Linen Memorial

Each time it is unveiled, the linen handkerchief memorial becomes a slightly different, site-specific or site-contextual 'counter-monument.'

Linen Memorial: explanation of Exhibits

The Linen Memorial was first unveiled on September 7, 2001 in Washington state, USA. An Ecumenical project, it was opened with a private Buddhist ritual to those killed. The names were only printed at that time. 

In 2004, the memorial was exhibited in Australia at a solo exhibition entitled ‘The Irish Linen Memorial: Transformation of Tears’. Collaborative creative processes over the previous two years resulted in achieving an interdisciplinary dimension to the memorial. In this particular gallery setting, the memorial was hung as a 'mourning ritual' in a series of inverted catenary arches. (see excellent review under Press and Articles link)

Canberra Opening performance by Elizabeth Cameron Dalman, OAM, Choreographer of Mirramu Dance Company,  Founder of contemporary dance in Australia:

3 female dancers (maiden, mother, crone). expressed aspects of daily life which must go on in the face of unspeakable horror, such as washing and cleaning, all-the-while persons are grieving.

For this 2004 exhibition, twenty-five linen handkerchiefs had been embroidered and three had been lovingly tatted by hand and sewn with a lock of hair by Edith Morriot.

In February 2005, the memorial was exhibited 'as a quilt' in the Faculty Gallery, University of Wollongong. A visitor entered and exited the memorial space through a dimly lit passage. This walk slows down the 'passage of time' for the viewer. For some visitors, it can be 'terrifying' to enter 'a space dedicated to those who have been killed traumatically'. A braided textile rope acted as a handrail (see 5 min. digital video on this website, under 'press and articles' link).

The space was silent and the memorial was installed in two parts:1) embroidered handkerchiefs: as a drapery-wall (back-lit) and 2) printed hankies were spread-out horizontally in a checker-board.
Over one hundred handkerchiefs were embroidered in 2005.

The sacred space was very quiet, except for a small-scale new-media data projection (a contemporary art element) which represented ‘breathing’ both visually and with sound.

A more personal installation, entitled ‘Mending’, accompanied the larger linen memorial.

During 2007 - 2008 many more handkerchiefs have been embroidered.
All handkerchiefs could be read within eye-level  and, if persons desired, names could be carefully  touched. Thank you to the many embroidery volunteers who have come forward, partly through The Friends of Corrymeela Community.

In 2008, persons  could  pin a memento, or token of remembrance, on  a handkerchief, beside a name, if they so wished.

Please email me if you need any images. Artist images protected by Viscopy Australia. 

Performance

In 2002, there was a public ritual-performance on The Day of the Dead/'Hallowe'en' & All Saint's Day, October 31st and November 1st in Wollongong, NSW. with choreography by Elizabeth Cameron Dalman, OAM, and Mirramu Dance Company.

The Australian sonic-scape is entitled 'The Seeming Insanity of Forgiveness’ by Dr. Thomas Fitzgerald. It contains a Requiem Mass, various Irish traditional music, chants to the dead by different Indigenous singers, anti-war poetry. In short, the song and voice of people of differently-perceived political or religious backgrounds from around the world.

For the sonic-scape, the poetry oration was coordinated by Lycia Trouton with Antony Stamboulieh and students. Stamboulieh was trained in London, UK, is a member of the British Actors' Equity. He is the Founder of the Vernon School of Speech & Drama, Canada.

Also, Kevin McFadden's poetry is featured in Fitzgerald's composition. McFadden was the Founder of The Irish Club in Whiterock, B.C., Canada and was a teacher of Gaelic.

Click on Kevin's name (above) to learn about his 2008 book of published poetry, Tales of the Hearth and
Email Helen McFadden at: hmcf@shaw.ca to purchase Kevin McFadden's book.