Miriam
A half man half goat made out of air-dry clay.

Scapegoat 2, video, 6:44 min, 2021.

Performances by: Maria Wrang-Rasmussen, Gabriel Levine-Brislin, Lorenzo Rangoni-Robertson, Hannah Draper, and Gemma Smith

Figures stood around a table of cardboard food on the beach with pink papier-mâché masks on.

Photo by Madeline Wood.

Two figures with papier-mâché masks holding the cloak of another figure wearing a papier-mâché goat head and crown as they walk across a concrete causeway.

Photo by Madeline Wood.

Two figures with papier-mâché masks holding the cloak of another figure wearing a papier-mâché goat head and crown as they walk across a concrete causeway.

Photo by Madeline Wood.

Tamar at the feast.

One figure in a pink papier-mâché mask stood next to a table of card-board food on the beach.

The sacrifice.

Figure with a papier-mâché goat mask walking out of the water at the beach.
Sketchbook pages

Sketchbook pages for Scapegoat 2.

Smokey Goat,
Acrylic and emulsion paint on paper 42 x 59.4 cm.

Painting of a goat smoking

Smokey Goat 2,
Acrylic and emulsion paint on found wood 29 x 36 cm.

Painting of a goat smoking
Figure in papier-mâché goat costume

Photo by Madeline Wood.

Figure in papier-mâché goat costume

Photo by Madeline Wood.

Figure in papier-mâché goat costume sat on a bench, looking at yellow flowers.

Photo by Madeline Wood.

A half man half goat made out of air-dry clay.

Scapegoat 3, video, 13:22 min, 2021. Lorenzo Rangoni-Robertson as the Scapegoat.

Screenshot from scapegoat 3.

Screenshot of film ‘Scapegoat 3’

Screenshot from scapegoat 3.

Screenshot of film ‘Scapegoat 3’
1A broken bird box with air-dry clay pediment guarded by two clay Goatmen.

Temple of the Golden Goat, Air-dry clay and found wood object 23.6 x 17 x 30 cm.

BIO: Miriam Craddock

My visual language has grown out of a constant drawing practice giving birth to the bizarre, masked creatures that I use to investigate human action and motivation. The world I am building draws equally from folk vernacular, art-historical and contemporary influences. Recently I have become interested in scapegoat rituals stemming from research into William Holman Hunt’s painting ‘The Scapegoat’. I have based a body of work around my own fictional narrative collaged together from biblical and Ancient Greek accounts of scapegoats. I am interested in what historical stories, rituals and folklore can tell us about humanness and relate to contemporary society. As a response to current restrictions preventing us from showing work in conventional spaces, I made characters from my paintings get up and walk around, in the mask-making aspect of my practice and documented performance of the narrative through video. The connection between my subject matter and material plays on themes of abjection from society and transforming the value of objects. I think of myself as a magpie picking up fragments of stories from archives and bits of old wood off the street and bringing them back to my nest.

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