Vessels & Other Objects, 2022-2025

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3. Feathers
new coffee pot
5. Paint Tin
Desaturated bible
desaturated new earthenware bowl2
desaturated Butterflies
purificator
desaturated Decorative Gothic Panel
11. Flower Basket I
tealights v2
work advent decoration centered2
for web new work brush
Hassock4
watering vessel5
12. Flower Basket II v 2
brush 3
single jar
back of frame v 3
desaturated Leaflet holder
Desaturated tall vase
glass jar
colour changed stone
changed colours bucket
new broken pot
mirror v 2
lightened empty packet v 3
lightened Tuners book v 2
Bowl 3 with extra sides2
altered vase 2
darkened plastic brush
for web mission hymns
chamonix leather
v 2 Blue bag 3
silver foil
Brick for web2
for web Empty ledge
‘Feathers’,
‘Coffee Pot’,
‘Paint Tin’,
‘Bible’,
‘Earthenware Bowl’,
‘Butterflies’,
‘Purification Cloth’,
‘Decorative Gothic Panel’,
‘Trug ’,
‘Tealights’,
‘Advent Decoration’,
‘Wooden Brush’,
‘Hassock’,
‘Plastic Watering Pot’,
‘Flower Basket’,
‘Decorating Brush’,
‘Glass Jar No. I’,
‘Empty Frame (Back)’,
‘Plastic Display Stand’,
‘Tall Vase’,
‘Glass Jar No. II’,
‘Masonry’,
‘Steel Bucket’,
‘Brocken Pot’,
‘Mirror’,
‘Empty Packet’,
‘Tuners Notebook’,
‘Vase No. I’,
‘Vase No. II’,
‘Plastic Brush’,
‘Mission Hymns’,
‘Chamonix Leather’,
‘Blue Bag ’,
‘Wooden Baton Wrapped in Silver Foil’,
‘Brick’,
‘Empty Ledge’,

Vessels & Other Objects, 2022-2025

Vessels & Other Objects, 2022-2025 The church of St. Gregory’s, Heckingham, dates from the 12th Century but has been redundant since the 1990’s. It sits on top of a small rise in the landscape on the edge of the Norfolk Marshes. Any context of a community has now dissipated leaving it as a symbol of something past, a motif of Englishness that seems redundant. Its vestry, however, still retains many of its items and objects that were used in the liturgy and daily running of the church; mundane, everyday objects donated from homes across the parish. Now surplus and showing signs of neglect, I photographed each object from the vestry using an 8 x 10 plate camera. Placed into a niche set into the church wall, each object assumes the attributes of an installation. Made at the same time of day over a three-year period, and throughout each season, the changing light from the leaded and stained-glass windows altered the hues of each picture as it blended with the niche’s light- yellow paintwork. With a disquieting sentimentality, these ‘ornaments’ which have outlived their purpose, make visible a diminishing connection between modern culture and its medieval past; a contemporary memento mori to the last vestiges of a world in suspension, on the cusp of disappearing from view.