Devil’s Mark (2024)
Selection of images
“…we have no particulars of these burnings, so common had they become, or so unimportant in the opinion of the nation.”
“Devil’s Mark” was inspired by the research of Scottish witch-hunts of 16-18th century in the context of neuroscience and our biological pre-disposition to behaviours at the heart of the witch-hunts.
Prompted by curiosity about how a country rooted in pagan beliefs became the second most affected (per capita) by the witch-hunts in Europe, the project soon turned into a journey of self-reflection. As I researched my dissertation, I couldn’t stop wondering what my doing would be had I lived then? Would I be the one burned at the stake? If so, which one? The stubborn and outspoken one, standing her ground until the end? Or the coerced one, wondering if she could be a witch and not know it? Would I be accused by other witches tortured into confession? Or by a neighbour driven by greed, envy or revenge? Or would I be a bystander looking the other way, or filled with glee at my enemy’s misfortune? Or… would I be all of them, in due course? I hoped to never find out whether I had what it takes to lead them to “Golgotha”…
The project is based on the site where witches were burned and takes its name from the mark on the bodies of the accused, which “evidenced” their pact with the Devil. It is a contemplation on the role of human nature in witch-hunts, the past and present.
Handprinted 11x14inch (27.9x35.6cm) and 8x10inch (20.3x25.4cm) silver gelatin prints on fibre based paper, and photograms. Large format (4x5) camera.