Eilidh Fraser (she/her )
Colour, experimental patination techniques, and symbolism of food in art history, most importantly the Pomegranate all feature in this body of work. The Pomegranate has served as a visual, historical, figurative material and source of inspiration in artworks depicting any of the seasons. For example, Pre-Raphaelite, Gabriel Rosetti’s Proserpine (1874), which illustrates the painter’s lover at the time, Jane Morris, is posed with a pomegranate in hand to reference captivity. In classical mythology Proserpine (Roman Goddess of Springtime) was captured by Pluto (the god of Death) to become his wife. Unfortunately, consuming food from the underworld would determine her fate to remain there forever. The Roman Goddess ate six pomegranate seeds, which therefore restricted her to six months of each year spent in Pluto’s kingdom. This analogy of Proserpine has been replicated through Jane Morris’ problematic relationship with her husband William Morris, who had symbolically trapped his wife in marriage and the domestic space. The importance of this in relation to our captive state in the home during the outbreak of Covid19 is a play on material value and use which could play a role in narrating our own release from lockdown. Casting the interior and exterior of this symbolic fruit has captured the essence of transience translating into a permanent state. The hope of new beginnings paired with the uncertainty, loss of control and feelings of vulnerability have all played key roles in this collection. Creating patterns through a range of contrasting surface textures; testing the metal & pomegranate’s capabilities, this collection highlights a deliberately aged appearance of oxidation on metal, to celebrate the release of lockdown with a body of work, which similar to ourselves, has finally been exposed to the elements.
The word ‘Patere‘ originates from Latin, meaning exposed:
to be/lie open