For this exhibition, Stella Whalley was required to respond to the V&A’s collection through a digital output. Her research focused on exploring historical methods in relation to contemporary technologies. Utilising Photoshop, digital fabric printing, and digital embroidery, she created a series of works inspired by the Devonshire Tapestries—particularly Susanna and the Elders—as well as the Melville Bed, 18th-century costumes and embroideries, and the engraved and embroidered representation of The Conversion of Saint Paul after Rubens.
Whalley reinterpreted the narrative of Susanna and the Elders, shifting the focus to Susanna’s agency as she overcame the moral burden imposed by the elders, who ultimately faced punishment. In Renaissance painting, Susanna was frequently depicted nude, whereas in 17th- and 18th-century English needlework—where stories of virtuous women were popular—she was more often shown clothed. This historical contrast influenced Whalley’s decision to set her reimagined scene within the 18th century, an era of excess and flamboyance among the upper classes.
Working alongside two male actors, Whalley performed the role of Susanna, presenting her as an autonomous woman navigating the complexities of choice and sexual freedom in a more permissive age. The resulting artwork featured a large digital print on viscose, displayed as a wall hanging, alongside a series of digitally embroidered banners. These banners incorporated decorative 18th-century motifs found on period clothing and furnishings, used here to symbolise key themes within the story. One such reference was the Melville Bed—a baroque showpiece not designed for daily use, but rather as a display of wealth and status. As Susanna was married to a nobleman of high standing, the threat to her reputation from the elders heightened their power in the attempted coercion.
This work was supported by funding from Camberwell College of Art, the AHRB, and Loughborough University.
