Unravelling History: how to craft a great exhibition

Raphael Roy Taylor

Innovation and nationally significant exhibitions are perhaps not what one would think of in the context of the Pump Room Gallery. Converted from the former bathing pools into a hybrid space showcasing both local history and a permanent art collection, the main gallery space is a combination of both Old Masters, contemporary works and a huge collection of glassware. It’s more an eclectic space than a true art gallery in the traditional sense of the word.

However, the current Textiles exhibition at the gallery feels so much more like the cohesive experience you would expect of a national exhibition. I had the opportunity to speak for Artworld. with Annabel Rainbow, who co-curated the exhibition and contributed a great many works to it. The first thing I wanted to know was how she as a local artist has first been able to begin exploring the possibilities of the exhibition.

‘I approached the gallery about two years ago after learning they had a significant textile collection which had not been displayed. This began my idea of selecting pieces from the collection and commissioning artists to create new works inspired by them.’

Daniel Lismore’s work

The most recognised of the artists with work on display is Coventry- born Daniel Lismore. Daniel’s figures, collectively known as the ‘glittering army’ reflect his own dress sense, earning him the label of ‘England’s Most Eccentric Dresser’ by Vogue. Lismore’s work has been nationally and internationally exhibited at the Tate Modern, Venice Biennale and recently The Herbert, making his contribution to the exhibition all the more significant. His work forms the central focus of the room, which is then divided into four areas of display. The artefacts from the collection are presented in the centre of each space, tying the different works together.

For example, at the centre of one space is a book, filled with drawings of nature by a grandmother, mother and daughter. Laura Kemshall’s work Hand Me Down embodies this theme of knowledge and skills being passed down from one generation to the next, with a single ribbon held across four pairs of hands drawing from both the transfers of knowledge needed in the book’s creation and Kemshall’s own lived experience.

One concept that runs through the exhibition is that of memento mori. A Latin phrase that emphasises mortality, it is best reflected in Rainbow’s work Stepping Off The Edge. This artwork also features an infinity scarf, dyed red, with cut-out outlines, painted white stripes, and stitching, symbolising "no beginning and no end". A figure, reminiscent of Giacometti's style, is placed "instantly off the edge, because you don't know what comes after". It has very much the character of a Dutch still life, which in the context of the work establishes that the way that past generations lived, always waiting for the afterlife, is flawed compared to our modern conception of living life for the present.

A significant part of the exhibition focuses on the stories and experiences of the African Caribbean community in Leamington, drawing inspiration from community-made textiles held in the museum's collection that had been made at the time of its opening. Rainbow’s series of works take the form of portraits of different people who were threatened by the Home Office with deportation in the Windrush Scandal.

Portraits of Windrush elders.

I had the chance to speak with Monica Brown, who shared the story of her mother, depicted by Rainbow, facing extreme housing discrimination, only being able to live above a Chinese market upon emigration to the UK because others would not rent to black people. Discriminatory used by landlords such as "no blacks, no spicks, no dogs", which continued into the 1960s and beyond. Monica’s mother was forced to leave the UK by the Home Office, despite living in the UK for about 70 years prior. She eventually managed to return in the wake of the scandal, but the episode can still be held as an example of enduring racism today.

The experience of a qualified tailor from Birmingham is also depicted; he was refused a job interview based on his race and ended up working in a factory. At the factory, a colleague asked him with "incredible ignorance" the colour of his skin underneath his clothes. Rainbow likens this historical ignorance to lack of integration efforts by the government at the time, which continue, contributing to racism today, criticising "simplistic answers" to complex issues like those related to immigration. The story of Marcia, a teacher, is shocking; she was told off by her headmaster in a staff meeting for raising the issue of racism, with the headmaster denying its existence by citing the presence of black football players and drinking black coffee.

Rainbow also had the chance to speak to Benjamin Zephaniah, the famous Birmingham poet, shortly before his death and created two extraordinary works from his likeness. Using 24- carat gilding to emphasis the joy of Zephaniah’s presence, the portraits are otherwise very different. One depicts him on his wedding day, his smile is effervescent, he radiates warmth. The other depicts his silhouette, on stage, with his characteristic dreadlocks, against a backdrop of scenes from his native Birmingham. It features his dynamic poetry as a further background and for me, spiritually captures his incredible style. Speaking with his widow, Qian, I could feel her emotion in seeing the works for the first time. She was spellbound, and profoundly grateful for Rainbow’s visual testament to her husband.

The exhibition will continue for a few more days, but as this article functions as more of a retrospective, I will say that it is truly an example of the power of creativity- Rainbow managed to create a network of visionary artists, depict relevant themes and utilise a small space incredibly. It has created the best temporary exhibition I have seen in some time.