When: 23rd April until 20th May 2018

In regard to the body of work titled: ‘RELIEF’ I wanted the viewer to feel that the past is very much alive and to experience a presence of those who found themselves at the mercy of the workhouse environment. Through visiting the archives, studying the building and the objects found within, I have produced a site-specific installation comprising of sculpture and printmaking accompanied by an online visual research story:

www.janineeeveritt.weebly.com

The title of the exhibition is inspired by the names carved into the walls of the original structure dating from 1776. Using a selection of discarded original bricks from the mausoleum in the grounds, together with the classification labels given out on admission of those entering Wicklewood workhouse, I wanted to turn deeply etched lines into positive relief. The brick acting as a portal to the past becoming present, giving authority to the forgotten and drawing on the idea of the artist as ‘go between’. The choice of material and the casting process were also both integral to the final piece, where they act as a preserver of history.

The abstraction and distortion of the faces looking out onto the sculpture deliberately anonymise the individual. Alluding to Freud’s definition of ‘uncanny’ as something that is at once frightening yet familiar, set within the context of the workhouse, these images portray a sense of unease and alienation.

The etchings, based on the key recommendations from a British Medical Journal report on the workhouse in 1894 depict what was described as ‘crying wants’. These images highlight the sparse humanity that existed in the workhouse and allow the viewer to compare those ‘wants’ with their own contemporary perspective.

My practice broadly explores the relationship between place and the sense of home. A transient family life has led to a journey from Europe to the Far East, the Americas and the Indian subcontinent. Through this journey I am always interested in what is left behind, in memories both tangible and intangible. Outcomes have ranged from sculptural objects, printmaking and photographs utilising both traditional and digitised manipulation techniques.

Janine's installation can be viewed during the museum's normal opening hours and there is no admission charge but it is an ideal opportunity to combine your viewing with a visit to the museum where normal admission fees will apply.