{"id":5462,"date":"2021-07-06T16:23:52","date_gmt":"2021-07-06T15:23:52","guid":{"rendered":"https:\/\/artschap.com\/projects\/?p=5462"},"modified":"2024-03-19T11:38:55","modified_gmt":"2024-03-19T11:38:55","slug":"st-pauls-chelsea","status":"publish","type":"post","link":"https:\/\/artschap.com\/projects\/st-pauls-chelsea\/","title":{"rendered":"St Paul’s Chelsea"},"content":{"rendered":"

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St Paul’s Chelsea<\/strong> is an open research project with students drawn from the Black Lives Matter discussion forum at UAL Chelsea working with the art collection at St Paul’s Cathedral, which includes many historical monuments from the period of Empire. Participants have constructively and critically engaged with this legacy within its contemporary context, led by Mary Evans<\/a>, artist and Chelsea College of Arts BA Fine Art course leader, working with\u00a0Dr Paula Gooder<\/a>, theologian and Canon Chancellor of St Paul’s Cathedral, and Simon Carter, Head of Collections and researcher for\u00a0Pantheons: Sculpture at St Paul\u2019s Cathedral, c.1796-1916<\/a>. The project is coordinated by Mark Dean<\/a> for Arts Chaplaincy Projects, and is bound by a commitment shared with the University and the Cathedral to equality, diversity, and social justice, especially in matters of education and community engagement.<\/p>\n

The first phase of the project culminated in an exhibition featuring works by Aya Al-Thani, Caroline Ashley,\u00a0Kimmo,\u00a0Sachiko Shimojo,\u00a0Simon Barclay,\u00a0Sofiya Marynyak,\u00a0Synshar Pde,\u00a0Yayu Amanda Williams<\/strong><\/p>\n

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They’re not even nice legs.<\/strong>
\nWell, they’re nothing special, at least. Nothing that doesn’t<\/strong>
\nget old after a while.<\/strong><\/p>\n

Knees, calves, shoes.<\/strong>
\nI don’t like the shoes<\/strong>
\nthe flowers are tacky<\/strong>
\nand this man could use a bit of a heel<\/strong>
\nif you ask me.<\/strong>
\nThat’s why they put him<\/strong>
\non this huge pedestal<\/strong>
\nIt’s because he’s so short.<\/strong><\/p>\n

I’ve been told that there’s a very handsome man behind me<\/strong>
\nnice beard and everything<\/strong>
\nbut I can’t turn my head.<\/strong><\/p>\n

I’ve heard that his body is to die for<\/strong>
\ntoo.<\/strong>
\nIt’s okay, you all enjoy<\/strong>
\nI’ll just stare at these hideous shoes.<\/strong><\/p>\n

They must be women’s shoes.<\/strong>
\nMaybe he has to wear women’s shoes<\/strong>
\nbecause he’s so short. I don’t even mind<\/strong>
\nif a man is short, but I can’t condone such shoes.<\/strong>
\nEven I would feel too ashamed to wear something like that<\/strong>
\nI would say to myself<\/strong>
\nwoman<\/strong>
\nact your age.<\/strong><\/p>\n

I would have to say it to myself<\/strong>
\nof course<\/strong>
\nbecause I can’t say it to anyone else. <\/strong>
\nMy lips don’t move but they don’t have to move<\/strong>
\nfor me to speak to myself<\/strong>
\nI also sing to myself<\/strong>
\ninterview myself<\/strong>
\nand even yell at myself<\/strong><\/p>\n

I’m very interesting in interviews so it’s a shame really<\/strong>
\nthat I am not famous<\/strong>
\nbut Women’s Shoes is.<\/strong><\/p>\n

I don’t like feet very much.<\/strong>
\nI know some do<\/strong>
\nand to each his own<\/strong>
\nbut not for me, thank you very much.<\/strong>
\nMaybe I wouldn’t mind them if I could look at anything else.<\/strong>
\nSometimes I hear singing, but I can’t turn and watch.<\/strong><\/p>\n

Women’s Shoes can see everything – he’s in a perfect spot.<\/strong>
\nApparently, the gentleman behind me can only see<\/strong>
\nhis own lap but he is still luckier than me. In fact,<\/strong>
\nI don’t think anyone else in this place<\/strong>
\nmaybe even in history<\/strong>
\nhas ever been worse off than me. That is not self-centred to say<\/strong>
\nand I challenge anyone that disagrees with me<\/strong>
\nto take my place<\/strong>
\nwe’ll see how unfortunate you are then.<\/strong><\/p>\n

I hear a lot of speaking as well<\/strong>
\nwords like<\/strong>
\nGod<\/strong>
\nHeaven<\/strong>
\nand Israel.<\/strong>
\nhear everything<\/strong>
\nand I know everything<\/strong>
\nbut I see nothing.<\/strong><\/p>\n

They say the greatest sculptors merely<\/strong>
\nfind the statue in the stone but I don’t think I was in there<\/strong>
\ndon’t feel found.<\/strong><\/p>\n

My only hope is that one day the man with the chisel<\/strong>
\ncomes back and changes those shoes<\/strong>
\nor just chips the flowers off, at least.<\/strong><\/p>\n

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Aya Al-Thani<\/strong><\/p>\n

Women’s Shoes<\/em>
\nText, photograph<\/p>\n

Is there such a thing as a neutral statue? Can statues of commanders and colonisers erected in a place of worship be considered historical artefacts? In Islam we have concerns about idolatry, or misdirecting one\u2019s praise towards an object or representation; however it is prohibited to create a likeness of The Prophet Mohammad (PBUH) as it is seen as a dire show of disrespect.<\/p>\n

The monument in memory of Charles Marquis Cornwallis, the Governor General of Bengal features three unnamed figures, one of which is a woman that is gazing up at his legs. I combined research into Islamic teachings, my own cultural background, and the personification of statues in literature (Pygmalion, The Happy Prince) to form an approach to this monument and the work it inspired.<\/p>\n

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Caroline Ashley<\/span><\/strong><\/h2>\n

Who are we doing it for?
\n<\/span><\/em>Textile<\/span><\/p>\n

\u201cWho are we doing this for? Who are we <\/span>d<\/span>oing this with?\u201d Zoe Whitley from the <\/span>Chisenhale<\/span> Gallery asked this question in an online conversation when thinking about attracting and representing divers<\/span>e<\/span> audiences in the art world.<\/span><\/p>\n

The process of dismantling, reworking and restitching of old fabrics; that have protected and clothed, acts as a metaphor for the histories and legacies of the British Empire and the iconic symbol of St. Paul\u2019s own need to repair and heal its own past. Change requires raising questions, to provoke thought, pondering, to change minds, and perspectives.<\/p>\n

@<\/span>carolineashleystudio<\/span><\/a><\/p>\n

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Kimmo<\/strong><\/h2>\n

Shrine you dedicated to the pursuit of war
\n<\/em>Plaster<\/p>\n

\u00a0<\/strong>In response to the Pantheon\u2019s place in a history of imperialism, Kimmo contemplates how a monument of heroism may take place without the imposed principles of any state, and how it might recognise courage in the individual.<\/p>\n

@kimmothy<\/a><\/p>\n

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Sachiko Shimojo<\/strong><\/h2>\n

Letter
\n<\/em>Watercolour on craft paper, water ink on acetate film<\/p>\n

The text is taken from St Paul\u2019s letter to the Philippians; the images are of the hands in the monument to Charles Marquis Cornwallis.<\/p>\n

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Simon Barclay<\/strong><\/h2>\n

Turner<\/em>
\n<\/strong>Wax crayon on photographic paper, lead<\/p>\n

I find myself in shock; what a dilemma! How has it come to this, that monuments should stand for all eternity. My response to the St Paul\u2019s question might be that the final resting place is a monument, no more no less. This is perhaps why I chose the artist Turner\u2019s tomb, and the lesson I have learned through this process is that with the right approach these monuments are not untouchable, and positive interactions can take place, whatever they might be.<\/p>\n

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Sofiya Marynyak<\/strong><\/h2>\n

The missing cannot hear and the forgotten cannot speak
\n<\/em>Video projection (10 min duration), photographs<\/p>\n

The work is an attempt to understand who gets remembered and how, through recording and spending time inside St Paul\u2019s Cathedral. It looks at the current interactions between visitors, the monuments and the space itself which is still an active church. The video is slow, meditative and hazy as both physical (on-site) and metaphorical (research) edges get blurred. What connections lie heavy between the marble, stone and our own collective memories? While relics of the Empire chase(d) commemorative glory, where does that leave the rest of us? There is a ghostly echo in the cathedral, as those forgotten cannot speak and the missing cannot hear.<\/p>\n

During cathedral visits for recording, I was frequently asked where various monuments were, and a pattern emerged. The ones mentioned most frequently were Florence Nightingale and Christopher Wren. They are almost at opposite ends, and I spent the majority of my time filming between the two. Also at opposite ends, are Nightingale and the war correspondents section, specifically Sir William Howard Russel. I found out they are directly connected, as she quotes Russel as the reason behind her travels to Crimea. This further led me to find another missing link between the two \u2014 Mary Seacole (there is a monument to her outside St Thomas’ Hospital, which was controversial and met with criticism both for and against its placement). The video, in part, is a glimpse into said research \u2014 how is each one remembered? Does their physical presence (in the form of their monuments) change anything? And how can they be placed into a wider conversation about remembrance, biases, historical research and contemporary response?<\/p>\n

@sofiyam_art<\/a><\/p>\n

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Synshar Pde\u00a0<\/strong><\/h2>\n

I Have Decided To Follow Jesus
\n<\/em>Monpa handmade paper and conventional mass produced paper, LED candlelights, speaker<\/p>\n

In many religions, particularly Christianity, martyrdom is necessary and plays a big role in how many people have converted beliefs. These people become sacrifices to bring in faith and they get perceived as only sacrifices. So many sacrifices and so many unknown deaths, that St. Paul\u2019s Cathedral requires more space for all the people that died so many will come to faith.\u00a0After missionaries completed their missions, they left with satisfaction without looking back at the problems that would arise.<\/p>\n

Christianity divided the people in my tribe, the Pnars, who mostly reside in the small town of Jowai amongst the hills of Meghalaya, India, in which state the population is over 70% Christian. With Christianity came separate neighbourhoods, a diluted culture, and therefore a loss of identity.<\/p>\n

@tungtapandjadoh<\/a><\/p>\n

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Yayu Amanda Williams<\/strong><\/h2>\n

Celestial Bliss
\n<\/em>Mixed media on canvas, rope<\/p>\n

Bring to the forefront things forgotten
\n<\/em>Collaged tissue paper, acrylic paints and acrylic medium<\/p>\n

What does music do for us? How important is music in our life? It provides a total brain workout. Research has shown that listening to music can\u00a0reduce anxiety, blood pressure, and pain as well as improve sleep quality, mood, mental alertness, and memory. Music can transform the emotions and feelings of the people within no time. It can lessen the stress, pain, struggle, distraction and bring positivity and calmness in our daily life. Music holds the power to bring people together in different ways. Music is\u00a0a way of expressing myself and being able to relate to other people.<\/p>\n

Entering St Paul\u2019s Cathedral, the main things that have always captivated me are the exquisite beauty it exudes and the interesting perspective it commands, alongside the idea that each time there will always be something new to learn. Building on this I decided to capture the beauty not just through the structure or materiality of the building, but its most recognisable sounds\/music. Hence I created a 13-piece series of reactional art works representing the Music for the Royal Occasion: St Paul\u2019s Cathedral 1981 (Barry Rose). The freedom and trance-like methodological way these pieces of works are produced are enriching to both my soul and practice.<\/p>\n

The second piece is centred around the hidden\/forgotten history of St Paul\u2019s Cathedral. On the north-east corner of the churchyard is the placard where Paul\u2019s Cross stood, originally a public meeting place of high significance and famous public executions. The idea was to recreate this placard \u2013 named Unhidden \u2013 where all can see and appreciate its significance.<\/p>\n

@divine_artz7<\/a><\/p>\n

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Chelsea BA Fine Art students researching contested legacies in St Paul’s Cathedral<\/p>\n","protected":false},"author":1,"featured_media":6561,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[18,24],"class_list":["post-5462","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-projects","tag-current","tag-projects"],"_links":{"self":[{"href":"https:\/\/artschap.com\/projects\/wp-json\/wp\/v2\/posts\/5462","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artschap.com\/projects\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artschap.com\/projects\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artschap.com\/projects\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/artschap.com\/projects\/wp-json\/wp\/v2\/comments?post=5462"}],"version-history":[{"count":11,"href":"https:\/\/artschap.com\/projects\/wp-json\/wp\/v2\/posts\/5462\/revisions"}],"predecessor-version":[{"id":6923,"href":"https:\/\/artschap.com\/projects\/wp-json\/wp\/v2\/posts\/5462\/revisions\/6923"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artschap.com\/projects\/wp-json\/wp\/v2\/media\/6561"}],"wp:attachment":[{"href":"https:\/\/artschap.com\/projects\/wp-json\/wp\/v2\/media?parent=5462"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artschap.com\/projects\/wp-json\/wp\/v2\/categories?post=5462"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artschap.com\/projects\/wp-json\/wp\/v2\/tags?post=5462"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}