Photobook Sunday proof read

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paper also references traces on a landscape, as if theconnection is with the earth. When the photos werelaid on a wooden bench in the church, the grain ofthe wood reflected the lines of the distortedlabyrinth. There are aspects of the womb of god, theAbject, exploration of the self or the body, andsensuality..Location photographyWithout the option of presenting my work in agallery setting in 2020, I photographed it in twocontrasting church buildings. The first was the samechurch I visited last year, a beautiful Norman churchbuilding where I filmed the Womb of God against a12 th Century wall alongside a Jacobean monument.The other is a 1930s Baptist church that is used forthe local Food Bank – which is why the context ofthese photos includes bulk packs of food and copiesof Tin Can Cook. I’m grateful to the Parish of EastHam and Bonny Downs Baptist Church for allowingme to use their buildings. Thanks also to GeorgieKing Clift for assisting with the photography.Here it was the contrast with everyday objects thatappealed. The gold icon shone against a slightlybattered wall, but the snake somehow fitted inamongst the boxes, with its colour and shapesechoed in the cream panelling and the light giving asoftness to the stone. This contrasted strongly withthe picture of the same work in the Anglican churchalongside a coiled red rope, echoing its shape in adifferent way. This has a far more magical,transgressive air, especially as the rope is used torestrict access to the area near the altar.The context of the ancient church gave my workmore apparent significance as icons or artefacts, in acontext where there are monuments, icons andreligious art from many centuries. The deep colours,and ancient walls added a feeling of richness and amystical, possibly intimidating quality. By contrast it isonly the wooden cross at the front that obviouslyidentifies the Baptist church as a religious buildingrather than any other community hall from that era.Likewise, I feel the softness of the fur of the Wombof God labyrinth is highlighted in the Baptist hall,whereas it seems dark and imposing on a traditionalaltar, like a portal to another dimension.I ask myself how much my own feelings affect theseperceptions. Apart from working more tentatively inthe Anglican church out of respect for a grade 1listed building, that church and its traditions areunfamiliar, possibly alien, to me whereas the Baptisthall has a scruffy familiarity.Right: White Snake, Pippa King 2020
AboutPippa King is an East London based artist who works in drawing, print, photographyand sculpture. She leads workshops locally and at events.This work is the outcome of an MA by Project at The School of Art, Architectureand Design (formerly The Cass) at London Metropolitan University. Get in touch viathe website if you are interested in a printed version of this book or prints of theworks - or to talk about commissions, collaboration or workshops.www.pippakingart.comInsta @philippa.kingABJECT ICONS copyright © Pippa King 2020Words, artworks and photography © Pippa King unless stated otherwise.Design by Pippa King and published using Bote e-publishingAll rights reserved..
Page 3:
ABJECT ICONSTrinityMarginalityTrans
Page 7 and 8: JOURNEY
Page 10: Not patriarchal orhierarchicalMy pa
Page 14: AbjectI use the idea of ‘the Abje
Page 19 and 20: PatternIn search of non-figurative
Page 22 and 23: PatternAsIconThere is a small but f
Page 24: TrinityIn looking at icons, I focus
Page 27: The labyrinth is an ancient anduniv
Page 30: Womb of God75 cm x 75 cm x 7 cm, im
Page 33 and 34: Womb of GodVideo, 1m 57s, filmed in
Page 36: Queer Trinity38 x 28 cm, hard and s
Page 40: Serpentine LabyrinthLimestone, 20.5
Page 48: Fill Up the Hungry with Good Things
Page 55 and 56: COMMENTARY
Page 57: table became a pattern representing
Page 61 and 62: FragmentationPippa King 2020Reflect
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Photobook Sunday proof read

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