This body of work explores the function of three specific museum ‘mounts’, manufactured to hold artefacts originating in the British Isles, on display at the British Museum. The three works were exhibited as part of Matchbox Walkie-Talkie (2022), at Drop Studios, Harringay.
By removing the display object, Button fosters further speculation around the original form of the artefact that would have been held, whilst simultaneously exposing the infrastructures implemented by the ©Trustees Of The British Museum.
Star Carr Headress
30x45x50cm.
2022.
Dunaverney Flesh Hook
Aluminium, epoxy putty, paint.
98x100x29cm.
2022.
Branak Wrist Guard
Aluminium, foam padding, matt paint.
55x30x19cm.
2022.
Matchbox Walkie-Talkie (2022). Drop Studios. Harrignay.
Early in 2022 the original objects that these sculptures emulate, “Star Carr Headdress”, “Dunaverney Flesh Hook” and “Branak Wrist Guard”, were removed from their permenant mounts in rooms 50 and 51 of the British Museum. This left the mounts empty whilst the artefacts underwent further study, prior to their re-installation in the The World of Stonehenge (17 Feb- 17 July 2022) exhibition. During this time a placard was placed next to each empty mount reading, “Object Removed For Study”.
The World of Stonehenge, was criticised by archaeologists for being too speculative. Its exploration of the behaviours of individuals based on their belongings, a bridge too far into fiction. As Lucy Lippard states of of the archeological community, “speculation about belief and value systems is avoided, even viewed with some embarrassment” [Overlay (1983) p86].
The World of Stonehenge, was criticised by archaeologists for being too speculative. Its exploration of the behaviours of individuals based on their belongings, a bridge too far into fiction. As Lucy Lippard states of of the archeological community, “speculation about belief and value systems is avoided, even viewed with some embarrassment” [Overlay (1983) p86].