Irreverence

Like the great artists of old Julie Anne Denton’s interest in religious themes is palpable. In her mind though, there are inherent contradictions deeply rooted in most every organised religion. Julie Anne struggles to create a simple retelling of a religious theme/dogma/parable and prefers to use her artwork to make personal commentary. With the help of symbolism and direct reference material she makes her point known. A lot of her irreverent work is based in and around Christianity solely because she is most familiar with that flavour of belief.

Maria Monk 1836 AD (Anno Dominate)

Maria Monk is based on a book Julie Anne read called 'The awful disclosures of Maria Monk' written in the 1830's by a nun concerning her experiences in the convent. She found this book both interesting and shocking. At the time of publishing, the church denounced everything Monk had written calling her a liar. It’s difficult to say whether this book is a work of fiction or a searing indictment of depravity! Whatever the case, awful disclosures inspired Julie Anne to create this artwork. Essentially, she feels ‘this is a work of fantasy with a twist’ and she invites the viewer to question the secrecy of the church both then and now. 

  • Artist’s secret thoughts

    The ‘Sheela na gig' is a carving (akin to gargoyles) dating from the Middle Ages, presenting a naked woman displaying an exaggerated vulva. I travelled to Prague with friends. Whilst I was there, I had my very own ‘Sheela na gog' laser etched into glass using my own body as the template. This Sheela was included in Maria Monk to ironically encapsulate in a single visual, the fact that a great deal of Christian imagery/celebrations/symbology is taken directly from ancient Pagan religions and beliefs – It is believed that this was to make it easier for the Pagans to convert to Christianity.

    If you journey to Ireland, you can still see Sheela’s carved into the stone exterior of some old Christian churches – Many Sheela’s were chiselled off their churches from the 1800’s onwards when it began to offend some puritanical parishioners and clergy. You can see my ‘Sheela’ nestling in the basement of Maria Monk, beside the article about abuse in the church from 'The Times' newspaper.

“I create because I have
always been curious and thought in a different way.”

Julie Anne Denton

Chiliasm – Hail_Pseudapostle_Repetition

Julie Anne Denton’s triptych is an ironic interpretation of the Chiliasm ideology. Chiliasm meaning thousand in Ancient Greek, predicts that Christ will return establishing a Messianic Age of peace lasting a Millenium, prior to the Last Judgement and the future state of “eternity.”

  • Artist’s secret thoughts

    Chiliasm – ‘Hail’ ‘Pseudapostle ‘Repetition’

    The colour scheme for this triptych is based on traffic light signals: go, slow, stop!

    These glassworks were cast in the Isle of Wight with the expert help of glass artist Carl Nordbruch. The glass has a highly transparent gleam because the glass used is lead based, this beautiful glass cannot be obtained in the UK anymore because of the toxicity of lead as it is being mixed. Once the mix (batch) is cooled the lead is non-toxic and highly transparent – hence the term ‘lead crystal’. The metal stands were designed by Dr. Julie Anne Denton and forged by Laxey Blacksmith.

Contraceptive misconception

At the time this work was made, the new pope decreed that using contraception was a sin and Contraceptive Misconception was inspired by this.

  • Artist’s secret thoughts

    At the time there was so much poverty in Africa and I simply couldn’t understand why it was still a sin to use contraception when then was so much poverty in these mainly Christian third world countries. The wood the sandcasts are mounted on have a design burnt into them with an Africaneseque design feel. The base of the work is covered in pot potpourri, which is a play on words of Popery which is a pejorative word referring to the doctrines, practices, and ceremonies associated with the Pope or the papal system. In front of the mounted sandcasts is a child’s table and chair. The table is set with knife and fork with an empty plate. Attached to the plate a picture I created by combining a famous picture of a child victim of famine by war photographer Don McCullin with a projected slide of my own dried blood – Black and white with red printed image from film.

The Expulsion

The Expulsion is a piece inspired by the Genesis story of Adam and Eve and their fall from grace. Eve is depicted as a vivacious figure full of curiosity and lust for life, whereas Adam who is symbolically reaching for the hermaphroditic lotus flower with his back to all that goes on, is portrayed as accepting and essentially dull
– A non-player.

  • Artist’s secret thoughts

    The encapsulated copper circles are based on the hermetic symbol for spirit, representing God. It is my belief that there are as many gods as there are people to believe in them, and this is why the bottom of the sandcast is peppered with copper figures. There is a ‘T’ shape in the front of the sandcast which has been polished to form a window into the diorama. This is also a reference to God; this shape is inspired by masks – a simplification of the face. A mask is a way of seeing, but not being seen. God (or the viewer) can spy on the events without interfering.

Dimensions and technique

Maria Monk 1836 AD (Anno Dominate)

10mm polished plate glass with high fire enamel, flameworked glass, photographically laser etched glass, cold bonding and mixed media

750 mm x 300 mm x 300 mm

Chiliasm - Hail_Pseudapostle_Repetition

Sandcast lead glass with copper and flameworked inclusions painted in high-fire enamels. Mounted on handmade hanging steel frames

800 mm x 500 mm x 120 mm per piece

Contraceptive Misconception

Installation with mixed media, made from sandcast lead glass with copper and flameworked inclusions painted in high-fire enamels. Fused window glass with high fire enamels, razor blades and fine silver leaf. Found-object table and chair.

1000 mm x 1000 mm x 1800 mm

The Expulsion

Highly polished sandcast lead glass with copper, flameworked and hot-sculpted inclusions painted with high-fire enamels and mounted on coated steel frame

550 mm x 550 mm x 300mm