Love in Idleness (2025) reclaims textiles and is a reclamation of domestic textile work. Violet has challenged the romanticised notion of ‘women’s work’ by confronting it, the symbolism in the work and the defiance of it.
From the first look at the work- we are drawn towards the eye in the centre which has replaced the stamen of a flower. Furthermore, the eye directly stares at us and disrupts the flower by changing it into something that watches. The eye then draws out towards petals created from reclaimed fabrics, plush velvets and tartans. Thus, it directly implies the resourceful and practical nature of thrifting.
Outside of the flower- it is surrounded to both sides by small yellow flowers and lace – symbols traditionally relating to ornamental homemaking. These have not been rejected but rather repositioned within this work- showing the value and their presence as a relic rather than being ornamental.
Looking closer to the materials of the work – the unbleached linen is rough. It helps to give the work a much more humble foundation while the lace which is much more softer and delicate- contrasts the linen well. The textures of the work are successfully layered and when paired with the materials- request the viewer to be challenged on assumptions. That craft is easy and that softness equates to submission and beauty is without pain. These assumptions are crumbled down and are continuously questioned.
Overall, the work is not just embroidery but a record of resistance and thus holds immense power. It shows what is overlooked- the labour of craft being seen historically through patriarchal societies as feminine, soft and secondary to fine art- is reasserted as an art, of memory and endurance. It is none of the assumptions and resists them turning the work into a truth that is watching.