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Loves, Lives and Loss: Traces at Fenton House

Two of Shanna’s pieces were featured in the immersive exhibition Lives, Loves and Loss by Traces London, held at the monumental Fenton House in London from 3-23 December 2016. The exhibition enabled visitors to travel back to 1730, to the time it was occupied by the Gee family, who were prominent silk and linen merchants.

Let’s trade signed John Rickards 1722 (2016) and Let’s trade more signed John Rickards 1723 (2016)

Let’s trade, signed John Rickards 1722 and Let’s trade more, signed John Rickards 1723 are tongue-in-cheek interpretations of the act of corporate gift giving during the 18th century. Taking the form of a framed artefact, each of the pieces feature a decorative bookmark made using the same labour-intensive method of traditional lacemaking as was used during the 18th century. At the back of the ornate gold frame are the words “Let’s trade”, fictitiously signed in 1722 by John Rickards, a historically famous lace dealer from Buckinghamshire. Through his extensive trade with Georgian elites living in London, Rickards was able to renovate and convert a landmark inn at Market Place, Olney entirely into his lace-dealing headquarters. This piece also refers to the same year Rickards headquarter was completed.  

The pieces are still available from the Traces London shop.

Visitors looking at The Potato Eaters of Today


Two of Shanna’s pieces have been selected for display in an exhibition organised by Vault Collective and System Gallery in Newcastle upon Tyne (UK). The exhibition Transcribe/Translate features eight practitioners from various disciplines who give their own interpretation of pre-20th century artworks.

The Potato Eaters of Today (2008)
The Potato Eaters of Today (2008)

The Potato Eaters of Today (2008)  is one of Shanna’s earlier works and offers a fresh take on Van Gogh’s Potato Eaters (1885). Using photography as a medium instead of painting, it transforms the 19th century farmer’s reality into a contemporary version that is equally bleak, or arguably even worse. The odd group of people gathered around an asymmetric table consume mass-produced crisps and coke. However, in contrast to the farmers in the original painting, who are drinking the coffee and eating the potatoes that they themselves have grown, their modern counterparts are unaware where their food actually comes from. Only the dog seems to know better, but even it is looking away in contempt and disgust.

The piece is part of a limited edition of 10 and comes with the frame. For enquiries regarding purchase, please contact the gallery.

Her Invisible Dedication (2016)

The brand new sculptural installation, Her Invisible Dedication (2016) is inspired by Vermeer’s  The Lacemaker (1669-1670). In this recontextualisation, the lacemaker’s work that cannot be seen by the viewer  has acquired three dimensions and is blown up to a significantly larger scale. In the original painting, it is the lacemaker on which the attention of the painter is focused, whereas the lace she is working on is practically invisible. What was lying on her pillow is now very hard to miss.

For enquiries regarding purchase, please contact the gallery.

Transcribe/Translate can be visited  from 28 October – 26 November 2016 at System Gallery, 22-24 Leazes Park Road, Newcastle upon Tyne (UK). Opening hours: Tue-Sat 12-6pm / Sun-Mon 3-6pm.