Just Saying ...

"C a r r y" 

 

June 2018:  A collective of 10 women artists from the North West of Ireland (a cross-border initiative) came together to create an exhibition themed to the word “Carry”, which was to be shown in the Void Gallery in Derry.

Scapegoat
 

NOUN

  • 1 A person who is blamed for the wrongdoings, mistakes, or faults of others, especially for reasons of expediency.

  • 2 (in the Bible) a goat sent into the wilderness after the Jewish chief priest had symbolically laid the sins of the people upon it (Lev. 16).

 

"The goat shall bear on itself all their iniquities to a solitary land; and he shall release the goat in the wilderness.” Leviticus 16:2

 

When thinking about the word “carry” in the context of N Ireland, it’s pretty obvious that our communities carry so much with them from the past, and we’re weighed down by history sometimes; no more so than now, with our leading political parties at loggerheads and our government suspended for over a year.
 

Thinking about the ostensible “triggers” for this collapse of government drew me to the image of a “scapegoat”.
 

At the moment (2018-19), politically we are “scapegoating” the Irish Language Act and Gay marriage as reasons why we cannot move forward together  – and so we have no elected officials making critical decisions on health, welfare, education, investment… and then there’s Brexit.  But we all know there is so much more behind these headline issues.
 

So this work – Monotony (Stormont’s Scapegoat) – is a way of representing the wearying, tit for tat “scapegoating” our political governance facilitates, ritualistically, year in year out.
 

I have sought inspiration from two powerful works;  firstly Robert Rauschenberg’s seminal piece, “Monogram” , and secondly Holman Hunt’s painting, “The Scapegoat”.
 

This work is an assemblage that is evocative of Rauschenberg’s “Monogram”; like Rauschenberg’s long-haired angora goat, this scapegoat is encircled with a tyre.  In N Ireland, pallets and tyres are the essential component parts of the bonfires that are – like the original scapegoats of Biblical times – an annual, community ritual.  The bonfire is also an apposite reference as the RHI (renewable heat incentive) scandal is still unresolved.
 

It has been suggested that Rauschenberg’s goat and tyre assemblage was alluding to his homosexuality, which in America in the late 1950s was illegal.  In Northern Ireland, the DUP have opposed gay marriage with a ‘petition of concern’ against an Assembly majority vote, and it was cited as one of the reasons why Stormont collapsed…. so yet again homosexuality is scapegoated.  In addition, my “scapegoat” carries a sign in the Irish Language - the Irish Language Act was also cited as a cause for the impasse, even though legal status for the Irish language was written into the Good Friday Agreement all those years ago.   Surely it’s time to move on as a society of equals.
 

Unlike Rauschenberg’s “Monogram”, I am drawing a direct line to the tradition of the Biblical Scapegoat as church and state are still intertwined in the politics of N Ireland; I have recreated the image of the goat’s head with the red scarf attached to its horns, as depicted in Holman Hunt’s painting.
 

I hope that this image speaks to those that we have elected to represent us, whichever community they belong to, to make them aware of the frustration felt after now 2 years of no representation at Stormont.  We need engagement and progress, not endless scapegoating.

 © 2019 Janet Hoy

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