Emma Christina Lucia Rochester PhD


Emma Christina Lucia Rochester. Untitled 2017. Embroidery, custom designed uphostery weignt cotton of pilgrimage to Saintes-Maries de la Mer, Camargue, France 2015-2016, velvet, cotton, cord and stuffing, photo courtesy Carl Warner.

item1 item3 item4
item7 item8 item4a copy1
item5 item3a1 item9 copy1a

Emma Christina Lucia Rochester. 2017. Digitised emrbroidery designs hihglighting gestures of devotion witnessed at women's sacred sites on a prolonged pilgrimage performs for use textile banners as seen below.Digial image.

InHerHands09 InHerHands10

Emma Christina Lucia Rochester. In Her Hands, installation view, 2017. Digitised emrbroidery banners.

Photo credit: Carl Warner

InHerHands086 InHerHands098 InHerHands025

Emma Rochester, Documentation of Sculptural Fibre Forms of Women on Pilgrimage with Emphasis on Vaginal Motifs in Reference to 1970s Core Feminist Imagery for the Exhibition “In Her Hands” 2017, Custom-designed print on upholstery weight cotton and silk crepe, block colour cotton material, synthetic hair, and haberdashery thread, dimensions variable.

Photo credit: Carl Warner

InHerHands05 InHerHands13
InHerHands12 InHerHands11

Emma Christina Lucia Rochester. In Her Hands, Installation views, 2017

Photo credit: Carl Warner

InHerHands027 InHerHands028 InHerHands058
InHerHands029 InHerHands043 InHerHands045
InHerHands050 InHerHands053 InHerHands054
InHerHands059 InHerHands065 InHerHands069
InHerHands083 InHerHands085 InHerHands087
InHerHands088 InHerHands096 InHerHands04

Emma Christina Lucia Rochester. Mystic Roses 2017. Resin and earth pigments.

Photo credit: Carl Warner

Emma Rochester, Documentation of Amulets and Talismans consisting of Three Dimensional Mudras and Yoniroses on the raised platform in the exhibition space of “In Her Hands” 2017, epoxy resin, pigments and colour dye, dimensions variable. Photo courtesy of Carl Warner.


Inside the embroidered outline of the scallop shell a different scene is depicted on each banner. This inner territory features a womanly amorphous form in a variety of landscapes, using archetypal symbolism that speaks to the central core visual vocabulary generated by early second wave feminists to represent concepts relating to God-as-Woman. More specifically this 1960s and 1970s Goddess aesthetic includes references to caves, spirals, venus shells, bees, tunnels, the ocean and water in all forms. These motifs are dispersed across the banners and make up the scenery in which the female form undertakes her pilgrimage.




PhD Overview

PhD Artefacts

PhD Textile Banners



Media Art