The Matter of Life and Death at York St Mary’s is an extremely thoughtful exhibition exploring the theme of death, and how the human body has been contained after its passing. The Matter of Life and Death aims to engage the viewer with the prospect of death, and attempts to demystify this inevitable process. Composed of ceramics created by potter Julian Stair, his works are placed alongside archaeological artefacts from the York Museum Trusts collection. The displayed works focus on the rituals and practices of death in both the past and the present, offering an insightful and poignant viewing experience.
Curated by Julian Stair, he creates an interesting
juxtaposition between ancient and contemporary work, alluding to the fact that
death has always been integral within our lives. The various historical and
contemporary objects are predominantly displayed along the nave of the church, producing
a processional and ceremonial quality that is fitting within this space. The
Matter of Life and Death encourages the viewer to engage with the direct
comparisons made, and perhaps look at the rituals and practices of death not in
a negative and solemn way, but one that is a celebration of life. York St Mary’s is an appropriate choice for
the exhibition, as previously the focal point for many rites of passage, this
space embodies permanence and intensifies the functions of the various objects
displayed.
An intriguing arrangement within the exhibition encompasses Stair’s
adult cast coffin in direct parallel to an ancient adult coffin. Despite visually
different, both have the same function. What intensifies the meanings of these
two objects is the placement between a grave found within York St Mary’s. This
eerie juxtaposition and exploitation of the given exhibition space strengthens
Stair’s interpretation of the trans-historical practices and rituals of death.
The variety of displayed historical artefacts ranges from Bronze
Age funerary urns to Egyptian canopic jars, all demonstrating the various cultural
rituals of death. The inclusion of a medieval English casket made to contain a
human heart stands out within the exhibition. Although the ritual of separating
the human heart from the body may seem morbid, the intentional juxtaposition suggests
that the actions pertaining such practices were shaped by emotions towards
death that may not be so dissimilar today.
Stair’s own work has equal emotional significance. The function
of his artworks varies, from vessels made to contain ashes to ceramic
sarcophaguses for burial. Despite the solemn role of his objects, their
aesthetic appearances balance their intended functions creating objects that are
both visually and emotionally engaging. Stair purposefully chose to use clay as
the central material for his objects. As an organic material originating from
the earth, it has direct parallels with the human body. Humans are made, live
their lives and then are placed back into the earth through processes of burial
or cremation, which are analogous to the artistic practice of working with
clay. Stair has worked with a variety of naturally occurring clay, which offer
the viewer a stimulating and varied viewing experience that provides something
visually beautiful but also intellectually engaging.
Exhibiting over 30 objects, varying from contemporary artworks
to ancient artefacts, The Matter of Life
and Death offers an interesting and fascinating way of engaging and
thinking about death. Stair’s own creations alongside the chosen historical
objects are incredibly moving, and allow the viewer to explore the various
rituals of death. Stair illuminates the notion that death is an integral part
of life that cannot be escaped. Death should not be something that we fear, but
as this exhibition shows, all passages of life should be celebrated.
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