Remembering the unvoiced: Inverkeithing’s witch trials and the dangerous power of young woman
Emma Hurles, 13
featured image: Janus interpretation of Emma’s work
Emma and her mum Susan worked in tandem on the project, and both were immediately drawn to the Inverkeithing witch trials and murders. They researched the terrible events and created their own personalised memorial for the people who suffered. Their research and art work deliberately aims for the creation of a permanent memorial within the town, which has been done in so many other places in Scotland, as across England and the rest of Europe.
Emma explored her own interest in concepts of the occult, and modern day witchcraft as a marginal belief system. As a young girl she represents the disruptive power which causes women and minority groups to remain ‘othered’. The work of 13 year old Hope Francis also reflects this, especially with photographs which include unsettling self portraits, set within the environments of Inverkeithing.
Two of the other artists involved with the motif project, Donna Sinclair and Ian Walker, were also drawn to the accusations of witchcraft, and the torture and murder which occurred in Inverkeithing in the 17th Century. Interest in this subject waxes and wanes amongst artists and writers, but 2021 seems an auspicious time, perhaps particularly on the back of the Covid 19 pandemic, to bring these ideas forward and think about bringing them to fruition this year. Watch this space!
Diary of a teenage lockdown: post industrial landscapes, returning nature and finding your feet in odd times.
Hope Francis, 13
featured image: Janus interpretation of Hope’s work
Hope started taking photographs with her parents’ camera and with her phone before the Covid 19 lockdown, but when the surreal times began in March 2020 she found herself off school, trying to do schoolwork at home, and going out for a walk each day. Taking photographs of what she saw each day, as well as self portraits, was an activity which kept her going. It also began to emerge as a visual diary of the times she was living through.
She is drawn to ex-industrial landscapes and objects; decaying and rusting machinery, crumbling masonry and blasted land. Inverkeithing’s history contains a large amount of industry, due to its position on the Firth of Forth, proximity to Edinburgh and a northern gateway, and its particular geography of rock formation. It’s a fascinating past, and one which many historians have studied. What is less usual, and it’s tempting to think it could only be truthfully expressed through the eyes of someone with Hope’s youth, is the destruction and mess which has been carelessly abandoned after industrial extraction has occurred.
Her eye is sensitive to the combination of industrial relic and nature thriving in neglected and abandoned spaces.
EDITING AND CHOOSING PROCESS
Hope’s process developed when she began experimenting with editing in colour. Almost by accident, she had discovered a revealing emphasis on the juxtaposition between nature and man-made objects in her chosen subjects.
Hope also included self portraiture in her photography, as she goes through the processes of growing up and finding herself. What’s particularly interesting is the combination of growing up and her environment. Some of these she included in this project, while others will be part of future planned projects.
On the strength of this project, Hope has sold some prints of her photography, and has decided to take art in 3rd year, and perhaps for Nat 5. Many people are impressed by her remarkably mature sensibility.