The ambiguity of veiling

 

One of the reasons I am so interested in veiling is because of its ambiguity. It can conceal or reveal, it can hide or highlight, it is worn by nuns as well as exotic dancers, it is associated with both marriage and mourning. I have used this ambiguity in my practice by using veils as a means of exploring feminism and the place of women in society. Veiling is also associated with gothic novels - just think of Wilkie Collins’ story The woman in white. Many of these nineteenth century novels were also written to critique the position of women and highlight their lack of legal rights. As those writers knew, it is often easier to get across your point of view if you engage the reader by telling them a story rather than laying out a series of dry facts. Consequently, I have made bridal veils linked to actual gothic heroines such as Tess of the Durbevilles (there’s more about this veil in my 7 January post) and Miss Havisham, but have also used gothic tropes to make lace veils incorporating the words No, no, no or Help me. The main image also includes a veil reflecting on the life of Charlotte Bronte and I have also used Jane Austen’s life as inspiration for another one.

All of those pieces were wedding veils, but I have also made black mourning veils to reflect the darker aspects of gothic tales. One of these is ‘Belladonna’, which you can see in the image above. The design of the lace trim on this veil was inspired by the leaves and berries of the deadly nightshade plant (Atropa belladonna to give it its Latin name). The gold thread running through it suggests that the widow may not be surprised or devastated by her husband’s demise. I’m always intrigued when I exhibit these veils that prospective brides ask if they are for sale and I wonder if they have actually read the labels!