Dorothy Cross

However, the udder works were only part of a body of work that she began to make in 1984 and which examines the patterns of inheritance and authority that run through society and which questions ideas about sexuality, religion and power. This exhibition focuses on work made over the last two years and follows on from an exhibition seen at the Arnolfini Gallery, Bristol; Ikon Gallery, Birmingham and Oriel Mostyn, Llandudno.

Just as the udder works sought to confuse and confront accepted notions of power, comfort and succour, by combining the natural with the artificial, Cross incorporates treasured and intimate objects into her new work as well as a number of preserved snakes.

Cross seeks to challenge the familiar, even sentimental meanings of intimate objects. In Bible, a large leather-bound family bible is open at a page depicting the two Marys at the Sepulchre. A large but perfect hole has been drilled through the centre of the bible. The bible had been passed through various generations of Cross’ family and Cross has said the following about it:

'When I drilled the hole in the bible (…) to begin with I didn’t know why, but the decision to have the bible open at the page where the two Marys visit the Sepulchre and find it empty, explains why. The body of Jesus has gone and this is the point in the bible where corporeality is removed permanently. Drilling the hole was at attempt to re-invest the bible with physicality.' 

The snake, which is a strong motif in Cross’ new work, is also open to a plethora of apparently conflicting interpretations. It is one of the oldest allegorical symbols and can variously represent death and destruction or resurrection. It can also symbolise light and darkness, good and evil, wisdom and blind passion, healing and poison. It is also phallic and the presence of a serpent is almost universally associated with pregnancy.