I have a photograph, taken when I was around three, of me and a friend standing on a patch of grass in front of a house. In this photograph my friend, who was the same age but much taller than me, has his arm around my neck in what appears to be an affectionate headlock, and we are both dressed-up. I am draped in a curtain and he looks as though he is wearing an adult nightie or negligee. I have no memory of this event, and yet I know exactly what it is supposed to signify. It is a wedding.
See full video: http://laurapotter.co.uk/index.php/now/sb01/
The Hay Wain: Fictional Final Goal
What I should do, as a sign of real commitment to domesticity, is embark upon one of those very large pieces; one that is taken from a famous old painting that everyone would recognise. Something highly detailed and complex, requiring such patience and dedication that my mother-in-law would no longer feel the need to buy me kits for banal flowery bookmarks. Obviously I will never complete something like this, but just owning the kit might be enough to appease her. She may not, however, be so easily fooled.
A large cross stick pattern is cut into tiny individual strips and stuck back together with tape. The pattern is painstakingly reconfigured to reflect alternative versions of the 'ideal pastoral scene'.
|Laura Potter, Skew (1/6) © Laura Potter|
|Laura Potter, The Hay Wain (constructed detail) © Laura Potter|
This exhibition, curated by Tessa Peters, opens at Marsden Woo Gallery on 14 January and continues until 14 February. It is supported using public funding from the National Lottery through Arts Council England.
For more information, please see our previous blog post and the show press release: