We are bound by family ties, the bonds of friendship, the connection between lovers, the relationship between a human and an animal, the attachment to a memory, a parent bonds with a child. We can be duty bound, bound by faith, tied to our jobs, tied down, tied up, bound to the pursuit of something. We cut ties. A force or feeling can unite us, with a shared emotion, experience or feeling. Ties that bind, ties that break.

There is a story which runs through several East Asian cultures about the red thread of Fate. When the red threads attached to individuals are connected, they are said to be bound together by Fate itself. It is believed that the gods tie red strings to the fingers of those who will ind each other in life. When they meet, it will have a profound effect. These threads are not exclusively for romantic relationships. It encompasses all those with whom we are predestined to form bonds with. Several of the selected artists make reference to this legend.

Tanya Isaacson’s “Sleepwalker” arises from Isaacson’s innermost thoughts, experiences and observations. The title of this piece is taken from a childhood memory. The female subject appears trance- like with arms outstretched in front of the wooden rafters of an old asylum, from which grows a tangled weed. The artist revealed that the obvious and biblically symbolic nature of these situational elements was unintentional, and most surprising to her once manifested in her painting—perhaps testament to subconscious ties to learned beliefs. The red “threads of fate” fall from each wrist, any restraints are cut or broken, bonds are released. This beautifully nuanced painting suggests a reawakening, a freedom, and the light of a spirit set free on the wings of a tiny yellow inch.

Margaret Ingles also informs her work with personal stories, sourcing narratives which speak to us and direct our actions, those which affect relationships and our responses to the world. These narratives hold the potential to serve us well, or to limit potential and diminish joy, an individual may discover the power of choice, to decide which of these to re-write and which to keep. While it is also a symbol for Peace, Ingles employed the dove in this painting “Ties That Bind” to represent personal truth. The blindfold becomes an inability to see truth even when it is right before us. The red ribbon is symbolic of the thoughts and stories which attach to us and deprive us of perspective. The ribbon, however, is loosely wound and easily removed, if only we choose to act to be free of that which binds us.

Brooke Walker’s self portrait, “Duality,” emerged from her research into the human/equine relationship. The horse universally symbolises unrestrained and majestic freedom. Paradoxically, its power is harnessed and controlled for utilitarian purposes. The animal is physically strong yet it can display a spirit of fragility and anxiety. Walker came to draw parallels with her relationship with her own reality. This work is revealing of her naked truths that become restrained by uncertainty and self-doubt. Her personal freedoms and strengths can also be bound to positive or negative interactions with other people. It speaks of seeking the power to enjoy unbridled freedom.

“But Only For Now” by Byron Taylor is from a series of five pieces. The same model is the subject of all, resulting in a vanitas collection of works, concerned with love, loss and transience. Individually this piece is about the transitory nature of attachment to things or ideas, pets or people. We tie ourselves to these other beings and suffer when those ties are broken. In life and death, we seek those to maintain a connection. Rich with meaning and details, the female figure is seen with red threads binding her to the animal world, as the ribbon wraps tightly around deer antlers, she is holding dear the evidence of lives lost.

“Gemini Sublimation” by Arina Gordienko is a beautifully rendered diptych with hidden dual meanings, complexity and simplicity, subtlety and strong contrast. The duality is evident in the visible gap between the two paintings. Each painting is of the same person, however there is a distance between them and a contradiction. Gordienko explained that in the field of mental health, sublimation helps people who have urges that, if acted upon, are self-destructive or dangerous to others. Although there exists an internal conflict, which may be externally evident, each cannot live without the other – they are attached in the one body. The red thread is seen tied to one representation of the figure and hooked onto the other, forming a tether or an anchor. In the zodiac, Gemini is considered on of the most important as it articulates the dual nature of higher self and lower self – the two parts of the one soul bound together.

Daire Lynch’s “Ties That Blind” refers to the ties and entanglements of a close relationship with another, whether friend or lover, we are symbiotically bound by our admiration and respect for each other. Perhaps histories are shared. Yet, we are independent individuals with separate personalities. Even without nefarious intention, words can be unheard or unspoken, actions can be withheld or hidden. This may test the strength of the bond, sometimes to the point of breaking, and at other times it may arise from the intent to protect that which links one to the other.

The bond between generations is there in abundance in Francien Krieg’s “The Journey.” With a fascination for painting in a sincere and compassionate way, Krieg’s representation of Mother and daughter reminds us that we are born with a significant tie, the cord which connects us to our birth mother. It is up to individual nature, circumstance or fate, to keep closely connected. This piece is a testament to strong family ties. We are inescapably connected to the aging process, and Krieg tenderly celebrates the spirit of the human body.

Artist Primary Hughes explores his own family ties and the bond between a mother and her daughter in “Madonna del Lago Superiore.” In painting this portrait of his wife and child, Steven is bound to invest in enduring memories for future generations, a family heirloom. The depiction of the figures is tied to religious traditions. When facing a classic representation of the Madonna and Child, the viewer is aware of the events that will occur in the innocent child’s future. Hughes and his wife cannot foresee how their daughter’s life will unfold, and this uncertainty is wrapped up in the emotions which informed the image. The artist has expressed hope for his daughter’s future—that she may be released from any restraints or binding expectations of generations past, and that she may grow and flourish in a world which is welcoming for all daughters to succeed, unshackled.

In Anne-Marie Zanetti’s still life, “Askew,” intricately detailed yet simple objects are bound in history and storytelling. Zanetti investigates the invisible thread which ties us to memories, and these are worthy of our respect and contemplation. This tenuous connection to our past can disclose secrets, reveal meaning and significance, perhaps provide enlightenment and closure. Each object in the painting is a testimony to the fragile yet powerful nature of this connection, the artist thoughtfully selected each element for the relevance to her personal story, each carefully placed piece has the ability to evoke many unexpected sentiments. The preciousness of objects and moments in time which otherwise may seem insignificant, invites us to feel an intimacy and to consider what binds our past to our present.

The subject matter of Amy Ordoveza’s painting “Gathered Together” is a pop-up paper house.

A irst impression brings a sense of a sentimental journey, evoking threads of memories of childhood playhouses and paper dolls. Look closely and the complexity emerges. With only simple information it may be assumed by the title that the context is a multi-generational family gathering. The viewer has access to the intimate scene, as walls and roof are non-existent. There are six figures, yet only five chairs are arranged at the table, the sixth chair is placed some distance from the house. There is a sense of loss, a half hidden figure may be representative of the person missing at the table. The choice of title is tied to a phrase used in churches at times of celebration and of mourning. The colour purple is also wrapped in religious tradition, it is worn during the seasons of penance, purple is reflective of times of sorrow and suffering. It may also represent the future, while spiritually calming the emotions. Ordoveza’s painting presents a diorama as light as paper, heavy in meaning against a brooding background. It is a deceptively simple still life, a skillful and stark example of an occasion that draws families together, united in a shared emotion.

What links us, and what separates us, is instantly recognisable, searching for connections is something elemental in human nature. The responses to “Ties That Bind” are moving, in the mastery of mediums and in the meaningful and relatable narratives.