Thorness and the Green Man is a series involving sculpture, collaboration, textiles, monoprints, drawings, performance and film.
|Thorness 2019 wax and thorns 10cm h
Thorness began as part of Otherworld an exhibition with performances with Blanc Sceol held on Blackheath, about the loss of its flora and fauna such as natterjack toads, lizards, ring ouzels nightingales and hares which were recorded there in 1859. Thorness was made after I had found a thorny briar by the Thames in Streatley, where I grew up, and took two lethal stems home wrapped in newspaper. I used them for this small wax figure.
I had been thinking about the defence of animals and curses (having learnt a Celtic one) and wanted a powerful little spirit who was dangerous to those who harmed the environment.
In the exhibition I protected visitors from her: Sarah Davies:
Placed in a glass dome was ‘Thorness ‘constructed out of wax and thorns. Rance explained that ‘Thorness’ has the capacity to curse people that do bad things to the heath and that some visitors have found her quite scary. Rance also revealed that when she had installed Thorness in the gallery Thorness’ thorns had pricked her and drawn blood. For me Thorness was the standout piece of the show. Standing in profile there is a visceral yet fragile and timeless quality to Thorness. Viewed from the side in profile I was drawn to the tiny facial features of the piece. The piece for me had a fascinating spellbinding presence – it was as if Thorness owned the space in the gallery.
Her sister piece Thorness Sleeps was made for another exhibition, Sleepy Heads and installed well protected by other figures in a glass cabinet at The Blyth Gallery, Imperial College
|Thorness Sleeps 2019 wax and thorns
In Thorness Sleeps, Victoria Rance creates a universe of myth and magic in the shape of a small installation, in which a female, earthlier manifestation of Thor, Thorness, a tiny black creature covered in briar thorns, is guarded by a motley crew of imaginary entities, organic matter (including a dead spider), and talismans. Rance challenges divisions between human and animal, science and magic, and strives to restore the land to its ‘lost creatures and local spirits’. We will all sleep better if she succeeds.
The Green Man developed after a visit to a house my great grandmother lived in, in which she had built an altar to Pan. The current owners told me she had been part of an early ecological, anti-urbanization movement. I started my own search for Pan in rural Normandy by communing with goats. I then made a mural/installation in my studio and following that work for two performances – Pan and the goddess and Swallowhead – both collaborations with sound artists. The first was based on early Sumerian poetry about Inanna and Dumuzi. The second about the Osiris, Tammuz and John Barleycorn myths of death and rebirth in the installation and performance with Blanc Sceol at The Cello Factory in a show called In the Dark, Even Darker.
see pages 190-198 The Ecological Citizen Vol 3 No 2 2020
|Swallowhead 2020 installation
Swallowhead Performance with Blanc Sceol on Youtube
|RANCE Thorness and the Green Man Pieta 2022
|RANCE Thorness and the Green Man Deposition 2022
An embroidered version of my 2022-3 sketchbook (A Page a Day 2023) included drawings of the ideas using Christian iconography, with Thorness in the position of Christ, The Green Man as Mary, and a reference to the only inclusion of nature in those images, the crown of thorns.
|Rance Thorness and the Green Man 2023 cotton
|Rance Thorness and the Green Man 2023 cotton & silk
|RANCE Shroud of Thorness 2023 cotton, blackberries, felt, pewter, aluminium
Link to a talk I gave about the project at Copeland Gallery.