“We are bequeathing these odd little scraps, with their cargo of DNA and river life, to future generations.”

— Crispin Hughes

S H R O U D

/Shroud/

(noun) a cloth or long, loose piece of clothing that is used to wrap a dead body before it is buried

'The Sudarium of Oviedo, or Shroud of Oviedo, is a bloodstained piece of cloth that measures c. 84 x 53 cm (33 x 21 inches). It is kept in the Cámara Santa of the Cathedral of San Salvador, Oviedo, Spain.[1] The Sudarium (Latin for sweat cloth) is believed to be the cloth that was wrapped around the head of Jesus Christ after he died as described in John 20:6-7. Radiocarbon dating conducted by the National Museum in Madrid placed the cloth’s origin to around 700 A.D. However, at the Second International Conference on the Sudarium of Oviedo, scientist César Barta noted that oil contamination could have resulted in the ascription of an inaccurate date to the object. Historical references to the Sundarium suggest the cloth existed as far back as 570 A.D. [2]These traces of contact with a body are understandably venerated. I was brought up drinking the blood of Christ and eating his body at my family's Anglican church every Sunday. There was no taboo or disgust expressed toward this symbolic practice. But the fluids of mortal strangers are another matter. All the more so in the time of COVID-19. 

Along the Thames foreshore, on the inside banks of its various bends, are tens of thousands of similar looking cloths, also stained with bodily fluids. These are wet wipes, secular relics being laid down in bands for future archaeologists to find. Designed to be super-clean, re-assuring and single-use, they rapidly become a foul and permanent part of the fabric of the Thames foreshore. 

Thames21 have been monitoring the build-up of wet wipes in Hammersmith:

Bathymetric surveys, published for the first time, reveal that one of the largest mounds, in front of St Paul’s school in Barnes, has grown by 0.7m in the past few years, and is now 50m wide, 17m long and stands at more than 1m high.”

I photograph these rectangles of plastic fiber on location during the low tide and arrange them to seemingly hover above the ground on which they have settled. Wet wipes are probably the most defiled and disgusting plastic waste to be found in the Thames. At once intimate and horribly 'other,' they have transitioned from private and immaculate to public and abject.

We are bequeathing these odd little scraps, with their cargo of DNA and river life, to future generations. Perhaps one day they will appear, carefully lit, in museum cases alongside crusty pieces of Roman sandals and the like.

About The Artist

 
 

Crispin Hughes

was born in London in 1959. He studied English at Cambridge University and Photography at the University of Westminster. In 1984 he co-founded Photofusion, one of the country’s leading photography galleries and education centres. In the 1990s he began working extensively across Africa as a photojournalist covering conflicts in South Sudan, Rwanda, Angola and Somalia. He has worked for numerous aid agencies across Africa and Asia. He became a member of the picture agency Panos in 1990 and his work appears regularly in the national and international press.  



Active consent is characteristic of his documentary photography of social issues, working with the people involved to make un-contrived but collaborative pictures. Since 2005, he has collaborated with filmmaker Susi Arnott on a series of exhibitions about tidal spaces: Unquiet Thames at the Museum of London in Docklands examined urban, enclosed, tidal spaces along the Thames shoreline. The exhibition was one of Time Out’s twelve picks of the year. Stone Hole (2009 at Photofusion and Peninsula Arts) scrutinized the interiors of tidal sea caves. These large-scale prints challenged conventions in art that link landscape with beauty and moral uplift. Thames Tides (2016), a four-screen immersive projection using floating cameras, toured watery exhibition venues around London. Duck (2019 at The Bargehouse Gallery) continued the use of autonomous cameras to develop a random aesthetic concerned with anthropomorphism and point-of-view. 

 

Since 2007, Crispin has been the photo-educator for the Through Positive Eyes project, a collaborative photo-storytelling project by 130 people living with HIV and AIDS in 10 cities around the world.

All images for Shroud copyright Crispin Hughes
”Shroud” audio copyright Philip Meyer, 2022

Web design by Taylor Crawford

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