use of remains as decoration Lindy Richardson The Golden Chamber Saint Ursulas Church in Cologne Walls in chapels are traditionally adorned with illustrative paintings visual depictions of bible stories to aid the illiterate worshippers ID: 652810
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Slide1
The bone wall
,
inhumane
use of
remains as
decoration
.
Lindy RichardsonSlide2
The Golden Chamber,
Saint Ursula’s Church in Cologne.Slide3
Walls
in chapels are traditionally adorned with illustrative paintings, visual depictions of bible stories to aid the illiterate worshippers. Alongside these are placed highly decorated and elaborate reliquaries containing the bones, hair and clothing of Saints. Slide4
In Saint Ursula’s in Cologne,
above the encased treasures are tacked Human remains
.Slide5
This
project came about in response to the contrast between the
elaborate
reliquaries
, and
the
decorative wall panels
, created by
pinning bones
to
the walls
.
Both
are human, both belonged to a living being and therefore deserve respect regardless of status whilst alive.
Slide6Slide7Slide8
The bones
are fixed to the wall in decorative patterns of tibias, fibulas and skeleton parts
mixed
and distributed by size and shape. Slide9
This project exists to make sense of the jumble of bones presented as a decorative wall
covering. To visually reconnect, and to suggest that the nameless bones once had an identity
.Slide10
This artwork aims to
:-highlight the connection between individual bones
belonging to the
same skeleton. Slide11
Comprising of
11 skeletons each contributing 206 bones, the panels within this
artwork
visually mimic
those in
Cologne
. Slide12
With
each paper skeleton assigned a specific pattern , it becomes possible to identify
each bone within the final mixed bone pattern. Slide13Slide14Slide15
The 206 bones required to create a full skeleton are cut from the
11 different
pieces
of printed
paper, providing
2,266 bones to create the bone patterns. Slide16Slide17Slide18Slide19Slide20
Each
skeleton/pattern is also allocated a specific colour of thread to further define
its
identity
and affiliation. Slide21Slide22
In an attempt to
re-connect all of the bones from each skeleton, the identifying coloured
threads
are
tied on to the individual intermixed bones further
emphasising
the chaotic
organisation of the bone patterns. Slide23Slide24Slide25
11 paper skulls
reaped and constructed from the original printed papers complete the full set of skeletons.Slide26Slide27
The
coloured threads from each of the bones in the wallpaper are then connected back
to the appropriate
skull. Slide28Slide29Slide30Slide31
Rather than a visual aid to
support the re-telling of an old story, this artwork existed before the addition of text.
The
wallpaper is a visual
language in itself
,
asking questions in new ways and inciting enquiry without words.