Anne Boleyn, Six! and the Execution of Lady Jane Gray

Greetings readers from across the pond!

As May crests the hill towards its end, I’m writing this update in the midst of studying and conducting research abroad!  This month was filled with chaos: the end of the spring semester, the rush of finishing a large sewing project, and traveling to England where I am now studying. Though quiet moments are rare, they have been integral to developing ideas, motivation, and new meaning to this project’s root in feminine rage. Outside of class, I’ve frequented museums, galleries, and theatres that have challenged my research beyond the limitations of the realms of literature. So, I am ecstatic to say that the research portion of my work has been blooming! However, some of the conceptual development of physical artwork has been delayed by a lack of materials and space.

New questions and avenues have unexpectedly opened because of an unrelated endeavor: constructing Anne Boleyn’s costume from the contemporary, history-rewriting musical Six. Comprised of two kinds of PVC fabric, 8 yards of studded trim, and many, many individually measured, cut out, and sewn squares, the outfit combined elements of sewing and leatherwork. Though the costume’s concept is not my original design, I realized very quickly that it has the potential to be a tool or element of a larger original performance piece of art channeling Anne Boleyn and the implications of her historical cannon. I am creating something new by altering her performance and taking it outside the theater or textbooks.

Recently, I did a test run wearing this costume in public to gauge if this could be an interesting addition to my portfolio. Walking the streets and riding the tube, it garnered stares and open gawking from businessmen on their commute home. But most surprising? I was repeatedly stopped by excited fans who knew the musical, mostly young women who all loved Anne. For context, this fictionalized, modern version of Anne Boleyn is spunky, angry, and unapologetically coarse. It was interesting to see people connecting with a character who openly expressed her anger and took agency and found camaraderie in the complex mess that it is to be a woman.

Other research has taken place in the National Gallery, studying paintings of Caravaggio and the Execution of Lady Jane Gray by Delaroche. I’ve been particularly interested in the male depiction of women’s reactions to extreme situations, which has for the most part been demureness. By studying their facial expressions, I want my depictions of female reactions in conflict to purposefully juxtapose those seen through the male gaze.

Though in retrospect it seems an obvious outcome, perhaps my biggest challenge has been an overabundance of research material and lacking space to explore them physically. However, I’ve been able navigate these issues by focusing on what materials I do possess. By confining myself to work in my sketchbook and with the costume, I am forced to fully flesh out concepts and develop pieces thoughtfully.

Going onward into June, I look forward to finalizing my concepts and documenting my performance as Anne Boleyn. Furthermore, I will continue exploring a new idea: how feminine joy intertwines with feminine rage. Or rather, is there a possible goal of healing within destruction?