'Semantics' Jane james

Detail from - "Upstanding"

'Semantics' will show July 5th - 29th

Exhibition Opening 8th July, 2.00 - 4.00pm.

at the Jan Manton Gallery,

1/93 Fortescue St, Spring Hill, Brisbane.

A faggot describes a standardised Medieval unit of measurement used for timber. Ironically, it represented a burden easy to bear. These are life sized representations of this unit.

This body of work represents a very personal journey of expression. I do not presume to speak for anyone else in it - it is born of my lived experience alone.

These works honour those people in my life for whom coming out is a daily act of bravery and exposure. The works are a celebration of diversity within sameness, and stand as a reminder of the language we use, and the power it wields.

Differentiated by their bindings, knots and timbers, these representations are unified by meaning and scale. They are constrained within a box and a constructed plane, but spill from this, breaking boundaries.

The narrative running through these works describes the loosening of constraints and shifting positions. There is wordplay in both the titles and the knots employed. They are conceived as a series of portraits.

They are hopeful, and if they are provocative, then let the provocation be towards dialogue and a dissolution of the binary.

Jane James

Title - 'Suspended' (Cow Hitch)

48 x 54 inches - 1219 x 1372 mm

2016, Synthetic polymer on linen

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Title - 'Upstanding' (Constrictor Knot)

60 x 48 inches - 1524 x 1219 mm

2015, Synthetic polymer on linen

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Title - 'Leaning' / Reef knot

48 x 54 inches- 1219 x 1372 mm

2016, Synthetic polymer on linen

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Title - 'Recumbent' / Close band lashing

48 x 52 inches - 1219 x 1320 mm

2017, Synthetic polymer on linen

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Title - 'Contrapposto' (Highwaymans knot)

48 x 52 inches - 1219 x 1320 mm

2017, Synthetic polymer on linen

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Title - 'Unfettered' (True lovers knot)

48 x 52 inches - 1219 x 1320 mm

2017, Synthetic polymer on linen

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Detail - 'Unfettered'

Catalogue essay by Rober Seward, Emeritus professor of International Studies, Meiji Gakuin University, Tokyo Japan.

In the late 1890s Gertrude Jekyll, England's famous garden designer, photographed a worker in winter cutting and bundling up twigs for use as fuel. In Jekyll's photo, “Copse-cutter Faggoting Up,” the view is dark, hemmed in by a copse of trees. Tree-stem stubble litters the foreground. A curved brush cutter cleaves the top of a stump of sweet chestnut. The worker gathers an armful of underwood twigs.

Faggot!

Jane James here paints images of faggots. As James explains, faggots were tied in standardized units, the twig bundle secured by rope. Properly tied knots encompasses the wood.

Fag! Fucking faggot! Molly! Pansy!

In James's inimical style, these faggot-and-knot paintings are life-sized, and in looking at the paintings, we’re tempted to slip a twig from its bounds. Or we might untie the whole unit as the rope knots invite. You hear the twigs fall.

Queer!

These paintings are, however, more than a realistic depiction of wood fuel. They partake of their own symbolism, and in a certain context the beauty of the wood and the carefully constructed knots belies their materiality as natural objects. There is menace that binds the images to a larger implication.

To any observer of sexual history, homophobia is a constant presence. The fear and rage exhibited toward gay men and lesbians, and now of transgender individuals, is the history of sexism, racism, and religious and legal prejudice. Obsessional prejudice sees gay men, in particular, as objects for elimination.

Through history the faggot bundle, the symbol of the “avenging flame,” condemned gay men to the ultimate penalty. And the knots? While knots are functional, they appear in religion and are of magical significance. They record and recall history, calculate, and bind us to vows.

On a freezing night in 1998, near Laramie, Wyoming, twenty-two-year-old Matthew Shepard was beaten, tortured, and left to die. Shepard's two killers tied him to a fence. As I look at Jane James's knots,

I wonder, did the killers deign to tie a proper knot.

Are these paintings offending images? I think not. While the question of the image returns us to the object, what is it about Jane James's images that gives them such power? They serve, most importantly, to remind us of the continuing struggle for decency, for rights, for survival, for our lives in a world where homophobia remains. Let these faggot-and-knot paintings remind us that homophobia must not be the last acceptable prejudice.

Robert Seward

Robert Seward lives in Cooperstown, New York, with his partner of forty years. They were married in 2011 when New York State provided equal rights for gay and lesbian couples to marry.

Detail - 'Recumbent'

Works in the series:

#1 - Suspended / cow hitch

#2 - Upstanding / constrictor knot

#3 - Leaning / reef knot

#4 - Recumbent / close band lashing

#5 - Contrapposto / highwaymans knot

#5 - Unfettered - coiled rope and lovers knot

Created By
Jane James
Appreciate

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