“The pearl principle – no inner irritation, no pearl”
Artist Statement
Growing up on the outskirts of London, the occasional sighting of a Pearly King and Queen was both a jarring display of otherness and everything I needed to satisfy my love of glittering sparkly embellishment.
The Pearly Kings and Queen have a rich history dating back to the Coster Kings, who managed London’s street traders from the 16th century wearing an informal uniform embellished with stripes of pearl buttons.
In the 1870s, the first Pearly King, Henry Croft, appropriated this to a whole new level by sewing 30,000 pearl buttons onto a basic suit and hat which he wore while raising money to support his local community. The tradition lives on to this day with 30 Pearly royal families recognised in the capital, all devoted to charitable works with their status denoted by their pearly suits and accessories.
The tradition lives on to this day with 30 Pearly royal families recognised in the capital, all devoted to charitable works with their status denoted by their pearly suits and accessories.
I love the transgressive act of the Pearlies – declaring themselves royalty, providing support for their communities because government does not, but most of all, for their couture-level embellishment of the most conservative uniform of heteronormativity – the black suit.
For the purposes of this work, I’ve chosen to read this class action as a queering of norms – taking the most humble of materials, multiple cheap pearly buttons, and converting the sad, camouflaging everyday suit into a spectacular camp showpiece.
“The pearl principle – no inner irritation, no pearl” (Surya Das) is a perfect metaphor for the beauty of contemporary queer community and this work is in large part a celebration of that.
Artist Bio
In a 20+ year career, Sydney-based artist, Ian Thomas has staged 18 solo exhibitions and had work included in numerous group shows in Sydney, Melbourne and Brisbane.
Career highlights have included a residency and solo show at Factory 49 Paris, a public commission for the Newtown Art Seat for Mardi Gras 2019, being a finalist in the Churchie Emerging Art Prize and receiving a highly commended award in the 2022 Art Edit Self-Represented Art Prize.
Ian’s work is held in private and corporate collections throughout Australasia and Europe, having been purchased by such varied collectors as fashion designer, Colette Dinnigan and Melbourne’s five star Grand Hyatt Hotel. He is also a featured artist in the Sheraton Four Points by Sheraton Hotel in Sydney.
Ian has been selected to show at The Other Art Fair on nine occasions, in Sydney, Melbourne and London, was nominated in Vogue Living as one of five talents to watch at TOAF, Melbourne and has been chosen as a feature artist by the Chief Curator and VP, Art Advisory at Saatchi Art. His work has appeared in many publications including GQ, Home Beautiful, Real Living and the Sydney Morning Herald.
Artist Statement
Growing up on the outskirts of London, the occasional sighting of a Pearly King and Queen was both a jarring display of otherness and everything I needed to satisfy my love of glittering sparkly embellishment.
The Pearly Kings and Queen have a rich history dating back to the Coster Kings, who managed London’s street traders from the 16th century wearing an informal uniform embellished with stripes of pearl buttons.
In the 1870s, the first Pearly King, Henry Croft, appropriated this to a whole new level by sewing 30,000 pearl buttons onto a basic suit and hat which he wore while raising money to support his local community. The tradition lives on to this day with 30 Pearly royal families recognised in the capital, all devoted to charitable works with their status denoted by their pearly suits and accessories.
The tradition lives on to this day with 30 Pearly royal families recognised in the capital, all devoted to charitable works with their status denoted by their pearly suits and accessories.
I love the transgressive act of the Pearlies – declaring themselves royalty, providing support for their communities because government does not, but most of all, for their couture-level embellishment of the most conservative uniform of heteronormativity – the black suit.
For the purposes of this work, I’ve chosen to read this class action as a queering of norms – taking the most humble of materials, multiple cheap pearly buttons, and converting the sad, camouflaging everyday suit into a spectacular camp showpiece.
“The pearl principle – no inner irritation, no pearl” (Surya Das) is a perfect metaphor for the beauty of contemporary queer community and this work is in large part a celebration of that.
Artist Bio
In a 20+ year career, Sydney-based artist, Ian Thomas has staged 18 solo exhibitions and had work included in numerous group shows in Sydney, Melbourne and Brisbane.
Career highlights have included a residency and solo show at Factory 49 Paris, a public commission for the Newtown Art Seat for Mardi Gras 2019, being a finalist in the Churchie Emerging Art Prize and receiving a highly commended award in the 2022 Art Edit Self-Represented Art Prize.
Ian’s work is held in private and corporate collections throughout Australasia and Europe, having been purchased by such varied collectors as fashion designer, Colette Dinnigan and Melbourne’s five star Grand Hyatt Hotel. He is also a featured artist in the Sheraton Four Points by Sheraton Hotel in Sydney.
Ian has been selected to show at The Other Art Fair on nine occasions, in Sydney, Melbourne and London, was nominated in Vogue Living as one of five talents to watch at TOAF, Melbourne and has been chosen as a feature artist by the Chief Curator and VP, Art Advisory at Saatchi Art. His work has appeared in many publications including GQ, Home Beautiful, Real Living and the Sydney Morning Herald.
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