- Repository Number
- Location
- Artist
- Title
- Date
- Medium
- Technique
- Dimensions
- Components
- Description
- Inscription
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SC0352-VKA-PA-1
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Newnham - Building A - Level 2 - Main Foyer
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Kathleen Vaughan
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Bog Series 3
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1995-1996
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Painting
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Oil
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Acrylic
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Encaustic
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Photographic emulsion
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Textile assemblage
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189.2 x 274.3 cm in two panels
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Rope attached to the canvas
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2 panels
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The bogs of Northern Europe have, over the centuries, offered up the preserved bodies of our Iron-Age ancestors. Their scarred bodies, bound by ropes (indicative of a brutal ritualized death), has led us to believe that they were propitiatory offerings to ancient spirits. Incorporating full-scale photographic images of the mummified-like remains of selected bog specimens, Kathleen Kaufman builds her paintings by degree; from full scale-drawings, to the incorporation of textile, to textured paint and wax.
Comparing the bog figure on the left with the modern figure on the right we are meant to view them not as a historical transition of primitive to modern (although it is tempting to see the fetal figure on the left and the Renaissance-like figure on the right in just these terms) or as an evolutionary argument that history is a progression from worse to better. Rather, both figures are equivalently expressive of the same inescapable life-death cycle. Perhaps to this end, Kaufman embeds a real rope in the paint that stretches from one panel to the other — “the tie that binds”. (David Phillips, Seneca Polytechnic)
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Signed vertically on the right edge from the bottom corner, Kathleen Vaughan
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