but still resonates in many ways, illuminating these rather tired days. As per usual I didn't sell but I learned a lot from all the processes leading up to the exhibition. And from trying to answer fairly challenging interview questions, which made me think deeper and harder about my work and its temporary encounter of and entanglement with Tom Butler's and Aly Helyer's. The sensitively considered curation by Rosalind Davis and Jane Boyer came as a revelation too - in the clever groupings of pieces and the ensuing conversations between them the show positively pulsed with life. Connections were made across media between painted things and real ones (we all have an obsession with hair), textures, patterns and colours, openings and orifices… With our shared interest in the unconscious, in the refutation of the borders between the imaginary and the real, it sometimes seemed like the work came from one brain and three pairs of hands. I saw my work in a new light - it sat very well with paintings and drawings, and its materiality, its thingness shone. The audience seemed to engage strongly. Feedback was very good. One day I'll sell. At a good price. In the meantime I'm crocheting away, plotting new pieces and wishing for an abundance of hands or at least a pair that is never tired.
PS. Eye-rhyme, a video I shot 1998, and which I hadn't watched for years, was selected for the exhibition too, which was rather wonderful as it allowed me to reconnect with work made before I fell ill. A good piece, even if I say so myself. It made complete sense to have it there - I could discern the continuity in terms of subjectivity and sensibility pervading all my work. What a delight.
2 comments:
I haven't seen the show in the flesh but it looks strong and the pieces carefully selected together. I can see the 'common threads' between the 3 artists. Must feel so satisfying.
HI Marjojo,
Not been connecting for a while as life had taken over. I am really enjoying my challenging commission putting together the history of a demolished council building to capture some of its essence to put into an artwork.
Looking at this show I really like the curation of it as it tries to make connections between the pieces and artists. Sorry I just can't make it to London very often but I really loved seeing your work in Wakefield.
About the selling, I wonder if potential buyers might be more tempted if the pieces were framed. I hear your intake of breath. I am thinking framing as protection of textiles which otherwise will take odours, dust and other domestic airborne particles. You could think about the kind of framing you would like, maybe one which can easily allow access to the artwork so that it isn't caged in but protects it gives it a definition, a space of its own, so it can sit comfortably in a different environment.
I received a lovely textile piece from Kruse (an exchange) and was always very conscious that it would be deteriorate in my domestic environment. I had if box framed and it now has its own pride of place in my home. But I don't know if my framing did justice to the original idea the artist had, so it would be better if you made that decision. Try one and see?
Still love your poignant, touching but smiling artwork.
Catherine.
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