It is known that the most dangerous place for a girl or woman is the home causing many to leave their homes in search of safety, freedom. Whether it was temporary housing or the aspiration of having a safe space of their own one day, just the idea of it generally and what that means and how one can take it for granted, that your home was and is a safe place to be. I grew up in two worlds of the UK and Barbados so this also references my upbringing, a quintessential English cottage (similar to my paternal grandmothers) yet drenched in colour surrounded by palm trees like the iconic chattels house of Barbados.
Many may have left home through desperation as well as aspiration and the world outside is a dangerous place where adventure is not always the journey of a prodigal daughter and you can be consumed by the predators in the real world whether they are addictions or human.
This is how I imagined the binding of a person whether that is through addiction, prostitution or many circumstances in life and the halo of nails and sharketeeth refers to managing mental health. She is curvy as she wanted to exhibit a more natural figure. The use of gold is most prevalent here as Christina wanted to note the commodification of the body but also the divine aspects of the individual and that no one is lost as one day the binds can be broken.
Refers to the crossed keys that signify St Peter holding the keys to the kingdom of heaven and the Sisters that founded the charity but that can also be oneself or again circumstance such serving time in prison, sickness, health, trying to maintain relationships with one children, family and demanding entrance to walk through the doors of your life.
Copyright 2019 Christina Peake
These works are displayed (above, Deptford Does Art Gallery) on a wooden box previously used by the Victoria & Albert Museum at the turn of century placing the works in context of ethnographic objects heavily laden with gold leaf and semi-precious stones in reference to Peruvian cultural objects. Many cultures are displayed in our museums but the ladies supported by WATW are invisible to many and not seen as having a culture. Here I reflect on my experience of a community I respects deeply, striving for a better life in the worst of circumstances through objects that reflect those stories and strength.