Kate Whiteford’s work
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esponding to our article in the last issue about Kate Whiteford and her unique house and studio in North Dulwich, several readers have asked whether we could add a little more information about her work. Deep breath: there could be a lot to say. But we have selected just one project which reveals a thread running through much of her work. She often uses archaeology, topography and aerial photography to unearth and celebrate ancient or hidden objects which can articulate new meanings for the contemporary world. Approached in the mid-1970s by the National Museum of Scotland, she was commissioned to design an enormous tapestry for the Museum’s new main hall. She devised it to reflect the various layers of this great Museum’s collection in a design that
linked the chronological changes encountered in the displays on each floor. Unpredictably, as a central symbol of huge energy, Kate chose the Corryvrechan whirlpool just off the Isle of Jura. Layered over a symbol of this famous natural phenomenon, she introduced runic inscriptions from a celebrated archaeological site on Orkney, along with tree-like runes which run the height of the tapestry linking every period. The top quarter of the design, evoking 20th-century technology, showed barcode-like vertical bands. The tapestry was then woven by the Edinburgh Tapestry Workshop and was formally unveiled in December 1998. Pat Roberts
© Kate Whiteford; Image © National Museums Scotland
Corryvrechan Tapestry Herne Hill – Spring 2022
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