It is pivotal to the project’s conception that it is a process led investigation. The Three Hares Constellation Archive’s birth came from the pilgrimage I took across Dartmoor in Devon to find existing examples of The Three Hares as they appeared as roof bosses in churches. In particular, one of the oldest known example of the Three Hares symbol on Dartmoor belonged to St Michael’s church in Spreyton, where the artist’s family name originates, which is believed to be dated at 1481. There are seventeen known churches to have the Three Hares roof boss, and on this pilgrimage I managed to reach eleven. As I visited each location, I collected a fragment of the church in small labelled glass vials. Indiscernible from an ordinary stone, I seek to embed these worthless objects with a far more significant meaning: each vial contains a fragment which physically connects the artist to the latest stages of the Three Hares symbol’s – and thus the genetic condition’s – migration.
My hope is that my research will lead me to create art works that gather evidences from across the Silk Road itself, thus physically joining the genealogical, religious, and geographical inception of the symbol to the perception I hold in the 21st Century.