A Thread of a Spider (Portal A and B) (2024) are two woven and stitched portals that aim to physically move matter from one space to another. Made from collected muslin baby wraps, hair and gold thread repurposed from past works, the embroidered interlocking circles are based on medieval apotropaic marks, or “witch marks”. The symbols are intended to catch demons blowing through the air and keep them spinning on the wall. The marks both free you from your potential demon but also paradoxically keep it there with you. The title of the work is taken from Edgar Allen Poe’s short story “A Telltale Heart” (1843) in which the narrator is tormented by the eye of an unknown figure. His torment ultimately results in the demise of both characters. The particular line used in the title comes at a point of illumination in the story for both characters. The unknown figure awakens as a small slither of light from a lamp hits the victim’s eye, a portal is open. At the same time the narrator feels vindicated and feels an unstoppable sense of compulsion to carry out his plan. A Thread of a Spider is both a window to potentiality but also a record of everything that has passed and held together with a tenuous thread.
Image 1: Clare Peake, A Thread of a Spider (Portal B), 2024. Muslin baby wraps, hair, gold thread, plastic eyes, 160 x 160cm.
Image 2 and 3: Installation images of "Talisman: Power and Charm" (Broome Sail Makers Shed, 2024). Artwork by Jacky Cheng, Vanessa Margetts, Angela Bakker, Eva Nargoodah and Clare Peake
Image 4: Clare Peake, A Thread of a Spider (Portal A), 2024. Muslin baby wraps, hair, gold thread, plastic eyes, 160 x 160cm. Images courtesy of Canberra Contemporary Art Space and Brenton McGeachie
Image 5: Documentation of ‘witness, collector, archivist, narrator’ curated by Sydenham International for the Canberra Biennial. Images courtesy of Canberra Contemporary Art Space and Brenton McGeachie
Image 6: The Procession (Part 1: Portal), 2022. Found and reused materials. 100 x 100 cm. Photo: Rebecca Mansell.