‘The Secret Keeper’


Describing the body of work she has made for this exhibition, Jayne says: ‘I was always fascinated at tales of how the cows udders used to be gushing milk on the way to the parlour when my mother was a young girl during the 1940’s and she used to walk alongside and catch it in her little bucket for the farm cats. Nothing ever went to waste.


This head dress must only be worn by the youngest unmarried maiden of the village above the age of 18. She must wear a long gown and dance through the village each evening at dusk – on a cow if any are still awake – for the month of June to ensure a good milk quota for the coming year. This will also ensure at least 6 marriage proposals for the maiden should she be interested in such a situation.’


Mediums and dimensions: glassine paper, satin ribbon and gold buckle. seed beads, wire, sequins and acrylic paint. moulded paper and aviator hat paper stitched and glued; 63cm x 38cm.


Artist Bio

Jayne Cherry is an artist living and working in the countryside of Co.Down. Having been born into a large family on an organic farm in Northern Ireland, she has been brought up with a deep respect for the ground we walk on and all who breath upon it. Farming without chemicals, rearing animals without medicine and holistic practises were learnt from an early age. Close observation of nature, weather, skilled animal husbandry care and exposure to death and sadness lead her too wanting to have a deeper understanding of these subjects.


A career in nursing and progressing into making art work that stems from that was very natural; working closely with and acceptance of pain, degeneration and death explains her penchant for spiky, uncomfortable and difficult subjects which can confront us all at some stage. Automatic drawing and painting, textile investigation with natural elements and performance allow exchanges that result in touchable elements. These are then ‘stitched together’ too precipitate an outcome using skills which are old and new. Performance actions keep Jayne attached to the realness of her existence by helping her to open closed areas to expose raw, tender experiences that inform her sculptural and text work.

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