Purpresture is a multidisciplinary installation consisting of a wooden paneled enclosure exhibiting a series of panel paintings and sculptures, a video piece and vert. The enclosure acts as museum displaying artworks that are physical manifestations of elements found in it’s accompanying poetic short story VERDER, specially written for the exhibition. Red, Blue and Gold for instance, a series of panel paintings reference both the traditional medieval palette also colours featured in the tale itself.
VERDER, appropriates actual rules and regulations of The Charter of the Forest, local folklore to Lincoln and classical mythology, consequently Purpresture and the story swing from truth to fiction in an object or sentence without warning. It is up to the viewer to decipher what is artifact or artifice, possibly with the aid of a free pamphlet featuring a copy of the story.
Additionally the installation holds a muselogical essence and that of a nineteenth-century palm court, once popular in European bourgeois homes. Objects such as eggs, the common man was permitted to take by The Charter are arranged in a display cabinet with complimentary greenery, ferns, found in Lincolnshire forests. A museum within a museum has been created, a space so clearly artificial that it calls into question the validity of the objects exhibited while adding to the tension between fiction and reality.
Turbary a video work involving an A6 hard backed book and a mouse. The short story was placed in a glass vitrine with a mouse where it gnawed through the text and cover re-inventing the book as its nest and re-uses the remnant papers to create bedding. This work refers not only to the term Turbary, used in the original charter to describe the rights to grazing for animals owned by the common man but also to the second most asked question about the Magna Carter (from which the Charter of the Forest is a supplement): Why are there holes in the documents? The answer in one word is, mice.