD support
Sean Barnes- forming the steel

Are couples being sold an unrealistic dream? Brides and fairy tale princesses are inextricably linked by the marketing of popular culture, largely influenced by Disney films and romantic comedies from the 1980s. These films, shaped by US Government policy to encourage marriage to reduce social security costs, promote the idea that love and marriage always leads to 'happily ever after'. Originally however, fairy tales focused more on overcoming obstacles, compassion, and consequences of poor choices, messages which have been lost in the appropriation of tales for this purpose. With first-year marriage separation rates at around 10%, this work reflects on government-led commercial influences surrounding weddings and whether this form of social engineering causes marriages to falter so quickly, causing so much heartache. The white wedding dress symbolizes the unrealistic dream-like transformation, where brides 'become a princess' for a day, an almost obligatory rite of passage which feels divorced from the real meaning of marriage, leaving couples unprepared for challenges they will inevitably face.

"The Doctor Will See You Now"

Photography by David Williams

Cast glass, blown glass, mild steel, rubber, gold leaf

100 x 33 x 10cm

Made thanks to the following for their assistance:
James Maskrey- blown glass
Jo Mitchell- waterjet cutting
Graham Bowes- welding

This piece is based on the experience of Helen's Great Grandmother, Eliza Ruth Price, who narrowly avoided being taken advantage of by her employer, a doctor, by hiding under her bed. She left early the next morning, dignity intact. Her plight exposes the vulnerability of women who were in service historically, but also the abuse of power displayed by some men in prominent positions; an issue still relevant in society today.

" The Walls She Built to Protect Her Mind"

Pate de verre glass, antique map, float glass

77 x 50 x 10cm

This piece explores the life of Helen's Great Grandmother, May Bradwell, who battled anxiety throughout her life and seldom ventured beyond the confines of industrial Sheffield, save for occasional day trips.

May never spoke of the past, it was only through research into her records that some fragments of the picture emerged. Records confirmed suspicions of May's illegitimacy, stemming from rumours suggesting her mother was exploited by an employer. Social stigma and the practicalities of child rearing condemned the pair to poverty, living for many years in a cramped room in the slums of the city and eking a living from laundry and piecework. Records also revealed the existence of a previously unknown illegitimate brother, William, who tragically passed away from bronchitis aged four, when May herself was only 9 years old. While not unusual for the times, the impact of the trauma of this loss in such isolating circumstances, must have been profound.

"There's No Way Out My Treasure"

Sandcast glass brick made from an original antique brick, antique silver plated spoon, made in Sheffield

50 x 28 x 23cm

Made thanks to the following for their assistance:
Neil Edwards- glass pouring
Colin Rennie- custom tool making guidance

This piece delves into the intertwined narrative of May and her mother, encapsulating their struggle within the cycle of poverty. The imagery of the inverted silver spoon nestled within the brick serves as a poignant symbol, representing the unattainable prosperity signified by the traditional silver spoon, a luxury beyond May's reach despite being surrounded by its production in the industrial landscape. Soon May found herself drawn into the silver polishing industry, where she displayed remarkable success, albeit tempered by the persistent barrier of the glass ceiling. Furthermore, this piece underscores the notion that the true wealth within a home lies not in material possessions, but in the intangible treasure discovered within its walls: love.