The Tapestry of Light artwork

Background This research attempts to define the role of 'light' in a modern exploration of the classical iconography of the ‘Last Days.’ Framed by the key 14th-century artwork ‘Angers Tapestry, the research is located at the intersection of three fields of research: the history of ideas in art (Max Dvorak (1984) relating specifically to the development of Christian Art; art and new technologies; and Medieval and Contemporary Art. The resulting work asks: Can new intersections with female thought and the Apocalypse and scientific perception, open new domains of understanding through the immersive qualities of such an artwork? Contribution: ‘The Tapestry of Light’ is an immersive 3x36 metre Apocalypse Tapestry constructed from traditional threads and cutting-edge nano particle phosphorescent science (developed with David Mainwaring). It is a light-forming, responsive tapestry in which the perception of the images evolves as the light environment changes. It was woven on a jacquard loom by the famous Flanders Tapestry. 84 images from this full cycle were re-drawn, and re-miniaturised in a 21st century setting. It gives new knowledge in its re-presentation of the Apocalypse to a 21st century audience, and in its art and science foci, expression, and knowledge transfers between Medieval Europe to present technologies. Significance: The Tapestry of Light Artwork is the only full cycle of the Apocalypse in Tapestry form by a female artist. Emeritus Professor Michelle. P. Brown (University of London) is the work’s international Curator. In 2017, the work was first shown at St. Michael and Gudula Cathedral (Brussels). It was also shown at Canterbury Cathedral and Canterbury Festival (UK) with 14,500 visitors. In 2019-2020, it was shown at the Museum of the Bible (Washington DC, USA). In addition to global media coverage, the work has been the subject of conference and journal publications. It is projected to be exhibited again at the 60th Venice Biennale, Italy.