Jeremy Theophilus

Died Monday 18th May 2015

A remarkable man. I feel his loss deeply.

He wrote the text for my exhibition Loss 2011, when he was first ill.

Here is the text he wrote;

The Line of Loss

Loss is a part of our atomic make-up: as energy persists and develops, so it creates memory of place and time. Our world is a remnant of others’ loss and will be so for those beyond us: much of our presence is confirmed by what we leave behind us. How much easier it is to dispense with a loved one’s possessions when they are still alive is an indication of that shift from the inanimate to shrine.

At this very particular moment in our history loss seems magnified in the media, in terms of human life, habitat, morality and economic integrity. But if loss is integral to existence, what is it that makes it such a persistent and painful presence in our lives? Losing someone enforces our own ultimate individuality as we see, or imagine, that loss manifested in a movement away from this life, a process that we indeed will have to face at some point. Losing the familiar, whether in terms of an object or an environment, stimulates similar mental and emotional processes that recreate through memory a personalised image that in turn becomes a reshaped replacement for the original.

The substitute can thus be a meaningful icon for the survivor, layered with memories and imbued with significance that in time can obscure the reality of the lost. The movement from image to icon in the Middle Ages is one that has been painstakingly analysed by Hans Belting in his book Likeness and Presence[1]. He quotes Gregory the Great for whom ‘”painting, like writing, induces remembrance.” “To call back to memory” is, first of all, the task of the Scriptures, with the image able to play only a supporting role.’ Of course in this context the prime object of remembrance is Jesus Christ, but Belting also refers to a particular aspect of ‘memoria’, that of its content and its potential for looking forward as well as backward:

The present lies between two realities of far higher significance: the past and future self-revelation of god in history. People were always aware of time as moving between these two poles. Memory thus had a retrospective and, curious as it sounds, a prospective character. Its object was not only what had happened but what was promised. Outside of religion, this kind of consciousness has become remote to us.

Loss is often described as an empty space, a negative place. It has become a vacuum for the loser: where before there was a continuity, an on-going relationship, now a permanent pause freezes all that interactivity into some kind of new materiality, a vessel that contains the memory of shared times and spaces. Loss marks moments in the calendars of those who remain that can impact upon the rest of their lives, in some cases overwhelming ‘real’ life.

So, we can see that in trying to describe dispassionately an activity that passes from the known to the unknown, from presence to absence, other forms have to be called upon to fill the space left empty. It might also be that loss has an inherent revelatory element, unveiling the unseen and stimulating a creative potency through fierce stimulation. The survivor is driven to look within for resources to both hold on to memories as well as retell the story of a relationship: a rough artistry is brought to bear.

Art brings vehement confirmation. At the heart of form lies a sadness, a trace of loss. A carving is the death of stone. More complexly: form has left a ‘rent’ in the potential of non-being, it has diminished the reservoir of what might have been.

George Steiner’s exploration of creativity, Grammars of Creation[2], addresses the process of making that involves paring, making absent, until a decision about a ‘finish’ can be made. What the artist decides to leave out becomes an undisclosed part of a work of art’s much wider provenance:

In what ways are the freedom not to be or to be otherwise instrumental in the creative process?

The work of art thus becomes itself a memorial to the creative shavings, both literal and conceptual, that had to be lost in order for closure to be achieved.

The relation between tradition and loss is also relevant to this thinking: tradition represents a holding of the line against inevitable change, a conservation of skill and integrity that tests itself against the need for transformation. The regular pulse of generational rejection and creation that characterises the history of creativity in the Western world has taken us far from the theologically dominated image-making of the Middle Ages. And yet icons are still painted, to be used as well as appreciated.

Traditional materials continue to be manipulated in ways that have remained essentially unchanged for centuries, testament to their meaning for us and our hands: engagement at this quite primary level continues to fascinate and compel. The works of Alice Kettle and Jules Findley in this exhibition exemplify this very positive tension between traditional process and contemporary relevance. Transforming emotion through creative process can be both therapeutic and innovative in its outcomes: the spontaneous development of a public ceremony by the residents of Royal Wootton Bassett to honour returning soldiers killed in Afghanistan has become a new tradition where there was no accepted model.

Continuity becomes all the more vital for survivors in the face of loss: the resort to bronze statues is a crude response, whereas falling water into the basement of the non-space of the Twin Towers in New York offers a more open and shared access to grief and memory. Here there has been a conscious decision to reduce form to a minimum to allow for individual narratives to be constructed and layered onto a simple architectural concept. An emptiness has been enclosed with a specific materiality, shaping that which has passed through, and continues to pass through with each visitor’s memory.

In the face of such omnipresent and continuous loss it is often hard for the artist to make an appropriate response that can stand away from the voracious white noise of the media and the instantaneous feedback of social networking. Rachel Whiteread’s House of 1993, a cast of a Victorian terraced house in London’s East End, became the focus for contemporary controversy as well as extended meditation on the social memorial. Jon Bird, in his text Dolce Domum[3], concluded with a pertinent observation:

Endings are always hard – we resist all finality, retreating into metaphor or denial in the recognition of an impossible relation. But the work of mourning and remembering can only come from the acceptance of loss, that there is within the social a fundamental instability that, through the practices of culture, can have an emancipatory effect.

Jeremy Theophilus

November 2011










[1] Likeness and Presence, A History of the Image before the Era of Art, Hans Belting, University of Chicago Press, 1994

[2] Grammars of Creation, George Steiner, Faber & Faber, 2001

[3] Rachel Whiteread House, edited by James Lingwood, Phaidon, 1995

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Collect at the Saatchi Gallery with Contemporary Applied Arts Gallery May 2015



‘Loukanikos and the Cat’s Cradle’

with glass additions from Kirsteen Aubrey

Furniture by Angus Ross

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Reverie and Enchantment


A residency at Australia National University, Canberra Sept/Oct 2015 with Dr Amanda Ravetz

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The Erotic Cloth

Erotic Cloth Invitation finalYou are invited to a colloquium

THE EROTIC CLOTH: Seduction and Fetishism


Convenors: Professor Lesley Millar (UCA) and Alice Kettle (MMU)

Where: The Art Workers’ Guild, 6 Queen Square, London WC1N 3AT

When: 10 am – 5.30 pm, March 20th 2015.

From the beautiful cloth which is quietly suggestive, to the bold expressions of sexuality, cloth is a

message carrier for both desiring and being desired. Cloth offers those ‘porous, reversible, intimate

atmospheres that can be transformative’ as described by Giuliana Bruno. The materiality of cloth allows

for the nuanced, rather than direct, reading of the body: the shape beneath, the space between, the

haptic narrative. Cloth in motion, the sound and smell of cloth. In our liaisons with cloth we become

Other since, as in a second skin, we can play out the disguises of the idealized form, and the imaginary

of our hidden selves.


The Colloquium ‘The Erotic Cloth’ will consider the ways in which the qualities of cloth to seduce, conceal and reveal have been investigated and exploited in art.. Presentations are from different practices and in different formats: dance, film, art, fashion, installation, illusion and performance, each playing out the seduction of cloth. They will consider the explicit and the delicately suggestive, the lingering eye, and the textures of sensation; the aesthetics of cloth to excite or indeed disturb.

A light lunch plus morning and afternoon refreshments will be provided.

Early booking is advised as places will be limited due to available space.


Colloquium Fee: £35

There are a limited number of student places at £15; these will be allocated on a ‘first come first served’ basis.

NB only one ticket per booking. Cancellations before March 1st 2015 full refund, after March 1st 2015 no refund.


The Erotic Cloth is a collaboration between the International Textile Research Centre, University for the Creative Arts and MIRIAD Manchester School of Art, Manchester Metropolitan University

to book please go to

for further information: or


Caroline Bayliss:

Textual Textiles – Undressing Anne Lister

Samantha Broadhead:

Transgressive Touch: The fetishizing of cloth in Hitchcock’s  Rebecca (1940)

Catherine Dormer:

Caressing Cloth: the warp and weft as site of exchange

Catherine Harper:

The shirt off your back, Jack, James and Bobby

Nigel Hurlstone:

Textiles and Politics: Guilt and Pleasure-the transposition of the historical image

Claire Jones:

A Perverted Taste: Italian depictions of Cloth and Puberty in mid-19th century marble’
Ali Khan & Farida Ali:

Beyond the Mat: Deciphering Eroticism in the Over-the-top Aesthetics of Professional wrestling
Angela Maddock:

Always in the Act of Becoming: Folds, Scissors and Cleavage in Giovanni Battista Moroni’s Il Tagliapanni

Masako Matsushita:

Bruna Petreca et al:

Articulating Our Tactile Experience With Textiles: Undisciplined Conversations On The Unspoken
Brigitte Stockton:

Kink in the classroom: pedagogy and erotic clothing
Georgina Williams:

Curvatures of Cloth: ‘The Heart of True Eroticism’ in Serpentine Dance
Grace A Williams:

Perception in the Folds: The Requirement of Having a Body


Plus video presentations from:

Louise Adkins:

Windmills of Your Mind

Sharon McElroy:

A Man Of The Cloth

Les R.mond:

Pont des Arts Paris

Liz Rideal:

Erotic Cloth


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Fourteen- the artist’s response

1924350_696077867133984_4161024339886023344_nLlantarnam Grange Arts Centre


Llantarnam Grange Arts Centre has invited fourteen artists living in or from Wales to exhibit a piece of artwork that reflects their thoughts on the centenary of the outbreak of World War One. Each artist will create work which makes us reflect on events that changed the world forever.

Becky Adams, Iwan Bala, Sarah Ball, Peter Bodenham, Anne Gibbs, David Greenslade,Ruth Harries, Rozanne Hawksley, Buddug Humphreys, Alice Kettle, John Selway, Peter Spriggs, Laura Thomas, Stephen West.

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new works

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Craft Now, Shipley Art Gallery

Some of the UK’s newest and most exciting contemporary textiles, glass and ceramics are brought together in Craft Now.

Displayed together for the first time, this exhibition presents works purchased for the gallery using funding from the Northern Rock Foundation.

Craft Now was on show from 31 May until 20 December 2014. Free entry.

‘Golden Dawn’ acquired for the Shipley Collection

here being installed


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Offering 1




















IMG_5689 2

A new artwork comprising of 2 banners made in collaboration with Stephen Cooper.

Part of the 10Days Creative Collisions exhibition

An interdisciplinary contemporary arts platform across the district

25 October – 3 November & online

Winchester Cathedral

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In Conversation at the Queen’s House


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Cotton Exchange Project Global Threads

Material Response
May 31-July 15

Queen Street Mill, Burnley, BB10 2HX
Steve Dixon – Alison Welsh – Alice Kettle – Lesley Mitchison – Andrea Zapp

A series of installations of thought provoking new work by artists set amongst the machinery and history of the mill

Date for the diary-
Artists live day- 23rd June, 1pm-4pm, Queen Street Mill, Burnley

Here I have used cotton thread to articulate the language of making which link the lives of the weavers at Queens Mill Burnley and the textile makers in particular the embroiderers of India. The common language is a line of cotton and the lineage of making.

In Queens St Mill are the notices which define the working pattern, the imposed hardships of working productively. These are the Rules and Regulations. These notices have given voice to the individuals, I have made new notices through inviting the women in the villages of Kutch to make their own rules of life which have been defined through textiles and the lineage of making. These women used pattern and motif and here is their own description through interpreter Judy Frater

The women spent time thinking and drawing.  Most of the Rabaris used traditional motifs that depict their life.  I will detail the final outcomes when I send the work.  Varshaben Pratap did butterflies.  She said, they are free and light and can go anywhere.  Damyantiben Shankar did flowers.  She said they are smiling all the time.  Salmaben Jat did a miniature yoke.  She said this is our tradition and our identity.  Monghiben Rana did a vine that blossomed into a traditional motif.  She said she wants her creativity to always include tradition.  My favourite was Hariyaben.  She did a mango.  She said it is sometimes sweet, sometimes sour, and always valued from when it is small, when it is not yet ripe, and when it is ripe.

To echo these voices I have stitched out voices from the Queen Street mill. These come from the ledger and are the memories of the workers who were in the Mill when it was productive. Their voices are evocative, passed to me by Margarte Nowak;

Oliver Benjamin, weaver 1930-1948 ‘Noisy’

Pauline and William Hamer were lovely people. Mr Hamer had been born deaf and had attended a school for the deaf where in those days it was traditional to teach them basket making. His enthusiasm for his craft despite a forty/fifty year absence of work still shone through, though his comment doesn’t show the devastation he felt at the closing of his works as the textile industry collapsed and took with it the industry that he had been trained for.

Shelagh Limmer says, “I still gag at the smell of the tape size room” This is because they boiled carcasses to produce a cheap gluey thickener for the size which coated the warp threads to make them smooth and strong.

Some of these words have also found their way into a series of shaft loom belts. These are the link between the steam engine in Queens mill and each individual loom. I have used the technologies of new digital embroidery to pattern the belts of what was new technology of steam production, with images collected from the mill , from india , from the block printer Barron and Larcher and the writings of Gandhi. A hot potch of pattern, philosophies, cultures, exchange and production.
The final set of works are three chandeliers metaphors for the illuminating the night time work. One is white and neutral made from the pirns of Queens st which are strung around a metal chandelier. One is coloured made from the wooden pirns from India and a second is made from paper pirns made from paper from the Gandhi ashram

Embroidered loom belts


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