When I was still working on Pope Francis, I already had the idea for my next piece in my head. After a bit of research, I have made the drawings and transferred the pattern onto 40ct Zweigart natural linen. As the piece is quite big, I had to use a window to do the pattern transfer. And even then it only just fit. So what is it going to be?
I am sort of working on a series using the religious goldwork produced in the first half of the 16th century as my inspiration. After two orphreys (St. Laurence and Pope Francis) I needed a bigger canvas for the next story I wanted to tell. So I am going for the shield of a cope or pluviale in Latin. This type of garment may be worn by all ranks of clergy during processions. It is modelled on the late Roman raincoat. The now decorative shield was originally a hood.
For me, the migration crisis of 2015 has left some powerful images in my head. There were these family fathers on Munich main station looking so stressed when trying to keep their wife and children safe. I immediately wondered how well my own father would cope with us at the central train station in Damascus. He is good with keeping an eye on us, but his Arabic is rather poor... Furthermore, I and my husband travelled amongst refugee families when coming from Vienna. When I confirmed that we had crossed the German border some refugees started to praise God. But the most powerful picture of them all has been that of the little Syrian boy Alan Kurdi washed up on a beach in Turkey. Whatever your views on immigration, a drowned two-year-old war victim is a shame on us all. That's why the Latin word for 'sin' is written in the sand.
My cope shield shows how Saint Nicholas finds the body of Alan on the beach. Saint Nicholas was bishop of Myra, in Turkey, in the early fourth century. He happens to be the patron saint of sailors. Also on my cope shield is the silhouette of the Greek island of Kos. Alan and his family were trying to reach Kos when their inflatable boat capsized and many drowned. The body of Alan's mother and brother also washed ashore. When researching for the piece, I found out that the family had tried to officially immigrate to Canada as they already had family there. Fulfilling all the bureaucratic requirements proved impossible and so the application was denied. This sad story has a lot of similarities to the heart-breaking stories of Jews who tried to migrate out of Nazi Germany in the 1930s.
So what am I planning to do embroidery-wise? The dome and columns framing the piece are going to be couched goldwork. The figures of St Nick and Alan Kurdi will be done in or nue. For the fast background of sand, sea and sky I will be using classical canvas filling stitches. Especially for the later, I am hoping to use fairtrade hand-dyed silks by House of Embroidery. Poverty and hopelessness, now increasingly the result of climate change, are the underlying factors of conflict and migration. Let's combat this one stitch at a time!
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