In 2022, hundreds of thousands of people queued through the streets of London to pay their respects during the Lying-in-State of Queen Elizabeth II. Four years later, a new exhibition at the Houses of Parliament brings together six specially commissioned artworks inspired by that extraordinary moment in British history.

Among the artists selected is Croydon-born artist Tina Crawford. Her textile work, A Million Footsteps, incorporates remnants of the purple velvet that covered the catafalque, with seven sections representing each decade of the late Queen’s reign. We caught up with Tina to hear about her residency at the Palace of Westminster, the memories that have stayed with her, and what it was like creating artwork for such a significant national commission.

Croydonist: For readers who aren’t familiar with your work, could you tell us a little about yourself and your artistic practice?

Tina: I’m a visual artist working across various disciplines. My work has a narrative – I tend to look inwardly. It’s often autobiographical or a commentary on society. Although I’m Croydon born and bred, and I still live here, I work from my studio at Thames-Side Studios in Woolwich. I’m known for “drawing with the sewing machine”, which is free embroidery. I use whatever materials feel right for the work, so they are integral to each piece.

Croydonist: What was it like undertaking a residency at the Palace of Westminster during such a historic moment?

Tina: I’ll never experience anything like it again – it was completely unique. I had access to wherever I wanted to record, from sketching the cleaners to the MPs in the House of Commons, right through to the days in Westminster Hall. The feeling of loss and grief was undeniable throughout. It was a very surreal four days.

Croydonist: Was there a particular moment during your residency that has stayed with you ever since?

Tina: The feeling of silence in Westminster Hall when the queue turned the corner and saw the coffin. It was quite something. There was one day when sunlight beamed through the window and caught the orb on top. It was a dark day, so that flash of light from the orb was spectacular.

Croydonist: You’ve said that what struck you most was the sight of ordinary members of the public queueing to pay their respects. Why did that resonate with you more than the ceremony itself?

Tina: Because it’s the first time in history that this happened. There have been other Lying-in-States, but nothing of this magnitude, and it will never happen again. Around 250,000 members of the public queued, some for up to eight hours, to pay their respects, and it was incredible to witness the lengths they went to.

Croydonist: Your artwork, A Million Footsteps, incorporates remnants of the catafalque itself – an extraordinary material with such a direct connection to the event. What did it mean to work with those pieces, and how did they shape the finished artwork?

Tina: The piece is made from seven segments of the purple velvet that covered the catafalque, each representing a decade of Her Majesty’s reign. It all came together once I had the right fabric, so it meant everything.

Croydonist: You were working alongside five other artists, each using a very different medium. Did you get to spend much time together, or see each other’s work develop?

Tina: The other artists selected were Eleanor Crook, Lachlan Goudie, Julia Midgley, Dryden Goodwin and Caroline Walker. Between us, there was video, reportage sketching, sculpture and painting, but we didn’t really see each other during the process. Occasionally we’d bump into one another during the residency, but our heads were down working.

Croydonist: How does it feel knowing visitors will experience your work in Westminster Hall – the very place where these events unfolded?

Tina: It’s quite strange seeing the work in the room where, for half of us, our art is based. The light now shines through the windows and creates stunning reflections on the works themselves, which is beautiful. I’ve had some very lovely messages from people who have been emotional and teary seeing all the works because it’s brought that time back to them. That was definitely my aim – to capture a very significant moment that would trigger those memories. It’s very special to know the work has affected people.

Croydonist: Finally, what are you working on next?

Tina: Your guess is as good as mine! I’ve had a couple of weeks away from the studio, partly on holiday and partly to be around to show people A Historic Farewell. I’ll be back in the studio this week. I’ve also just finished judging the Horton Summer Exhibition in Epsom, which opens at the end of August.

Thanks to Tina for chatting with us. The exhibition is free and runs until 2 October. Book your tickets here. Keep up to date with Tina’s work on Instagram.

Images ©️House of Commons

Posted by Julia